Wicker – Film Review
by Brian Merriman

Directed by Alex Huston Fischer and Eleanor Wilson
Written by Ursula Wills, Alex Huston Fischer and Eleanor Wilson
Starring: Olivia Colman, Alexander Skarsgard, Peter Dinkler, Elizabeth Debicki, Eleanor Bruccoleri, Richard E Grant,
Cinematographer: Lol Crawley
Production Designer: Renato Cseh
Art Director: Hedvig Kiraly, Adel Lengyel
Set Decorator: Ester Sebok
Costume Design: Tóth András Dániel, Godena-Juhász Attila
Visual Effects Editor: Aden Beaver

I am a fan of Olivia Colman and admire how she has never allowed herself to be stuck in one genre or to be typecast. She always appears to consider the role rather than the size of it. From playing Oscar-winning Royalty (The Favourite, 2018), comedy and contemporary women, to her cameo in the TV series Heartstopper, when she was in high demand across the globe, she has long shaken off any attempt to stereotype her. So, I was a little curious about the subject matter of this movie, but knowing her ability to assess a screenplay and to take on a producer role (as here), I remained open-minded. I was not disappointed.

Wicker is an adult tale that could easily be tweaked for a younger generation. It is a fable (lovely word) in four parts and takes place in a mythical, magical village where people are called by their trade. Hence, Colman shines as the Fisherwoman. Unkempt, a certain age, she exists on the harsher fringes of a market village. Always on the periphery of marriage celebrations, which have some very unique and raunchy marital rituals, she appears bored by the prospect of sharing her life with anyone.

The settings, locations, animations and properties are wonderful, with terrific detail and invention that tipped towards that darker interpretation of fairy tales required by an adult audience. The creative team equalled the invention of similar imaginary worlds like Harry Potter and Lord of the Rings, etc in bringing Ursula Wills’ original story to the screen.

There is a stellar cast, with very strongly cast cameo roles including Eleanor Bruccoleri (The Other Bennet Sister) and a wide variation of accents and eloquence. Peter Dinkler shines as the Basketmaker. He is a stalwart of the local economy, and rises to the challenge when the lonely fisherwoman approaches him to weave her a husband. The Basketmaker weaves a very manly frame occupied by Alexander Skarsgard, and suddenly a woman ridiculed becomes a woman envied.  The animus is led by the Tailor’s wife, a cutting Elizabeth Debicki. The fable takes a darker twist as gossip and insecurity grip the central characters and true love spins in a deathly downward spiral.

There are witty lines and moral messages throughout the storybook presentation that make the 105 minutes fly by. Alex Huston Fischer and Eleanor Wilson writing and direction are hugely impressive, as this surprise package entrances and entertains. You leave in no doubt as to Colman’s judgement as a producer and actor. This is yet another quality performance in an enchanting tale that is well worth viewing.