This week on Drink in the Movies Michael & Taylor discuss their First Impressions of: Cherry & Pelé. Then they look back 100 years to three 1921 Feature Films: Orphans of the Storm, Destiny, and The Phantom Carriage.
After waiting more than a year for The Weasel’s Tale to become available in the U.S. it’s safe to say I had expectations that bordered on unfair. The mystery drama Campanella takes us on seems familiar. The luxuriant digital cinematography, the violence indicated by an early chicken coop scene, an award placed in the center of an entry way, the title itself, and a Sunset Boulevard-esque aging star. These ideas each feel familiar and when the grift begins the genre is cemented as an Agatha Christie type mystery. Thus redistributing some early expectations and allowing the viewer a great deal of question marks in what may happen. Even though we know the rules of this particular cinematic game.
The Weasel’s Tale doesn’t reinvent the wheel, or compel a viewer more than recent murder mystery Knives Out might. It does feel original and sincere, though there are limitations to that in such a tread genre. Campanella after all is an aging artist, telling a personal story in a genre he knows all too well. Just with a spin and some flair on it. While watching I was delighted to see Borges’ performance. Akin to an apex predator playing with her meal before the kill. That’s something I’ve always loved from female lead performances in particular. Elegance with menace, innocence with tenacity, victim-hood with total control. To ensure I give nothing away, I’ll leave it at that.