The Zellner Brothers, David and Nathan, beneficiaries of
somewhat of a cult following based on their quirky, earlier films, especially Kumiko, the Treasure Hunter (2014), have
a new feature coming out called Damsel, starring Robert Pattinson
and Mia Wasikowska. Damsel was written and directed by David and Nathan, both of
whom appear in the movie, with David in a prominent role. A relatively small
film, it’s been playing the festival circuit (Sundance, Berlin, SXSW, etc.) trying
to generate some buzz.
The film’s website (trying to present
this in the best possible light) describes the film as “A loving reinvention of
the Western genre from the Zellner Brothers [that] showcases their trademark
unpredictability, off-kilter sense of humor and unique brand of humanism.” The official plot summary goes like this:
The
age of the Wild West, circa 1870. An affluent pioneer, Samuel Alabaster (Robert
Pattinson) ventures deep into the American wilderness to reunite with and marry
the love of his life, Penelope (Mia Wasikowska). For his journey he brings Butterscotch,
a miniature horse intended as a wedding present for his bride, and enlists
drunkard Parson Henry (David Zellner) to conduct the ceremony. As they traverse
the lawless frontier, their once simple journey grows treacherous, and the lines
between hero, villain and damsel are blurred. 
Since I first saw Disney’s 1942 classic Bambi as a kid, I’ve tried to adhere to Thumper’s advice that “If
you can’t say somethin’ nice, don’t say nothin’ at all.” So let me start out by
saying that the cinematography in Damsel by Adam Stone [Mud (2012), Loving (2016)] is quite lovely, as is the period perfect art
direction and set design. As the story unfolds, there are also a few witty
sight gags – such as a random buck wagon driving by with numerous (unexplained)
enbedded Injun arrows protruding here and there - and other visual and verbal
non sequiturs that may bring a smile. The funniest is simply the sight of the
tiny Butterscotch amongst all of the “real” Western horses. This sort of thing
is cute, but not nearly cute enough, nor funny enough to sustain a full length
comedy – or a comedy/drama, as it is being called.
Other than that, Damsel is a boring, self-indulgent
mess, weighed down by an inordinately slow pace generally; endless, unduly long takes; sparse, halting, often meaningless conversations punctuated by long awkward silences – conversations which neither reveal character nor move the story along much; and pretty danged dull acting. The dialogue is intentionally anachronistic in style and substance, as if juxtaposing a twenty-first century point of view into a nineteenth century Westerner is novel and/or automatically funny. Mel Brooks (whose Blazing Saddles
(1984) was both) would be first to tell the Zellner brothers that anachronism is
only funny if the jokes are funny. Which they are not in Damsel.
If you are a Zellners fan you may want to check out Damsel;
but consider yourself warned. Otherwise, give this one a miss.
One hour 53 minutes. Rated
R (a little graphic violence, mildly raw language, a bit of sexual material,
and brief graphic nudity)
Grade: C-
In limited release.
Opens 6/22/2018 in NYC and LA; 6/29 at select theaters in SF Bay Area and Southern
California, Texas and other a few cities around the USA; then rolling release
in other cities over the succeeding six weeks.
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