W.E.

I will not be revealing any spoilers. I just want to highlight the fact that I can now confirm for myself that critics are jaded and they will write off anything Madonna does in the film business. That is not to say most of her previous works weren't dismal at best, but I always felt they weren't as bad as critics bashed.

However, we're here to discuss W.E. A film that Madonna does not star in and that may just be the brilliance of it all. I screened it last night after winning a contest and I must say, as a Madonna fan, I walked in with the assumption that I wouldn't like the movie but I would search for little things that I could enjoy and emphasize those things. That had to be the last thing in the world I did once the film commenced. Even in the same room with Madonna and other fashionistas, celebrities and artists, I completely forgot where I was and I soon found myself captivated by the story.

The intertwining of the old and new, historical loosely based romance with a modern romance, music old and new was brilliantly executed by Madonna. The film really emphasized how the general public scrutinize public figures and demonize others without a clear understanding of who they are and how politics can destroy the chance of love and how King Edward would ultimately not have that.

Intertwined with the modern tale of a New York City woman who's fascinated by the story, there are flashbacks that go through the delicate history of the royal family in the particular time that Wallis Simpson, then married, met King Edward.. It is not a fact-by-fact story. It is an attempt to take a look at things from a different perspective because after all there are two sides to every story, if not more than two sides.

Although set design, location and costume design were unbelievable, I will not speak further on it because critics said that that was the only thing good about the film so I'll let that speak for itself.

Every character was played and executed brilliantly and it was just a captivating story from beginning to end. I take pride in my love for Madonna but I also take pride in my love for film and I walked in knowing I wouldn't lie to myself. If I liked it, I liked it. If I loved it, then so be it. If I hated it, oh well.

Fortunately, I found that everyone in the audience was pleasantly surprised, almost as if they were cheering on the fact that it will be seen for what it is. That no one has to defend it. Leave it to the film-goer to make that desicion.

The camera work was beautiful, slow but intermixed with a haunting score and pivotal performances. I really hope people watch it with an open mind and forget Madonna directed it. At least until the credits roll and her new song Masterpiece begins and you remember why we love Madonna in the first place. Her music is profound and the song Masterpiece is a beautiful closer to the film.

After the film, everyone was energized and the buzz carried out into the halls where people stood discussing the film. I can't wait to re-watch it with my friends on Friday for its limited release and then once more at opening night on February 3rd.

I will be buying this film for my DVD collection. It's worth it and that's more than I thought I'd ever say about it.

***1/2(out of 5)

Having finally opened in the UK, I've now had the opportunity to watch 'W.E.', having followed its coverage to this point with interest. I can't, in all honestly, say that this is a good movie. I'll back the common positives and reiterate that it looks amazing and Andrea Riseborough is wonderful in it. The score, while lovely, is over- powering at times - Madonna is obviously terrified of silence!

I went with the movie quite happily for the first hour. The Wallis and Edward scenes are effective (I thought the dizzying/choppy camera work worked really well contrasting with the vintage images) and reminded me quite a bit of Stephen Fry's movie "Bright Young Things". But they had absolutely zero dramatic tension. Largely, this was due to the fact that they weren't chronological, but also it was because (to my horror) they almost seemed there to serve the modern day story, rather than vice versa.

And as for those modern day parts ... well ... Firstly, I'll say that I didn't think the concept was bad and it had potential. However, they needed to be trimmed by about three quarters. Christ, did they ever go on. The dialogue was serviceable, at best, and toe-curling at worst. The character of Wally was about as engaging as a paper clip and that was largely due to Abby Cornish's lifeless performance. Honestly, I wanted to scream at the screen, "Stop whispering all the time and TALK, woman!" That said, if the movie had only cut to these scenes every so often and used them as well-timed interjections, rather than as a story worthy of screen time in their own right, it would have been more bearable.

The film really lost me in the second hour when I realised it had used up all its party tricks and it was obvious where it was going. (And, no, I don't mean the Wallis/Edward story arch, but how it was going to contrast the two tales, and what the oh-so-obvious climax was going to be.) By the end, I couldn't wait for it to finish.

There are some lovely scenes, though, and several nice touches throughout. But while the infamous 'Pretty Vacant' sequence is probably trying to say profound things about Wallis having a punk spirit, it feels rather out of place. (It's fun, though, I'll give it that.)

So, really, it's nowhere near the one star disaster many are claiming. And I, genuinely, can't see why anyone could charge it would be, other than to appear 'cool' to knock Madge. It's got too much going for it, for that.

But the reason I said 'semi-noble failure' is because, while I think it had some ambition, it's indulgent to a fault. At least twenty minutes of this movie are taken up by Abby Cornish wandering around Sothebys, exchanging in vacant platitudes with the Russian security guard, or looking blandly at something we're told should be exciting by the volume of the score. And, I guess, the blame for including such non-interesting stuff must lie with the movie's director.

"W.E." had one hell of an uphill battle. Not only is it a period piece, but the film is also written and directed by the one woman in the world that makes people pass judgement before even experiencing her work. That woman is Madonna.

The film tells the tale of the infamously scandalous affair of King Edward VIII (aka David) and Wallis Simpson for whom, in the 1930s, he gave up everything for, even abdicating the throne of England. Being a twice-divorced American, Wallis Simpson was a woman the monarchy would never accept, and because of that, David left everything behind for love. The film concurrently takes us back to 1998 and Wally Winsthrop, a woman who was named after Ms. Simpson by her Wallis-obsessed mother and who also finds herself in a marriage that is not living up to the magic she expected it to be, a fact which is brought more to life by the flirtations of a Russian security guard she encounters at an auction of the Windsor Estate at Sotheby's.

