Told from the reverse angle of the original film, this version of Beguiled looks at the arrival of a Union soldier from the women’s lives he invades. Sofia Coppola (Somewhere) brings her strong sense of visual design and female strength to the screen and script, but I think falls a bit short in selling the intent despite a solid cast.
Colin Farrell (A Home at the End of the World), Nicole Kidman (Top of the Lake: China Girl), and Kirsten Dunst (Hidden Figures) make a mighty trinity on the screen, at least individually. The interaction is a little stilted, in part due to the nature of the period.
The younger women are a bevy of talent that few directors outside of Coppola could have pulled together. Among them, Angourie Rice (Spider-Man: Homecoming,The Nice Guys) and Oona Laurence (Pete’s Dragon) stood out nicely. On the other hand, Elle Fanning (3 Generations) while magnetic as ever, is still seeking the role that will make her a star. She is always interesting to watch, but rarely feels completely natural to me. Fanning has an otherworldly aspect, a detachment, to her performances that is haunting, but odd. And it is particularly off in period pieces such as this film.
But performances aren’t where this film feels weak to me, it is the directing and script choices. While Kidman and Dunst have some quiet moments of desire, and Fanning is pretty clear about what she wants, the conflict of jealousy is either too subtle for my blunt brain or it was just not strong enough to bring about the resolution. The women just never connect, either with each other or Farrell. Each is an island of desperation. Perhaps that was Coppola’s intention, but it made for a very distancing sensibility. I didn’t care for these women, didn’t worry for them, didn’t weep for their losses, nor enjoy their small triumphs. And the ending just sort of laid flat emotionally, though hauntingly beautiful in its presentation. That, to me, indicates the movie didn’t work or was, at most, a mixed success.