Tuesday, June 16, 2015

Crimson Peak Trailer & News

Jessica Chastain in Crimson Peak. You might notice, in the trailer, the very different and contrasting styles of dress that Jessica Chastain's character Lady Lucille Sharpe wears and those of Edith Cushing: Lady Lucille wears high collars and appears to wear darker colors that are textured (such as velvet). We know that the neck symbolizes what guides or leads us in life, like a leash we wear; when a character wears high collars, such as the one we see in this image, it's a sign that one, they don't want to be led by something/become loyal to something/someone, or two, that they are attached to something but they are keeping it a secret. Additionally, Lady Lucille has "leaves" around her neck, suggesting that she acts "natural" (the leaves from nature) about things that aren't natural (please remember that we saw leaf tattoos on the person of  Ma-Ma [Lena Heady] in Dredd, and it's possible that this might be a link between those two characters since both of them are women who are in control).  We know that Miss Chastain doesn't have a cleft chin, but she appears to have one in this image; why? The old saying, "Take it on the chin," means not to retaliate against something that has been done to you that you don't like; in this case, it appears that Lady Lucille has taken something on the chin, but it has scarred her and left the "cleft." On the other hand, characters who are good, like Superman, who is usually depicted with a cleft chin, are shown as "being able to take it." if someone wrongs them, they don't retaliate; I doubt we will see that with Lady Lucille. We also know that Miss Chastain has red hair, and it's been colored brown for this role. Hair symbolizes thoughts, so the darker hair probably means "darker thoughts," and she appears to keep it pulled back, indicating that she disciplines her thoughts, or doesn't think or question certain things. Like the name "Lucy," "Lucille" comes from the Latin word for "light," so we should probably be alert to how Lucille doesn't let in light, or even puts out light. On a different note, Miss Chastain has been cast as Marilyn Monroe in the upcoming biography Blonde
They are making Maleficent 2. But there is this good news: The Kingsman the Secret Service, which grossed an incredible $400 million, is getting a sequel, and Colin Firth is rumored to be returning; how? Knowing that Valentine (Samuel L Jackson) was probably going to try and kill him, I'm confident Firth's character took precautions,... to be disclosed. Oh, I don't really even care, just as long as he's back! Pitch Perfect 3 has confirmed both Rebel Wilson and Anna Kendrick for a July 2017 release, and there is a new trailer (and plenty of new images) for Crimson Peak with Tom Hiddelston, and I am very much looking forward to this!
Mia Waskikowska portrays Edith Cushing, a young, promising writer who turns away from her childhood interest (Dr. Alan McMichael, Charlie Hunnam) when she is intrigued by the mysterious outsider, Sir Thomas Sharpe (Hiddleston). Trying to escape her own ghosts, she becomes ensnared with the ghosts of the house that breathes, bleeds and remembers. Just from what we have seen so far, this is loaded with psychoanalysis, and I can hardly wait for the film itself.  In the opening scene, when we see the house and the street lamp, that's rather an echo of the (arguably) most famous horror film of all time, The Exorcist (see below).
Why is this such a creepy poster? Because light and darkness have been reversed. The place where we know the evil is, Reagan's room, has the light coming out of it; the place where evil doesn't exist, there is darkness. Why, if this is a correct correlation, would the film makers want to associate Crimson Peak with The Exorcist? Well, it is a horror film, and The Exorcist is--by most standards--still the scariest movie ever made. There might be some other reference to the film that we won't know until we see Crimson Peak, however, both films are obviously largely based on psychoanalysis and that could be the main binding thread. The house in the opening scene appears to be the house where Young Edith grew up, so she's probably about the same age, generally speaking, as Reagan in The Exorcist, the age of puberty. 
In the next scene, when young Edith (not Mia) is in bed, and the black ghost comes creeping out and up to her, beds symbolize coffins/death, because we sleep in a bed the way we will eternally sleep in a coffin in the state of death; so it's rather fitting that "beings" of death are coming to her in her bed; since this is from her childhood, is this a portentous  sign of her later sexual life with Lord Sharpe? There is another interesting feature to this brief scene, did you catch it?
