Pearl (2022) Review
“May I have this dance?”
A couple months ago when Ti West’s X released in theaters, it was revealed that the cult-horror director had secretly filmed another movie simultaneously. This other film, co-written by lead Mia Goth, would serve as a prequel; this time shining light on the predecessor’s titular villain. There’s a level of skepticism when two films within the same “franchise” release so close to one another; wondering if the filmmakers truly had time to flesh both stories out. And though, personally, I prefer the dry-cut stylings of West’s previous effort – Pearl proves to be an inherently functional horror film on its own; if anything, amplifying X’s impact even more without sacrificing its own integrity. I was wholeheartedly surprised how tonally and stylistically different this latest entry was – focusing foremost on being a standalone tale versus being a complementary piece. Those who weren’t too keen on X might enjoy West’s latest a bit more due to its formal narrative structure and overt attention on Pearl’s characterization. And, granted, more movies with Mia Goth can never truly be a bad thing.
Texas, 1918. Pearl (Mia Goth) has been living at her family ranch with her hardened German mother (Tandi Wright) and her paralzyed father (Matthew Sunderland). Pearl’s husband, Howard (Alistair Sewell), is off serving in World War I – so her dreadful sense of isolation, lust, and violence grows stronger by the day. Her mother doesn’t respect her desires and keeps her contained as much as she can; though Pearl’s curiosity and stubbornness don’t allow for this. One day, Pearl goes into the town and meets a projectionist (David Corneswet) at the local theater and they share an infatuation with one another. He inadvertently becomes an escape for her and also catalyzes her aspirations to become a Hollywood showgirl even more. As Pearl prepares for her big audition, her family, the projectionist, and her friends all seemingly stand in her way – and there’s nothing she won’t do to prove she’s got that X-factor.
This is a one-woman show and Mia Goth kills it. Literally! Pearl is a film about the obsession we hold over Hollywood and stardom while also serving as a demented love letter to the golden age of cinema. It’s a twisted character-piece of an abused young woman in the early 1900s who decides she’s had enough and takes total agency for herself; no matter who stands in the way. Much like X – it’s not a horror film you’re supposed to read into as much as it is one that you’re just along for the ride. And thanks to Goth and West, it’s one that provides enough twisted fun. Where X focuses on worldbuilding and has a tinge of airiness to it, Pearl follows its lead down every narrative beat; never shifting focus off from her story. Because of this, it’s able to avoid feeling like a “rushed” and “unnecessary sequel”; it’s inherently obvious Goth and West were going for something so tonally and structurally different here. And it works in its favor.
There’s a seven minute monologue Goth gives here that proves herself, yet again, as a tour-de-force; it’s inevitable that she is going to consistently find acclaim from this point on. The monologue also serves as the point in which the film completely humanizes Pearl while, at the same time, easing the audience into what she’s about to do next. Needless to say, Pearl’s murderous antics should in no way be commended, but there’s always something so enticing in seeing such a morally complicated character go absolutely off the rails for the finale. The film serves as a strong standalone story – while also serving as Pearl’s breaking point; setting up everything it needs to amplify X even moreso. As if it even needed that. And with West announcing there’s a third film in the works, MaXXXine, focusing on Goth’s original character – let’s just hope lightning strikes thrice.
