Mubi Monday: Orphan (2016)

Not to be confused with the “killer kid” movie from some years previously, Orphan is a drama about the female experience, represented by a number of very talented actresses playing the same character at four different points in her life. Although that could seem tricky, and arguably unnecessary, viewers can take or leave the central conceit as they wish. What really matters is the time spent exploring facets of the female experience.

Director Arnaud des Pallières, who also co-wrote the screenplay with Christelle Berthevas, makes use of connective tissue to show moments in a life shaped by the actions of men, various types of oppression (whether physical, financial, or the pressure on women to have a child), and one or two bad decisions. Shown in a non-chronological way, viewers are drawn to the characters thanks to the excellent cast and the idea that we’re watching someone on sliding on an inexorably downhill trajectory.

There isn’t much point in giving a full summary here. It’s enough to say that one little girl grows into a young woman in a difficult situation, who subsequently grows into a young woman exuding an air of confidence that gives the impression of her being more in control, and some time later lives her life as a woman striving to maintain a content and normal life. The central character is portrayed, at her different ages, by Vega Cuzytek, Solène Rigot, Adèle Exarchopoulos, and Adèle Haenel.

As well as everyone just mentioned, and both Exarchopoulos and Haenel are usually enough to get me to watch anything (particularly the former, one of the best actresses of the last decade, and STILL not being given the recognition she deserves), there are performances here from Gemma Arterton, Jalil Lespert, and  Robert Hunger-Bühler. Each person onscreen, including the many not mentioned here, feels important for their impact on the central character, and the acting is as excellent across the board as it needs to be, and as you would expect from most of these names.

Moving between moments of calm and moments of freneticism, and often showing sex and submission in place of real care and love, as well as how those things can get mixed up and melted together in one big puddle of gooey emotions, Orphan may not cover any new ground, but it retreads a well-worn path with the aim of underlining the many small hurts and wounds that add up to damage that reverberates through an entire lifetime. The script and direction are both top notch, but it’s the acting that really makes this so rewarding.

8/10

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Orphan (2009)

Vera Farmiga and Peter Sarsgaard play Kate and John Coleman, a couple very much in love with each other and with their children (Daniel, played by Jimmy Bennett, and hearing-impaired Max, played by young Aryana Engineer) and who have, to put it lightly, been through a really bad time of things. One problem birth that went horribly wrong, the accident that cost young Max her hearing, Kate's drinking problem. Hopefully, that's all now in the past as the couple realise just how much they have and decide to share their lives with someone less fortunate than most by adopting young, eccentric Esther (Isabelle Fuhrman, who is quite superb). It's not long until friction is caused, however, and it seems that Esther may have some hidden agenda despite her youthfulness but will anyone else see her manipulative ways except Kate, who keeps running into a barrier of disbelief thanks to the mistakes of her past.

Dark Castle, as those who have read some of my other reviews may know, have almost always provided me with the kind of fun horror I can easily enjoy even if it's unlikely to top anyone's "favourite movie" list. They do it once again here with a movie that builds tension nicely, throws in some genuinely uncomfortable moments and provides a great mix of uneasiness and more obvious shocks that should keep most modern movie audiences pleased.

The acting is all top notch with Farmiga and Sarsgaard anchoring the whole thing with performances that feel very real and naturalistic and, most importantly, believable amidst a plot that starts to pile up the number of unusual events and "coincidences" it needs to build up to the revelatory finale. The child stars also do very well and Isabelle Fuhrman does not get extra praise simply for landing the juicier role, she's really great in every scene she's in and able to run through a whole gamut of characteristics whether they be faked for the benefit of an audience or genuinely peeking out from behind the mask of her character.

Another string to Orphan's bow is how it mixes the slightly absurd with the very real, affecting horror of things such as the potential loss of loved ones, the acceptance of someone new into the family unit and the guilt that parents can live with for many years while keeping things hidden from everyone around them. Jealousy is a major force in this movie and children vying for attention from their parents can be selfish, manipulative and ruthless in many ways . . . . . . so Orphan just manages to take that to an extreme and let things unfold with horrific consequences.

Impressively handled by director Jaume Collet-Serra, it's rare to see a mainstream horror movie handling such disturbing themes (and, despite the glossy coating, there are certainly a few disturbing themes throughout) and all involved should be given a tip of the hat for getting right behind the material and giving us something that ends up being familiar. But oh so different.

7/10.

http://www.amazon.co.uk/Orphan-Blu-ray-Vera-Farmiga/dp/B002KAIVL8/ref=sr_1_2?ie=UTF8&qid=1372662105&sr=8-2&keywords=orphan