Martha Marcy May Marlene

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Posted January 21, 2011 by in

Quick Stats

Genre: drama, thriller
 
Director: Sean Durkin
 
MPAA Rating: R
 
Actors: Elizabeth Olsen, Sarah Paulson, John Hawkes
 
Length: 102 minutes
 
Release Date: 12/21/2011
 
Studio: Fox Searchlight Pictures, Cunningham & Maybach Films, FilmHaven Entertainment, BorderLine Films, This Is That Productions
 
 
What We Thought

While it has an ace up its sleave in newcomer Elizabeth Olsen, “Martha Marcy May Marlene” comes across as an extreme right-wing fantasy about the leftist mind.

by Nick Rodriguez
Full Article

First-time writer/director Sean Durkin wears his obsession with Austrian filmmaker Michael Haneke on his snot-covered sleeve. Evidently they don’t teach that flashbacks are a bad idea at NYU film school, where Durkin attended, since exactly half of Durkin’s story is told using the most common crutch in narrative existence.

Durkin has an ace up his sleeve in newcomer Elizabeth Olsen, whose haunting mood shifts the filmmaker milks for all its worth. Olsen plays the title character whose name Martha gets transmogrified to Marcy Mae by a creepy cult leader named Patrick (John Hawkes) who feeds on the flesh of his mostly female clan on a remote farm commune in the Catskills. Martha’s “Marlene” identity is the least explained, and is left dangling along with every other plot thread the filmmakers bother to create.

Martha runs away from the commune at the beginning of the story. She calls her sister Lucy (Sarah Paulson), whom she hasn’t been in touch with for two years, to come pick her up. Lucy and her husband Ted (Hugh Dancy) take Martha into their spacious riverside home in Connecticut. Martha displays odd behaviors such as skinny dipping in broad daylight and crawling in bed with Ted and Lucy while they’re having sex. She doesn’t believe in such capitalist traps as pursuing a career. She holds onto firm but unstated beliefs about “the right way to live.”

Flashbacks reveal Martha’s rape at the hands of Patrick, and her indoctrination as a “leader and teacher” at the commune. The filmmaker constantly jockeys back and forth between Martha’s increasingly problematic situation with Lucy and Ted, and her not-so-distant past that informs her subconscious and conscious mind. Martha is an unreliable narrator the audience is tempted to side with in spite of her volatile personality. “Martha Marcy May Marlene” comes across as an extreme right-wing fantasy about the leftist mind. If we take Martha, as the filmmakers seem to intend, to represent the kind of person engaged in the global protests against savage corporate greed, then we are forced to admit that they are emotionally disturbed sociopathic human beings. The big problem with the movie is the filmmakers forgot to tell a story with a beginning, a middle, and an end.


About the Author

Nick Rodriguez


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