- WBAT SHOULD MOM WEAR TO PIERCE THE VEIL CONCERT FULL
- WBAT SHOULD MOM WEAR TO PIERCE THE VEIL CONCERT SERIES
The scenes between Monty and Mildred dominate this episode, as their initially passionate and intense relationship is corrupted by Monty's disdain for work, and his contempt for Mildred's working class lifestyle. In that, he has a co-conspirator in Veda, who has her own pretensions of upper-class privilege, and who naturally rejoices at Monty's presence in her mother's life. As he result, he takes money from Mildred even while looking down on her, mocking her status as a lowly working woman. The bulk of this pivotal episode, however, focuses on the relationship between Mildred and the fading society heir Monty Beragon (Guy Pearce), who has retained his status and the significance of his family name even while losing all of his money.
WBAT SHOULD MOM WEAR TO PIERCE THE VEIL CONCERT FULL
The economics of the time are also at the forefront, as Haynes again takes every opportunity to demonstrate how much things cost at this time, taking particular ironic pleasure in a stop to a gas station where a full tank of gas costs a little over a dollar. More than the first episodes of the series, Depression-era politics linger in the background here, with political speeches playing on radios and the end of Prohibition triggering changes for Mildred's business. As in the first two parts of the series, Haynes keeps calling wry attention to the economics of the time, as even after Mildred gets her restaurant up and running, she still has to keep careful track of her money, counting every dollar. The emotions enter a more melodramatic register later in the episode, but Haynes' emphasis on details remains a constant presence. In its quiet, methodical way, this opening is more devastating than a more showy, melodramatic evocation of grief, because it's so horrifyingly normal. After the funeral, Haynes mirrors this sequence with a shot of Mildred similarly laying out her funereal black dress, straightening it out and hanging it up in the closet, putting it away as though she could put away her grief so neatly. Soon, Mildred must lay out the clothes her daughter will wear to be buried, and she carefully lays out the clothes on the bed, smoothing out the wrinkles in a dress and placing a pair of socks down one by one.
Haynes frames this moment in one of the through-a-window shots that characterize his style in Mildred Pierce, with Mildred's husband Bert (Brian O'Byrne) in the foreground and Mildred in the background with her friend Lucy (Melissa Leo), discussing her dress size and whether she should wear a veil or not. In the subsequent scenes, Mildred balances her grief against the practicality and determination that constitute her essential nature even when she's at her darkest moment, sobbing and despairing, she has the presence of mind to think of the need for a black dress. In the opening shot, Haynes' camera pans across Veda's sunlit room, the morning after the last episode's conclusion, and the sunny cinematography, the bright child's toys and decorations, are enough to suggest that maybe it was all a bad dream, until the moment when Mildred's gaze lands on the empty bed of her other daughter, at the same moment as Haynes guides the audience's gaze to the same spot.
WBAT SHOULD MOM WEAR TO PIERCE THE VEIL CONCERT SERIES
The younger daughter of Mildred (Kate Winslet) died at the end of the second episode, which concluded with a discrete pan away from Mildred embracing her surviving daughter Veda (Morgan Turner), and the third part of the series doesn't gloss over this grief but draws it out, lingering lovingly and sadly over the details. The third episode of Todd Haynes' new Mildred Pierce miniseries opens in the immediate wake of the second episode's tragic conclusion.
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