The Flaw In The Adaptation: Our Review of ‘The Lure’

Posted in Movies, Theatrical by - March 16, 2017
The Flaw In The Adaptation: Our Review of ‘The Lure’

As we all know, The Lure is reminiscent of the beloved children’s classic The Little Mermaid. But I asked myself what on God’s green earth or sea was this? That doesn’t mean I had a bad reaction to the film. I look at this flawed gem with wonder. Horror musicals come once every three years, but does it come like this? With equal measure of whimsy and sexuality? Does it gives us the best cover of I Feel Love that can rouse the most cynical of critics? That is one of the film’s gifts. Another is that it introduces us to a world that doesn’t spoon feed us its rules.

Here are, however, a few. Director Agnieszka Smoczyńska’s and screenwriter Robert Bolesto gives us not just one mermaid but two. Gold (Michalina Olszańska) and Silver (Marta Mazurek) emerge from the water. They find a singer (Kinga Preis), her husband, and her bass player (Jakub Gierszal). Gold and Silver start as hangers on. They hide in the singer’s dressing room only for a nightclub owner (Zygmunt Malanowicz) to discover them. The owner hires them at the nightclub to as singers and strippers. No, this is not the best scenario for girls who are clearly underage.

There’s this Flashdance feel to the club. To an environment exposing these girls to ideas that we won’t allow to our girls here. There’s a frankness to this. It’s an exaggeration of the Hans Christian Andersen tale and Western society’s expectations on females. This perspective allows us to see the gravity in all of this. But the genre trappings can’t hide this as a story about problematic assimilation. One girl wants to fit in, the other doesn’t. Just like the beloved fairy tale, it doesn’t help Silver falls in love with the bassist. This is a development that Gold doesn’t like seeing.

It’s nice to finally come across a film that uses many genres of music that concentrate on catchy melodies. Mazurek and Olszańska also competently act as opposites. They’re wonderful while taking turns as the dysfunctional one. It’s no surprise that they said yes to such a project. Yet it’s more difficult to elevate this movie if when the non-musical numbers feel like unnecessary filler. It all leads to an ending that we know is coming because of the source material. But is still one with an impact. I’m willing to forgive most flaws for that.

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While Paolo Kagaoan is not taking long walks in shrubbed areas, he occasionally watch movies and write about them. His credentials are as follows: he has a double major in English and Art History. This means that, for example, he will gush at the art direction in the Amityville house and will want to live there, which is a terrible idea because that house has ghosts. Follow him @paolokagaoan on Instagram but not while you're working.