Tag: Cruella

May 26, 2021

by Carla Hay

“Cruella”

Directed by Craig Gillespie

Culture Representation: Taking place from 1952 to 1974 in England (primarily in London), the comedy/drama “Cruella” features a predominantly white cast of characters (with some Asians and black people) representing the working-class, middle-class and wealthy.

Culture Clash: In this “101 Dalmatians” origin story, an aspiring fashion designer has conflicts with her cruel boss and vows to get revenge. 

Culture Audience: “Cruella” will appeal primarily to people who are fans of stars Emma Stone and Emma Thompson, as well as anyone who doesn’t mind watching lengthy origin-story movies of classic Disney characters.

In this “battle of the villains” origin story, “Cruella” can be a little too overstuffed and filled with inconsistencies, but the dynamic duo of Emma Stone and Emma Thompson (as well as top-notch costume design) elevate this sometimes tedious movie. “Cruella” is a prequel to Disney’s 1996 live-action “101 Dalmations” movie, starring Glenn Close as villain Cruella de Vil. “Cruella” benefits from having a talented cast, including Stone as Cruella during her youth in England. At a total running time of 134 minutes, “Cruella” might test the patience of people with short attention spans, but the movie has enough dazzling moments and star charisma to hold people’s interests during the best parts of the film.

Directed by Craig Gillespie, “Cruella” at times seems a little too enamored with itself and could have benefited from a slyer sense of comedy. The jokes sometimes fall very flat, and the pacing drags during the middle section of the film. It’s a shame, really, because Stone and Thompson have immense comedic talent, but so much of it could have been put to better use if the “Cruella” screenplay (written by Dana Fox and Tony McNamara) had been wittier and more creative. The supporting characters are underwritten by not having enough depth to their personalities. (Dodie Smith’s 1956 children’s novel “The One Hundred and One Dalmations” is the basis of this movie franchise.)

“Cruella,” which occasionally features Stone’s voiceover narration as Cruella, begins by literally showing Cruella at birth (in 1952), and being raised by her mother Catherine (played by Emily Beecham), a mild-mannered and patient single parent. Cruella’s birth name is Estella, and the movie shows that she was born with her famous two-toned hair, which is black on one side and white on another. It’s later shown how she gave herself the nickname Cruella, to describe her evil and vindictive side.

Estella/Cruella says in a voiceover: “From an early age, I realized I saw the world differently from everyone else, including my mother. It wasn’t her I was challenging, it was the world. But, of course, my mother knew that. That’s what worried her.”

The first 15 minutes of “Cruella” show her childhood at 5 years old (played by Billie Gadsdon) and at 12 years old (played by Tipper Seifert-Cleveland), with Estella and Catherine (who has work experience as a maid) living in an unnamed suburban part of England. As a 12-year-old, Estella enrolled in a new school and was bullied by boys. Because she physically fought back, she often landed in the school headmaster’s office.

Because she was usually blamed for fights that she didn’t start, Estella learned early on not to trust authority figures. One bright spot to her miserable experiences at school was that she made a friendly acquaintance with a fellow classmate named Anita Darling (played by Florisa Kamara), but they didn’t hang out with each other enough to form a close friendship. Estella is an only child, and her closest companion is a stray, mixed-breed brown puppy she found in an outdoor garbage bin. She names the dog Buddy.

Estella gets in so much trouble at school that she’s eventually expelled by the headmaster or withdrawn from the school by her mother. The movie has what’s supposed to be a funny scene of Catherine debating with the headmaster (played by Leo Bill) over who made the decision first for Estella to leave the school. It’s another version of “You can’t fire me because I quit” schtick that doesn’t work very well in this scene.

At any rate, Catherine decides that she and Estella need a fresh start in the big city of London. But first, Catherine says they have to visit someone who can help them finance their relocation. Catherine seems reluctant to ask this person for help, but one evening, she drives herself and Estella to a grand estate called Hellman Hall, which is located on the top of a cliff.

