Review of The Beguiled (2017) by Ageeknamedbob — 04 Jul 2017

Sophia Coppola’s six feature film, after the under-talked-about VIRGIN SUICIDES, the over-rated LOST IN TRANSLATION, and the not-seen-by-me THE BLING RING, SOMEWHERE, and MARIE ANTOINETTE, is a gripping slow-burn.

Updating the Clint Eastwood vehicle (of which I saw once about 15 years ago), Coppola moves the focus from the injured Union soldier (Colin Farrell) to the Southern women left a decaying school who take care of him.

She and DP Philippe LeSourde build a strong sense of atmosphere through shots that feel both claustrophobic and voyeuristic. Many shots are framed through windows, doorways, gates, or with the help of the ancient oak trees that line the South with their looming, oppressing branches and are filled with smoke and visible rays of sunlight.

It almost feels like a haunting. By keeping the camera back from the actors, close-ups are rarely used if at all, they create an impressive mise-en-scene that highlights not only the mounting tension but the impressive production and costume designs (perhaps some nominations come the end of the year).

Add a minimal score, replaced instead by the constant nature noises of the rural South (I miss the sounds of cicadas in the marshes of my South Carolina days) and the occasional distant cannon blasts, and natural lighting and atmosphere is solidified.

This is all in tone with the performances by Nicole Kidman, Kirsten Dunst, Elle Fanning, the aforementioned Colin Farrell, and the other girls at the Seminary are all beautifully understated. The tension and pacing both grow as the film moves along until it nail-bitingly comes to where it must.

It’s haunting and fully recommended.