In the aftermath of a family tragedy, an aspiring author is torn between love for her childhood friend and the temptation of a mysterious outsider. Trying to escape the ghosts of her past, she is swept away to a house that breathes, bleeds - and remembers.
Edith Cushing's mother died when she was young but watches over her. Brought up in the Victorian Era she strives to be more than just a woman of marriageable age. She becomes enamored with Thomas Sharpe, a mysterious stranger. After a series of meetings and incidents she marries Thomas and comes to live with him and his sister, Lady Lucille Sharpe, far away from everything she has known. The naive girl soon comes to realize not everything is as it appears as ghosts of the past quite literally come out of the woodwork. This movie is more about mystery and suspense than gore. Written by
Jessica Chastain filmed simultaneously A Most Violent Year (2014), and had to fly back and forth to New York to play an American, in detail, a gangster's daughter in the 80s, while she is playing an early 20th century Victorian woman in Crimson Peak, a huge difference and versatility. See more »
The movie begins in the year 1901 (see Carter Cushing's checkbook date). A reference is made to an "autocar" - early reference to an automobile, picking up guests during the rain at Carter Cushing's home. A Ford Model-T, five-passenger touring car pulls up to the house, but the earliest Model T didn't appear until 1908, and it was marketed to the middle class. Automobiles in 1901 were barely more than the "horseless carriage" idea, with buggy-type bodies, wires wheels, and often only a front seat for two. Covered cars with second-row seats weren't readily available, and any vehicle would have been a very expensive, high-end car to function as a chauffeured vehicle for multiple riders in this upper class setting. A vehicle that would have been more appropriate would have been a Haynes-Apperson, Stearns, Locomobile, American, or Stanley, and those probably wouldn't have operated in such inclement weather. A horse-drawn, enclosed carriage would have been more appropriate for the chauffeured scene. One other street scene in New York shows a more appropriate car for the period, similar to the curved-dash Oldsmobile runabout type. See more »
Ghosts are real. This much I know. The first time I saw one I was 10 years old. It was my mother's. Black cholera had taken her. So Father ordered a closed casket, asked me not to look. There were to be no parting kisses. No goodbyes. No last words. That is, until the night she came back.
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The first half of the end credits reveals that Edith adapted her experience in the film into a book titled "Crimson Peak". See more »
Crimson is "of a rich deep red color inclining to purple". It's a color of passionate love, seduction, violence, danger, anger, and adventure - all of which are contained in Del Toro's latest film, Crimson Peak.
Guillermo del Toro is no stranger to adding detailed elements in a film to add depth, subtle or not. In Crimson Peak, his use of color and setting accompany the characters in a dark Gothic tale of love and deceit, with a sprinkle of suspense and gore that take the viewer on an enchanting experience.
Rich color tones stylize the film for a gritty and unique ambiance. Edith, the main heroine, lives in a world where everything is dull and dark. But her presence, however, is evident in subdued yellows, greens, and neutral colors as she stands out in the world she resides in. Her pale skin and light hair also attribute to the innocence that she attains.
The story itself takes the viewer down a dark path, following the love between two people from two different worlds. Del Toro was smart with the balance of action and build up. For just a brief time did the story feel slow, but it later facets to the build up of later scenes.
Although this film wasn't as thrilling as I tend to prefer, it did a beautiful job of telling a dark love story that held hints of violence, making it just as enjoyable.
I couldn't help but feel that Del Toro paid homage to some of the classics, such as The Cabinet of Dr. Caligari, Nosferatu, and even his own Pans Labyrinth and Mama with his use of transitions, shadows, symbolism, and sound.
If you're looking for a film that is romantic with a dredge of somber, makes you uncomfortable yet hopeful, leaves you heartbroken but still enamored - all while being visually breathtaking, then Crimson Peak should be at the top of your list.
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