NICOLE KIDMAN'S 'UNDOING' IN "THE UNDOING"

 

     Any film or TV series with Nicole Kidman is usually a must-see as far as this critic is concerned. It's not because she's beautiful and a legitimate "movie star."  It's because she is a good actress, believable in a variety of roles over the years. Until now.

     The HBO limited series, THE UNDOING, is not generally well acted, and that includes Hugh Grant as co-star ( Donald Southerland is OK, but not special ). Yet, the script was written ( by David Kelley ) to provide Emmy award - winning scenes for the primary actors. We could hear everyone involved saying, "Here's a scene they can 'milk - dry,'  garnering emotions from the audience.  A real winner. "

     Does this mean that The Undoing is really bad, a disappointment on pretty much every level? No,  not entirely. That is if we, the audience, experiences the series with mostly our eyes. While the plot is confusing, the characters melodramatic, the theme unclear and Hugh Grant's overacting uncomfortable ( although that often involves his facial expressions which we also see ), there are many aspects that capture our attention. The images are lushly textured, the settings are outstanding, the colors are breathtaking and the fashions are "to die for." We must add Kidman's hair to this list, which we will collectively label ,  " visual artifices extraordinaire." ( Hair on the head of the actor who plays her son, Henry, is equally glorious.)

     Visual imagery and general ambience seem to be director Susanne Bier's forte. ( She  also helmed Netflix's BIRD BOX with Sandra Bullock and John Malkovich, urban residents trying to save themselves from suicide when they look at Zombie-like people on the loose. The more people "see," the more they face destruction in Bird Box. The more characters "see" in The Undoing, the more they discover about themselves and others. However, it should be recognized that the "vision" in Bird Box is literal while it is figurative in The Undoing. Thus, "undoing" here implies uncovering what lies beneath the surface, finding what is not apparent. 

     Obviously, undoing in this case also means the process of a marriage coming apart, disintegrating. Often, certain filmic devices emphasize this uncovering with the striking use of close-ups (particularly focusing on Kidman's eye). Yet, the opposite technique can be just as potent, with long shots / bird's eye views ( street scenes ): at work is the juxtaposition of intimacy and discovery of reality ( close-ups ) vs. alienation and hiding the truth ( long shots ). While such dynamics may have led both to an unclear plot and theme, it kept the viewers guessing: who really was the murderer and how would he/she  be found? ( In fact, this critic was convinced that Kidman's best friend was the culprit. ) Not true.

     Were there any other visual clues that led to constant guessing? One was the presence of Kidman's clothing, specifically the coats and blouses that she wore. They represented metaphors for this critic, far- fetched as it seems. Their design was composed of ripples, ripples being a complicated pattern. So were the narrative and thematic elements that made up The Undoing. Go Figure.