Rose (2025) has a complex mission. Overcome memorization Pink war In 1989, the first adaptation of the homonymic book of Warren Adler, published in 1981. And he reaches this, thanks to the director Jay Rouch, holds the same argument and reformulates him through chemistry among his main characters. Benedict Cumberbatch and Olivia Kolman, Like Theo and Ivy, sharp phrases are thrown out, which function as a constant duel.
One in which sarcasm becomes an attraction engine and at the same time destruction. Thus, the growing hatred between the couple, which begins with deep love, is not artificial. Rather, this is an almost natural consequence of mutual antipathy.
This tension is what prevents Rose It plunges into an excess of bitter comedy. In particular, in the most uncomfortable and perverted moments. I wonder how Roach is working on the rhythm of discussions. These are not simple battles, but an accurate show in which each answer seeks to overcome the previous one. This verbal game with black humor includes the tone of history that moves between wild and corrosive. Although he mainly pays tribute Pink warThe proposal of Rouch is not trying to imitate the production of Danny Devito. On the contrary, he is trying to accept his premise at another time and with different nuances.
I hate love, there is only one comment
In the original version there was more physical and visceral air. This is mainly due to the fact that Michael Douglas and Kathlin Turner were studied in dark sensuality in the midst of their internal war. Here, the battle leans more to the words and humor with the British Territory, which matters. In addition, the script of Tony McNamara introduces tension, which reflects current dilemmas. From a professional career that intersect, frustrated ambitions, gender inequality that become more noticeable when the balance of success passes into the hands. This is not just a couple that hates. In fact, this is much more a portrait of how the dynamics The authorities in marriage turn into a weapon of mutual destruction.
The story begins with a pair of the therapeutic scene, which determines the tone. A list of positive things, which, instead of joining, expose the poison that the main characters pull. This is a brilliant beginning, because it rises from the first moment when hatred can be disguised as a general joke. The contrast between their British sarcasm and the discomfort of the American therapist functions as a cultural joke. But as well as a diagnosis: this irony is what has maintained its relationship for many years.
Love story that ends with poison
Rose Take this idea to go back in time and show the first match in London, in a restaurant. The novel is so fast that it mixes eroticism and food. From there, the illusion of a solid couple was built, which, with the passage of a decade and two children, becomes a field of battle full of insults. So the script soon notes a breakdown. Theo achieves professional success with the design of the museum, But an unexpected accident destroys work before its inauguration.
Public humiliation, enhanced by viral videos, leaves it without work from one day to another. In parallel, Ivy sees his culinary aspirations fly out due to the fact that his restaurant discovered his critic, caught in a storm trap. This contrast – a man collapsed in front of a woman who grows professionally – causes a real conflict. Theo does not know how to take on a secondary role in a couple, while Ivy enjoys a place where he never had. The narrative turns this imbalance into a dramatic engine. Therefore, it raises as expectations Paul continues to note the way in which success is measured in the framework of marriage.
Pain, laughter, rage in “Los Rose”
As the state of Ivy the Theo, the Theo is immersed in a spiral of disappointment, which makes him impose extreme discipline for children. This detail is worried because it shows how personal humiliation leads to control of the family. At the same time, the film explores how female success changes the internal structure. The chef -porch not only receives recognition, But he finances an architectural project for his husband, trying to save himself.
The result, however, is more fuel for confrontation. The house, which should be a symbol of the Union, becomes a script for rivalry, a space where each angle reflects the accumulated tension. The irony lies in the fact that the visual environment is photographed with tourist charm into sunny exterior – clashes with the poison of intimate scenes. Something, which becomes more obvious in contrast between the appearance of happiness and the reality of hostility.
The painful end “Los Rose”
Of course, what supports a proposal with such a large number of changes in tone and rhythm is the destructive chemistry of Cumberbatch and Kolman. Both manage to transmit at the same time hatred, attracting and undeniable compatibility, even in the middle of the worst battles. This balance makes the film work with a black comedy: it’s not just Destruction, but to observe how love can become indistinguishable from resentment.
Unlike the Devito version, here the ferocity falls more in the female character, which gives the freshness of history. The script of Maknamara, with its characteristic damn, is better to adapt to the British rhythm than to an American, and although it is sometimes contained too much, he manages to maintain verbal ingenuity, which avoids monotony. Rose Ultimately, this is an acid portrait about how the war of proximity becomes, And how a comedy can be born of common hatred.
Source: Hiper Textual
