Is It All In Your Mind? The Yellow Wallpaper (2011)

Greetings horror lovers!
Today I will be reviewing the 2011 film The Yellow Wallpaper.
It is the first feature length film of director Logan Thomas, who has been told to have an experimental style, and this is definitely present in his horror film.

 If the title sounds familiar to you, it is because the film is based off a short story by Charlotte Perkins Gilman about a woman going through postpartum psychosis. I don’t usually like to compare movies to their written roots because they are two different medias, and adaptations are allowed to have their own interpretations; that is the beauty of art.

However, there are some that come out absolutely atrocious. For example, the 2012 remake of The Woman in Black.  That movie is just… awful.  The Yellow Wallpaper is a whole new telling of Ms. Gilman’s story, but I believe it does it well, and it stands alone as its own independent version of the story.

 It turns out the film was written in part by Aric Cushing, who is also the protagonist in the film. He plays John Weiland, a doctor who is moving into a new home with his wife and her sister after a ravaging fire takes their home and their young daughter, Sarah.

 John’s wife, Charlotte (played by Juliete Landau, who co-starred in Ed Wood), has been struggling with her composure and her sanity ever since the fire. Her and John have become distant because she silently blames herself and her husband for their daughter’s death, for they were becoming “intimate” at the time the fire broke out.

 Charlotte’s sister, Jennie Gilman, is portrayed by the FABULOUS Dale Dickey, seen in Winter’s Bone and Super 8. Jennie is along to provide support for Charlotte and help her through this tragedy. She is strong and kind but “over-exaggerates”, as John believes.

The film is set simply in America, 1892, and is foreboding from the start. The house that the family is carriage-bound for was told to them by a man named Mr. Hendricks, who wrote to them once he heard of the devastating fire. He seems like a nice enough guy, but Jennie gets the feeling that there are things being left unsaid.

 Overcome with grief, they are struggling to adapt to life in the house. “We lived as if in a dream, from which we could not awaken,” John says in his solemn voice. The locals are strange and prying; the whole town is a mystery. There are strange noises in the woods, an infestation of rats, and whenever anyone tries to travel into town, they end up lost in a dusty wasteland.

Charlotte is troubled by apparitions of her daughter, and often retreats into the attic, a small room covered in bright yellow wallpaper. The house becomes stranger and stranger the longer they inhabit it; they are plagued by vanishing intruders and unexplainable noises. Things become too much for Jennie, who decides to leave the house for some time.

 As they are left alone, John and Charlotte cease to be bothered by the entities and begin to rebuild their relationship. Their days are filled with the quiet love that they have not felt since they lost their daughter, and Charlotte insists that they remain in the house, for she can feel Sarah’s presence surrounding it.

 Jennie returns, but not alone; she brings along an old friend and psychic by the name of Catherine (Veronica Cartwright, most notably seen in The Birds!), whom John and Charlotte reluctantly accept her into their house.

This is where the film takes it’s spiraling turn, which I must leave for you to interpret for yourself. Let me just tell you that the rest is pretty flipping crazy, and I want you all to see this movie so we can talk about it and I can perhaps fully understand the events that take place.

 The first thing I noticed about this movie was its splendid dramatic score, which was done by the director himself. It carries throughout the whole movie and never gives you a moment to rest and collect your sanity. I was also impressed by the script, which Thomas and Cushing created entirely themselves since the story has very little dialogue to work with.

 If you noticed the connection between the character names and the author’s name, it is because Gilman’s story was semi-autobiographical, and all the names in the film are the names used in the short story. However, Gilman struggled through madness after the birth of her child, rather than the death of it as the film’s Charlotte does.

 Overall, I was pretty pleased with the film. It wasn’t what I was expected having been familiar with the written story, but I enjoyed the story they created through inspiration of Gilman’s piece. The experimental quality was refreshing, as I prefer to not have my plots handed to me on a silver platter, and the cinematography was a mixture of soft, dusty light and lovely shadows.

 The genre is definitely horror, but it is hard to say if it is a ghost story or something much stranger. Whatever it may be, it is certainly a fresh perspective on old tropes, and it is a film that will keep you on the edge of your seat, and on the brink of insanity.

 “Through watching so much at night, when it changes so, I have finally found out. The front pattern does move -- and no wonder! The woman behind shakes it!” –Charlotte Perkins Gilman

 *Review by MR

The Yellow Wallpaper: The Horror In Our Own Minds

What do you see?

