[Review] The Last Thing Mary Saw
Director Edoardo Vitaletti’s debut feature film The Last Thing Mary Saw begins with Mary on trial for grave and suspicious crimes. She is told to recite the Lord’s Prayer at gunpoint—not that she could tell, as she is bandaged and bleeding from her eyes. Going into the past, the discovery of Mary and her maid Eleanor’s relationship throws the family into chaos and brings in the sinister-looking matriarch of the family.
The Last Thing Mary Saw will probably draw three audiences: horror fans, period-set lesbian fans, and those, like myself, who are both. The cast is suited for this, as there are many iconic horror actors such as Isabelle Fuhrman (Orphan) as Eleanor, Judith Roberts (Eraserhead) as The Matriarch, and Rory Culkin (Scream 4) as The Intruder. The titular role of Mary, played by Stephanie Scott, felt so familiar to me, but unable to place. While some may recognize her from Insidious: Chapter 3, it was her role in Hayley Kiyoko’s “Girls Like Girls” music video that I knew her from. The entire cast is highly capable—besides a more period fitting accent. The sets, lit by harsh natural sunlight or warm candlelight in darkness, had a quaint, chilling feeling.
Source: October Coast
In the realm of stories of sin within New England and Protestantism, The Last Thing Mary Saw takes a different theological approach. This is summed up by an opening quote by theologian John Calvin: “All events whatsoever are governed by the secret counsel of God.” The idea is further affirmed during Mary’s testimony, as she cites Lucifer’s creation and fall as “God (creating) enemies to perform his miracles.” The story is not a battle between God and the Devil, but the secret machinations of God and the humans that are ignorant of them. This theological perspective is unique among the other films that I have seen with similar settings and themes.
Source: October Coast
The handling of the lesbian romance is less inspiring. Although Fuhrman and Scott play their roles excellently, and there are many moments of tenderness and poignancy, problems arise from aspects of the story. The text from forbidden biblical stories introduces a kind of homophobia that is not present in the bible—many of the passages that are used nowadays to condemn gay relationships did not have that as its original context. This story is also not subverted by the narrative, but taken as prophecy. It is understandable that Mary and Eleanor would be punished for their actions, yet Eleanor’s punishment by the narrative is taken further into sexual violence on two separate occasions. The second occasion feels tacked on, as the character who is the aggressor is underdeveloped within the story, and, unlike the first instance, brings nothing to the plot. While that first instance influences the plot, was there no other way to affect the plot? It is not scary, but disappointing.
Rating: 3.5/5
