I then went off to the premiere of WE again, this time in London. It was certainly not as chic as Venice. Loads of men and women screaming . Madonna looked totally stunning, truly a pocket star.
The film had certainly seen the chop, bits I liked had been removed, romantic photographic bits. similar to Ken Russell's romantic shots in Lady Chatterley's Lover. However, the latest version moves swiftly. Wallis was every locked up in a guilt cage, unable to move, her relationship with her husband was totally claustrophobic and cheeky at the same time. The other story really was not necessary in my opinion. There is still so much to find out about Wallis Simpson. Was she difficult, what were her tricks, was she a wit?. Their lives were made more difficult by their supposed friendship with Hitler?. How close were they? Still so many unanswered questions that the other story becomes like an irritation. Andrea Risborough's performance was better than the critics say, and the film altogether worth watching. So why are they so mean to Madonna? I think she is a little to glossy for the dreary people who are critics not doers.
"Dressing beautifully made up for her lack of looks", she said, but I liked her strange unusual face.
Congratulations to all those who preserved this fascinatingly romantic story of the 1930's and to those who designed the wonderful wardrobe, the designers of yesterday with some help form Arianne Phillips. What a pity we have become so sloppy. I think we should take some note to the glamour and panache of that time and add a little to our wardrobe.
I was lucky enough to visit her house in Paris. It had been unlived in for a couple of years. It still had the feeling they were there, pug cushions, the greyish blue colour everywhere. Little tapestries of messages to each other. Dust and their clothes. They were both so tiny. Miniature people. In that probably lies their secret.
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