Recently I checked out a new trailer (see below) for an upcoming film called The Yellow Wallpaper, which looks entirely intriguing and creepy.  This set me off on a quest to find the source material, a short story by Charlotte Perkins Gilman. Easily purchased on my Kindle for ZERO dollars (please do note that tons of classic novels and short stories are F...R...double E! on Kindle), I finished it in around twenty minutes. 

Written in 1892, it is a stark foray into mental illness.  The movie trailer makes it out to be a horror story, and in fact it does have elements of terror in it, but it's mostly due to the frightening realism with which Gilman portrays her main character's descent into madness.  Back in the 19th century and well into the 20th, women who had any kind of anxiety or depression were thought to be not only a nuisance, but a problem to tuck away and ignore. In particular what is now readily recognized and diagnosed as post-partum depression.

The Yellow Wallpaper tells the story of an unnamed woman who with her physician husband John, rents a house in the country for the summer to recuperate from what he calls a 'nervous condition'.  In fact, it is hinted that there is a baby in the picture, so it's safe to assume she is indeed going through post-partum depression.  Instead of simply acknowledging the problem, John feels it is best for his wife to do absolutely nothing but rest.  He drags her to said house and stuffs her in an attic room, with nothing to stimulate her except the patterns in the wallpaper.

If it sounds cruel, it is.  But unintentionally.  Back in those times it was standard procedure to prescribe bed rest and complete so-called relaxation to ward off those nervous troubles. John even goes as far as to lock her in the room so she can't have any access to the rest of the house. He works out of the house a lot, leaving her alone, so he fears her wandering and keeps her stowed away for her own safety. She has also been told she is not allowed to write (apparently her previous profession or hobby) so she hides her journal from him and writes when she is confined to the room with no interruptions.  Unfortunately as I mentioned, she has no stimulation of any kind, and while at first finds the faded yellow wallpaper ugly and strange, as time goes by she begins to see shapes and patterns.  Eventually she has decided there is a woman hiding behind the paper waiting for someone to help release her. The ease with which this happens is probably the most terrifying element of the story.  It's not like suddenly she's off her rocker...it's a gradual decline that you almost don't see coming.

The story is told in first person and moves quickly even as it seems nothing is truly happening.  The woman's inner voices convince her there is something at work in the paper - behind the paper - and just when you think she is getting better or that the summer will end and her husband will move her out of that house...she descends even further into madness. 

I was entirely impressed with the story and can't wait to see what they do with it on film.  That being said, books always have their own degree of unattainable palpable fear.  It's your mind at work, formulating the story in your head and planting pictures to go along with it.  I'm always glad to have read the source material before seeing a film, if for no other reason than to have the story unspoiled.  In most cases the book is usually far superior to the movie, but I'm always hopeful.   Rarely does a short story grab me like this one did. I'm more of a full-length novel girl in reality.

The poor woman in The Yellow Wallpaper might have been able to have been saved had her husband's ridiculous methods been ignored and she just have been allowed out of the house to walk the gardens regularly and travel to see family members she talked about. Mental illness has been largely ignored on all counts, writing it off and sliding it under the rug.  Horror films oft display it in a negative manner, making the knife-wielding maniac bat-shit crazy. It's really a shame, and does it a terrible disservice.  The book is written with what I would call a feminist angle, making it quite obvious that is it basically John's fault that she isn't any better and that perhaps a little more caring and a lot more acceptance she might have gotten through her breakdown with a bit more ease and dignity.  Calling her "hysterical" and "nervous" when in fact she is sad and despondent is an injustice.  Thankfully times have changed as far as treating mental illness, but it's safe to say the stigma remains. 

Even though the story was written in 1892, it wears the years well and translates to become effective at any period in time.  Hopefully the film will be able to wrap its head around the real root of the story, the woman's subtle slide into psychosis, and not just try to freak us out with jump scares and filler.  I do know they add a bit of back story to it, which I will reserve judgement on until I see the movie.  The last film I can recall that handles mental illness/depression well was the largely ignored (except in certain horror-loving circles) Let's Scare Jessica To Death.  Maybe we can add The Yellow Wallpaper to its ranks. I'm hoping.
For now, check out the trailer.