A lavish costume ball is taking place at Hellman Hall. Before she gets out of the car, Catherine takes off a necklace with a red circular stone. This necklace, which Catherine describes as a “family heirloom,” is a big part of the story that’s linked to family secrets that are exposed later in the movie. Catherine tells Estella to stay and hide in the car.

But, of course, rebellious and curious Estella doesn’t stay in the car. Estella takes the necklace with her while she and Buddy crash the costume ball, Estella gets caught by a valet named John (played by Mark Strong), and the expected mayhem ensues. Three aggressive Dalmations give chase to Estella.

Estella gets cornered and hides near the cliff, where she sees Catherine talking to a woman (whose back is facing Estella) and asking the mystery woman to borrow some money. Suddenly, the Dalmations charge and jump on Catherine, who falls off of the cliff to her death. A horrified Estella runs away with Buddy and accidentally drops the necklace in the chaos.

An orphaned Estella is wracked with guilt because she blames herself for her mother’s death. With her dog Buddy in tow, Estella is now homeless and living on the streets of London. And it’s where she meets two other street urchins who are the same age as she is: somewhat dimwitted Horace (played by Joseph MacDonald) and intuitive Jasper (played by Ziggy Gardner), who both eventually take Estella under their wing. They make money as beggars, thieves and con artists.

The movie then fast-forwards 10 years later. It’s 1974, and Estella (played by Stone) is now living with Horace (played by Paul Walter Hauser) and Jasper (played by Joel Fry) in a large warehouse-styled loft. They are still being grifters for money, with some help from a white and brown terrier mix dog named Buddy and a Chihuahua named Wink. There’s a montage of this team of thieves working in tandem to do things like pickpocket wallets or steal jewelry from a jewelry store by posing as customers.

Estella (who wears a red wig to hide her distinctive black-and-white hair) designs a lot of the clothes that she, Horace and Jasper wear as disguises. Her ultimate goal is to become a famous and successful fashion designer. And her biggest idol is a designer named The Baroness (played by Thompson), who is considered to be one of the top haute couture designers in the fashion industry. The Baroness is also the boss from hell, who demeans and insults almost everyone she’s in contact with, and she takes credit for her employees’ work.

“Cruella” wastes some time setting up the convoluted circumstances that led to Estella working for The Baroness, whose first name is not mentioned in the movie. First, Jasper embellished Estella’s résumé/CV, and he found a way to get it into a stack on a hiring manager’s desk at a high-end clothing boutique called Liberty. Somehow, Estella was hired for an entry-level position at Liberty without even interviewing for the job. Jasper tells Estella this news one day. And she’s elated, because working at Liberty is a dream job for her. Naturally, Liberty carries fashion by The Baroness.

But the entry-level job at Liberty isn’t what Estella thought it would be. She’s the store housekeeper, which means that she mostly has cleaning duties. Meanwhile, her snooty boss Gerald (played by Jamie Demetriou) doesn’t care that Estella is an aspiring fashion designer and ignores her suggestions on how to style the store’s displays. Gerald just wants Estella to shut up and clean when she’s at work.

Horace thinks there could be some kind of thieving angle they can work in Estella’s Liberty job, but Estella and Jasper both insist that this job will be off-limits to their con games. Jasper seems to be in tune to Estella’s desire to break into the fashion industry honestly. Does that mean Estella, Jasper and Horace will straighten out their lives and leave their criminal ways behind? Of course not.

One day, Estella walks into a vintage clothing shop called Second Time Around and meets an androgynous sales clerk named Artie (played by John McCrea), who’s clearly influenced by David Bowie’s 1970s glam rock style. Predictably, Artie becomes Estella’s flamboyant sidekick, which seems expected when there’s a scripted movie that takes place in the fashion industry. Artie is very sassy, but unfortunately, viewers will find out almost nothing about Artie while watching “Cruella.” He seems like a fascinating character who deserves more of a storyline.

