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Thankfully, Sawyer s institutional entrapment is a scene-setter moderately than the main thrust of the plot, offering a gray-walled cage from which she wants to escape and a set of broken supporting characters for her to rail at and bounce off whereas the true threat steadily turns into clear. It s tricky, prickly territory, not least because the question mark the story dangles over Sawyer s head requires us to wonder whether or not or not she s suffering at the hands of a real man or her personal psychosis. Having grown used to seeing her regally restrain her emotional responses in the likes of Wolf Hall and The Crown, we get to witness what she will do when she s furiously unleashed. Before she s dedicated, before things get excessive, Sawyer is leered at by men on the road and inappropriately propositioned by a creepy boss. But although it typically fails, most glaringly in historic rigour (complicity between the couple and Hitler s Germany is left shockingly unexplored), W. E. does have fascinating things to say. This couple don t meet cute – they meet ugly in Kate s soul-sapping work cubicle, and get together after a automotive-park shag, pub lunches and skinny-dipping in a lake. He begins wheelchairing her round to family dinners, a celebration, and church, much to the delight of the tolerant townsfolk, then later drowns the now terminally ill Bianca in a lake.
US pop “sensation” Moore is certainly a better actor than she is singer – be warned, she does warble an atrocious ballad halfway via proceedings – but the fact that she is the smartest thing in this sentimental slosh doesn t say a lot for the remainder of it. Such archetypes may simply be the stuff of clich
