CRUELLA

US/UK, 2021, 134 minutes, Colour.

Emma Stone, Emma Thompson, Joel Fry, Paul Walter Hauser, John McRea, Emily Beauchamp, Mark Strong, Kayvan Novak, Kirby Howell-Baptiste.

Directed by Craig Gillespie.

Cruella. We all know who she is. In fact, she achieved worldwide fame 60 years ago, Disney’s animated film version of Dodie Smith’s popular novel, 101 Dalmatians. Her reputation, especially with her surname, De Vil, was reinforced in the 1990s in Disney’s live-action stories with Glenn Close embodying Cruella. Who could ask for anything more! Well, of course, in the trend in the superheroes and villains movies, an origin story.

So, here we are, back in the 1960s, at least for this story’s purposes, with the birth of Estella, growing up in the north of England, sometimes quite abrasive at school, especially towards the bullies, her characteristic black and white hair, and a kind of dark personality, Cruella, sometimes emerging. And, soon, expulsion from school (though her kindly mother quickly insists to the principal that she is transferring her daughter to avoid expulsion).

And this is all being narrated by the older Cruella, Emma Stone.

There are many elements of quite black comedy in this origin story, an initial death which is rather shocking – and has quite some shocking consequences. Estella wanders around a lavish manson, chasing her dog, causing all kinds of mayhem, the home of fashion-designer icon, the Baroness. Of course, Cruella is going to meet her match – or the Baroness meet her match in Cruella – a clash of the Titans of the fashion world, so to speak, especially when the Baroness is played by Emma Thompson. Emma is the queen of British haute Couture (lending itself to the happy pun, haughty Couture). Her staring and arrogant manner is a severe one-note performance.

But, there is a lot of preliminary entertainment when little Estella teams up with two young thieves, Jasper and Horace, spending 10 years picking a pocket or two on London transport. But, Estella has a talent for fashion design and eventually, Jasper providing false references, gets a job at the Baroness’s enterprise, cleaning the toilets amongst other things! And looked down on by a prim, haughty manager. And there are several of those in the Baroness’s employee, especially with her extensive security guard.

One of the challenges in appreciating Estella is that we know that Cruella is going to overwhelm Estella. The voice-over keeps reassuring us of this. And Estella does have some good moments, and relates well to her friends Jasper (Joel Fry) and the rotund Horace, a touch dim and sentimental (Paul Walter Hauser from Richard Jewell).

Ultimately, fashion takes over, fashion in London in the 1970s (accompanied by a huge playlist of popular songs of the period). The costume designers have obviously been working overtime, lavish dress after dress, gown after gown, displayed by the two Emmas.

Which will ultimately lead to combat, confrontation, a great deal of mean-mindedness on the part of both Cruella and the Baroness, and an ultimate stand-off. No prize for working out who will win! It is how the victory is achieved is the important thing, quite tricky and complex (from Australian Tony Mc Namara’s ironic screenplay).

The film runs for 134 minutes so it is not just some quickie either in running time or in production values.

1. The popularity of 101 Dalmatians? The animated version? The live-action versions with Glenn Close? This film in that company? Drawing on characters and situations by author, Dodie Smith?
2. A British story, the 1960s and 1970s (and the musical score and the wide range of popular songs of the period)? Costumes and decor? The world of fashion? Country life, homes, school? London, Regents Park, the streets, buses and traffic? Garbage trucks? Public transport and pickpocketing? The warehouse? The Baroness world of fashion? Artie and his shop? The background of the country mansion, fashion shows and parties? Cliffs and deaths?
3. Cruella telling her story, the tantalising tone? Her birth, the information that she was given away, the maid, acting as her mother, giving her love? Estella, her hair, black and white, at school, the bullying, her vindictiveness, her mother trying to control her, the headmaster the black dots, cumulative, her being expelled?
4. Packing, the visit to the Hall, Estella getting out of the car, the dog, into the party, under the tables, the mayhem and chases? Her mother, talking with the Baroness, the Dalmatians, witnessing her mother’s death, blaming herself? The escape, the garbage track, Regents Park, meeting Jasper and Horace, the friendship, their taking her home, using her as a distraction, the pickpocketing and the success? 10 years passing?
5. Estella and her talent for design, working in the warehouse? The various jobs with Jasper and Horace? The police chases? The getting her the references for the fashion company?
6. Jasper, humour, good friend? Horace, slower, and emotional? Their bonding with Estella? Over the years? Her beginning to change, treating them like the Baroness? Their questioning her? Yet participating in all the action, their disguises, the plan to steal the necklace, the Dalmatians swallowing the necklace, capturing them, waiting? Going awry, the chases, Horace falling in the cake…? Their escape? Estella and her relenting, the helping at the final demonstration? The Baroness following them, going to the warehouse, tying them up, in prison, the dog with a wallet, Estella engineering their escape?
7. Artie, his style, the shop, working in design, the risks, enjoying himself? At the end?
8. Emma Thompson as the Baroness, fashion, arrogance, dismissive manner, speech, treatment of people, dismissing them? Not wanting apologies? Admiring dominating characters? John has her assistant? The various attendants, security, Roger her lawyer and humiliating him, finally firing him? Her personal life, fashion, success, ruthless, demanding designs, dismissing them, firing people? Her shows, the parties?
9. The range of fashion, the Baroness and her clothes, the designs, Estella working for her, her designs, the clothes she wore as Cruella?
10. Estella, the job, cleaning the toilets, the supercilious supervisor, the 19^th of window, the Baroness seeing it, employing her? Estella as meek and mild, her advice, her presence at the occasions?
11. Estella, transforming into Cruella, her motivations, the treatment by the Baroness? The various shows, disguises, transformations, the white dress on fire, the red dress? The intrusions? Conversations with the Baroness? The demonstration outside, the floodlights on the walls? The continued rivalry?
12. The Baroness, her reaction, the media, confronting Anita? The talk with Cruella, even admiring her? Yet wanting revenge?
13. Anita, the friend at school, journalist work, photographer, Estella enlisting her help? Anita and the photography, the articles? Estella reading them? The Baroness reading them?
14. The revelation of the truth, John and his role in the household, the flashback to the Baron, the Baroness and birth, the baby, the maid and her taking on the role of motherhood? Estella and her memories of the party, her mother’s death? Her realisation at what it happened with the Dalmatians? The Baroness and her whistle?
15. Estella, captured by the Baroness, setting the warehouse on fire, the rescue by John? The funeral, Horace weeping, the necklace on the coffin? Estella presumed dead, her will bequeathing everything to Cruella? The mansion, the fashion company, the De Vil car?
16. The ultimate revenge, crashing the party, sending all the costumes to the guests, all as Cruella? Locking up the security guard? The Taser? All the guests going outside?
17. The confrontation between the Baroness and Cruella, the truth, the Baroness and hypocrisy, the hug, the Dalmatians? Estella going over the cliff – and the hang gliding?
18. Cruella, in the mansion, John as her attendant, Artie, Jasper and Horace all present? Her future?