[Disclaimer #1: the following is a spoiler-y spoilerfest from a spoiler-spewing spoilermonger (me). So only read this if you're NOT one of the five remaining people on this planet who still intends to rent this, but hasn't yet.]
[Disclaimer #2 - this isn't a proper film review. Why? Because one of the liberating things about keeping a personal blog is the complete and utter absence of rules.]
Onward.
Finally got around to netflixing "Orphan." I wasn't in loooooooove with this movie, but I am still strangely compelled to defend the movie from its less than favorable reviews. One mainstream critic actually slammed this for being "sleazy."
Sleazy? Did he think he was buying a ticket to the arty slasher flick about the psycho kid who goes on a rampage? Is anyone watching a slasher movie for its metaphors or artful nuances?
Then there are the adoption advocates who felt this movie didn't make the most flattering case for older orphans. And hey, what prospective adoptive parent doesn't look to a scary movie for encouragement or guidance in regards to a life-changing decision like adoption? I mean, besides the sane ones.
The Plot and Plot Twist Thing. Grieving parents, following the stillbirth of their third child, adopt an older girl from an orphanage. Dad's a philanderer. Mom's a recovering alcoholic whose vodka-soaked negligence nearly killed their second child. A new kid seems like just the ticket to repair the riffs in this dysfunctional family! Ah, but would you believe the orphan they welcome into their happy home is a bad apple? Or a bad dwarf, more specifically? See, there's an insane asylum in Eastern Europe whose resident population is minus one raving psychopath.....a raving psychopath who suffers from hypopituitarism, a rare condition which renders her appearance as child-like even though she's a 30-something homicidal nutcase.
Yes, really. When the tagline promised that there was something wrong with Esther, it wasn't kidding.
The Angry Dwarf Thing. As a general rule, I am the last person on the moviegoing planet who appreciates a good "The angry dwarf did it (or was in the general vicinity, just to impart a sense of surrealism)" plot twist. I loathed "Don't Look Now" - watching that made me nearly as twitchy as an angry dwarf.
And "The Brood"? Please. Throwing a dozen angry dwarves into one movie doesn't make it exponentially more creepy or weird. David Lynch can almost get away with his own dwarf fetish, because he invariably places the dwarf in a scene that is absurd of its own accord. When the dwarf seems like the normal one, it's less of a crutch. (At the same time, Lynch is a little too dwarf-dependent for my liking. I've always thought that inclusion of dwarves in such instances was lazy shorthand for "Check me out - I'm a rogue filmmaker! I'm edgy! I've got freakin' dwarves, man!")
Tom DeCillo's "Living in Oblivion" tackled this conceit (and more than a few other film-making cliches) head-on. In it, Peter Dinklage played a diminutive actor who is hired to flesh out filmmaker Steve Buscemi's scripted dream sequence. Dinklage's character eventually storms off the set after protesting the ubiquitous 'dream sequence with a dwarf in it' set-up. "I don't even have dreams with dwarves in them!" he fires off in parting.
But I digress.
I kind of liked the angry dwarf technique as it was deployed here. The movie ought to be granted heaps of extra credit for coming up with such an imaginative variation of the creepy kid sub-genre. What's creepier than a creepy kid? A creepy dwarf from a creepy Eastern European insane asylum who is merely pretending to be a creepy kid, and who has a penchant for trying to seduce her adoptive fathers! "The Bad Seed" has been done to death. "The Bad Seed" meets "Fatal Attraction" is pretty damn innovative in comparison.
(And of course, the insane asylum is located in Eastern Europe, because one of Eastern Europe's primary exports is gothicism! That's where Transylvania is located, OK?)
The Peter Skarsgard Thing.
Peter Skarsgard finds it a little too easy to channel those "wet noodle of a man" type characters. I was actually made more queasy by his character than by the rogue killer dwarf on the loose. That was probably the intent, because it's easier to root for the alcoholic mother who nearly drowned her daughter when Peter Skarsgard is the only other alternative.
The Gullible Nun Thing. Sister Abigail thinks it's adorable that Esther wears a choker and wrist bands that she never removes, ever! Alas, the Sister's skills in assessing would-be adoptive parents are about as thorough and unblinking as her automatic acceptance of Esther's kiddie steampunk sense of chic.
So, maybe - just maybe - Sister Abigail's orphanage could have developed a reputation for being more 'flexible' in its adoption requirements....the go-to orphan dispenser for parents who might otherwise be discriminated against due to their households being ripped apart by infidelity, alcoholism and near-fatal accidents involving their other offspring. This angle could have been a more credible one - if Kate and John had purposefully enlisted the help of some slapdash orphan obtainers with a wink and a nod.
Instead, Kate and John fall in love with Esther at the orphanage simply because she paints like Chagall on crack and is preternaturally wise! Sister Abigail thinks it's great that Kate and John adore Esther because she paints like Chagall on crack and is preternaturally wise! Yay! Love match! Did anyone read Esther's file? No? Ah, screw it - who needs a stinkin' file when you've got a cute kid sitting right in front of you, batting her eyelashes and making creepy paintings of fish with human heads?! It's only after Esther starts behaving strangely (er...more strangely) in her new home that Kate calls Sister Abigail with questions. Then Sister Abigail reads Esther's file. Doh! Boy, don't they all feel a bit stupid now!
It would have been easy enough to make this about the overburdened, underfunded foster care system and its workers. Or the filmmakers could have riffed on the belief that organized religion attracts people who are led by emotion (cue the kindly but clueless nun), rather than logic or intellect. But noooooooooooo. All the relevant adult characters simply....um....forgot to read Esther's file, or run a basic background check.
Yeah, yeah, yeah - I know. I'm kind of torpedo-ing my own argument above. The one in which I harp on the guy who accused the movie of being sleazy. It's a horror flick. I get it. The bar has been lowered. But does it have to be? With a couple of quick plot tweaks, lots of horror movies could at least meet us halfway on that whole 'suspension of disbelief' thing. Yet they don't. And that really irks me, because I love this genre.
In Closing. "Orphan" isn't the worst time suck on the planet, albeit it's one that feels a tad long. I give it a B minus.