Wicker Movie Review
Wicker revels in its whimsy, though one wishes its wistful themes leaned less on wily commentary and more on winsome entertainment. Director Alex Huston Fischer’s fantastical story is set in a village where patriarchy runs so rampant that most women are identified by their own or their partners’ occupations, such as The Tailor’s Wife (Elizabeth Debicki) and Fisherwoman (Olivia Colman). Women in her community publicly humiliate Fisherwoman for being single, past conventional marriage age, and living alone in a cottage. Shunned by the community, she watches a wedding unfold from afar, isolated inside a church. With the relentless taunts becoming unbearable, the ostracised woman goes to the Basket Weaver (Peter Dinklage) and asks him to ‘make her a husband'. It may be pure wishful thinking, but the weaver creates a fantastical being that feels too good to be true because he treats everyone in the village, including his partner, with a level of chivalry that feels alien to the medieval community.
Director: Alex Huston Fischer
Cast: Olivia Colman, Elizabeth Debicki, Alexander Skarsgard, Peter Dinklage
Soon, Fisherwoman and Wickerman (Alexander Skarsgard) form a warm romance that becomes the main topic of conversation among the villagers. The women start to wonder how a man can treat his wife with such courtesy, grace, warmth, gentleness, and respect. The film subtly and clearly underscores the fact that each of them is a victim in one way or the other. Their jealousy stems from a deep-seated sense of patriarchy, and their lecherous attraction towards Wickerman suggests how much suffering they have been experiencing from their spouses. Meanwhile, the men cannot fathom the fact that even an outcast such as Fisherwoman has a husband who takes care of all the domestic chores even as she goes out fishing to provide for the family. In a standout sequence, they confront Wickerman for being a stay-at-home husband, questioning why he trades his masculinity for a ‘timid’ domestic life. His simple response is a declaration of love that would feel radical even today: ‘Because I want to make my wife happy.’
As resentment builds among the men and women over the couple's marital bliss, it is only a matter of time before someone goes out of their way to destroy it. In this way, Wicker becomes a dark parable about the dangers of societal envy and conformity.
Wicker has much going for it, including such provocative themes that linger long after the credits roll, an unmistakable sense of authenticity that befits its medieval setting, and exemplary performances. The three standout performers are Debicki, Colman, and Skarsgard. Each time you see Debicki, she reminds you of how good an actor she is. As The Tailor's Wife, she masks her internal malice with a condescending sense of concern and devious friendliness for Fisherwoman. Debicki’s subtle performance highlights her character’s investment in the village's collective resentment for the couple at the heart of the story, perfectly embodying a woman who simply cannot stand to see others happy. In one smartly written sequence, she leverages Fisherwoman’s insecurities to plant a seed of doubt in her with the ultimate aim of ruining her life for good. It is fascinating how much she knows about this village outcast, and the level of knowledge the latter possesses about her, despite the two barely spending time together.
Colman puts in another towering performance, internalising Fisherwoman's isolation and grief and showing her fury for the villagers through her expressive eyes, without ever having to rely on loud histrionics. Skarsgard, too, nails his role as a man whose profound sense of morality and empathy can outlast any societal evil that gets in the way of his relationships. His chemistry with Colman drives the story, lending it the necessary heart and soul amidst dark thematic elements. Peter Dinklage, too, is a reassuring presence as a mysterious man who takes advantage of the customs in his village and yet shows a great deal of empathy for those in dire need of it.
Where the film struggles is in its uneven pacing and themes that occasionally have an overwhelming impact on the storytelling. At times, you wish the film had treated it as more of a winsome tale of romance than the contained dark comedy it becomes for the most part. The angle of magical realism also does not feel as pronounced here as it should have. Ultimately, the film breaks your heart only to mend it again—much like the Basket Weaver stitching disjointed pieces back into place. All is well that ends well, and this holds true for both the story and its telling.