Review: The Beguiled

The American Civil War is coming to a close, and wounded Union soldier John McBurney (Clint Eastwood) is reluctantly taken in by the residents of a nearby girls’ school, headed by the repressed and distrustful Miss Martha Farnsworth (Geraldine Page, as a woman who has a rather kinky past seen in lightly suggestive flashes throughout). They nurse him back to health, but this school is full of repressed and/or horny women and girls, and McBurney’s the only one with a penis around. For his part, McBurney (who lies about his role in the war among other things) starts to take advantage of being the only stud in the building as his wounds start to heal. He has fun lying to and manipulating the girls, thinking nothing of it since he’ll soon be healed and free to alleviate himself of their company. However, McBurney’s behaviour soon breeds jealousy within the women and girls as they vie for McBurney’s affections increasingly indiscreetly. McBurney might just wish he hadn’t been saved in the first place as these women prove to be just as treacherous in their own way as he himself is. Who’s gonna come out on top here? Elizabeth Hartman plays Edwina, Miss Farnworth’s fragile number two, whose virginal naivete McBurney manipulates the most.

 

I remember thinking this offbeat 1971 Southern Gothic melodrama from director Don Siegel (“Invasion of the Body Snatchers”, “Two Mules for Sister Sara”, “Dirty Harry”) was fairly amusing when I first saw it years ago. Watching it again in 2021 having been a bit disappointed by Sofia Coppola’s relatively recent remake (which was too pretty-looking and more “Picnic at Hanging Rock”), I have to say I like this one even more now. Perhaps I was truly ready for it this time.

 

Scripted by Irene Kamp (the slightly underrated “Paris Blues”) and Albert Maltz (“Destination Tokyo”, “Two Mules for Sister Sara”) from a Thomas Cullinan novel, I actually think one and all are playing this with a bit of a knowing wink. It’s not a comedy, but Siegel and Eastwood know exactly what they’re doing, especially in the way they use the screen image of Eastwood. It’s genuinely funny how Eastwood schmoozes and lies to these women, as he thinks he’s real smooth and they’re poor little ladies. Yeah, they’re a bit more than meets the eye buddy, and you have no idea what you’re in for. In fact, you might’ve had a better time for it with crazy Jessica Walter in “Play Misty for Me”. In both films he gets kinda cocky and careless, and forgets that saying about a woman scorned. Silly Clint, you’re probably gonna have to pay for that. The slight difference between those two films is that Eastwood’s manly screen image is used a bit more self-deprecatingly here, hell you’re probably not even meant to particularly like the manipulative and selfish McBurney. As much as I liked Colin Farrell in the Coppola version just fine (along with a well-cast Kirsten Dunst he was one of the few plusses), this really does work best with Eastwood in the lead.

 

There may be some feminists who feel the film is sexist or even misogynistic, but I think Eastwood and Siegel are too clever for that. It may not be a comedy but they’re being a bit sly and cheeky here nonetheless. At least at first while the tone is somewhat light, the film gets darker as it moves along. It’s far from a subtle film, but I like how the creepy elements kinda slowly sneak into the film without being too showy. Siegel’s in no hurry, and the measured approach works. Camera and angles provided by the great Bruce Surtees (“Conquest of the Planet of the Apes”, “Dirty Harry”, “Play Misty for Me”) are key, becoming more of a presence as the film moves along. Surtees also gets a lot out of the Baton Rouge antebellum scenery for the exteriors. I do love me some Southern Gothic flavour and scenery I must say.

 

In addition to Eastwood, the cast includes strong work by Geraldine Page and the troubled Elizabeth Hartman, friends and colleagues who both sadly died within days of each other in 1987. Hartman, a fragile but talented actress (she was outstanding in “A Patch of Blue”) is particularly effective casting. It’s a shame that mental illness and suicide cut her career (and life) far too short. As for Page, she makes for more convincing casting as a horny spinster than Nicole Kidman in the remake. I don’t know if there’s any flaws here as such, but in 2021 Clint’s interactions with some of the younger female characters here do feel a bit ‘yuck’ to say the least. You might find some of that a touch awkward.

 

One of the strangest films in the careers of both Don Siegel and Clint Eastwood, and also one of the best films Eastwood made in the 70s. This is an amusing and well-made Southern Gothic psychological melodrama made with a bit of a knowing wink (A Southern Gothic “Black Narcissus”, perhaps?). Good-looking camp from people who know exactly what they’re doing. Call it a Clint Eastwood film for people who don’t necessarily like Clint Eastwood films.

 

Rating: B