Originally published on Set The Tape
Guillermo del Toro is one of those filmmakers whose work has a very specific flavour to it. Quite often when you sit down and start watching one of his films you’re able to tell it’s his even if you didn’t see the credit on screen, thanks to the visual flair that seems to seep into all of his work.
Sometimes it’s not as strong as others, with things like the first Hellboy film or the television show The Strain being much more grounded and realistic in its tone (mostly). But even then the world of the fantastical manages to bleed through. However, there are some films, like Pan’s Labyrinth, or the second Hellboy, that are such dark and twisted fairy-tale-like creations that even looking at a single frame tells you it’s del Toro’s work. Crimson Peak is one of these kinds of movies; a film that’s so utterly del Toro that no other director could have made it quite like this.
Perhaps one of his more divisive works, Crimson Peak seems to have people either loving it or feeling indifferent or even fed up. Even I will admit, despite my love for del Toro’s work, Crimson Peak is perhaps one of my least favourite of his pieces – or at least it was when I first watched it. Thanks to the passage of time, sitting down to watch the new Arrow Video UHD release has somewhat changed my outlook on the movie, and made me re-evaluate my first impression of it.
Crimson Peak tells the story of a young novelist named Edith (Mia Wasikowska), the daughter of a wealthy businessman, who falls in love with the dashing baronet Thomas Sharpe (Tom Hiddleston). Thomas wants Edith’s father to invest in a machine that would allow him to revitalise his family’s ageing clay mine. However, Edith’s father refuses to assist him. When some strange facts about Thomas and his sister, Lucille (Jessica Chastain) come to light, Edith’s father forces him to leave, breaking Edith’s heart. However, when her father is murdered, Edith and Thomas reconcile, and marry. Travelling to England, Edith moves into the huge mansion where Thomas and his sister live, and finds herself caught up in a world of conspiracy, murder, and ghosts.
Crimson Peak is, in one word, Gothic. Perhaps one of the finest examples of the classic Gothic horror that’s been put onto screen in the last twenty years, the film ignores many of the more modern horror tropes and isn’t afraid to do its own thing. Apart from the early acts of the movie, which are set in the US, the rest of the film is confined to the grand halls and elegant rooms of the Sharpe estate, where Edith is trapped in her strange marriage. Because of this, the environment becomes a character in itself, and a huge amount of care and craft has been given over into making the mansion one of the more interesting and bizarre locations in a del Toro film. Those familiar with the Gothic horror genre will know that isolation is a key component, and thus viewers are treated to multiple scenes of Edith searching through the rooms of the mansion, alone.
Perhaps this is one of the factors as to why the film has been somewhat mixed in its reception, with those who are fans of horror with jump scares and gore feeling somewhat disappointed with the slower, more thoughtful approach that Crimson Peak takes. And whilst it doesn’t rely on things suddenly bursting from the shadows or loud musical jumps to frighten the audience it doesn’t mean that it is devoid of horror. The ever increasing sense of foreboding and the twisted, bizarrely beautiful environment gets under the skin and makes the viewer uncomfortable throughout. And of course, there are ghosts aplenty to be found too; brought to life with shocking suit work and clever performances from the del Toro mainstay Doug Jones.
The new 4K release offers a stunning visual presentation of the movie, and really showcases the wonderful level of production design that went into it, allowing the best look at the intricate sets and costumes we’ve had to date. The film also comes with a full length audio commentary from del Toro, who (as anyone who’s listened to any of his commentaries before will know) offers a great companion piece to the film, giving listeners insight into all of the various stages of production. Accompanying this is a feature length documentary, several interviews, deleted scenes, video essays, and behind the scenes featurettes, including a set tour with star Tom Hiddleston. Accompanying the Limited Edition is a double sided poster, postcards, and an 80-page hardbound book featuring writing about the film, production design art, and interviews that makes this a key release for fans of the film.
Having come back to this film for the first time in almost a decade, and with a greater understanding of and appreciation for Gothic horror, Crimson Peak has become one of my favourite examples in modern cinema. With so many newer horror films going for the biggest jump scares, the wildest plots, and blending elements like action and comedy into the mix, Crimson Peak very much feels like a love letter to the cinema of old, and to authors like Edgar Allan Poe.
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