When we first see youngster Abigail Grey, she is in her bedroom, buttoning up a conservative white shirt, placing on a calf-length plaid skirt. Glass animals line the window sills. Before she leaves, she choices up a copy of Tennessee Williams’ The Glass Menagerie, revealing Flora Rheta Schreiber’s Sybil under, the 1973 e-book approximately a woman with more than one personalities. It’s tough to tell what time period we’re in. It seems from the jump that “Blame” will now not be your usual coming-of-age story.
It’s not. Quinn Shephard, 22 years old, performs Abigail, and not simplest directed the film but wrote the script whilst she was nevertheless in high school. “Blame” uses the acquainted scaffolding of other excessive school memories: social ostracism, peer stress, absent adults, and but it swirls with strangeness, each diffused and deep, breaking regulations because it is going. The film receives more and more hallucinatory because it progresses, and there’s a vibrant feel of growing threat.
Abigail reenters excessive faculty after six months in a psych ward. It’s doubtful what brought on her breakdown. She is a infamous discern, surrounded by using snickering and mockery. She walks thru the hallways in her anachronistic garments like an apparition. She also limps. But handiest every now and then. Is she looking to be Laura Wingfield in The Glass Menagerie? Shephard maintains Abigail cloaked in thriller, and that is one of the movie’s greatest strengths. On the surface, she’s a shy wallflower, however there may be some thing beneath. It soon becomes clear that Abigail’s conduct is impossible to are expecting.
Tough Melissa (Nadia Alexander), with hair dyed Crayola-red, zeroes in on Abigail, in particular while Abigail is selected to play “Abigail” within the student manufacturing of Arthur Miller’s The Crucible, even as Melissa is caught with being Abigail’s understudy (echoes of Eve Harrington in “All About Eve”). Melissa jams a wedge between close pals—Sophie (Sarah Mezzanotte) and Ellie (Tessa Albertson)—shutting out the clear-headed Ellie in prefer of the tense follower Sophie, who is all too keen to “assist” Melissa in her marketing campaign to carry Abigail down. Chris Messina performs Jeremy, a new trainer at the college, operating with the kids on The Crucible. A failed actor, Jeremy shows a vital lack of judgment while he makes a decision to play John Proctor contrary Abigail’s “Abigail.” He asks her for help organizing the showcase, and that they spend quite a few time together, rehearsing the scene. Melissa misses none of this. Trouble’s coming.
Shephard makes use of The Crucible as an organizing precept, calling upon its rich symbols and texture, both explicit and implicit. It’s part of why “Blame” is so fantastically excessive. Will Gluck did a comparable aspect in “Easy A,” in which Emma Stone’s character is inspired through Hester Prynne in The Scarlet Letter to interest-getting lengths, although Shephard makes use of the supply fabric a bit otherwise. Arthur Miller wrote his paranoid play approximately the Salem witch trials as an allegory for the extensive swath “McCarthyism” cut through American existence within the 1950s,
As the movie progresses, Abigail’s identity with the fictitious “Abigail” takes the region of her limping identity with Laura Wingfield. Gone are the plaid skirts and white blouses. She indicates up for faculty in prim black clothes with white collars, and a massive pass necklace. But then, developing in self belief, her skirts get shorter, her heels get higher. Abigail, the temptress in The Crucible, asserts her dominance at the imagination of this damaged teen. Celeste Montalvo designed the costumes, and her remarkable work is a huge contribution to the movie. Abigail’s transformation has an effect on the alternative women, whose very own wardrobes get extra outrageous to compete with hers.
There are a couple of scenes in the auditorium, and cinematographer Aaron Kovalchik films the distance as although it is an echoing chamber where time stands still, where human beings get to inhabit their goals of themselves. Abigail stands onstage staring into the darkness, bathed in blood-red light. Abigail and Jeremy run traces, their heads haloed with mild in opposition to the black. There are different lovely sequences like Melissa and Sophie swimming on a wet night, splashing around just like the youngsters they nevertheless are; the awful-confronted Melissa main the cheerleading squad in a habitual, shown in ominous slo-mo; the deep blue shadows within the vehicle wherein Jeremy and Abigail sit and talk.
This isn’t the type of movie in which human beings pushing 30 put on cheerleaders’ clothes and fake to be 18. These younger actresses experience like real teenagers. The energy performs and alliance shifts evoke the destabilized atmosphere of adolescent ladies. They’re 16, and that they shut each other down by using calling every different “slut,” “whinge,” and worse. “Blame” surges with perception approximately the sexuality of juvenile women: before they could even figure out what they prefer, they sense obligated to put on a show of it for the boys. They are thrown into competition with each other. It’s all performative. They do not even recognise they can opt out. Only Ellie seems to understand she gets to make her personal guidelines.
None of that is news, necessarily, but Shephard attacks the subject in creative ways, allowing for ambiguity, complexity, theatricality. The only time I changed into reminded that a teenager wrote the script was within the scenes among Jeremy and his lady friend. These scenes have a “inventory” pleasant completely absent within the rest of the film. Other than that, there are many surprises in store. Melissa isn’t a villain, Abigail is not a saint, but it’s clean there is no longer enough room for the both of them. With the angle of maturity, such battles seem stupid, however inside the thick of excessive school, it is lifestyles or demise. As Mrs. Thomas Putnam cries out in The Crucible, “There are wheels within wheels in this village, and fires within fires!”