Teenage kicks get puritanical in this slow-burn American gothic tale.
The titular Mary (Stefanie Scott) stands on trial, blindfolded with blood running down her face, as she describes to a curious judge the last thing, or rather things, that she saw that landed her in the dock. Her tale introduces us to her strictly religious family, ruled over by a beady-eyed grandmother (a fabulously creepy Judith Roberts) living piously in 1840’s rural New York and housemaid Eleanor (‘Orphan’s Isabelle Fuhrman, all grown up and sporting a more than passing resemblance to Saoirse Ronan) with whom Mary is enamoured. Deemed ungodly, their relationship means they are subject to ‘correction’, forced to kneel on grains of rice while reciting the religious text, to the varying satisfaction of the onlooking extended family. Mary and Eleanor just want to be together, but various schemes under the watchful gaze of Mary’s grandmother prevent their closeness and result in deadly acts of desperation to be united at all costs. Enabled by a mysterious book with biblical tales of same-sex relationships therein, the teens challenge the Matriarchy in a house swirling with repression, religious fervour and ungodly intentions beyond just the rebellious teens.
First-time Director Edoardo Vitaletti does a sterling job with a light script, filling the many wordless scenes with meaning and intent and a malevolence bubbling just under the surface. The family’s sparsely decorated large colonial farmhouse, surrounded by high grass and guarded by a gun-toting lame gatekeeper, gives the impression that this is a house at the end of the world – remote and isolated, much like Mary herself. Relationships are cold and the human touch is shunned, making Mary and Eleanor’s relationship all the more unusual in this sterile environment. The cinematography is beautiful and highly appropriate, adding to the films increasing sense of dread.
It was refreshing to see a film about a same-sex relationship where homosexuality wasn’t necessarily the biggest sin – Mary’s intimate relationship would have been as much of a transgression if it had been a manservant she was in love with
The run-up to the climax leans into the supernatural which is slightly jarring given the everyday horror of the rest of the film, but it’s not an unwelcome twist thanks to a supremely dramatic build-up giving everything an otherworldly feel. Where the film slips slightly is in the dynamic of the teen’s relationship, apparently so intense that they suffer multiple ‘corrections’ for the sake of their love. Could have benefitted from some more affection, more intimacy and a rebellious attitude to show that these girls are willing to kill to be together. It was refreshing to see a film about a same-sex relationship where homosexuality wasn’t necessarily the biggest sin – Mary’s intimate relationship would have been as much of a transgression if it had been a manservant she was in love with, it’s the intimacy that her puritan family object to, the fact that it’s with another woman seems to be more confusing than motivation for their cruelty.
This rural American setting is not unfamiliar territory, with the grey, heavy skies and unending repression, the events of ‘The VVitch’ could be happening in the next town over, but it’s mined for menace effectively and holds the attention, clocking in at 89 minutes which is always appreciated and means we don’t have to while away the hours on unnecessary scenes, characters or dialogue. I’m very much looking forward to seeing what the Director works on next and it will be a crime if we don’t see spooky matriarch Judith Roberts work with Jason Blum at some stage, her horror potential is begging to be unleashed on the wider world.
THE LAST THING MARY SAW IS OUT NOW ON ACORN MEDIA DVD
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