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NIGHTMARE ALLEY offers a one-way ticket to self-destruction

Written by Guillermo del Toro and Kim Morgan (screenplay), William Lindsay Gresham (novel)
Directed by Guillermo del Toro
Starring Bradley Cooper, Cate Blanchett, Toni Collette, Richard Jenkins and Rooney Mara
Running Time 2 hours and 30 minutes
MPAA Rating R for some sexual content, nudity, language, strong/bloody violence
In theaters December 17

by Rosalie Kicks, Old Sport & Editor in Chief

“I fixed it…”

When a movie opens with a good old fashioned body disposal, fire, and a celebration afterwards at a traveling carnival, I know I am watching the right film.

Guillermo del Toro’s Nightmare Alley is the second adaptation of the William Lindsay Gresham 1946 novel. For those familiar with the Edmund Goulding picture of the same name, I probably don’t need to explain my feelings of hesitation going into del Toro’s rendition. The 1947 version, starring Tyrone Power, was considered a box-office flop but regaled today as being one of the best noirs put to film, and rightfully so. Having seen Goulding’s film countless times, I struggled with how anyone could possibly make the film better. However, after watching the story from del Toro and Kim Morgan unfold, I quickly realized they did not make a superior film, instead they made something completely different. They gave an old story a new existence.

“Take a look at yourself sinner…”

Stanton Carlisle (Bradley Cooper) is first introduced ridding himself of a corpse. It is unclear how the cadaver met their demise but regardless, it is safe to say, Stanton had something to do with it. The only logical place to start anew is the carnival. When he first saunters under the big top, it’s to take in some sights (not for the faint of heart I might add). It is not too soon after that he finds himself lending a hand. Carny barker/owner Clem Hoatley (Willem Dafoe) takes advantage of the much needed help from Stan and does not hesitate in any way to deduct the cost of the show he took in from his first pay.

Stanton is the kind of chap that, at first glance, gives off this “bring home to meet ma and pa” aura. It only takes a few scratches to the surface, though, to realize that this guy is filled to the brim with schemes, sleaze, and sins. When Tyrone Power took the role of Stan Carlisle in the 1947 picture, he was attempting to prove to Hollywood that he was more than just a romantic lead. Sadly, audiences saw it as his most detestable role. Whereas for him, it was his most beloved. I have a feeling that for Bradley this story may ring true as well. I have flipped back and forth in terms of my feelings about Coop’s acting abilities. He slightly won me over with his directorial debut and starring role in A Star is Born, but hastily was knocked down a couple of pegs after his Licorice Pizza cameo–that was NO. By the end of Nightmare Alley I was not only convinced Bradley was right for this role… he was made for it.

“Everyone has someone they hated…”

The first act of the film finds Stanton acclimating to his new life. He befriends a duo, Zeena (Toni Collette) and Pete (David Strathairn) who regale him in tales of when they made it big as a mentalist act playing the swankiest of swank clubs and hotels. Unfortunately, Pete’s life took a turn to the bottle and now they find themselves on the carny circuit where they perform a watered down version of their former show. Pete shares with Stan that he developed a “code” that he and Zeena used when they previously performed. He shares the detailed instructional book with Stanton and it may be only for a moment, but Stan has found his calling.

Without a doubt, in terms of production design, costuming and overall mood (that can be credited to the delectable score from Nathan Johnson), del Toro is a master. For me, Guillermo is the definition of a filmmaker. He delivers cinematic magic that one can only describe as a motion picture. A picture that deserves your fullest attention and respect and should be seen on the largest silver screen possible. My struggle with a story such as this, though, is that I want to spend extensive time with each and every character. All of them are so damn interesting. Zeena and Pete’s plot-line left me wanting more, and as much as I understand they were not the focus, part of me wishes they could have been. With that said, that is not to say that Stanton’s journey is not interesting… in fact it is quite thrilling.

After Pete’s code book falls into Stanton’s hands through some questionable means, he leaves the carny life behind and takes a gal pal, Molly Cahill (Rooney Mara) with him. Stan had his eye on Molly for quite some time, but to say it was due to love I think would be foolish. It is more that he saw her as a piece to a larger puzzle. Stanton knew she would be the perfect asset for the act. Together the two perform at the finest of the fine clubs and hotels in town as a mentalist show. Everything is going smoothly until Stanton has a run-in with Dr. Lilith Ritter (Cate Blanchett). During one of the performances, Dr. Ritter attempts to unmask Stanton for what he truly is - a charlatan. Instead she finds herself skewered by his parlor tricks and becomes quite intrigued with the great Stanton.

“I’m always on…”

The two strike up a business arrangement of sorts. Being that she is a psychiatrist for the high society types, she will provide him with information about her clients, information that he can utilize to present himself as a spiritual medium. Stanton, in turn, promises to share information about his life with Dr. Ritter and allow her to analyze him. Blanchett gives an astounding performance (which is to be expected… she is one of the best living actors of today and possibly a vampire) as Dr. Ritter, my only comment is I think del Toro really missed an opportunity by not having her don the suit like Helen Walker. I present you with exhibit A:

Everything seems peachy keen until Stanton digs a hole so deep that he can’t get himself out with Ezra Grindle (Richard Jenkins), one of the richest blokes in town. This version of Grindle’s tale was absolutely haunting and makes Stanton’s demise even more deserved. It can’t be understated how wonderful the performances given by Richard Jenkins and Holt McCallany, as Anderson his burly muscle, are. Holt truly comes off as someone meant to be in noir pictures and I am convinced he time traveled from the 1930s to grace us with his presence.

This picture may seem like a slow burn for some, but I could not disagree more. Throughout the entire run time, one witnesses Stanton undeniably on a path to destroy his life. Of course, at the heart of that destruction is money. Stanton’s desire for riches is an insatiable hunger that can’t be filled. He becomes so blind that he is unable to see everything that is already right in front him., such as Molly, his health, and somewhat honest con racket. The story del Toro and Morgan tell, shows the break down of a human being and the debts that are owed when one chooses greed. There is quite a bit of foreshadowing done through out the film, which may come off as heavy-handed, but I feel in the end it only adds to the film’s bleakness. Stanton goes from a person that never takes a drink to a person that can’t quench their thirst enough to hide his pain. And in the end, he has no one to blame but himself.

Much like the original film, the infamous hanged man tarot card makes an appearance when Zeena drops by Stan’s hotel room for a visit with some carny pals at the behest of Molly. Stanton turns the card around and simply remarks, “I fixed it.” It was in the cards though, there was no other way for his story to end but at the bottom… where he started. Legend has it that in 1947 the studio insisted on a more uplifting ending despite protests from Tyrone Power. Well, I believe Tyrone would have been happy with this version’s ending.