Jessie Buckley Shines in Ambitious, Chaotic “The Bride!”
Jessie Buckley is on a tear, her powerful performances seemingly propelling her towards Oscar glory. The Irish actress, currently captivating audiences in Hamnet, possesses a rare talent that makes her compelling to watch in virtually any role. This is certainly true for The Bride!, an ambitious, punk-rock feminist reimagining of the Frankenstein myth. While the film is a dizzying, genre-bending cinematic experience, it’s Buckley’s electrifying presence that truly holds it together. Without her, this audacious project might well have crumbled.
Mary Shelley’s seminal novel, Frankenstein, first graced bookshelves in 1818. Since then, it has inspired a multitude of adaptations and spin-offs, though none penned by Shelley herself. One of the most notable is the 1935 cult classic, Bride Of Frankenstein, where the character of ‘The Bride’ makes a fleeting two-minute appearance, notably silent. The Bride! aims to rectify this oversight, granting its titular heroine not just a voice, but, in a move that adds to the film’s pervasive, though perhaps intentional, confusion, two distinct voices.
The narrative, as best as one can decipher its winding path, begins with Mary Shelley (Buckley) finding herself in a state of limbo. Through some unexplained means, she projects her consciousness into the body of Ida (also played by Buckley), a gangster’s moll navigating the treacherous streets of 1930s Chicago. Shortly after this transmigration, Ida meets an untimely end. However, in a twist that requires the audience to remain fully engaged, she is exhumed and reanimated by a ‘mad scientist’ (Annette Bening). Her purpose? To serve as a companion for Frankenstein’s Monster, now known as ‘Frank’ (a surprisingly handsome Christian Bale), who has spent over a century in crushing solitude.
Frank bestows upon his new mate the name ‘Penelope’, and together they embark on a spree that evokes the spirit of Bonnie and Clyde, albeit without the bank heists. Penelope’s radical persona – outspoken, sexually liberated, and fiercely anti-patriarchal – ignites a cultural revolution. Women of all ages are inspired to adopt her signature black lipstick and embrace a more untamed, unconventional way of living.
The Bride! is, in essence, an overwhelming cinematic tapestry. It weaves together elements of a love story, a gothic thriller, a high-octane caper, body horror, comedy, steampunk fantasy, crime drama, and even a musical. While some might label it a “hot mess,” its sheer audacity and willingness to take significant creative risks are commendable.
This bold cinematic undertaking is the brainchild of actor-turned-director Maggie Gyllenhaal. Her Oscar-nominated directorial debut, The Lost Daughter (2021), also featured Buckley, whom Gyllenhaal has affectionately dubbed her ‘soul sister’. The Bride! further solidifies this creative partnership, and also serves as a family affair. Peter Sarsgaard, Gyllenhaal’s husband, appears as a detective, accompanied by Penélope Cruz in a role that feels somewhat underutilised as his patronised female associate. Jake Gyllenhaal, Gyllenhaal’s brother, plays a Fred Astaire-inspired movie star, an idol of Frank’s.
Christian Bale’s portrayal of the soulful ‘Frank’ is undoubtedly secondary to Buckley’s commanding performance. Reports suggest Gyllenhaal had to champion Buckley’s involvement with the studio, a victory that now feels particularly sweet given the burgeoning Oscar buzz surrounding her lead role. This critical acclaim is likely to provide a welcome boost at the box office.
Buckley’s performance is as fearlessly committed as Emma Stone’s in Poor Things, another film featuring a reanimated female character. However, Buckley imbues her role with a unique and glorious humanity that is entirely her own.
While The Bride! may not resonate with every viewer, its very existence is cause for celebration. In an industry increasingly hesitant to embrace originality, it’s refreshing to witness an independent studio film, helmed by a female director, that dares to aim so high, even if it occasionally feels like it’s too much to process. In this regard, it shares a certain kinship with Wuthering Heights, both in its ambitious scope and its sometimes perplexing stylistic choices. It’s not a monstrous failure, but rather a creation that, while drawing from familiar elements, struggles to find a cohesive glue to hold it all together.
“Mother’s Pride”: A Gentle, Predictable British Comedy
Shifting gears dramatically from the chaotic brilliance of The Bride!, we arrive at Mother’s Pride. Inspired by the sobering reality of four UK pubs closing their doors daily, this gentle comedy-drama from the creators of Fisherman’s Friends centres on a struggling West Country pub and a grieving family who find solace and purpose in brewing real ale together. It’s a well-intentioned ode to rural England, replete with picturesque green fields, warm golden light, and a cast of familiar faces, including Josie Lawrence, Mark Addy, and Miles Jupp. The narrative also features a predictably villainous aristocrat in Luke Treadaway, and a comforting sense of absolute predictability.
Fortunately, the film is elevated by the presence of Martin Clunes. The star of Doc Martin is currently enjoying a resurgence, following his role in Wuthering Heights, and his genuine acting talent lifts the overall quality of the production. However, even Clunes’s commendable performance cannot entirely overcome a script that relies heavily on clichés. Lines like Sir Thomas Beecham’s well-worn adage, “Try everything once, except incest and Morris dancing,” are delivered as if they were fresh, witty observations.
“Dolly”: A Grimy, Brutal Horror Offering
For those with a taste for the grim and unflinching, Dolly presents a blood-caked horror experience that makes no apologies for its brutal nature. Shot on grainy 16mm film, the loosely plotted narrative follows Chase (Seann William Scott of American Pie fame) as he takes his soon-to-be fiancée (Fabianne Therese) on a hiking trip through isolated woodlands. Their romantic getaway is violently interrupted by a hulking serial killer. The killer, making a memorable debut appearance from wrestler ‘Max The Impaler’, sports a peculiar lacy dress, a cracked porcelain doll mask, and wields a formidable rusty shovel.
Dolly strikes a careful balance between moments of dark humour and sheer nastiness. For fans of films like The Texas Chain Saw Massacre, who might have mused, “What this film really needs is more dollhouses,” Dolly offers a niche franchise potential that is both unsettling and intriguing.
“Hoppers”: Pixar’s Bouncy Eco Sci-Fi Adventure
Hoppers marks the first Pixar release of the year, with Toy Story 5 slated for June. This suggests a continued strategy from the renowned animation studio and its Disney overlords to expand beloved franchises.
Happily, Hoppers serves as a timely reminder that Pixar can still deliver original, engaging stories. The film’s central theme is environmentalism, advocating for the protection of the natural world from the clutches of rapacious politicians and corporate interests. While the message itself isn’t groundbreaking, director Daniel Chong and writer Jesse Andrews (whose non-animation credits include the poignant 2015 coming-of-age film Me And Earl And The Dying Girl) have crafted an inventive sci-fi narrative centred on robotics.
The protagonist, Mabel (voiced by Piper Curda), is a spirited teenager fiercely determined to safeguard a precious glade on the outskirts of urban development. This glade holds sentimental value, as it was where she and her late grandmother shared cherished moments observing the local wildlife. Faced with the formidable obstacle of the mayor (Jon Hamm), who plans to pave over the glade to complete a freeway, Mabel discovers a revolutionary new technology known as ‘hopping’. This technology allows for communication between humans and animals, enabling Mabel to inhabit a robotic beaver. This allows her, quite literally, to dam the mayor’s destructive plans.
Beyond its environmental messaging, Hoppers is populated with genuinely funny sequences and sharp one-liners. At the press screening, even the most jaded critics were observed erupting in delighted, almost chirpy laughter. If Toy Story 5 can achieve a similar level of entertainment, perhaps audiences will be more forgiving of Pixar’s return to familiar territory.
