Pearl is a candy-coated piece of rotten fruit. The film, which is director Ti West’s prequel to this year’s X, trades in the desaturated look and 1970s seediness of its parent film for a lurid, Douglas Sirk-inspired aesthetic that seems, at first, to exist incongruently with its story of intense violence and horror.
Pearl begins in 1918, a year when many American men are still fighting the war overseas while those who are stateside have been left to grapple with the horror of the Spanish Flu. It’s a time that is capable of making anyone go a little mad, which is why it’s the worst — or perfect, depending on how you view it — environment for a young Pearl to grow up in.
Pearl’s descent into full-blown madness is juxtaposed quite effectively against the film’s bright Technicolor look. The resulting effect is one that makes Pearl seem, at times, like a horror film directed by French filmmaker Jacques Demy. The film’s sets are covered in bright pastel colors in a way that even calls to mind a film like The Umbrellas of Cherbourg, which still looks as if it had been designed to look as sweet and delectable as possible.
After opening with a delightfully macabre prologue, Pearl takes its time getting to the kind of violence and horror its story inherently promises. The film is a slow burn in a way that X very much wasn’t, which makes it far less superficially fun and rewatchable than West’s previous horror effort. Its second act, and especially the pace at which Pearl’s relationship with her mother develops, also drags in certain moments, which occasionally dulls the film’s overwhelming sense of unease.
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