Premiered at The Sundance Film Festival this year, Lizzie is a biographical film of the trial of Lizzie Borden, accused of killing both her father and step mother brutally with an ax. The year is 1892, and the small and puritanical community in Massachusetts in which she lives is stifling her, and she is unable to do and feel things for herself. Her father is strict, even when, at 32 she is an adult and indeed able to please herself, the community frown upon her, since she is a spinster and most possibly 'passed it'. That is, until a young maid, desperate for employment knocks on their door, and this changes her life forever.
Borden, played by Chloe Sevigny, forms an illicit and what would certainly be considered at that time, a very unhealthy and unnatural relationship with the maid, Bridget (Kirsten Stewart), and this only provokes her father's (Jamey Sheridan) overbearing puritanical ire all the more as he makes his will in favour of her uncle, an evil and lascivious John Morse (Denis O'Hare). Both her father's and her uncle's evil doings, and her feelings for kindred spirit Bridget, take her to the edge as she hatches a plot to save her inheritance, her name and her freedom with Bridget the willing accomplice.
Billed as a psychological thriller, this film, directed by Craig William McNeill, is a mix of genres and really cannot decide where to lay its hat. It starts very slowly and gently, a history biopic; it moves into romance; before dabbling with Hammer House Horror, melodrama, and Noir. The more you watch though, the more deeply unsettling the film becomes, and so maybe this was the director's intention. It does take a long time to find its feet, and when it does it comes as shock as the violence, the Scorsese-esque blood, guts and gore, and the nudity seem completely at odds with the gentle and nuanced build-up.
That being said though, there are some stunning performances in this film. Both Sevigny and Stewart play their roles with an understated complicity which we see as the camera is very fond of close-up and short distant shots. In fact, when the footage of the train journey comes towards the end of the film, it is the first time we have been shown anything outside of the house and gardens and interior shots. Sevigny's character being a closed book at times, almost impossible to read her intellectual thought process and her emotions, like those expected of her and her society at that time, remained bottled up for the most part. The cinematography mirroring this and adding to the claustrophobic nature of the film.
Where this film falls down is that we really have no idea why she murdered her step mother. It is clear that Lizzie hates her, but on several occasions we see her step mother speak up on her defence and even try to make their relationship amenable, and we never know of what in-built hatred Lizzie might have or even why. Lizzie's sister is also a 'non-character'. Her presence is there seemingly for historical accuracy but otherwise is totally insignificant and is not a part of the story in any way.
The film also seems to place much emphasis on the the sexual orientation of Lizzie, pushing this forward as a motive and even excuse for her terrible acts; but this somehow seems forced. So little is actually known of the truth behind the real case, that majority of this film is conjecture. It's worth watching though, since the performances of both Sevigny and a surprisingly excellent, dark and layered portrayal by Stewart make this film and draw you in to their web of deceit and complicity.
Reviewer - Matthew Dougall
on - 14/12/18
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