An ostracized fisherwoman commissions the local basketmaker to weave her a husband, but when her wicker creation proves unexpectedly extraordinary, his presence ignites jealousy and upheaval that threatens their quiet village.
Chuck says:
The Fisherwoman seems content. She lets the derisive comments aimed at her by the citizens of the 18th century European village where she lives roll off her back. At least, when she’s in public. However, at home, there’s a sense of solitude that’s becoming pervasive and threatening to overcome her. Drastic measures are necessary yet she doesn’t want to necessarily marry a man. Their faults are too numerous to even begin to count. A radical step must be taken, not simply to assuage her loneliness but to shut up those who deride her.
Based on the short story by Ursula Willis, Alex Huston Fischer and Eleanor Wilson’s “Wicker” takes a swipe at myriad social subjects. They succeed in creating a film that is at once a pointed satire as well as a passionate love story and a tale of feminism, all of it tinged with a bit of whimsical fantasy that progressively takes on a darker hue. Executed with a sense of wicked irony, the movie is amusing from start to finish, its themes never allowed to become so heavy that they rob the film of is charm.
Olivia Coleman is the Fisherwoman and her request of the local Basket Weaver (Peter Dinklage) is that he make her a husband out of wicker. Initially surprised by this order, he quickly agrees to the project and tells her to be at the local church in a month. True to his word, the weaver delivers and waiting for her on the appointed day is a tall, brawny, man made of sticks, ready and willing to satisfy her every need.
He winds up being better than expected as he not only pleases the Fisherwoman sexually but is courteous to her, anticipates her needs, is attentive to her feelings and manages to be very handy where household repairs are concerned. It all seems to be a bit too good to be true…
As is often the case, it’s other people who prove to be the problem. The couple’s passionate lovemaking is heard throughout the village, leaving other women curious. Yet, seeing the Wicker Man treat the Fisherwoman affectionately and with respect is a bridge too far. This not only makes the village women jealous but even worse, causes the men to resent their stick-laden counterpart’s presence. Realizing you can be replaced by a bundle of twigs is a bitter pill to swallow.
There’s a sense of dark whimsy to Fischer and Wilson’s approach that allows their themes to take hold in a slyly effective manner, though some might see their approach as too extreme. Marriage is presented as institutionalized slavery, the women adorned with a collar during the ceremony, their obedience to their husband, understood. Seeing that the partnership can be more than one of mere servitude is a revelation to them, their subsequent acts of revolution both in the bedroom and in public a welcome shock to their doltish husbands.
The altering of their thinking occurs in a more subtle way, as the Wicker Man’s unassuming, naïve demeanor unexpectedly disarms them. Pointing out that his happiness derives from making his wife happy is a revelation to them, radically altering their perception of love. Their attempts to change their behavior proves humorous as well as tragic.
As the story progresses, the Wicker Man is not the only thing the Basket Weaver creates and if the film has a fault, his motivations and thinking are sorely underdeveloped. While he shares some initial thoughts on the consequences of his actions when each request is made, his reaction to all that ensues each time he conjures up a new stick being is lacking. Perhaps Fischer and Wilson didn’t want the story to go down the “Frankenstein” rabbit hole this would have taken it, but failing to develop the character and his motivations more seems like a missed opportunity.
Still and all, “Wicker” is a delightful piece of work, a Grimm’s Fairy tale piece of satire that goes down easy as it skewers the social conventions it puts in its crosshairs. What with a lush production design, strong performances throughout and an ending that is shocking but appropriate, it’s eccentric examination of human nature and desires manages to resonate far more effectively than a more heavy-handed production would have.
3 1/2 Stars