Estella grows increasingly frustrated by her dead-end job at Liberty. And so, one night, she gets drunk, goes to the store when it’s closed, and completely rearranges Liberty’s front-window display to make it look like an anarchist punk took over the space. She passes out and wakes up the next morning as the store is opening for the day.

And guess who happens to be visiting the store at that moment? The Baroness. Estella’s boss Gerald panics because there isn’t time to change the window display back to what it was. The Baroness wants to know who did the window display. Gerald points to Estella, but he says that she’s been fired.

However, viewers shouldn’t be surprised that The Baroness loves the display because it’s so edgy. She gives Estella her business card. And it isn’t long before Estella is working as a junior designer at The Baroness’ chic designer workshop.

Estella soon finds out that The Baroness is a tyrant boss. And this is where “Cruella” looks like Disney’s version of “The Devil Wears Prada,” except that Estella doesn’t battle with any co-worker peers and she doesn’t get involved in any romances. Through a series of circumstances, the rest of the movie is about Estella getting revenge on The Baroness, as they try to out-do each other as diva villains.

Most of Estella’s revenge plans are done under her alter ego Cruella. Viewers are supposed to believe that during much of the Cruella/Baroness feud, The Baroness doesn’t figure out that Cruella and Estella are the same person, just because Estella has red hair and wears glasses while on the job. It doesn’t make The Baroness look very smart, so it dilutes some of the comeuppance competition between The Baroness and Cruella/Estella.

And the tactics used by Cruella fall into catty stereotypes of women being cruel over who looks better, with Cruella doing some form of “The Baroness is an old has-been” type of humiliation. The Baroness has a formal Black and White Ball where the attendees are require to wear only black and/or white, but Cruella crashes the event by wearing a bright red dress. In another scene, Cruella upstages The Baroness at a high-profile gala, by literally wearing black makeup on her face that reads “The Future.”

And in another scene, with Jasper and Horace’s help, Cruella outshines The Baroness at another public event. The Baroness is prevented from getting out of her car when she arrives. Cruella stands on the car and unfurls a dress that has the words “The Past” pointing down at The Baroness.

Meanwhile, Anita Darling (played by Kirby Howell-Baptiste) is now working as a society columnist for a Daily Mail-type tabloid newspaper called Tattletale. She has been reporting on Cruella’s shenanigans in her column. And because Anita is someone with common sense, she immediately figures out that her former school acquaintance Estella is really Cruella.

In her coverage of the Cruella/Baroness rivalry, Anita seems to side with Cruella. And so, one day, The Baroness confronts Anita about it and demands that Anita help The Baroness find out Cruella’s true identity. “Don’t cry,” The Baroness tells Anita. When a calm Anita says that she’s not crying. The Baroness gives a slight pause and says ominously, “You will.” It’s an example of how comedically gifted Thompson is in this villain role.

It should come as no surprise that The Baroness owns Hellman Hall and the Dalmatians that Estella/Cruella saw that fateful night when Catherine died. Therefore, there’s a long part of the movie where Estella wants to get back the lost necklace from The Baroness. Various schemes are put in place. And at one point, the Dalmatians get kidnapped.

Because “Cruella” is supposed to be a family-friendly movie, nothing too disturbing happens in the story. However, much like director Gillespie’s 2017 dark comedy film “I, Tonya,” the title character is often upstaged by a bigger scene-stealing villain. Thompson’s The Baroness actually becomes more riveting to watch than Cruella in many scenes.

It’s not that Cruella isn’t potent in her own right, but she’s often conflicted about how evil she wants to become while getting revenge. There’s no ambiguity for The Baroness, and Thompson seems to be reveling in being an unabashed villain in a lot of the showdown scenes. As Cruella, Stone is perfectly cast and plays the role with the right combination of toughness and vulnerability, but there’s no denying that Thompson is a formidable presence too. Cruella gets a despair-driven monologue which is one of the film’s emotional standouts.

