And
so it is with "Crimson Peak," the gloriously over-the-top Gothic
romance that is Del Toro's latest, and perhaps most gorgeous creation.
Set in the late 1800s, the heroine is a young American writer, Edith
Cushing (Mia Wasikowska), who is romanced by a mysterious baronet and
inventor, Sir Thomas Sharpe (Tom Hiddleston), despite the misgivings of
Edith's father (Jim Beaver) and family friend Dr. Alan McMichael
(Charlie Hunnam). Sir Thomas and his sister Lucille (Jessica Chastain)
share a sinister relationship with a lot of secrets, and act as
caretakers of the massive, dilapidated Allerdale Hall. Edith's arrival
to Allerdale sets off a chain of events that threatens to doom them
all.
The opulent, sinking ruins of Allerdale
Hall are the source of some of the best visuals that Guillermo Del Toro
has ever produced. Like last summer's "Mad Max," a good chunk of the
storytelling comes from the characters exploring and interacting with
their environments, which is why it's a shame that it takes so long for
Edith to get to Allerdale. The first part of the film in America
focuses on Sir Thomas's efforts to woo her, similar to the way
Hitchcock's "Rebecca" was structured with a tense courtship drama up
front, leading into the more famous scenes of suspense and terror at
Manderley. It doesn't work nearly so well for "Crimson Peak," because
the pacing isn't as tight, and the characters are flatter, less
engaging. Fortunately the actors are strong enough to fill in some of
the blanks, particularly Jessica Chastain sinking her teeth into some
juicy villainy.
The gloves come off when
we do get to Allerdale, sitting on top of a mining operation that seeps
blood-red clay into the foundations, the walls, and the very air. Parts
of the roof are missing, so the snow falls unhindered into the
cavernous foyer, and even into the subterranean pits below. Wasikowska,
clad in a series of ever more resplendent, diaphanous costumes, makes
her way through its dim, endless corridors with growing urgency. You
get the sense that if she tarries too long, the house will simply
swallow her whole. No subtlety here, no restraint, and, no apologies.
Guillermo Del Toro happily sacrifices the niceties of the
mystery plotting for more atmosphere, more madness, more passion.
At
times "Crimson Peak" skirts the campy and ridiculous, especially as the
reveals pile monstrosity upon monstrosity at the film's climax. And
yet, this feels like the Del Toro film closest to his brutal Spanish
language masterpieces, "The Devil's Backbone" and "Pan's Labyrinth," in
ages. Amidst the most ludicrous developments (and they do get
ludicrous), he keeps turning up these beautiful, striking images: a
ghost in the snow trailing streams of smoky ectoplasm, a killer's
private collection of gruesome personal trophies, and Jessica Chastain
with her mask off at last, beautifully disheveled and out for blood.
There is so much dread and death in this film, presented so exquisitely.
I
love "Crimson Peak" in spite of its many flaws. I love that it's
unabashedly romantic, gratuitously melodramatic, and that at the end we
get a great catfight between the two female leads that has them trailing
blood and venom all over the frame. I am a sucker for lavish art
direction, for period pieces, and for genre fiction in any combination.
I won't make the argument that this is a great film, but this is the
work of a great director in full command of his considerable powers,
making something that he clearly loves making. And Guillermo Del Toro
films come rarely enough these days that it's something worth savoring.
I
fully expect that some will hate this film for not matching its
scare-promising marketing campaign, and some may be confused by its old
fashioned intentions. I, however, have always enjoyed Gothic horror and
found Del Toro's contribution to the genre sorely overdue. He should
be making more films like this.
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