To the end Ti WestWorld War I era X prequel, Pearl, Mia Goth sobs through a five-minute monologue designed to, more than anything, leave audiences stunned. There are some seriously unsettling confessions, there are tears and runny noses, and there are emotional outbursts – at least, for Goth’s menacing character. For the terrified person on the other side of the table, not so much.
Goth’s drawn monologue is so mesmerizing PearlIts typical villain is really — a climax that should be haunting and hilarious at the same time. All components are present; Goth’s delivery is fascinating and frenetic, and the camera is fixed to her face with impressive intensity. However, something was missing — a sense of urgency, or content, or both. The speech, like the movie it contains, begins to catch on at a certain point. There is a sentimentality to it.
The first time we meet Pearl, the woman who kills every hour, earlier this year in X–a killer set during the 70’s mill boom and modeled after the classic genre of the time. In that film, an elder Pearl and her husband, Howard, terrorized a group of young adult movie stars who had rented out their warehouse to film a pornographic film. Pearlpremieres Friday, introducing the character as a young woman in 1918. Goth, who played both Pearl and the last girl Maxine in Xnot only back as Pearl, but this time, behind the camera as a screenwriter.
As we explore in Pearl, Pearl’s favorite hobbies as a teenager aren’t too different from those she embraced into her older years — she’s clearly killed animals, at least, since she was a teenager. a little girl. In 1918, her main activities included tending to a giant, man-gobbling crocodile (an obvious one). X tied in); fighting her repressive German immigrant mother, Ruth (Tandi Wright); sneaking on movie trips (where she steals sips of her sick father’s morphine); and made fun of the scarecrow in the cornfield as she waited for her husband to return from the war.
But Pearl has a bigger dream than life: She wants to escape her empty life to become a dancer in the movie. So she practices in front of the animals on her farm, all of which are named for famous movie stars. There’s something classic about Goth’s wide smile, teeth, and starry eyes; Her character feels at home in this beautifully shot movie that takes its toll on classic Americana.
It’s hard to overstate the importance of Goth’s performance in this movie, it shows Suspiria knife edge dancer; she is traumatized by the ongoing war, the absence of her husband, the enormous responsibilities of taking care of her father, and a pandemic that has caused everyone in the town square to cover their faces and cough. . (Spanish flu – time is a flat circle.) Both alluring and repulsive, Goth captures the sense of despair a trapped rat can feel after prolonged trauma. As Pearl rolls her eyes and talks about her dream of stardom, the desire for an escape — any way out — is practically contagious.
While X explores the parallels between porn and horror’s devotion to voyeurism and spectacle, Pearl Open your eyes to consider Hollywood’s place in the American dream. Pearl turned anger about her situation into a burning need to be a star — and in doing so, she set herself up for perpetual disappointment. Ruth, whose sacrifices when coming to America are countless, she is disgusted for the sake of her daughter. Pearl can’t see that her dream of becoming a star may not be a divine calling, but instead a sign of deep unhappiness.
Dreams can be both precious and fragile, and most of all, Pearl seemed to be fascinated by the way Hollywood cemented itself in audiences’ minds as a Platonic ideal — as a beautiful yet very unique escape from the unpredictable realities of American life.
Like its predecessor, however, Pearl it can sometimes feel that it might be better in context than in execution. Goth’s performance, while remarkable, feels like a fussy window dressing blatantly intended to mask a deeper problem: There’s really little plot here and not enough idea to run by theme and vibe alone. X very excited to be more specific about the kind of killer that sometimes, it’s not really a successful killer; Pearlmeanwhile, simply lack of focus.
As great as the idea might be to return to these projects (come back, after we include X next part MaXXXine), Pearl highlights what a skeptic might have said at the beginning: At the end of the day, a prequel is still a prequel no matter how you market it—and at the end of the day, you don’t usually need a prequel again.