Salvando almas

This is one of those movies where a couple of critics overdo their reviews and all the others feel they have to do the same or they will look dumb. So it gets overhyped. What happens here is a perfectly decent movie gets so hyped you are always going to be disappointed because it cannot possibly live up to that hyped reviewers drivel. Its a smart, clever movie that takes a while to get going, has a lot of padding and is not in any way a real horror film. It most certainly isnt "the scariest film of the decade" or whever that nonsense said. The lead is very good as is almost all the cast - pointless as some of them were. I liked the ending, thoiugh it was a little predictable. As an exploration of religious fervour in the wrong mind and the damage that can do, it certainly succeeds but if you are expecting the exorcist or anything like it, you will be disappointed. This is yet another example of critics trying to show how clever they are and at the same time, causing the movie to disappoint movie goers who, had they ignored those critics would probably have said, yeah, that was pretty good that - which is pretty much all it is. Scarborough is gorgeous as always though. if you've nebver been you should, quintessential English holiday spot.

Because it's more than that. It's also a study of loneliness (of both main characters) and obsession. It does have its shock moments, not least when in becomes clear that Maud is not the clear-cut character you thought she was.

As I left the cinema, I quoted Dave Allen to myself: "I'm an atheist, thank God."

....but almost worth the wait. But the one thing this isn't is a horror film, its a psychological thriller at best. Well worth a watch but I'd hardly call it a masterpiece.

There are essentially two ways to read 'Saint Maud (2019)', though its final half-second pretty much tells you exactly which reading is preferred - intended, even - by its writer/director, and it constantly keeps you flittering back and forth between these readings until its final few frames (literally). A film focusing on a deeply religious character is always going to be controversial, even if it doesn't depict her doing fanatical and dangerous things, but I don't think that the picture is condemning religion itself. In fact, I don't think it's 'about' religion at all. Instead, it's about loneliness. Maud is a deeply flawed protagonist, spiralling further and further into her own personal delusions as she exhibits increasingly harmful behaviour. However, it's typically easy to empathise with her, without condoning her actions. The movie starts off more or less as a straight drama, seeing our lead take on a new position as an at-home nurse for an ex-dancer with late-stage leukaemia. There are levels of enigmatic dread running through this segment of the film, mainly thanks to the director's willingness to slow things down and gnaw away at the audience, but things don't really slip into proper horror territory until around halfway through. Even then, the horror is mostly subtle. There are some elements of wince-inducing body-horror but most of the scary stuff is psychological. It becomes increasingly clear just how entrenched we are within Maud's perspective, as we begin to get glimpses of the way she sees the world, and it's never clear what's actually 'real'. This keeps you on your toes until the thing reaches its somewhat surprising yet simultaneously inevitable conclusion. For the most part, the affair walks the line between supernatural and psychological with poise. There are only a couple of moments in which it wobbles, with one sequence in particular feeling as though it crosses that line a little, but they aren't all that bothersome once you've cemented your final reading of the narrative (which, again, will either be confirmed or entirely upended by the last half-second). It's a really interesting, engaging and effective experience overall. It's also achingly well-made, with some phenomenal cinematography and brilliantly low-key performances. It's distinct, it's disturbing and it sticks with you. 8/10.

My problem with Saint Maud is I was expecting a horror movie and this isn't. Maud is a character study of a young nurse (Morfydd Clark) in emotional turmoil. Saint Maud sets a dour mood. It favors symbolism over hard core action. I'm not saying it's a bad movie. I didn't find enough to hold on to. Details about Maud, the person, are sparse and come too late in the movie. By then I had lost interest.

Maud is a hospice nurse for Amanda (Jennifer Ehle), a former dancer suffering from terminal cancer. She holds to her devout faith with slavish piousness. She left her previous nursing job abruptly, we aren't sure why. She sees things no one else sees that border on the paranormal. She comes to believe she has been sent to save Amanda's soul. Why? I didn't understand why Maud was obsessed with Amanda. The two women didn't really connect and had little in common.

The character of Amanda is excellent, by the way. She was full of contradictions, capable of great tenderness and terrible cruelty. When she is on screen I wanted to know more about her but the focus remains squarely on Maud.

Clark's performance as Maud is empathetic but a bit one note. She too often has a deer in the headlights gaze and seems out of step with the world around her. If that is the intent, Clark did her job well. I wasn't able to connect with the character. She experiences one ominous happening after another, but the action doesn't build to a focused point. I felt like I was drifting at sea watching Maud. She is clearly a young woman full of doubt and conflict. Yet, I wasn't getting to know the real her.

The strange events happening may be real or may all be in the mind of one disturbed individual. We are never given enough concrete evidence to decide. Perhaps that's the point but after a while I felt like I was running on a treadmill. It takes until the last few scenes to move the narrative forward. These scenes are genuinely scary, disturbing and moving. Sadly, the payoff comes too late, in my opinion.