Millie Bobby Brown shines in this simple but fun take on the classic tale
In an industry where it can be easy to equate complexity with higher quality, Damsel preaches the opposite. It takes the commonest of tales, a fable from time immemorial, and offers a modern, feminist outlook. Led by a fantastic Millie Bobby Brown, this film has its shortcomings but it ultimately brings back the joy of the simple story.
The movie is a medieval fantasy, revolving around the life of Elodie, a princess whose kingdom is in dire need of money and food.
When a marriage proposal arrives, Elodie’s family readily accept it and Elodie too accepts her fate. But once the wedding ceremony is over, she realises the queen and prince have only lured her to be food for an ancient creature haunting the country — a fire-breathing dragon. Thrown into the depths of a mountain, Elodie must learn how to protect herself and find a way out before she’s burned to a crisp.
This is pretty much the start of many a fairytale but the movie differentiates itself by not including a heroic prince. Indeed, the prince here is of the more despicable kind and Elodie becomes her own saviour. It’s not particularly deep. The characters are one-note and more like caricatures, while the dialogues are clichéd. The locations aren’t vibrant but not particularly memorable.
The film’s brand of feminism stops at a white woman standing up to another white woman who has become entrenched in the system. A few seconds are devoted to talking about women of colour, thanks to Angela Basset who is underutilized in a sidelined role as Elodie’s stepmother.
But even if its messaging is uncomplicated, it’s clear — it’s about Elodie, who goes from believing she owes her life to others to standing on her own two feet, putting herself and her beliefs first. It’s about the lies women are told and the truths they must seek out. It’s about sisterhood, as Elodie is guided by the signs left by previous victims and even finds an unlikely ally towards the end of the movie. It’s about women helping women. And for that, Damsel must get its due.
As a dark fantasy, Damsel definitely leans towards the latter than the former descriptor. But there are several moments when director Juan Carlos Fresnadillo’s use of horror and dread stands out.
The few jump scares — light though they are — are impeccably timed and well executed. Hans Zimmer’s music makes a gentle accompaniment but surprisingly doesn’t call attention to itself. Larry Fong’s cinematography is evocative. It ties into the simple elegance of the story — the dragon’s mountain’s shadow literally falls over the palace but later, in a more significant visual, Elodie and the dragon’s silhouettes overlap.
Brown practically carries the entire film on her back. Even if there isn’t much depth given to Elodie’s character, Brown gives her strength and determination which is a delight to watch. It’s incredibly satisfying to watch Elodie’s anger bloom. As predictable as this overturned fable may be, you do feel like cheering when Elodie inevitably picks up a sword.
Another of the film’s biggest highlights is Shohreh Aghdashloo, who doesn’t even physically show up on screen. Rather, it’s her voice as the formidable dragon that steals every scene the antagonist is found in.
The actress adds a smooth but menacing rumble to the dragon’s voice, befitting a creature with fire in its throat. For most of the first half, we don’t even see the dragon. Only a silhouette, shrouded in the dark. It is Aghdashloo’s voice that portrays the creature’s taunts, her rage, and her grief, infusing the dragon with life.
So, does the dragon look like the Hungarian Horntail from Harry Potter and the Goblet of Fire? Does Elodie’s outfit go from a ball gown to a tube dress? Is the film’s justice as simple as a melting crown and a burning palace? Yes. Is it still fun to watch Brown play an angry, sword-wielding princess? Absolutely.
Read More: Damsel Ending Explained
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Verdict - 8/10
8/10