Film #4 — 1/1 Most Popular Film from the 1940s I Hadn’t Seen; 3/9 Decades
By C. Ramsay
Although the pacing is a little slow during the first half, the characters are so endearing that it’s worthwhile spending time with them. Irena, originally from Serbia and still mostly askew in New York, is especially sympathetic as a protagonist experiencing isolation from her country, culture, friends, and family, as well as through the gendered expectations placed on her. She spends most of her time desperately trying to fit into a box that was never sized for her, fearing the consequences of not being able to do so, and performing for the satisfaction of the people around her to her own detriment.
Irena’s arc is resonant for the same reasons as Medea’s in the play of the same name—a woman capable and established in her own right is seen as different in an unfamiliar society and is betrayed by a husband she thought she could trust, leading to a compulsion to commit acts of violence as her only means of escape. The caged panther that Irena regularly visits reveals her fundamental misunderstanding of the creature she projects herself onto, even if she means well, which is paralleled by how the people in her life treat her and her reactions in turn. Neither she nor the panther are innately evil, but when pressured and lacking alternatives both will escalate in accordance with what is assumed of them by the masses, fitting in only in how they were expected not to. “I love silence, I love loneliness,” is uttered by Irena in despair at the eventual realization that she cannot pretend herself into someone she isn’t for people who claim to care about her but never really change their own behaviours in meaningful ways. Isolation at least provides the opportunity for a less challenged understanding of oneself.
Dread is used poignantly throughout, swelling fast once it begins to build, though only coming up sporadically. Charm and melodrama are in those moments replaced by stress and fear, experienced by characters who feel as cornered and confused as the one they see to be the instigator. The first key moment of tension—the swimming pool—is so well-contained in how it flicks the switch between these feelings that no scene after feels safe from another escalation.
The structure of the plot, notably in the first half with its sudden jumps through major life events, creates a sense of timelessness that compounds the disorientation from fear. In one respect this is a leading contributor to the slowed pacing of the film, but it’s also helpful in conveying the detachment felt by Irena and those around her. Lighting further accentuates this feeling; shadows are often used as a framing device, almost always slow and creeping until they suddenly aren’t, completely at odds with the rest of the environment. Contrast, too, is heightened in the most intense scenes. There are many more layers to be peeled back during future viewings, but it’s no surprise that Irena is the only one constantly shrouded in black.
Star rating (/5): ★★★★
Recommend?: Yes