Well, I continue not to be a fan of director Guillermo del Toro.
And I say this with a great deal of respect, because visually, del Toro’s films are genuinely impressive. Trouble is, I just don’t like many of them, mostly because where he excels with the visual aspects of film, he struggles with the storytelling.
NIGHTMARE ALLEY (2021), del Toro’s latest, released in cinemas back in December and now available on HBO Max, falls into this same category. Visually, the movie is a real treat. The story which takes place in the late 1930s and early 1940s, with the first half set inside a travelling carnival, is beautifully shot, and the imagery is mesmerizing. The mix of vibrant and shadowy colors, the use of snow, blood, and carnival lights all add up to inspired cinematography. Del Toro’s imagery here is reminiscent of the works of Tim Burton.
But the story is far less inspired and ultimately fall short.
NIGHTMARE ALLEY is a remake of the classic NIGHTMARE ALLEY (1947) which starred Tyrone Power. It tells the story of Stanton Carlisle (Bradley Cooper), who when the film opens is seen burning a corpse and an entire house with it, and he then leaves in silence and eventually finds work at a carnival. He befriends Zeena the Seer (Toni Collette) and Pete (David Strathairn) who once had a very successful mentalist act, during Pete’s younger days. Stanton learns the tricks of the trade and finds that he has a real talent for the mentalist act. He runs off with the young and lovely Molly Cahill (Rooney Mara) to start a life of their own, where they take their mentalist act on the road and begin to do exceedingly well.
Until they cross paths with Dr. Lilith Ritter (Cate Blanchett) who puts them in touch with some powerful clients who are looking for individual help as they try to contact their dead loved ones. This is a line Stanton has been taught not to cross, that once someone wants deep personal help, it’s best to let them know it’s all an act, so they don’t get hurt, but the money these people will pay him is too much for him to ignore, and so he embarks on the dangerous path of conning some very powerful people into believing that he is indeed communicating with their deceased relatives.
In addition to its fabulous visuals, NIGHTMARE ALLEY is also blessed with an exceptional cast. Bradley Cooper is excellent as he always is, and he’s in nearly every frame of this movie. He takes Stanton Carlisle from mysterious stranger to eager carnival hand, to a successful mentalist at the top of his game to finally when he takes things too far, to a tragic figure, and he is convincing in all of these stages. While not as impressive as his work in A STAR IS BORN (2018) or AMERICAN SNIPER (2014) it’s still pretty good stuff and a solid reminder of how far Cooper has come from his days in THE HANGOVER movies, a comedy trilogy in which he was also excellent.
Rooney Mara is sincere as Molly Cahill, and is the one constant positive force in Stanton’s life, while Cate Blanchett makes Dr. Lilith Ritter a shady film noir femme fatale. Blanchett is fine here, but I enjoyed her more as the powerful TV host in DON’T LOOK UP (2021).
The stellar cast also includes Willem Dafoe as carnival head Clem Hoatley, Toni Collette, Ron Perlman, Richard Jenkins, Mary Steenburgen, David Strathairn, and Holt McCallany.
The screenplay by del Toro and Kim Morgan, based on the novel by Lindsay Gresham, works up to a point. I thoroughly enjoyed the set-up, the stranger with the mysterious background who joins the carnival to finally fit in somewhere, but as the plot progresses, and Stanton grows more confident and takes his act on the road to hit it big, the intrigue dies down, mostly because none of the characters are fleshed out enough to make their contributions to the story worthwhile. And Stanton becomes a one trick pony after a while. Plus, the film is very, very long, clocking in at two hours and thirty minutes, and it feels like it. Shave off thirty minutes, and the movie probably works better.
As I said, visually the film is outstanding, and so del Toro fares better as a director here. There are some brilliantly conceived almost mesmerizing scenes, featuring merry go rounds, ferris wheels, and buildings with cold, labrynth-like hallways. There’s also plenty of blood and violence. And with its talented cast it has the makings of a winner, but sometimes these elements are not enough, and that’s the case here with NIGHTMARE ALLEY. The story falls flat long before the end credits roll.
I feel the same way even about some of del Toro’s celebrated hits, films like the Oscar-winning THE SHAPE OF WATER (2017), CRIMSON PEAK (2015), and even PAN’S LABRYNTH (2006). All of these films have winning visual styles, and all labored to tell a decent story. My favorite of del Toro’s films remains his HELLBOY movies.
If you are a fan of Guillermo del Toro, you will no doubt enjoy NIGHTMARE ALLEY much more than I did. But the rest of us, while we may be wowed by its vibrant onscreen artistry, will find sitting through two hours and thirty minutes of labored storytelling an arduous task at best.
At the end of the day, NIGHTMARE ALLEY isn’t much of a nightmare. It’s not even much of a bad dream. It’s just an alley, a very long alley with lots of offshoots that ultimately lead to nowhere.