The Reflecting Skin (1990) ****
Director Philip Ridley self-described his 1990 debut feature film, The Reflecting Skin, as "Blue Velvet (1986) (review) with children." This is only partially true. Ridley's film certainly has some very Lynchian encounters between characters but it's more than what his quote would lead you to believe. In fact, it's something of a bloody, unapologetic, mini masterpiece.
TRS is the tale of a young boy coming of age in the Midwest whose childhood is fraught with constant tragedy, violence, cruelty, and fantasy. The landscapes in the film are very Malickian (is that a phrase?), which makes sense, given that Days Of Heaven (1978) and this film were both very influenced by the work of realist painter Andrew Wyeth (imagine endless golden fields). The cinematography in TRS truly is gorgeous, taking full advantage of its locations. It's the type of film strongly driven by visuals, mood, and sound over dialogue. Ridley's background as a painter and visual artist very much informs his film.
Nick Bicât's score is sumptuous, big, and melodramatic, just like the acting. Viggo Mortensen is strikingly handsome and brooding in an early role. Lindsay Duncan (amusingly named Dolphin Blue) is at once enticing and foreboding. And young child actor Jeremy Cooper has an unmistakably unique and expressive quality that Ridley clearly recognized.
The Reflecting Skin is relentless in its nightmarish vision of a 1950s gothic countryside but it's peppered with surrealist humor and a beating heart, albeit one seeking love but finding only heartache. Less a horror film than a dark drama with horrific elements, it's nonetheless a movie that may only satisfy a niche crowd. For those that connect with it though, it's a little-known and underappreciated gem.
TRS is the tale of a young boy coming of age in the Midwest whose childhood is fraught with constant tragedy, violence, cruelty, and fantasy. The landscapes in the film are very Malickian (is that a phrase?), which makes sense, given that Days Of Heaven (1978) and this film were both very influenced by the work of realist painter Andrew Wyeth (imagine endless golden fields). The cinematography in TRS truly is gorgeous, taking full advantage of its locations. It's the type of film strongly driven by visuals, mood, and sound over dialogue. Ridley's background as a painter and visual artist very much informs his film.
Nick Bicât's score is sumptuous, big, and melodramatic, just like the acting. Viggo Mortensen is strikingly handsome and brooding in an early role. Lindsay Duncan (amusingly named Dolphin Blue) is at once enticing and foreboding. And young child actor Jeremy Cooper has an unmistakably unique and expressive quality that Ridley clearly recognized.
The Reflecting Skin is relentless in its nightmarish vision of a 1950s gothic countryside but it's peppered with surrealist humor and a beating heart, albeit one seeking love but finding only heartache. Less a horror film than a dark drama with horrific elements, it's nonetheless a movie that may only satisfy a niche crowd. For those that connect with it though, it's a little-known and underappreciated gem.
Comments
Post a Comment