‘The Housemaid’: a psychological intrigue as insane as it is irresistible | Cinema: premieres and reviews

Certain films cannot go at half throttle. They go with everything. In fact, they must go all out because that is their only option in the face of the difficulties that their story may cause: completely removed from any verisimilitude; as crazy to catch as some of its protagonists. Popular hook cinema that illustrates literature pulp contemporary. And so it is to the nurse, film by Paul Feig that adapts one of the best-selling books of recent years: the novel of the same name by the American Freida McFadden, the first installment of a trilogy famous for being easy to read, and based on unexpected twists and spectacular endings. Watching the film, there is one more detail, and nothing trivial: McFadden and, of course, Feig’s visual illustration – after being translated into a script by Rebecca Sonnenshine – play with the best social and sexual fantasies that can be imagined, from the most superficial to the most perverse. Naughty cinema for playful viewers. Without brake.

But what does it mean to go all out? Basically, knowing what you have at hand—a bizarre story—and combining all aspects of the film, from the staging and photography to the performances, in a homogeneous line. Always at the top, and reaching a common goal: unruly entertainment, low-range sociopolitical revolt, and erotic excitement based on role changes. To the nurse It’s rogue Hollywood. Bridging the gaps (which there are in terms of quality), close to What happened to Baby Jane? A story of manifest enmity that leads to psychological intrigue and criminal suspense, with deranged (but very appropriate) performances, dramatic turns and even a touch of black comedy with which to laugh, enjoy and even dream. Those lives we can never have.

In two sentences, To the nurse tells the daily life of a housekeeper and nanny with a hidden and criminal past (it is known from the first minutes), deployed in the perfect house: rich, beautiful and, in principle, kind people. However, underneath all this there are always a few drops of wet dream: sexually and socially, almost like a class revolt. Without reaching the sadomasochistic extremes of 50 shades of grey, There is some hidden ambition in the maid’s gaze towards the father of the house, the elegant and kind hunk with a smile. professionally that fornicates you against the wall and also gives you the house of your dreams. Feig plays this with brilliance in the photography, frenetic pace, and intensity in the three interpretations: that of Sydney Sweeney, more nuanced, since it must come together in identification with the viewer; that of Amanda Seyfried, wild and fantastic; and that of Brandon Sklenar, with an almost unreal masculinity right from his name.

At some moments the voice in off It is too explanatory, and a few cuts here and there, which would have left it in just under two hours, would not have been a bad thing. But To the nurse It is pure efficiency with a slight touch of social criticism towards white America, conservative and apparently ideal. As in The Stepford Wives let me out o The hate club. A universe of power and privilege (how well this word is played with, almost in a tone of cruel laughter), highlighted by the exceptional detail that all that perfection breaks down as soon as the whitish color begins to appear at the roots of the dyed women’s hair.

To the nurse It’s so crazy that it’s irresistible. A story based on psychological fury, social resentment and job dependency, progressing through the subgenre formula feud —the intimate enmity between women—, always delirious and boisterous. The one that gave rise to entertainment such as What Happened to Baby Jane?, Lullaby for a Corpse, The Lucy Harbin Case, What Happened to Aunt Alice? or, closer in time, Single white woman looking for… This irrepressible McFadden and Feig assistant drinks from all of them. The fieryness of luxury and meat.