Directed by Craig William Macneill
Starring – Kristen Stewart, Chloe Sevigny, Kim Dickens
The Plot – In 1892, after the Borden family welcomes a new Irish maid called Bridget Sullivan (Stewart), she and Lizzie (Sevigny) become friends. The friendship between these women becomes something more and that is not only falling in love, at the same time they’re are both victims of physical and sexual abuse from Mr. Borden. But tension in the Borden household, leading to a violent breaking point.
Rated R for violence and grisly images, nudity, a scene of sexuality and some adult language
– A different take. While there are certainly no shortages of Lizzie Borden movies to quench the audiences thirst for answers on the mysterious night in question, ‘Lizzie’ takes an alternate approach in direction and tone that I greatly appreciated. This film is a star-crossed lovers story of sorts, between Lizzie and Bridget, that overrides some of the horror tendencies that you might be preparing yourself for, going in. I found this direction to not only be a fresh take on a century old story, but also one that pays off immensely for the artistic opportunities that the film capitalizes on.
– Macneill has such a subtle tenderness about the way he depicts this blossoming relationship, shooting the romance with more respect than a story like this would normally feel capable of. For one, the moves of affection feel carefully timed, springing to vision an evidence of fear that is evident in both leading ladies, but also enough glow from intimate camera angles that garner a much-needed essence to Lizzie as a character, and not just a hatchet-wielding maniac. Because of this, Craig puts emphasis in the focus of this story revolving around love, and it’s in that investment whether this film will grab you or not.
– Whirlwind performances on every spectrum. This film certainly feels like a group effort, in that every member of the immensely gifted cast bring their best to their respective characters. Sevigny captivates as the title character, with a plentiful combination of longing and menace that helps balance Lizzie’s disposition. It helps that Chloe is an actress who says so much in a single facial reaction, allowing us to soak up more of the suffocating atmosphere that swallows the character whole repeatedly. Stewart maintains the audience’s focus, with a turn as Bridget that has her feeling like the lone conscience of the audience inside of this toxic household, and Jamey Sheridan once again wonders with playing such a detestable lead that reminds us why he’s one of the best in the business at that particular role.
– Perhaps the film’s greatest strength is its script, which is hinged in this dialogue that makes you want to constantly pay attention to the character interactions, so as to gauge the many relationships. Like Bridget, we too are new to the engagements inside of this house, but once inside we firmly get a grasp for the troubled family’s environment that have riddled them full of trying secrets and desperate situations, and in this regard ‘Lizzie’ feels like a B-movie that Hitchcock might have helmed if his diminishing health didn’t cut his time in the public eye dramatically short.
– For my money, the nighttime sequences were the most eye-catching, for the way the lack of natural light invites us along to the things that go bump in the night. There’s a serene essence to the darkness that envelopes each scene whole, bringing forth the necessary scares that don’t require jumps or the paranormal to sell its taut, tense environment. The film never goes out of its way to feel like a scary movie gimmick, treating its visual capacity as nothing more than a stage for the madness that follows, and that’s something in patience that I commend this film greatly for.
– Composer Jeff Russo’s subtle ambiance in music that echoed the internal furnace of its title character. What Russo does that shouldn’t be understated is keeping his tones minimal in volume, never allowing his emphasis to exceed that of the situation that is playing out before our eyes. Beyond this, he audibly deciphers Lizzie’s feelings throughout much of what happens to her, allowing us the audience this necessary glance inside not only to comprehend, but also to anticipate what is coming next in her cryptic movements.
– Much of the costume work and designs also hit their desired marks, radiating the fashions of 1892 seamlessly. What’s even more appreciative is that these trends never go out of their way to sell the gimmick in the most extravagant of ways, choosing instead to mirror more of the three-piece Bohemian era suits and gowns that feel slightly outdated even for this particular year of setting. This sounds like a negative, but it actually provides layers for the character’s personalities, in that money will never be the whole picture to their well-being, and that subtle hint is something that I greatly marveled at.
– Even for a slow-burn, this film does test your patience repeatedly. There’s this very unnerving imbalance between the first and second halves of the film that divide its entertainment value ferociously, and I felt that with more concern paid to the plodding first half, the film’s final moments wouldn’t feel as much like a shred of lettuce for a starving hunger. The murder itself is satisfying, but ultimately not worth the thrill-less trail to get there.
– Trimmed down. This film originally was written as a four episode HBO series that was supposed to air a couple of years ago, and now that it’s a brief 101 minute feature film you can notice the constrictions to the story that rendered it a cliff notes version. Lizzie’s sister is introduced and barely included again throughout the story, Lizzie’s seizures are only touched upon on the opening ten minutes and then never again, and the backstory of Lizzie’s mother isn’t given enough respect to even be mentioned once in a passing conversation. This and many other tiers give the film an often impatient touch that unfortunately did nothing for its pacing overall, and for my money I think this story works better when it is allowed more time to cater to those side stories that help fill in the blanks slightly more.
– Differences in the real life story. I consider myself knowledgeable enough on the Lizzie Borden front, and because of such it was easy to spot the liberties that this film took with the cherished material. For one, the answers of the murder mystery itself has only been hinted at and never confirmed, so this movie’s ability to chalk it all up with nothing left to chance is a bit misleading and irresponsible. Another example is the film portraying Lizzie as this caring human being who took time to learn her help’s name, when in reality Lizzie was just as guilty as her parents with refusing to say their maid’s real names. This is a big deal to me when you’re speaking in terms of honesty for the material, and because of such, ‘Lizzie’ never feels like the whole story, just the parts that are convenient for its narrative.