Biopic period pieces are always something of a niche at the box office, to begin with. They are typically slow and dialogue heavy which puts off a fair amount of the general public. That withstanding, there’s more than a few that turned out to be memorable, critically acclaimed and beloved films. Lizzie really wanted to be that kind of film but never quite made it over that hill.
The Borden murders were a big deal in 1892, mainly due to the grizzly nature of the crime and the fact Lizzie was acquitted but remained the primary suspect for the rest of her life. However, if you’re looking for historical accuracy regarding the case then this movie isn’t for you. The screenplay by Bryce Kass seems to be based mostly on the 1984 novel of the same name by Ed McBain in which he puts forth a theory about a lesbian relationship between Lizzie and the Borden’s live-in maid. Kass extrapolated on the theory and incorporated rumors about sexual abuse within the Borden household to paint Lizzie as a sympathetic character. The dialogue was smart and sharp, focusing heavily on the hostile and antagonistic relationship between her and her father which was the eventual catalyst for the murders. The narrative approach for the story was successful, but it took longer than it should have considering the outcome was already known from the beginning. Considering this was Kass’s first full-length feature screenplay, it was a strong first effort.
With a project like this, the lead role was going to be the most important element of the film’s success from an execution standpoint and Chloë Sevigny was great in the titular role. She has always been a talented actress but she’s been relegated to a lot of supporting roles, so it was nice to see her out in front of this one. Without condoning the actions of her character, Sevigny displayed a lot of power, poise, and emotional depth in a tough role. Taking one of history’s most notorious “killers” and portraying them in a sympathetic light is a monumental task but she pulled it off exceedingly well. Many of the themes present in the film are timely as well, reflecting the current socio-political climate, and the indie veteran knew how to play on all of them. It would be hard to deny her credit for her performance here, but the movie hasn’t tracked well thus far and that has a tendency to count against you at awards season. For the time being, she’s still on my consideration list for Best Actress performance.
Opposite Sevigny, Kristen Stewart played the Borden’s aforementioned live-in maid Bridget Sullivan. The first time she spoke on camera, the thick and heavy Irish accent wasn’t working and the fear of having to listen to that for nearly two hours was certainly panic-inducing (remember Red Sparrow). To her credit, she actually found a nice rhythm with it and the shock value wore off fairly quickly and didn’t interfere with the storytelling. Stewart has shown some glimpses of strong acting capability since moving on from the Twilight franchise but she’s always struggled with what my mother called “wood-face”. She just has a limited range of facial expressions regardless of the emotion she’s trying to convey…therefore…wood-face. Once again, Stewart surprised and showed more depth than usual or at least more visible distress. Her and Sevigny had strong chemistry and watching their relationship blossom, cheering for it in fact, is a large part of the engine driving the film. It’s unlikely both actresses will be recognized during awards season, but possible.
Craig William Macneill helmed the project and brought a great deal of care and craftsmanship to telling this story. The decision to start with the murder scene and then work our way towards that event was a wise choice considering that most people have at least some familiarity with the story…that’s the sales pitch. However, it was something of a slow burn as the film begins with the discovery of the murders and then backtracks to somewhere in the middle of an already lit fuse. At an hour and 46-minutes, it already felt long enough and adding an additional 30-minutes of backstory wouldn’t have done this film any favors. Macneill’s attention to detail and character interaction shone through nicely, highlighting the strengths of his cast and their performances. The climax for the film is brutal, but only rehashes what we already know to be true from the first scene. Unfortunately, it was a methodical crawl through the murders rather than the ferocious outburst of pent-up rage that’s been building throughout the course of the film. It was an underwhelming third act to an otherwise well-told story. The young director has a good nose for psychological horror, although it may go unappreciated in this instance.
Like many directors do, Macneill turned to a frequent collaborator, Noah Greenberg, to take care fo the cinematography. Greenberg has an exceptional eye for framing and he’s going to start coming into his own very soon. For this project, much of the filming took place in the interior of the Borden home…well, not the Borden home but you know what I mean. As a result, the shot selection reflects a very claustrophobic, almost prison-like, atmosphere that certainly helps drive the narrative selection. The use of natural lighting played a large role as well, casting a dull gray tone into the home but warmth outdoors. Natalie O’Brien’s costume design also carried a lot of weight visually. Period pieces gain a lot of their quality from the authenticity of their clothing and this was no different. As a wealthy family, the Bordens had high-quality garments that stood in stark contrast to that of their servant and it’s constantly on display. The visual storytelling was one of the strongest elements of the film and served to emphasize all the plot elements at play.
I have backlogged quite a few films lately, piling on additional ones without spitting out reviews quickly enough but I like to do as thorough a job as I can each time. Unfortunately, some things get lost as they sit, chambered. This movie was getting a lot of buzz before its release, due in large part to the infamy of the events. Beyond that, Lizzie is a well-made film bolstered by good chemistry and strong performances. While it was strong in many areas, that extra something exceptional was missing.
Recommendation: If you’re familiar with the story, there’s enough quality on display to make it worth your while but anyone interested in American history can walk away with a new perspective. Definitely not one for the family and probably not the best idea for a date night either, but it’s a movie for movie lovers.