Note that this room is mostly green, so either there is hope for Edith in life, or there is something that has become rotten. Young Edith is in bed and this black "ghost" (since we don't know more about it at this point) comes and puts its "hand" on her shoulder/upper-arm; why? Hands can symbolize strength (but that is usually arms), our word (because when we give our word, we shake hands on it, as a sign that we are going to keep our word) or a deed that we do (because, being human, we can do things animals cannot because of our hands). If this scene is a omen of things to come in Edith's life, then it's going to effect her shoulders, which symbolize our burdens, what we have to carry (our cross in life, if you will). The hand is black, and as we know, black symbolizes death, either death to the spirit, or death to the world. Edith, wearing the white gown, and being so young in this image, is probably not dead to innocence, faith and purity, so this black ghost is probably a sign that she is dead to the world and worldly affairs, but alive to the realities of the world that is not seen, as she mentions in the trailer about having seen ghosts all her life; the black bows beneath the billowing shoulders of the gown, but juxtaposed against the grim hand of the shadow behind her, suggests that at this youthful age, Edith has an idea of what death is and that it's nice and peaceful, but she is going to learn that death can be terrible and gruesome (this discussion is continued below). 
The window.
At 0:05, as young Edith looks down the hallway, there is a grandfather clock at the end of the room (clocks symbolize history, sometimes the future, and sometimes eternity) and light and shadows on the floor, so there is a window there and we know that windows symbolize reflection/meditation. So either young Edith has all ready been "reflecting" and that has summoned the ghost (possibly a materialization of her inner-self/thoughts) or, again, this is something that she fears will happen in the future. How can we deduce this?
Her hair.
The design of this night gown is quite impressive, as it could be taken for either a kind of old-fashioned wedding gown (and we certainly saw several "wedding gowns" in Annabelle)  or a funeral shroud (death clothes). As we began our discussion above, arms symbolize strength, and the tight fabric around the arms suggests that Edith doesn't show off, she doesn't let just anyone know how tough and strong she is, she is disciplined about who she trusts and who she allows to come and know the real her; this appears to be validated in the trailer when Lucille tells Edith she had no idea she was "about" such things as ghosts. The excess, billowing fabric around her shoulders in her outfits (but not all of them) suggests that of her burden that she has carried with her since childhood (when she wears the similar white night gown with these sleeves); gone, however, are the sweet little black bows. Please note as well that Edith's long, wavy hair is parted down the middle: Edith tends to think in terms of polarities, good and evil, living and dead, rich and poor, pure and in-pure. She draws a line and has a standard of conduct, organizing events, thoughts, morality and people into one category or another. This is probably going to be a driving motivation for Edith to try and discover what is or is not going on in the house, because she needs to know. 
Unlike the darker, pulled back hair of her sister-in-law, Lady Lucille (Chastain), Edith has light colored hair that is long and flowing. In the opening scene of the trailer, Young Edith has her hair down and that suggests that she has given free reign to her thoughts (her hair) to do what they will and it is perhaps this wandering mind of hers (she is a writer, remember) has conjured this black ghost which foreshadows her own future.
This image linking the black ghost to Lucille playing the piano is probably going to be one of the key images and moments in the film. "Playing" something can also be translated as "playing someone" and taking someone for a fool or using and manipulating them. It appears that Lucille plays the piano on the same night she and Edith meet, so it will be fabulous to see how this is all tied in together.
Probably the most fascinating character will prove to be the house itself, which leads us to a important dichotomy: even thought Lord and Lady Sharpe appear wealthy and aristocratic, the house is obviously in poor condition, and either they are lousy homeowners, or they are cash poor, which the barrenness around the house seems to suggest.
What about Thomas Sharpe?
The name "Thomas"means "twin," and so it's likely that he is "two-faced," or he acts one way with Edith, and another way with his sister Lucille.
They certainly look like vampires, don't they? I think they are going to prove to be socialist figures, and Edith is a Millennial symbol who is getting to know the "ghosts of the past," like the Holocaust, the Vietnam War, the Korean War, and all the crimes against humanity committed in the name of socialism in the Soviet Union. Because a house symbolizes the soul, but socialists don't believe in the soul (and those black glasses they wear in this image) suggests they don't believe/have a soul, I think the impoverished aristocrats will prove to be menacing in numerous aspects.  
Eat Your Art Out,
The Fine Art Diner
Something behind his back, eh?