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| Images Courtesy of Warner Brothers Pictures |
Dangerous.
Messy. Unforgettable. Maggie Gyllenhaal's sophomore feature, The
Bride!, is an anachronistic promethean, a film out of time that
blends horror, punk rock romance, and abject feminist fury to produce one of
the most creative and invigorating films in recent memory. Featuring a
lovely central duet, chaotic and inventive visuals, and a haunting score, this
is gothic tragedy and social commentary rolled into a giant middle finger to
patriarchy.
"Frank" convinces a mad scientist to create him a companion, and the woman that is chosen was a gangster moll who just so happened to be possessed by the spirit of Mary Shelley. What follows is an unusual love story wrapped in a blanket of art deco insanity, musical numbers, and concepts of identity, gender equality, and empowerment. Gyllenhaal's script takes big swings, and while not all of them land, it is the courage to try that is of import. Jessie Buckley is a supernova, a bravura performance of sexual freedom, viscous black bile, and multiple personalities. Switching between various accents mid monologue is a thing to behold and Buckley's understanding of the cadence that Gyllenhaal envisioned for the dialogue is perhaps the best part of the film.
Opposite the fuming, frayed Bride is Christian Bale's Frank. Perhaps the most soulful embodiment of Frankenstein's monster to ever grace the screen, Bale's chemistry with Buckley is palpable, brimming equally with torment and affection, forming the core of the narrative. When stripped down to its basic elements, this is the Bride's story, but that story is not possible without her soulmate. This is a woman who wants to burn the world down, and her Frankenstein would glad light the match. Comparisons to Sid and Nancy and Bonnie and Clyde are fair, however, Gyllenhaal is interested in something deeper than toxic relationships and bank robbers, her narrative intent builds upon these concepts and delves into questions of humanity and trauma. Sexual violence is everywhere, and the decision to not shy away from such darkness is emblematic of the Bride's crusade. In the end, she refuses to surrender.
Larence Sher's vivid cinematography feels like a convergence of time. Black and white sequences blend endlessly into color, and while the art design is clearly the 30's, there is an almost supernatural quality of modernity that pervades throughout. Hildur Guonadottir's sublime score enhances this, with dark, resonant tones that offset the Golden Age dance numbers and the final yield is a flawed classic that will almost certainly divide.
Now playing
in theaters, The Bride! is a broken triumph, not unlike its eponymous
heroine. An outstanding ensemble, anchored by two evocative performances
builds a foundation for an experience with a lot on its mind. Its
concepts, ideas, and suppositions are its strengths, far more so than its
shortcomings. Pictures such as this; different, flawed, an absolutely
insane, are what keep cinemas alive. In a time when cookie cutter
IP's, remakes, and reboots dominate theaters and streaming, supporting a unique
venture such as this is paramount. In the case of The Bride!,
it is mandatory viewing for anyone who loves the art form.
--Kyle Jonathan