Aside from Stone and Thompson working so well together in “Cruella,” the movie’s other atrributes are its costume design by Jenny Beavan and production design by Fiona Crombie. (Tom Davies handled the eyewear design.) The makeup and hairstyling are also outstanding. There are set designs in the movie that look right out of a fairy tale, which is clearly the intention.

However, the “Cruella” screenplay needed a lot of improvements. There’s a big reveal in the movie about Catherine’s death that has a major inconsistency/plot hole that would require a certain person to almost be in two places at once to commit a certain act. The timeline just doesn’t add up.

And the movie’s visual effects are hit-and-miss. Some of the scenes with the Dalmations obviously used CGI dogs, not real dogs. And there’s a scene with a big fire that looks too fake, because more characters should’ve gotten fire burns in that scene, but they were able to unrealsitically walk away unscathed.

And most of the supporting characters are underdelevoped. Estella has been living with Jasper and Horace for several years, but viewers don’t learn anything interesting about these two Estella/Cruella confidants by the time the movie ends. And, if we’re being honest, the casting of this trio is age-inappropriate. Estella, Jasper and Horace are supposed to be in their early 20s, but the actors in these roles look at least 10 years older than that, because they are. That doesn’t take away their ability to act in the roles, but they just don’t look entirely convincing as people who are supposed to be in their early 20s.

There’s just so much untapped potential for the movie’s supporting characters, who are really just incomplete sketches with limited personalities. All the supporting characters—including Anita, John and The Baroness’ attorney Roger (played by Kayvan Novak)—just react to whatever Estella/Cruella or The Baroness does. The Baroness has a lackey assistant named Jeffrey (played by Andrew Leung), who is constantly by her side, but Jeffrey doesn’t say an entire word during the movie.

The way that the soundtrack songs are used in “Cruella” borders on jukebox placement instead of feeling organic. It’s a good selection of songs, but sometimes they blare in places that seem way too intrusive and distracting. At times, it just seems like shameless shilling to buy the “Cruella” soundtrack.

And there’s a bombastic outdoor concert scene where Cruella makes a big entrance to The Stooges’ “I Wanna Be Your Dog,” with Artie singing as an emcee, Jasper playing a guitar and Horace being a DJ. This is the part of the movie where viewers who love punk music might be rolling their eyes, because there are no DJs in real punk music. The movie would’ve worked better if Cruella and her mates had more 1970s London punk authenticity, not a watered-down Hollywood version of this subculture. The adult Estella/Cruella, Horace and Jasper have a polished actor sheen to them that isn’t entirely consistent with these characters who are supposedly to be scrappy con artists who grew up on the streets.

The scenes with the adult Cruella are supposed to take place in 1974. However, some of the soundtrack choices might annoy pop music aficionados who will notice that there a few songs in the movie that were released after 1974, such as Electric Light Orchestra’s “Livin’ Thing” (released in 1976) and Blondie’s “One Way or Another” (released in 1978). These are small details, and a movie director who really cares about musical accuracy wouldn’t make these mistakes. The “Cruella” soundtrack also has the obligatory new and original song that will undoubtedly be promoted for awards consideration: Florence + the Machines’ “Call Me Cruella,” which was co-written by Florence Welch and “Cruella” composer Nicholas Britell.

Despite some of the flaws with the screenplay, editing and song selections, “Cruella” can be enjoyable to watch if viewers brace themselves for the overly long run time. “Cruella” isn’t a superhero epic origin story, although at times it seems to want to use that template when it should have been a movie under 100 minutes. “Cruella” is a movie that’s supposed to be a fun and cheeky romp, but the jokes and slapstick comedy just aren’t very imaginative and edgy as a young Cruella is supposed to be. If not for the great comedic talents of Stone and Thompson, “Cruella” would be nothing but cast members playing elaborate dress-up in a bloated and mediocre Disney movie.

Walt Disney Pictures will release “Cruella” in U.S. cinemas and at a premium extra cost on Disney+ on May 28, 2021. The movie’s release date on digital, VOD, Blu-ray and DVD is on September 21, 2021.