Pearl

Mia Goth delivers an impressive but somewhat misguided performance as the title character in this origin story for the main antagonist of Ti West's X. The movie is reasonably entertaining and intermittently funny. The imagery is sometimes gross; but the movie is never scary or horrifying because it fails to provide a convincing explanation for Pearl's pathology. Goth switches from "aw shucks" naive to calculating to deranged. Is she a cunning psychopath motivated by narcissism, envy and rage? Or is she an otherwise decent person spiraling into psychotic delusions? She seems to be neither and both at any given moment. Properly explored, either option would be chilling; but muddling them together make for a frustratingly inconsistent character. She's unpredictable but she's not realistic enough to be compelling.

It's creepy as hell (I think. I don't usually watch horror films, but I think this is more of a psychopathic film). The way Pearl talks, her mouth opens, etc., bothered me from the beginning, but it's hard to explain, the indescribable feeling of discomfort. Her smile, her emotions change in seconds, she has almost no eyebrows, but one of her eyebrows is constantly raised by her muscles, her expression is indescribable, her desperate, innocent and sickly side is very scary (but for some reason I also sympathize with her). I feel as if something sticky and gooey has stuck to my body and I can't get it off, and it's still there. I wonder if it's that HSP, or her super sensitivity made her act like that. And then there's that overly conservative home life and the German language, which somehow come together to make me feel uncomfortable. Breathing...nonono but overall, it was entirely different movie that gave me a sticky sensation of skin from the sight. ...Great movie...

Extremely entertaining throwback-appearing (think old Hollywood cinematography and score) blood-soaked origin story of a girl with big dreams. After hints of malevolence, a chain of circumstances and events leads Pearl down a dark path.

The key here is Mia Goth's performance. One minute she comes across as a sympathetic character, the next she is beyond creepy, and there are still times in this film with laughter interspersed between moments of horrific violence. Perhaps the best moment in the film is a monologue that is best described as otherworldly. Really good watch, tremendous performance.

"Pearl" is Ti West's followup to the 1970s-set "X", which serves as an origin story for that film's villain. It focuses on her life as a lonely and whimsical young woman who feels stifled by her obligations caring for her family in 1918 Texas while her husband serves in World War I. Pearl's only outlet is the local cinema, where she is invigorated by the glamour of motion pictures and dreams of being a star. Pearl's longing for a more thrilling life--along with some ostensibly psychological predispositions to insanity--drive her to do some unspeakable things.

Though branded as a "Technicolor slasher" of sorts, "Pearl" is, in truth, more of a twisted psychological family drama, and a character study of a deeply sad outsider who feels her life is slipping away from her; her dreams, desires, and impulses out of reach due to her circumstances. This theme was tapped upon in "X", which showed the character at the end of her life, and this exploration of where she came from is demented and poignant by turns. The film is notably effective because this existential theme is one that is endemic to being a human--a fear for many that, no matter where we are in our lives, is ever-present--all of the "what-ifs", the mourning of "lost" time, and even worse: the possibility that where we are is in fact where we belong.

This film would not work without Mia Goth's performance, which is truly remarkable. Here, she portrays an outsider anti-hero that is steeped in nuance and conflicting character traits (and flaws). Her ennui and sadness is empathetically played, and one can sense that Goth herself, on some level, identifies with Pearl's pain. She lends the role a potent mixture of naiveté, delicateness, and pure, murderous rage. While Pearl is all of these things, she is also none of them entirely, and thanks to Goth's performance (and the screenplay, which she had a hand in co-crafting with West), the character emerges as multilayered and human despite her propensity for evil. Encircling Goth is a solid supporting cast who are all capable of meeting her intensity with varying degrees of bewilderment, disgust, and sheer terror.

"Pearl" does indeed edge into slasher territory in its third act, and the film as a whole is a visual feast--garishly colorful, and tipping its hat to a number of films. "The Wizard of Oz" is an obvious cornerstone, but there are visual and symbolic nods to "Repulsion" and, even more heavily, Frederick Friedel's obscure farm-set "Axe", another film that follows a mysterious (and murderous) young woman caring for her infirm grandfather on a rural farm. As with "X", West uses these influences smartly without browbeating the audience or pushing the film's content over the edge into pure pastiche, and the film downshifts in its denouement in a way that is unexpectedly touching, despite all the spilt blood and entrails.

As a companion piece to "X", "Pearl" may leave some fans of its predecessor underwhelmed, largely because it is so tonally different and not the conventional "slasher" film that might be expected. However, as a nuanced character study of a budding serial killer, it could not possibly be any better. "Pearl" stands tall as a disturbing and strangely heartbreaking portrait of a person who, upon finding that her search for meaning and validation from others leads her nowhere, is then only capable of destroying them. 9/10.

Ti West's prequel to his movie X, and made the same year. Here we get the backstory of Pearl from the earlier film as she tries to follow her dreams of movie stardom. It's 1918, her husband has yet to return from the war, and she's stuck on the family farm run by her overbearing mother. Her father is a paralysed, wheelchair-bound, invalid who is unable to communicate, and Pearl's daily routine alternates between taking care of him and taking care of the animals. But she believes she was born to be a star, and is prepared to do *anything* to achieve that.

X was a slasher. This is more of a psychological horror (West's stated intention). It's also a character study of someone who's had a *very* tough life - but who clearly wasn't 'right' to begin with. The film's faux Hollywood 'Wizard of Oz' type glitz (at least at the start) highlights just how awful Pearl's life truly is. Her frustrations can be sympathised with - although certainly not her actions.

The performances are all excellent (hm to Tandi Wright as Pearl's oppressive mother), and Goth is - to use a hackneyed phrase - a force of nature. As many have said, if it wasn't for Hollywood's snobbery against horror films she'd have had an Oscar nomination easily. The dialogue, lighting, and camera work are also superb.

The problem for me is that the film takes a long while to get going, and especially in those early stages struggles to hold my attention - something that shouldn't happen with a horror film. I know it's a different kind of horror from X, I get that it's very 'slow-burn'; but as someone who's spent 50 years watching horror films of all kinds - and who loves many 'slow-burners' - it should have been able to engage me. And it didn't always manage to. Later, when the action comes, it's superbly done - but it's too... stretched out... and it mars the whole thing. There are also too many false "OMG! She's *actually* going to... Oh, okay, she didn't.'" moments.

What's good is *very* good, and it could have been brilliant. But as it is, 6.5/10.