If you weren't looking for Harry Styles in his debut feature picture, Dunkirk, you almost wouldn't have seen his character. Even though only a small portion of the discussion surrounds his performance, his second film, Don't Worry Darling, is one you really must hear about. In order to understand how ill-defined his on-screen presence is, it is important to recognize his brief filmography.
"My Policeman Lookmovie" While this may be advantageous in that he has room to make his mark, it could also be dangerous because he hasn't yet decided what kind of actor he really wants to be. We can see that the hunt is still going on and that no definitive answers have yet been discovered in his most recent book, My Policeman.
However, this time, his inexperience as an actor is more interestingly represented in the character he is portraying than in the movie itself. Director Michael Grandage immerses us in two eras of a contentious love triangle in his adaptation of Bethan Roberts' novel of the same name. An ambitious schoolteacher named Marion is introduced to us in 1950s Brighton.
She develops feelings for the handsome policeman Tom and starts going on dates with him. The group then befriends Patrick, a somewhat older man who joins them on their numerous adventures. Included in this is the museum where Patrick works and the recital where Tom nods off.
To the audience at least, it quickly becomes plainly evident that Tom and Patrick are indeed having an affair. They've turned Marion into an unintentional beard for them. A few decades later, in what serves as the opening scene, we discover that all of these same folks have aged and are still struggling with the hurt they once sought to conceal.
To welcome a visitor who is ill, Marion is putting the finishing touches on the house she shares with Tom. Patrick enters, having recently suffered a significant stroke, and is now hardly able to communicate. While he is still conscious of his surroundings and frequently tries to have a cigarette despite being told that it could harm his health, it is obvious that he is in excruciating pain.
Tom refuses to even acknowledge Marion's efforts to care for him, and when it is brought up to him, he becomes furious. When the past is even passingly mentioned, he disengages and won't even bring it up in conversation. Discouraged by this, Marion starts going through Patrick's diary which she found in his personal belongings to get to know him better.
The tension that is then socially, emotionally, and sexually repressed comes to characterize the movie. Marion wants Tom, but he barely touches her, which causes her perplexity to grow to wrath and terror over what is happening. Tom longs to be with Patrick but is unable to express this to anybody for fear of coming under the wrath of a society that treats homosexuality as a crime.
When the three of them sit down to dine at home and discuss whether Marion will keep working, everything blows up at once. Tom, who is obviously overcompensating, declares that she must remain at home and have children before exploding in rage at Patrick for defying him. It is one of many strange scenes, not just because Marion is sitting there and saying absolutely nothing, but also because of how swiftly it develops.
Because Styles only has two emotional states—repressed or angry—the transition between them might be abrupt and seem hurried. Though they quickly get lost in the mix, there are a few quiet exchanges between characters that suggest a more level-headed viewpoint, such as a crucial conversation Marion has with a sympathetic friend.
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