In 1998, an auction of the estate of the Duke and Duchess of Windsor causes great excitement. For one woman, Wally Winthrop, it has much more meaning. Wally becomes obsessed by their historic love story. As she learns more about the sacrifices involved, Wally gains her own courage to find happiness.
Abbie Cornish Andrea Riseborough James D'Arcy Oscar Isaac Richard Coyle David Harbour James Fox Judy Parfitt Haluk Bilginer Geoffrey Palmer Natalie Dormer Laurence Fox Douglas Reith Katie McGrath Christina Chong Annabelle Wallis Liberty Ross Penny Downie Suzanne Bertish Ben Willbond Leigh Zimmerman Linda Glick Gil Cohen-Alloro Stephen Jones James McNeill Vincent Montuel Jay Alexander Catherine Balavage
WE madonna, Wallis and Edouard, 温莎公爵的情人, W.E. - Die Romanze des Jahrhunderts, W.E. - Edward e Wallis, МЫ. Верим в любовь, Wallis & Edward, W.E. - O Romance do Século, 倾国之恋, Wallis y Eduardo: El romance del siglo, W.E. Królewski Romans, וואליס ואדוארד, Országomat egy nőért, Mēs. Ticam mīlestībai, Wallis i Eduard, la història d’amor del segle, У + Е, ウォリスとエドワード 英国王冠をかけた恋, Králova láska, В. Е., ჩვენ, 溫莎公爵的情人, W.E.: O Romance do Século, Kráľova láska, 위, หยุดโลกไว้ที่ "รัก" เธอ, Ми. Віримо у кохання
Sweden15
Italy
CanadaR
USAR
GreeceΚ-12
France
Austria
Germany12
Ireland15
JapanG
Greece
Austria
Canada
France
Germany
Greece
Ireland
Italy
Japan
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USA
the longest jewellery ad of my fucking life
Previously best known to me as the progenitor of my favourite Mark Kermode rant of all time, everything I'd heard about Madonna's revisionist telling of Wallis Simpson and the Edward VIII abdication crisis painted it as hilariously awful. From the refashioning of Simpson's character to make her more like - well, like Madonna, frankly, to the whitewashing of the couple's Nazi sympathies, through historical howlers like a fake newsreel referring to George V as George III (er, only 200 years out there) into the use of Mohammed "Al" Fayed as the arbiter of historical truth, the world had prepared me for some epically misguided kitsch.
This is the real problem with W.E.; it doesn't deliver on that front. And the…
Who wouldn't rather shag Oscar Isaac than Jeff from 'Coupling' playing an emotionally manipulative (and physically abusive) cuntbag?
Stunning cinematography is wasted on a flatter-than-flat script. Had this been 85 minutes long instead of a full two hours it would have been almost bearable, but as it is, it's a run-down structure of Abbie Cornish looking longingly at teacups in the run-up to an auction, and then, hey, let's go back into time to see that teacup being used! The script could have been so much more - I'm always in for films where people's lives are taken up by obsession, (sub)consciously mirroring their fixation, but this lacked any subtlety and was dull as dishwater.
The newsreports running as soundtrack…
I still believe that in ten years everyone's going to turn around and admit that this is a good film. Not perfect, but very good.
one star for oscar isaac's ass and another star for oscar isaac tongue kissing
The score, the abdication montage, Daddy Hopper in small supporting role and Oscar Isaac - who is yet again shorter than his love interest (he smol and pretty *giggles*) and plays a Russian (this cracks me up every time I watch it, his accent!) security guard who saves a woman from her abusive husband, wears a kilt at one point, shows ass (oh, Jesus), plays the piano and he dances, oh my God, he *dances* - are all beautiful.
Clearly one of those is more beautiful than the others but why point out things that are obvious.
watching this for oscar isaac then out of nowhere david harbour just showed up like that?!!!??! my rights
I didn’t know Oscar Isaac was in this! I thought this was a pretty good movie. Not the best but still interesting.
Not a perfect movie but I think it got too much hate because of Madonna directing it. Decent.
“Dance for me Wallis”.
Now on Netflix Instant, please consider terminating your contract with Netflix
Without doubt the most wretched example of cinematic bilge on offer this year—and no doubt many many years either side too—Madonna’s W.E. is a disgusting show of frivolous vapidity, a moneyed monstrosity that beckons contempt for both its characters and its creators. Parallel storylines tell the not dissimilar stories of Wallis Simpson—the American divorcee who led King Edward VIII to abandon his throne—and Wally Winthrop—a privileged New Yorker obsessed with Wallis’ life, and distressed by her own husband’s undisguised adultery. The potential for engagement is rife in this story of forbidden love, but Wallis’ frustration at being banished from upper class society and forced to speak to “common people”…
Separated by time, connected by name, and driven by obsession.
Wally Winthrop (Abbie Cornish) is a modern housewife in 1998 New York City who has no life of her own, and whose husband is married more to his work than to her, so she lives her life vicariously through her adopted (and, it seems, largely imagined) doppelgänger, The Duchess of Windsor.
Only Madonna could have made a film so myopic, obsessive, and “pretty vacant” - that abides in (yet duly acknowledges) its fantastical, rose-tinted approximation of history’s most scandalous romance. Wally’s insight into the forbidden love appears mostly to arise from daydreams, although it occasionally - and most poignantly - manifests in the form of realistic, yet obviously impossible hallucinations.…
