[yasr_overall_rating]
At a girls’ school in Virginia during the Civil War, where the young women have been sheltered from the outside world, a wounded Union soldier is taken in. Soon, the house is taken over with sexual tension, rivalries, and an unexpected turn of events.
I went into “The Beguiled” blind. I had no idea Sofia Coppola wrote and directed this film for the Cannes 2017 competition. Colin Farrell was a very pleasant surprise, as were Nicole Kidman, Kirsten Dunst, and Elle Fanning. This semi-dark suspense set in the Civil-War era is based on Thomas Cullinan’s book of the same name (released in 1966). Coppola hoped to recreate the Clint Eastwood classic from 1971 successfully. While I have not read the book, or seen the original movie, “The Beguiled” failed to leave a positive impression because of the disconnected acting and stagnant beginning. The ending, however, was somewhat of a reward for watching the first two-thirds of the film.
Picture Virginia in 1864 before cars, roads, and shopping centers. A dense tree lined road fills the screen as a young girl hums her way into a nearby forest to gather mushrooms in her wicker basket. Filling her basket takes young Amy farther than she was permitted to go, causing her to discover an injured Yankee soldier. Playing on the child’s sympathetic heart, Corporal John McBurney returns to the girl’s school for recovery. The seminary boasts just two teachers, Martha Farnsworth (Kidman) and Edwina Morrow (Dunst), along with five girls including young Amy. No men. Just white dresses and a strict schedule of learning and prayer.
The group helps John to recuperate, under the guise of Christian duty, instead of turning him over to the local troops to be taken to his death. What the group really wants is a break from the monotony of feminine company and dormant activities. The corporal is happy to oblige with an appropriate humbleness, as a prisoner, and flirty mannerisms, which let’s face it, comes so easily to Colin Farrell with his irresistible good looks and seductive accent. As the only male, John has the young girls slipping into his room giggling, while the older women tend to his needs with subtle, suggestive behaviors to indicate their extended lack of male attention. A sponge bath, a casual glance, a mysterious presence, the Corporal is not lacking in feminine wiles despite how understated the adults played their parts. Elle Fanning’s character, Alicia, completes the love square and spurs a few rivalries between the limited section of rivals in the plantation style school.
The movie drones on for a while, wallowing in the far too languid sexual tension. The Corporal begins to heal, as he tries to prove he is a necessary addition to the school, despite being the enemy. His status as prisoner shifts to that of a guest and life seems to settle into a routine. John finally makes a move on the stoic Edwina, who responds favorably. The teenybopper, Alicia, manages to get John in bed first though, which causes Edwina to react in a fit of impulsive rage and knock him down the stairs. His injured leg must now endure more hardship.
Now the fun begins. Martha, too prim to allow her emotions reach the surface, finds a way to punish John for not choosing her in this primal game. John reacts to his punishment in several fits of mania, scaring the young ladies, and forcing Martha to step up from head school marm to protector of the innocent. They form a plan to subdue their guest and return him back to prisoner, ending the film unpolished and incomplete.
The acting is the downfall of this film. Dunst’s character was underdeveloped. Surely Coppola could have provided more backstory than she lost someone in the war. I am all for an angsty character overwrought by a rocky past, but come on! Share what happened! Give us the juicy details, and for the love of all that is acting, let some of Dunst’s personality shine through. She has never been a meek little mouse before. This role is just going to keep her out of the spotlight, which is a travesty as she has so much more to offer than this limited role provided.
Kidman’s role might as well have placed her back as a Stepford wife; she has so little personality. I understand women during the Civil War were probably a bit more tight-lipped from all the trauma of men lost in battle and responsibilities pulling their personalities down, but to have no personality at all is almost an admirable feat. Kidman’s face was incapable of moving except to talk. Did she have botox before the movie? That would be a better option than her complete inability to become a character essential to the story. Perhaps Martha was better presented in the book form, but the movie has turned me off the plot. I’m not even sure Clint Eastwood could change my mind, at this point.
A few bright stars remained, giving this failure of a film some redeeming qualities. The background and authenticity were commendable, as was Elle Fanning. She seemed to understand what was expected of her and pulled out her best coming-of-age mentality to hone in on her character. She left subtly at the door, as most teenagers do, and all but walked around naked to show her interest in the much older man. The other girls were convincing in their limited roles as well, and that leads me to my overall impression of “The Beguiled.” Limited. The script had potential. The plot was intriguing, in a rather perverse way. Yet the follow through was disjointed at best. The stars did not align to create a blockbuster.
In select theaters Friday, June 30th
