Knives Out 2: The Glass Onion: Daniel Craig clearly likes Detective Blanc more than Bond

In the 1968 song “Glass Onion”, The Beatles jokingly trolld fans who were looking too seriously for hidden meaning in the group’s lyrics. In the continuation (relative, of course, given that only detective Benoit Blanc, the main character played by Daniel Craig, moved from the first part of 2019 to the second) of the film Knives Out, director Rian Johnson also builds an intrigue as a reflection through a transparent onion: everything seems multi-layered and complex, but in fact the essence, the core is visible to the naked eye.


– the most interesting thing in “The Glass Onion” (from November 23 in the US limited box office, December 23 online premiere on Netflix), how Rian Johnson (who is also the author of the script) built the plot according to musical laws. The film is composed like a fugue – the general line of a polyphonic work runs from one character to another, showing an already familiar action from a new point of view;

– a set of bright characters allows you to do this. Crazy billionaire Miles Bron (Edward Norton) invites a group of old friends who call themselves Destroyers to his Greek island. The party has a theme: the staged murder of the host, the guests have to guess who the killer is. But as soon as Andy’s longtime girlfriend (Janelle Monet) descends on the island, it becomes clear that the murder is likely to happen for real – once Bron used Andy’s ideas and built a company, leaving her with nothing. Other guests include ex-model Birdie (Kate Hudson) involved in a blood diamond scandal, Connecticut Governor Claire (Katherine Hahn), whose campaign was funded by Bron, and YouTuber chauvinist Duke (Dave Bautista), who advocates for men’s rights, whatever it is. nor did the scientist working for Bron, Lionel (Leslie Odom Jr.). Everyone has a grudge against the owner and, possibly, against each other. After the death of the first character, Blanc will begin an investigation, and the film will be much more interesting than the recent “Death on the Nile” by Kenneth Branagh based on Agatha Christie;

– of course, without mentioning the Queen of Detectives, it is already impossible to write about the second Knives Out, but Johnson went further and developed the ideas of the first film. If “Knives Out” three years ago was closer to the agate-Christian canon, if only because it dealt with class and generational conflicts in a Gothic mansion in Massachusetts, and Blanc effectively wore thick tweed jackets for the fall, then the second picture is ideologically and stylistically sharply modern, like a news bulletin. The millionaire looks like it was written off from yet another crypto nouveau riche tycoon that has not yet gone bankrupt, hints of blood diamonds seem to be taken from the news about greedy, promiscuous supermodels, and the summer sun over the Aegean Sea scorches so that Blanc sweats even in his light linen suit. The action takes place during the lockdown: Bron borrows the Mona Lisa from the Louvre (“Museums are closed anyway,” he explains to the guests), and at some point Serena Williams appears on the screen in the mansion and asks if anyone wants to play – Bron has so much money that he even has a tennis instructor, a multiple champion of all world tournaments. These details, ridiculous in their excess, commenting on the idea that there is nothing in the world that could not be bought, add a reckless shamelessness to the film. Fifty years ago, Knives Out 2 would have been shown in Soviet cinemas as an illustration of the “inhuman grin of capitalism”;

– after the end of filming, an interview with Dave Bautista made a lot of noise, in which he told how much pleasure Daniel Craig received from work, especially after the epic with James Bond that exhausted him for 15 years. In general, all the actors show that they enjoyed playing their grotesque characters, especially Kate Hudson;

— Johnson does not slow down the pace taken in the first film. “Glass onion” looks in one breath, as intended – as if you are cleaning one layer after another.


– lazy unconvincing denouement, unfolding the plot to a happy ending. It’s a shame, given that until these final scenes, everything was masterfully invented.

Photo: Netflix

Leave a Reply

Your email address will not be published. Required fields are marked *

Back to top button