The Beguiled (1971)

If you want proof of big studios modern risk-aversion versus the almost wild west approach during its new Hollywood phase, the two film versions of Thomas P. Cullinan's novel The Beguiled are a perfect example. On the one hand, the upcoming Sofia Coppola version is an independent production that's been making the rounds at film-festivals, and has been branded using the story's female angle and its star Nicole Kidman. On the other hand, the previous version featured Clint Eastwood fresh off of Dirty Harry looking to branch out with a sultry drama produced and directed by Don Siegel. This sounds like a potential disaster and fascinating film to review...

Eastwood stars as John McBurney, a wounded Union soldier searching for shelter from the Confederates. Thankfully, John stumbles upon Miss Martha Farnsworth Seminary for Young Ladies, an all girls school with a kind headmistress. While John's primary concern is discovery by Confederate soldiers, it quickly becomes clear that the school's inhabitants may present a greater danger.

It's very easy to see why the original Beguiled didn't vibe with American audiences, even though critics liked it. In it's era, a story like this would be told one of two ways. The first is a straight up thriller with a lot of close-calls and near discoveries of John, ending with a big chase or set-piece. The second is to make this a lurid, almost trashy thriller. Lots of nudity, sex, all with an air of danger.

Instead the movie is all about competing tensions amongst the school's inhabitants for John's affections. Considering its era you could easily see this becoming a sitcom-like scenario with John pushing away each woman in an increasingly desperate advance. The twist is that John is portrayed less like a victim, but a willing participant in the mind games and consistent flirtations that follow. Combine this with John's physically hampered nature, he's gravely wounded and could easily be dispatched, and you've got a perfect storm of intrigue and danger to burst through the walls of repressed sexuality at the school.

The movie is about sexuality and the dangers of both denying its power and how fear, jealousy, and
repression can create a nasty cocktail for everyone involved, especially if someone tries to use it to their advantage. Apparently this movie played really well in France, if that tells you anything.

Clint Eastwood is admittedly playing against type, and is far more recognizable being a tough guy than an object of desire, but he does a pretty good job at portraying a Civil War Don Juan. He's flirty and seductive when he needs to be, but also says enough sweet nothings to make everything, including the story of how he got there, sound suspicious. This lack of consistency is a bit maddening after a spell. At first it seems like McBurney is simply trying to survive and using his wiles to ensure the women will hide and protect him. But as the film progresses this becomes less of a priority and he still dives headfirst into romantic endeavors. Is the film trying to say he, like the women, can't help himself? It's really hard to say.

Likewise, the lack of development for the female characters didn't work for me. I understand that they're attempting to use stock types, (i.e. the lonely repressed spinster, the vivacious and vengeful young one etc.) but because we don't know anything else about them it feels like a very negative and stereotypical view of how a group of women would operate.

While conceptually intriguing the 1971 version of The Beguiled is probably more interesting as a cultural artifact than entertainment nowadays, but for Clint Eastwood completionists and movie buffs it's certain intriguing. If nothing else I'm curious how a female-centric angle to the material will look.