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Posts Tagged ‘Hayley Squires’

It is surely very heartening to see that, even in times as dark as the present, society still offers a chance for success to people who are clearly a little bit weird (especially heartening for those of us who are weird ourselves). Currently I am thinking of Peter Strickland, whom I may be jumping to conclusions about. Never having met the gentleman, I may be taking liberties by labelling him as weird, but the two films of his that I’ve seen have both been, well, weird. Weird in a very interesting and entertaining way, I hasten to add. But they’re still weird.

I saw Strickland’s Berberian Sound Studio towards the end of 2012 and came out feeling rather well-disposed towards it (certainly more so than the gentleman who stood up at the end of the screening and shouted ‘Utter rubbish!’ to no-one in particular). His follow-up, The Duke of Burgundy, didn’t trouble the cinemas around here so far as I can recall, but his latest film did – albeit not in a very conspicuous way. Another victim of the great Disney squeeze, one might suggest.

The new movie is In Fabric, which is a fairly odd title and thus rather undersells the film, which is extremely eccentric, to say the least. The setting is the UK in what looks like the late 1970s or possibly early 80s (one character has a misleadingly contemporary hairstyle, but it soon becomes obvious that email and mobile phones don’t exist yet). Marianne Jean-Baptiste plays Sheila, a recently-separated bank clerk with a teenage son who is a bit thrown to discover that her ex-husband has already found himself a new girlfriend. As an odd form of passive-aggressive retaliation, she decides to join a lonely hearts dating service, but only after refreshing her look a bit. And so she goes out and buys a new dress.

This proves to be a choice of questionable merit, as the department store she visits is a rather unusual one which appears to be run by witches, or possibly devil-worshippers. Even the sales assistants are rather peculiar, such as the one she encounters (an uproarious turn from Fatma Mohamed). However, the ‘artery red’ dress she ends up buying is something else again, as it is apparently cursed and possessed of a malevolent sentience, and is determined to do her ill. This initially just takes the form of giving her a nasty rash and destroying her washing machine (the dress doesn’t like being machine-washed), but soon its activities become absolutely murderous…

There is a camp ridiculousness to the premise of In Fabric which clearly owes a debt to some of the sillier horror movie premises of years gone by – I’m thinking of the homicidal vine from Dr Terror’s House of Horrors or the man-eating furniture in Death Bed – although, come to think of it, Stephen King did a book about a haunted car and no-one called that silly. Certainly this resonance doesn’t seem to be a matter of chance, for the film also has a quasi-portmanteau structure which inevitably recalls Dr Terror and the various other portmanteau horrors of decades ago.

It isn’t quite as simple as this film simply being a spoof of that particular genre, though. Strickland’s fondness for Italian giallo horror was evident in Berbarian Sound Studio and this film has that same kind of visual artfulness and richness. The combination of arty continental horror stylings and everyday naturalism which¬† makes In Fabric so distinctive is almost enough to make one suggest that this is what it would look like if Dario Argento and Mike Leigh ever worked together on a project (or if such a project were lovingly pastiched by the League of Gentlemen).

The most impressive thing about In Fabric is the way in which it takes such a richly over-the-top premise, and such a seemingly-incongruous set of clashing influences, and still manages to be a coherent and cohesive movie rather than a mess of clashing styles and tones. This, it seems to me, is the sign of a very fine film-maker – the ability to turn a film on a dime and shift between tones so effortlessly is exceptionally difficult. And there are lots of different things going on here. As I said, this isn’t exactly a horror parody – it is knowing and tongue-in-cheek, and the audience is expected to recognise this, but at the same time it is a genuine horror film, intent on unnerving and rattling its audience. It is attempting to be weird and creepy rather than actually scary, and there are some extremely odd and rather graphic sequences that certainly won’t be to everyone’s cup of tea.

And then Strickland will smoothly go into another encounter with the bizarre shopworker Miss Luckmoore and her preposterous turn of phrase (this is a woman who says ‘I have reached the dimension of regret’ when she means ‘I’m sorry’), or a scene where one of the characters is dragged in for a nightmarish encounter with Julian Barratt and Steve Oram’s useless managers, or even a genuinely moving scene filled with real pathos. It shouldn’t work; it certainly shouldn’t look as easy as Strickland manages to make it appear.

I shouldn’t neglect to say that this is a genuinely funny film, albeit often in a highly surreal way (at one point Barratt and Oram are reduced to a priapic stupor by someone describing washing-machine faults to them). You find yourself wondering if you’re actually supposed to be laughing at this or if you haven’t quite understood what kind of film you’re watching. In the end I did conclude that very little in this movie has been left to chance.

For all that it is an unusual and rather intoxicating concoction, I would still say In Fabric has the odd flaw – primarily that the opening segment of the film is stronger than the rest, which is unfortunate if nothing else. Marianne Jean-Baptiste’s performance is a bit more rounded than those of Leo Bill and Hayley Squires, who carry the later parts of the movie. I might even suggest that the portmanteau structure of the story isn’t signposted at all and is a bit wrong-footing when it manifests itself.

Nevertheless, this is a film made with obvious confidence and skill and a definite sense of visual style (the soundtrack, from the splendidly-named combo Cavern of Anti-Matter, only adds to the hypnotic effect). It is distinctive and highly unusual (and probably not very mainstream, to be perfectly honest), but also very funny and always interesting. I liked it very much.

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