The Bride!

The Bride!
Starring Jessie Buckley, Christian Bale, Peter Sarsgaard, Penelope Cruz
Directed by Maggie Gyllenhaal

Mary Shelley's classic novel "Frankenstein" was written back in 1818 when she was just 18, during a time where women's voices weren't allowed to be heard. The novel was released anonymously until her name was attached in 1831, and she is hailed as a pioneer in the women's movement, a concept that Maggie Gyllenhaal uses to useful effect in her near-modern day re-imagining of "The Bride of Frankenstein," and even though Shelley never wrote a second novel about the Creature or his mate, her presence is felt deeply throughout this project, an anthem for women and the female equivalent of "Joker."

In 1936 Chicago, Ida (Jessie Buckley) is a free-spirited woman who becomes possessed by the spirit of Mary Shelley, who wants to tell the story of the Bride of Frankenstein. Ida is soon murdered by two goons working for the crime lord Lupino (Zlato Buric), and buried in an unmarked grave. Meanwhile, Dr. Cornelia Euphronious (Annette Bening) is visited by a mysterious stranger named Frank (Christian Bale) who is, in fact, the Creature created by Victor Frankenstein decades and decades earlier. He comes to her because she's a scientist who's experimented with bringing people back from the dead, and he wants a bride at his side. They dig up Ida's body and bring her to life, but her free-spirited nature still exists even though she can't remember who she used to be, and the two embark on a wild spree throughout Chicago and New York as they're hunted by detectives Jake Wiles (Peter Sarsgaard) and Myrna Malloy (Penelope Cruz). Yet as their crime spree spreads, Ida - who goes by The Bride - draws admiration from women who've been oppressed by their male counterparts, sparking a revolution.

The Good:
The opening is fascinating and beautifully shot, and I knew right away why many people didn't like this movie - it's an arthouse piece that blends the fantastical with the actual. We see Mary Shelley (also played by Jessie Buckley) talking from beyond the grave about a story she wanted to tell, and takes possession of Ida to tell it. It's a great opening and opens itself to a great premise.

Maggie Gyllenhaal really lets loose on her second directorial effort after the multiple-Oscar nominated "The Lost Daughter" with a unique look at the Frankenstein lore set in mobster-centric 1930s Chicago. The production design, costume design and cinematography are lavish, daring, and intense, with a little over two hours of inundated visuals that stimulates the senses with its intensity and precise attention to detail that really pulls you into the era.

Gyllenhaal and Jessie Buckley worked together previously on "The Lost Daughter" where Buckley earned an Oscar nomination, but sadly she won't be getting one here (although she's pretty much gonna win one anyway for "Hamnet"), and it's extremely beneficial when directors and actors work together on multiple projects. The trust that they've built allows the actor to fully realize their character, and Buckley fully immerses herself in the role. Before becoming The Bride, Ida is a fearless, foul-mouthed woman who is definitely not right for the time, but is so unshakably herself that she can't be denied. As The Bride, she somehow amps it up past ten and is not just a firecracker but a firestorm throughout. She grows to love Frank in her own way, but refuses to be "The Bride of Frankenstein," but rather is her own Bride. Her mannerisms, her quirky, fast-paced dialogue and intense design all make for an unforgettable character.

Not to be sidelined, Christian Bale's Frank is his own character as well, and oddly enough is a decent pairing with Guillermo del Toro's recent multiple-Oscar nominated "Frankenstein," where the film ends with his Creature wanting a companion. Here, it seems like it almost picks up right after that ends, with Frank yearning for companionship. He ends up with a newly-resurrected Ida, who, despite not remembering her past, is just as opinionated and nonconformist, so it takes awhile for her to acclimate herself into the bride role, which she never really does. Still, Bale gives Frank both a sweet, innocent nature as well as exposing his anger and rage during the couple's crime spree that is a perfect balance.

The action and excitement never lets up, as The Bride and Frank travel from one scene to the next exposing the male hierarchy and leaving a trail of bodies in their wake, and it's shot with such chaotic energy that you never get a moment of boredom. Whether they're inciting a dance flash mob or driving down a country road, there's never a moment when you find yourself bored by what you're seeing. 

The message of the movie is female empowerment without blatantly bashing us over the head with it (with the exception of one small scene near the end) and is the female equivalent of Joaquin Phoenix's "Joker" with the Bride inciting a revolution of women who have been held down by the male hierarchy for too long. They don the Bride's signature styling, right down to the black goo on the side of their faces and black tongue, and both movies have the same aura about them that makes it a great double watch as opposed to "Joker: Folie a Deux." Essentially, this is the sequel that should've been.


The Bad:
While the story is about female empowerment, it meanders its way from start to finish like a winding road, being as chaotic as the visuals on screen, but isn't as useful as what we see. It somewhat repeats itself in moments that could've been edited out, making for a more lean production. While you feel the connection between the Bride and Frank, it takes a bit to really get that part of the story going, and their repetitive use of expositional dialogue doesn't always land.

The film's opening, as mentioned earlier, is a highlight of the film, but the idea of Mary Shelley possessing Ida doesn't really have much traction. There's a few scenes scattered throughout where we see Shelley talking to Ida, but those conversations really go nowhere and the movie would've been fine without this addition since it never actualizes its potential. 

The side characters aren't necessarily bad, but don't have a lot of wiggle room, especially when it comes to the two detectives hunting them down. Peter Sarsgaard and Penelope Cruz both give amazing performances, but their motives and feelings for the Bride and Frank vary from scene to scene, and you don't really know if they're trying to capture them or aid them, as they seemingly do both at the same time. 

Despite taking care in developing the characters and their story, the ending feels rushed and unfinished, Although chaotic, there's a slowness to the movie that allows you to deeply connect with the characters, and in the last ten minutes so much happens so suddenly it's somewhat jarring, leading to the aforementioned moment where the Bride goes too preachy into the movie's theme.


The Verdict:
Although not perfect, "The Bride!" is a great sophomore effort from director Maggie Gyllenhaal that is a strong female empowerment movie with an unforgettable lead performance by Jessie Buckley.


The Score: A-