The film sets many "barriers" to Grace, but the traces of "man-made" are too obvious. Grace's desire to return to Hollywood is not like a love of movies, but an escape from life. Her irritability, aversion, and loneliness are more like a concentrated outbreak of women's natural weakness, rather than a solid and sinking block of life. Based on the very convergent temperament of Grace's deity, the film's description of the conflict between "self" and "royal family" is far inferior to the old-fashioned and semi-fairy-tale movies like "Sissi".
The movie "Grace of Monaco" is an over-purified political fairy tale. Not only does the film completely exclude the princess and prince charming's respective lovers, it also opens in the name of a fairy tale, during which there are no romantic or tragic love fairy tales except for family conflicts based on politics. The film raises the friction between France and Monaco to the height of fascist force deterrence, and magnifies the princess's political actions. It has gone beyond the scope of history and can only be said to be a political fairy tale.
"Grace of Monaco" is a bland, running-book movie. The film lacks dramatic conflict and tension. It only tells the story of the great Grace of Monaco, but it does not let the audience see how smart and great she is. This film gave the audience the deepest impression, most of which only flowed into the frequent close-ups of Nicole Mary Kidman's face and the "old-fashioned" Cinderella-like transformation, but there was nothing more touching.
