London Film Festival – Review: Lizzie (2018)

The story of Lizzie Borden and the axe murders she was accused of, have fascinated people for over 100 years, and there are still theories being put forward.  This new take on the tale, starring Chloë Sevigny as Lizzie, and Kristen Stewart as her maid, Bridget Sullivan, has a slightly different angle than other recent versions.

As its basis, this uses the theory proposed by Ed McBain in his 1984 novel of the same name, which suggests the negative reaction by her parents to an intimate relationship between Lizzie and Bridget may have been one of the catalysts for the killings.  This shifts the tone of the story into new territory, introducing a victim/revenge motivation.  It’s an interesting notion and makes things more nuanced than a simple murder plot could have been.

At the start we learn that Lizzie and Emma (Kim Dickens – Gone Girl, Sons of Anarchy, House of Cards), two sisters, live with their father, Andrew (Jamie Sheridan – Sully, Spotlight, Homeland), and stepmother Abby (Fiona Shaw – Harry Potter, Colette).  The house is strictly run and Andrew is overly concerned with his reputation within the town, and perceived moral standing.  Lizzie rebels against this and is less concerned with what the townsfolk think of her; she’s quite happy to go to the theatre unaccompanied for instance.  This environment has left her relatively isolated and lacking in friends.  When Andrew and Abby hire a new maid, who they insist on calling ‘Maggie’, Lizzie begins a friendship with her, much to Andrew’s annoyance.

Generally, this is quite a claustrophobic piece, with very little happening outside of the family house or buildings, which lends it the air of a Dogme 95 production.  This works well for the film, as it imbues the tone with the oppressive intention of Andrew over the household.  No one wants to cross him, even Abby, his wife, who keeps quiet despite the knowledge of his own transgressions.

This is where the central speculation resides in this film, as director Craig William Macneill (The Boy, Channel Zero) and writer Bryce Kass have depicted Lizzie’s father Andrew as a homophobic rapist, who as well as being opposed to any relationship between Lizzie and Bridget, was also assaulting Bridget.  Under this umbrella of oppression, the tension builds up, until it explodes, as you know it has to.

Cinematographer Noah Greenberg has shot this extremely well, keeping it plain and unfussy, while also tight and personal, adding to the growing tension.  The whole film has that air, that there is an irrepressible steamroller that you know is going to come to a head at some stage, and explode this enclosed world.

Sevigny and Stewart are fantastic in the lead roles, especially Sevigny, from the portrayal of the wilfully rebellious and quip making Lizzie, through her frustrations, and finally to the calculated, business like Lizzie who commits the murders.

There are some weak points about the film though, as we never learn enough about Emma, or Lizzie’s relationship with her and the rest of the family.  There are also some points which could have been expanded and examined a bit further, but it is possible that the narrative wouldn’t have been as effective with those tangents.

Largely though, this is an intriguing look at a possible explanation of the legendary murders, and another potential insight into a killers motivations that has had people guessing for a long time.  Yes, there are missed opportunities, but the main performances draw you into this cold world and leave you rewarded.