Something of a divisive picture amongst those who I saw it with, Martha Marcy May Marlene will no doubt split audiences’ opinions of it right down the middle. Is it a slow burn masterpiece featuring flawless performances and a brilliant story telling format, or a pretentious art-house drama that’s too embroiled in its own self-importance to deliver a satisfying experience? Personally, my opinion of it leans well and truly towards the former choice, however that doesn’t mean the film gets away guilt free. There’s still a couple of minor issues I had with it that while not severe enough to spoil its overall impact, still detract from what otherwise came so close to taking its place in cinema as an instant classic.
In terms of plot, Martha Marcy May Marlene (let’s just call it 4 M’s shall we) sounds like it could possibly be covering familiar ground. But the story is told in such a raw and realistic fashion, that it’s impossible not to be caught up in the dramatic proceedings playing out on screen. After disappearing for over two years, Martha (Elizabeth Olsen), an emotionally damaged and perpetually disorientated young woman, tries to reconnect with her now married older sister after fleeing from a sinister cult. Despite having escaped from this abusive society, Martha is constantly plagued by memories of the hardships she endured at the cult’s hands as well as the horrendous acts she played a part in. No longer able to distinguish reality from fantasy, Martha rapidly spirals into the deepest depths of depression and paranoia that threatens to tear the tattered remnants of her fractured life apart.
Switching back and forward between the unnerving sequences set at the farmhouse the disillusioned cult call home, and the safe haven of Martha’s sister’s home, the film perfectly interweaves these two separate narratives that constantly compliment each other in terms of tone and ambience as the action slowly builds towards its nail biting finale. It’s a brilliantly realised storytelling technique that’s executed with perfection. The subtle cues used allow the narrative to switch back and forward between these two timelines in an expertly crafted fashion, creating a truly gripping experience that slowly feeds the audience only small pieces of information at a time to ensure all eyes are constantly glued on screen in suspenseful awe.
Interesting to note is the fashion in which 4 M’s approaches the cult central to the film’s narrative. When we’re first introduced to their existence, we know they’re a group to be feared, if only because we’re witnessing Martha furiously trying to escape from their compound. We’re not sure why they present a threat initially, but the clear sense of unease that lingers about them clearly hints towards the unsavoury acts they’re capable of committing. However when the action flashes back to Martha’s first initial interactions with them, it’s easy to be convinced that this small group of directionless individuals are something of a hippie community trying to live off the land in peace. It’s not hard to see what Martha sees through her eyes and to understand why she would initially stick around. But as this community begins to display obvious Mason family-like characteristics, the film progressively adopts a vicious streak laced with paranoid tendencies, changing the overall tone from hard-hitting drama and into a gruelling thriller that will have you on edge as the film progressively ratchets the tension up through the roof.
The name of the movie gives you a clear indication of who the star is here, and so it’s no surprise that Elizabeth Olsen (and yes that’s right, she is a sister of the Olsen twins) completely owns this film. I simply can’t heap enough praise upon her, she’s captivating beyond belief and she absolutely excels in her role here. I have no doubt that we’re going to see her popping up in a slew of highly commended roles in the near future. However the rest of the cast here should be applauded as well. Sarah Paulson and Hugh Dancy both shine as Martha’s sister Lucy and her husband Ted, both counterbalancing Martha’s unhinged nature with truly touching moments of tenderness and warmth. But it’s John Hawkes who stands out as the Charles Manson-like Patrick, a character who brings a creepy and dangerous edge to the film. His interpretation of this brainwashing sociopath creates a genuinely uncomfortable aurora whenever he walks on screen, marking him as a truly memorable screen villain who never needs to resort to over the top antics to create a sense of unease.
Now as gripping a tale as 4 M’s supplies, it still suffers from a few minor issues that may or may not jilt your opinion of the film. Firstly, I hate to say this but the middle act of the film begins to drag sufficiently following the attention grabbing first act. This isn’t a major upset in any case, however this portion sticks out as the decisively less interesting portion of the movie in comparison to what takes place before and after. Although having said that, one could argue that this leisurely pace adopted here actually adds to the overall impact the finale delivers. Speaking of which, there’s simply no denying that the final images the film departs on will no doubt violently divide audiences. It’s hard not to feel a little cheated by this hugely ambiguous ending after investing so much time into this character, but personally the more I thought about it afterwards, the more I appreciated it. It’s tough to shake those final haunting images from your mind, although the need for the viewer to create their own interpretation of what comes next will drive some people mad.
I really enjoyed my stay with Martha Marcy May Marlene for the most part. It’s a confronting trip that stops off at some truly uncomfortable places along its unusual journey. And while the first half of the film legitimately bowled me over with it’s brilliant performances and gripping execution, it’s too bad that things slowed down to a standstill for a short while in the middle. It’s a film that requires a great deal of patience to fully appreciate where it eventually takes you, and when it finally arrives at its gripping final act, it’s still sure to upset many viewers used to the idea of complete closure come the end credits. This is a shame to say the least, because everything that comes before this is meticulously realised and planned out to deliver a memorable journey into the dark side of humanity that will haunt you for some time to come.
3.5/5
