![]() ![]() That Louise will become an international film star whose persona embodied the iconoclastic flapper of the Jazz Age - the precursor to the modern liberated woman - gives the story more weight than it would otherwise deserve. Performances by the endearing McGovern, who is around twenty years older than the book's character, and the cheeky Richardson are solid and admirable, but they can't overcome a sense that the script feels pat and obvious, relying on both a metaphorical and a real restrictive corset to remind us how repressed women of the time were. Twists and turns of this movie are alternately predictable and engaging, but for the most part the story seems a bit too timid and neatly tied up to pack the emotional punch it might have had. In contrast, Louise is so unrestrained, her freedom may end up harming her in a society not yet ready for her. Together these disappointments lead her to take charge of her life. Flashbacks to a trauma in Norma's marriage make it clear that she remains sexually unfulfilled. When she works around the obstacles and finds her mother, she's faced with the hypocrisy created by more rules that hold women back. Norma was adopted in New York and though she eagerly tries to find out who her parents were, the nuns at her orphanage refuse access to her records. Norma is a prohibitionist and Louise mischievously sneaks out to get drunk at a speakeasy. Although Norma admires Louise's talent and supports her breaking free of certain restraints, they're still at odds. Norma is so starchy she can't even imagine that Louise's candy has already been "unwrapped" and that the girl cares not at all about her prospects for marriage, a form of voluntary bondage in her view. "Men don't like candy that's been unwrapped," Norma advises the bemused Louise. Predictably, Louise feels constrained by the corseted Presbyterian moralist sharing her room. Ya know how they always say girls are hard to understand? Guys are even harder when it comes to love!!!!!! Anyway, so I feel that she isn’t leading anyone on and that it’s up to both Rion AND priest to decide to make the next step to solidify what kind of relationship they want/have by talking to her.While THE CHAPERONE imagines the story of Wichita-bred movie star Louise Brooks (Haley Lu Richardson) as she heads to New York City of 1922 to study modern dance with the famed Denishawn dance company, the focus is on local matron Norma Carlisle (Elizabeth McGovern), who volunteers to accompany and watch over the 15-year-old in the wicked big city. Like dudes have their own way of communicating from what I’ve seen & experienced. And both he and priest are fully aware of each others intentions towards Ashtarte. But in this case, just like Rion said- he hasn’t even told her personally his truest love for her. As a wife and also as someone who’s had super awkward weird experiences (before and after being married) with dudes and their feelings, even if they’re told flat out – no, I ain’t into you like that- there’s always some guy who has his head in the clouds and doesn’t care and is willing to put his all into trying to woo a girl. So he’s the one that’s decided to try to turn the tables and win her heart away from Rion. Like the author wrote the part where when the Holy home boi is talking to himself in his head, he is 100% aware he is not in her vision of interest at all. So imo I feel like the authors made it clear that even though he knows he’s not the one she wants, the Priest is the one that’s decided to still pursue her as a romantic interest of his. ![]()
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