I can honestly say that, despite being an enormous fan of most of Madonna's artistic endeavours, I was not sure how this film would play out. But you know what? It's a good film. First of all, it takes the perspective of Wallis Simpson in telling the first story, which goes against the norm. Secondly, the interweaving of the two completely different time periods is extremely well done, incredibly edited, and manages to keeps you invested in both stories equally. And most surprisingly, it was an entertaining history lesson: Not only do you learn of this hugely publicized affair but the film, in a way, is almost like a prequel to last year's powerhouse, "The King's Speech," as that film focuses on Bertie, David's brother, who had to take over the throne once David renounced it.

The film is not perfect, but as Madonna's second attempt at directing, you have to give her credit. Something many critics just refuse to do. No, the script is far from genius, but it's far from awful. The film is visually beautiful to watch and the integration of regular filming and documentary-style graininess makes for an interesting watch. Then there is the exquisite costumes for which this film is nominated for an Academy Award...and has a good chance at winning. And the performances, all of which are good. Andrea Risborough ("Made in Dagenham," "Happy Go Lucky") gives a strong turn, if not slightly off kilter at times, as Wallis Simpson. James D'Arcy is at times whimsical yet stoic as the terribly handsome King Edward. Abbie Cornish ("Limitless") is close to heartbreaking as the suffering Wally Winthrop and Richard Coyle ("Prince of Persia") gives a great performance as Wally's emotionally absent husband. And then there is Oscar Isaac, also in the Oscar-nominated "Drive," as the incredibly handsome and sweet Russian who perks up each time Wally is around.

No, "W.E." is not brilliant, but it's far better than you might expect, Madonna proving to be a far better director than anyone might give her credit for. And if you just love her for her music, the Golden-Globe winning "Masterpiece" plays along the closing credits. Although I have always preferred her musical endeavours over her cinematic attempts, this attempt is one she can definitely be proud of.

The cast alone makes this film worth watching. This was the first I watched with Oscar Isaac, and he truly generates heat in every scene with Abbi Cornish. Andrea Riseborough gives a star making performance that should have been recognized when the film was originally released. Madonna, as a director, knows how to let her cast do their thing and brings a stylish eye to the set design and costumes. Of course the critics were ready with their claws out but anyone who watches the film with an objective eye will be pleasantly rewarded.

The much maligned, brief theatrical film by Madonna - W.E. - fairs better on the small screen than it likely did in the movie houses. The stories are bifurcated, each one resembling a television creation - one a docudrama biopic, the other a contemporary soap opera. That Madonna, who directed and wrote the screenplay with Alek Keshishian, decided to mix the two stories is a bit daring but in some ways it works very well. In other ways the parallel stories seem like time traveling cars on the same highway that never quite travel at the same speed or quality.

The film mixes the notorious affair between King Edward VIII and American divorcée Wallis Simpson with a contemporary romance between a married woman and a Russian security guard. The time is 1998 and at an auction of the estate of the Duke and Duchess of Windsor unhappily married ex-Sotheby employee Wally Winthrop (Abbie Cornish) becomes obsessed by their historic love story. Her own marriage to womanizing, abusive psychiatrist William (Richard Coyle) undermines her feelings of worth and as she learns more about the sacrifices involved in the famous affair, she gains her own courage to find happiness.

The film flips back and forth between the present and the 1930s and it is the historical aspect of the film that is almost flawless. We get to know Wallis Simpson (in a brilliant portrayal by Andrea Riseborough) and understand her failed first two marriages (at the time we meet her she is still married to Ernest Simpson played by David Harbour), and see the American sizzle that made her the talk of England. When Wallis wrangles her way to meet Prince Edward, better known as David, (James D'Arcy) there is a chemistry that develops to the point of passion and ultimately leads to Wallis divorcing Ernest to marry Edward - a deed that leads to Edward's abdication of the throne for 'the woman I love', which he had assumed when King George V (James Fox) dies, to his stammering brother Bertie (Laurence Fox) and his caustic wife Elizabeth (Natalie Dormer). The paparazzi make their life miserable and the couple is not allowed to return to England until Edward dies, with the faithful Wallis supportively by his side through 36 years of marriage.

Wally - meanwhile - longs to be pregnant but sustains such abuse from William that she ultimately yields to the loving friendship the auction house Russian security guard Evgeni (Oscar Isaac) and begins her life again. The two stories are connected by Wally's obsession with the royal couple's notorious affair and at auction's end she is given access to private letters between Wallis and Edward that have been in the possession of Mohamed Al-Fayed (Haluk Bilginer) - a tacked on ending that feels ill at ease and redundant.

Everyone connected t the biopic angle of this film is excellent and Madonna shows that she knows how to direct affairs of the heart in a royal situation very well indeed. Both Andrea Riseborough and James D'Arcy are superb and the costumes and music and cinematography of this historical portion are exceptionally well done. Though the idea of the contemporary sluggish story is reasonable, Abbie Cornish seems uncomfortable with the script: Oscar Isaac shines as her new love. In all the film, though spotty, has merit and it not a bad debut for Madonna as director.

Grady Harp