The Beguiled (B or 3/4 stars)
Director Sofia Coppola (Lost in Translation, Marie Antoinette et al) recently won the Best Director prize at the Cannes film festival; first time its been awarded to a female in many decades. Does she deserve it? I'll tell ya later. In 'The Beguiled' (based on a novel by Thomas Cullinan), an all-girls school in Virginia is still operating as the Civil War rages on into its 3rd tumultuous year. One of the younger girls, Amy (Oona Lawrence), ventures out picking mushrooms in the woods & stumbles upon a badly wounded Union soldier/corporal by the name of John Patrick McBurney (Colin Farrell); after some understandable hesitation, she assists him back to her schoolhouse for convalescence. Because of the war, the decrepit palatial estate they inhabit is nearly abandoned.
In addition to Amy, there are 4 other students – Alicia (Elle Fanning), Jane (Angourie Rice), Marie (Addison Riecke), & Emily (Emma Howard); a teacher, Edwina Dabney (Kirsten Dunst); and Headmistress, Martha Farnsworth (Nicole Kidman). Martha is irked that Amy brought the Union soldier to her school but realizes that the Christian thing to do would be to tend to his gory wounds; send him on his way later. Over time, however, John realizes that his future well-being hinges on his ability to make friendships by way of seduction; using subtle techniques to become the perfect man for each of the women. Young Amy takes to him as a sort of father figure. Martha eventually enjoys his companionship during late-night sips of brandy. However, Edwina (Dunst) & Alicia (Fanning), are drawn to him ... differently. For Edwina, he represents a good looking man that she can escape with and start life anew; for a while, the feelings 'seem' mutual. But for mischievous Alicia, the feelings are purely sexual. And when two of the characters give into their carnal desires one fateful night, disaster strikes for all.
Concerning the actual plot, Sofia Coppola doesn't change too much from Don Siegel's 1971 take (starring Clint Eastwood & Geraldine Page), but adds her typically dreamy/moody visual style. Instead of hysterics and/or a pulsating musical score to aid the melodramatics, Coppola uses natural lighting, nature sounds & the evocativeness of the setting. Light peaking through a magnolia tree, the crunching of leaves, a silhouette shrouded by a curtain -- these are quiet, subtle, earthy images that seep into us. Even a small turtle and some mushrooms factor heavily into the proceedings. This is a film in which sultry looks, hushed utterings, & stifled emotions dominate reasoning. John might be ailing & these women might be corseted to the hilt, but their wants & desires are ready to bust at the seams.
After an hour of this kind of languid, lulling ... matters explode into psychosexual Southern Gothic horror. Deception, blood-stained nighties, mangled body parts, et al. I must commend the ensemble cast, here. Not only is each actress strong, but the group achievement is essential; with some of the best scenes including all of them. i.e., nervy prayers before bedtime, fleeting moments of joy during a musical recital, flirty suppers by candlelight, frantic brainstorming on how to get rid of the stranger in their midst. Speaking of the stranger, Colin Farrell is stellar as the sole male; an enticing, charming man who harbors a darkness within. Nicole Kidman makes for the perfect Martha; strong, yet damaged. Elle Fanning gives us a version of a 19th c. teenage sexpot.
But the standout just might be Kirsten Dunst; her portrayal of a lonely, melancholy Edwina is quietly heartbreaking. Yes, everyone is good, here. I mentioned earlier that Sofia Coppola won Best Director at Cannes. Is she worthy? Sure. When you see a Sofia Coppola film, you KNOW its hers. Like all of her films, 'The Beguiled' has a grace, a delicacy, & playfulness. Subtle eroticism permeates the screen. And then bam, the film is punctuated by blunt moments of brutality & wicked fun -- that's new for Coppola. Now, 'The Beguiled' isn't mind-blowing. The final act felt a bit rushed. I'd have liked richer characterizations. And in an era where movies go on too long, this 90 min. flick could have benefitted from more time. But overall, the dreamy cinematography, lived-in production design, astute performances, kinky plot points, and feminist take on the source material makes this movie a nice antidote to the typical summer fare clogging up movie screens.
In addition to Amy, there are 4 other students – Alicia (Elle Fanning), Jane (Angourie Rice), Marie (Addison Riecke), & Emily (Emma Howard); a teacher, Edwina Dabney (Kirsten Dunst); and Headmistress, Martha Farnsworth (Nicole Kidman). Martha is irked that Amy brought the Union soldier to her school but realizes that the Christian thing to do would be to tend to his gory wounds; send him on his way later. Over time, however, John realizes that his future well-being hinges on his ability to make friendships by way of seduction; using subtle techniques to become the perfect man for each of the women. Young Amy takes to him as a sort of father figure. Martha eventually enjoys his companionship during late-night sips of brandy. However, Edwina (Dunst) & Alicia (Fanning), are drawn to him ... differently. For Edwina, he represents a good looking man that she can escape with and start life anew; for a while, the feelings 'seem' mutual. But for mischievous Alicia, the feelings are purely sexual. And when two of the characters give into their carnal desires one fateful night, disaster strikes for all.
Concerning the actual plot, Sofia Coppola doesn't change too much from Don Siegel's 1971 take (starring Clint Eastwood & Geraldine Page), but adds her typically dreamy/moody visual style. Instead of hysterics and/or a pulsating musical score to aid the melodramatics, Coppola uses natural lighting, nature sounds & the evocativeness of the setting. Light peaking through a magnolia tree, the crunching of leaves, a silhouette shrouded by a curtain -- these are quiet, subtle, earthy images that seep into us. Even a small turtle and some mushrooms factor heavily into the proceedings. This is a film in which sultry looks, hushed utterings, & stifled emotions dominate reasoning. John might be ailing & these women might be corseted to the hilt, but their wants & desires are ready to bust at the seams.
After an hour of this kind of languid, lulling ... matters explode into psychosexual Southern Gothic horror. Deception, blood-stained nighties, mangled body parts, et al. I must commend the ensemble cast, here. Not only is each actress strong, but the group achievement is essential; with some of the best scenes including all of them. i.e., nervy prayers before bedtime, fleeting moments of joy during a musical recital, flirty suppers by candlelight, frantic brainstorming on how to get rid of the stranger in their midst. Speaking of the stranger, Colin Farrell is stellar as the sole male; an enticing, charming man who harbors a darkness within. Nicole Kidman makes for the perfect Martha; strong, yet damaged. Elle Fanning gives us a version of a 19th c. teenage sexpot.
But the standout just might be Kirsten Dunst; her portrayal of a lonely, melancholy Edwina is quietly heartbreaking. Yes, everyone is good, here. I mentioned earlier that Sofia Coppola won Best Director at Cannes. Is she worthy? Sure. When you see a Sofia Coppola film, you KNOW its hers. Like all of her films, 'The Beguiled' has a grace, a delicacy, & playfulness. Subtle eroticism permeates the screen. And then bam, the film is punctuated by blunt moments of brutality & wicked fun -- that's new for Coppola. Now, 'The Beguiled' isn't mind-blowing. The final act felt a bit rushed. I'd have liked richer characterizations. And in an era where movies go on too long, this 90 min. flick could have benefitted from more time. But overall, the dreamy cinematography, lived-in production design, astute performances, kinky plot points, and feminist take on the source material makes this movie a nice antidote to the typical summer fare clogging up movie screens.