The question that needs to be asked about Madonna’s “W.E.” is why?
Not why would she set out to make a movie to satisfy her obsession with Wallis Simpson, a woman more famous and notorious in her day than Madonna is herself. But why would anyone, after reading the jumbled, rambling script Madonna co-wrote, turn her loose to direct such a mess of pretty pictures and hollow perceptions about the curse of celebrity and the price of true love?
It’s easy to understand Madonna’s fixation with Simpson, the American divorcee for whom Britain’s King Edward VIII gave up the throne. Madonna clearly empathizes with this Material Girl of another generation over the microscopic, often malicious media attention both have endured.
But “W.E.” amounts to a case of a big-headed superstar overreaching with empty-headed results. It’s poorly conceived, awkwardly orchestrated, drearily paced and bizarrely assembled. The images have the sheen of a really grand music video or perfume commercial, and the movie has about as much insight.
To her credit, Madonna wanted to do something different than the standard period drama in her second time directing (her first was with the gritty London tale “Filth and Wisdom”).
Yet her attempt to create a fictional modern woman
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