Nightmare Alley #2

The new Nightmare Alley does in fact fix the problems of the original 1947 film. I had faith that Guillermo Del Toro would opt for a darker ending, and that he would make the character's decline make a great deal more sense. This new version of William Lindsay Gresham's novel is also much more violent (thankfully), and the production design, score, costuming, makeup, and hairstyling are all gorgeous.

But Del Toro has introduced some new problems into the mix, as well. [You should stop reading now if you haven't seen it yet.] In the first place – and I hate to say this because I absolutely love Bradley Cooper – I don't think Cooper works in this movie. He could work, but he's playing the part weirdly, way too close to his chest, like he is hiding everything in the world. This part needs a clearer, honest portrayal that takes in absolutely everyone, a seducer's portrayal. This just isn't that: Cooper feels hidden and terrified for most of the film, wide-eyed and surprised rather than open-faced and genuine. It's hard to imagine him tricking anyone at all. He certainly never takes us in, and I feel like he probably should do this at times. Is he a nice guy? Cooper never lets us believe that he is.

Rooney Mara and Toni Colette also both seem to be playing their parts using the most shallow choices as possible. Both of their parts are slightly smaller because of the way the new screenplay works, but Mara opts for a totally guileless portrayal rather than someone with some teeth, and Colette's version of her character is barely a hustler at all – just a kind of sad horny lady. 

Cate Blanchett comes out unscathed, though. Her part was the worst of the three in the original, and not only has it been beefed up here, her character is more interesting, dangerous, and sexy than anything we saw in 1947. Blanchett plays the part like a complete diva, and she wears gorgeous gowns, has gorgeous hair, and poses in front of walls inlaid with wood while endlessly smoking cigarettes and smiling with the reddest lips possible. She's a hustler, and we know it, and it's nothing but fun. Her final scene has been expanded here, and it's a delight – best thing in the movie. 

Props, too, go to David Strathairn, who is consistent and wonderful. His character here is very different from anyone we've seen him play recently, and he's filled him with life and made distinct, intriguing choices.

All in all, I guess I didn't find this film so markedly different from the 1947 movie. It feels technically better, but it also has such a polished shine to it, and the acting is so stilted, that this 2021 version always just sort of feels soulless.