The Wasp
According to an old saying, revenge is a dish best served cold, and in this movie, ‘The Wasp’ it looks like the revenge has been put in a freezer for the past 15 years. This revenge is so cold that it’s disguised as something else. This film wants to make you believe it is a certain kind of ‘s’, while in reality the target is not what one has in mind. It is said that the script is impeccable and ‘a tightly woven web of deceit’.
Working within a play written by Morgan Lloyd Malcolm, who also worked on the screenplay, “The Wasp” is firmly rooted within its stage adaption. The action is “opened up” but only slightly. There are only two main figures in the story, and almost all the action could be said to occur over a single setting. The film is divided between two pivotal scenes which takes a lot from the two actors. There are extremes to be played in the character arcs. Naomie Harris and Natalie Dormer have pleasing voices and they engage in dramatic encounters, one at a time or sometimes even together. All actors’ lives are quite factual to the script, but also it’s quite factual to the director, Guillem Morales, who subjects himself broadly to the narrow confines that encourages the many dimensions to expand, both forward and downward so that characters can live in space. It’s like someone took a breather. The trailer spoils nothing important. What occurs goes against expectations albeit that when the people involved start revealing details, it will all sound plausible but absolutely repugnant.
Heather (Harris) lives together with her husband, a Thomas (Dominic Allburn) in some lovely town house, but because her husband always visits her so rare and even if he does such a terrible temper. He goes a lot from evening and explains nothing. Heather smells something fishy.
A fertility app on her cell phone reminds her that her marriage is over since it is dead. It adds insult to injury as she is already tense because there are wasps in the kitchen, and their constant hum makes her agitated. Somewhere, she is confident, there’s a hive. There is only one solution to the problem and she is bold enough to try it and more. Heather recollects the time she was a child and was quite disturbed when her friend Carla pelted a wounded pigeon with stones and killed it. Without much thought, Heather never spoke to Carla again over the years, but it does not take a genius to figure that any person who could have done that, could efficiently kill her husband too. She contacts Carla Dormer, now in her fourth pregnancy, worked in a supermarket and was poor. They haven’t spoken since elementary school.
Carla would rather not be bothered, but Heather dangles money in front of her. Heather looks weak, timid, and almost scared, perhaps from hardened pragmatism, which happens to be the nature of Carla. For Carla, the situation is a catastrophe and with great disdain, she perceives Heather as yet another unfortunate female, who is spoiled by her lifestyle and has completely lost touch with reality. Carla scoffs at the very thought and idea of her helping her husband with breaking a nail. To this end, in the dramatic moments, she speaks rather matter of factly. One of them goes. I wish this man died but every other aspect of my life should be untouched. Who is this lady? Carla is the boss. Carla has big a belly, a puffy jacket, and stalks Heather with such ferocity that the latter has to scamper to stay aligned. Apparently, Heather looks very fit and focuses on clothing details, while Carla appears to be less formal, and yet the heart of the matter is very understandable to all.
Heather turning to Carla says, “We are so different.” Looking at Heather, Carla seems to be taken back as she asks, “Are we?”
Along with the wasps their presence felt somewhat forced in the beginning, or at least too on the nose. The first scene of the film centers around Heather’s ‘wasp’ obsession, and the premise had been overstated (furthered by images of grotesque spiders that filled the walls of Heather’s hallway). These portraits hang above the battle that is taking place in the other room, which reminds us about the current situation they are trying to help Simon into a trap. They wish that they will not fish themselves. Heather explains to Simon the structure of her scheme, Carla, however, breaks it apart. All this is colored by class. There is a subtext that is Heather’s pleasing attitude towards Carla, the assumption being, of course, it is working-class Carla who would have such an idea. She should “respect her expertise”. It is condescendence from both to each other. When the second significant scene’s action starts, there is a shift in the tone and the symbols change as well. All of a sudden the wasps and the spiders begin to have much greater meaning which slowly gets revealed one after the other.
The symbols are complex to cling on but the fact that the symbols are still used in the plot as an active force was quite astonishing, not to mention how they evolved. Even though the script is quite good, the flick is all about Harris and Dormer’s performances. Harris, who was nominated for an Oscar for her heart-wrenching role in the picture ‘Moonlight’ displayed great subtlety. Her version of Heather is strung tight too, her reflexive civility masking utter disarray. There are times when she regards Carla and her efforts to be reassuring and her guidance counselor demeanor exhibit such things that barely sounds right, such as saying that she needs to be locked up in a lunatic asylum. But Heather has something to hide, and it is the one that hides in plain sight. Is there any sort of control over how these sequences will be displayed? Such performances do require considerable control. Equal to Harris in this scene is Dormer who, with all the contempt, though confusion and impatience too, bounces back at Harris.
This is why I come to learn that accompanied Harris together with Dormer creating this event is a thrill to watch when going to the movies. So, anything in that sophisticated, horrendous apartment could occur. And it does.
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