A twisted take on twisted tales
I bloody loved this film. It has everything I love in one place- fairytale s (the dark kind), kings & queens, tricks & spells, deals & plots, oaths & secrets, love & betrayal and tales of the unexpected. It’s all told so well, with so much love and care, with everything looking absolutely gorgeous. Last week I criticized Alice Through The Looking Glass for many things (see my review here) but the main one was for being a ‘film which feels like it was made by people who read a book called ‘Pretending To Be Weird For Dummies”. Those ‘people’ need to go see this because this is how you do it. If you’re looking for strange, dark and morbidly entertaining tales then look no more!
The Queen of Longtrellis (Salma Hayek) is desperate to have a child but everything she and her husband (John C. Reilly) try fails to work. When a mysterious stranger, a necromancer (Franco Pistoni), visits the castle he offers a risky solution. They need to find a sea monster, kill it and then have its heart cooked by a virgin which the Queen must eat. She will fall instantly pregnant. The necromancer warning that this will be at the cost of a life – a warning the Queen ignores.
The King of Highhills (Toby Jones) befriends a flea that appears to be able to follow instructions. A friendship soon blossoms and the flea grows and grows. When the now extremely and unbelievably large flea dies the King uses the flea’s skin as part of a game – whoever can guess the what animal the skin belonged to will get to marry his only daughter. Such a shame for Princess Violet (Bebe Cave) that it’s an ogre who guesses correctly.
The sex-obsessed King of Strongcliff (Vincent Cassel) hears the voice of an angel whilst prowling his kingdom. He pursues the voice and demands to seduce her, not knowing the voice belong to an elderly woman Dora (Hayley Carmichael) who lives with her equally elderly sister Imma (Shirley Henderson). Dora intends to lead the King along, knowing that she is putting her’s and her sister’s life in danger. A chance meeting with a witch provides her heart’s greatest desire – but is it too good to be true?
That’s only the beginning of each tale. There’s so much more for you to see – so much of which is unexpected, some of which is slightly scary, and all of which is a true pleasure to watch. It’s a feast for the eyes, the brain and the heart. The performances are all solid and utterly believable. There’s depth within each character, a reason and motivation rooted in their decisions. Hayek is stand-out, as is Toby Jones as a man who shifts from arrogance (‘ha ha they’ll never guess what animal it is and I’ll keep my daughter forever’) to devastation (‘Now my son-in-law is an ogre!’) in truly sympathetic manner. Even Cassel’s lustful pursuit manages to be bizarrely sympathetic for all parties involved.
The three tales are interwoven, tentatively linked within the story but fully linked in terms of message. The three tales are based on stories from a 17th Century anthology, they are La Cerva Fatata (The Enchanted Doe), La Pulce (The Flea), La Vecchia Scorticata (The Flayed Old Lady)- but they have been freely adapted with elements of other tales by Giambattista Basile, as well as a touch of artistic license. Although set in a medieval Italy it does feel that their are messages being targeted the audiences today – about consequences of decisions and the nature of family.
The costumes are jaw-dropping, the monsters Kafkaesque, the settings breath-taking, the soundtrack haunting yet never overwhelming and the performances totally memorable. Films like this don’t come around very often so see it whilst you can!