A fascinating full-circle story unfolded in "The Marsh King's Daughter". The titular Helena, played by Daisy Ridley, gave a simple but impactful performance in this movie about a daughter trying to come to terms with the fact that her mother (Beth, played by Caren Pistorius) was once kidnapped (and held quietly captive for twelve years) by the very man Helena called father.
Her dad Jacob (played by Ben Mendelsohn), the titular 'marsh king', was an adept hunter who knew the marshes like the back of his hand. Stern but wise, he taught his daughter plenty of tips and tricks. As time went, Helena loved spending time with her father whom she believed always had her best interests at heart.
Much closer to her father than she could ever be with her mum, Helena's life grew into a complex tapestry of feelings and experiences that defined her journey into womanhood, more so after her mother subdued and escaped the woods with her, taking her away from Jacob.
This complex story soon gained a notable layer of patriarchal subtext, especially in connection to the so-called place within a male-dominated society women are expected to occupy.
Her father in jail, Helena grew to become a mother herself. Her relationship with her daughter Marigold (played by Joey Carson) held subtle nuances that served as carryovers from Helena's own experiences when she used to live in the woods and hunt in the marshes with her father.
But the way Helena chose to bring her own child up was markedly different, hinting at the importance mothers have in the lives of their daughters. This tied in quite well with the possibility that her mother Beth had stayed purely to keep her safe and not because she was too afraid to leave Jacob and run.
Meanwhile, Helena's husband Stephen (played by Garrett Hedlund) proved to be understanding and patient in all the ways that mattered. But the marriage did have its ups and downs, owing in large part to Helena keeping all her childhood traumas a secret from him. This character provided an alternative look at men who are non-patriarchal and still capable of being real men.
Helena's seemingly mundane life was soon turned upside down, again, when her father broke out of a prisoner transport vehicle and sought her out. He held on to the all-controlling need to have a family again, even if it meant forcing his own daughter to obey and threatening to kidnap his granddaughter Marigold to make Helena compliant. Distinct social subtexts continued to enrich the plot in this manner.
All this was exceptionally portrayed in the movie. Though I haven't read the book (published, 2017) by Karen Dionne, I have a strong feeling the producers of this movie did right by it. "The Marsh King's Daughter" possessed a literary pace and flair that was certainly worth appreciating.
Helena's younger version, played by Brooklynn Prince, did great work in the movie. And so did Marigold (played by Joey Carson as Marigold). Despite their young ages, both girls gave noteworthy performances.
I especially liked how careful the musical score was. The sounds of Nature were melodic enough in some of the scenes and weren't disturbed, so to speak. This was an intriguingly clever, and risky, creative decision in a movie that didn't really have a whole lot going for it, except steady suspense and small bursts of action.
"The Marsh King's Daughter" was intense, multi-layered, and focused. It was an engaging take on the human condition, particularly patriarchy. It reiterated how the heart, as opposed to the mind, never forgets.
Her dad Jacob (played by Ben Mendelsohn), the titular 'marsh king', was an adept hunter who knew the marshes like the back of his hand. Stern but wise, he taught his daughter plenty of tips and tricks. As time went, Helena loved spending time with her father whom she believed always had her best interests at heart.
Much closer to her father than she could ever be with her mum, Helena's life grew into a complex tapestry of feelings and experiences that defined her journey into womanhood, more so after her mother subdued and escaped the woods with her, taking her away from Jacob.
This complex story soon gained a notable layer of patriarchal subtext, especially in connection to the so-called place within a male-dominated society women are expected to occupy.
Her father in jail, Helena grew to become a mother herself. Her relationship with her daughter Marigold (played by Joey Carson) held subtle nuances that served as carryovers from Helena's own experiences when she used to live in the woods and hunt in the marshes with her father.
But the way Helena chose to bring her own child up was markedly different, hinting at the importance mothers have in the lives of their daughters. This tied in quite well with the possibility that her mother Beth had stayed purely to keep her safe and not because she was too afraid to leave Jacob and run.
Meanwhile, Helena's husband Stephen (played by Garrett Hedlund) proved to be understanding and patient in all the ways that mattered. But the marriage did have its ups and downs, owing in large part to Helena keeping all her childhood traumas a secret from him. This character provided an alternative look at men who are non-patriarchal and still capable of being real men.
Helena's seemingly mundane life was soon turned upside down, again, when her father broke out of a prisoner transport vehicle and sought her out. He held on to the all-controlling need to have a family again, even if it meant forcing his own daughter to obey and threatening to kidnap his granddaughter Marigold to make Helena compliant. Distinct social subtexts continued to enrich the plot in this manner.
All this was exceptionally portrayed in the movie. Though I haven't read the book (published, 2017) by Karen Dionne, I have a strong feeling the producers of this movie did right by it. "The Marsh King's Daughter" possessed a literary pace and flair that was certainly worth appreciating.
Helena's younger version, played by Brooklynn Prince, did great work in the movie. And so did Marigold (played by Joey Carson as Marigold). Despite their young ages, both girls gave noteworthy performances.
I especially liked how careful the musical score was. The sounds of Nature were melodic enough in some of the scenes and weren't disturbed, so to speak. This was an intriguingly clever, and risky, creative decision in a movie that didn't really have a whole lot going for it, except steady suspense and small bursts of action.
"The Marsh King's Daughter" was intense, multi-layered, and focused. It was an engaging take on the human condition, particularly patriarchy. It reiterated how the heart, as opposed to the mind, never forgets.