The Beguiled (2017) – Review

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Unlike many other people who’ve also seen the original film directed by Don Siegel I’m not going to spend so much of the review drawing comparisons between said film and this new version as told by Sofia Coppola considering how they’re telling the same story with completely different intentions behind them. It’s easy to admire how Sofia Coppola drastically changes the pace of her own works so that she can set herself out to be a harder filmmaker to pinpoint stylistically, but this isn’t the first time she’s made a period piece – although there’s a certain playfulness that can be detected from her own experiments that allows her to remain distinctive. And although I haven’t consistently loved her work (Lost in Translation still remains the pinnacle of her own directorial efforts to myself), it was easy enough for me to recognize she’s a talented filmmaker to keep my eyes peeled for.

 

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The Beguiled – Review

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In the same year where Don Siegel and Clint Eastwood have formed a name for themselves through the iconic Dirty Harry comes something of a much slower, more melodramatic pace in The Beguiled. But unlike their usual pairing this wasn’t an action film, just a slow-moving wartime drama. If anything had come out from watching what it was that The Beguiled had presented though, it comes from how this transition had proved more on behalf of Clint Eastwood’s end as an actor given as he would already have been made a more recognizable name from the fact he was made a star from western films or action films. In The Beguiled, a more refined side to him is shown and the results from this rather unexpected Seigel-Eastwood collaboration are at the very least, extremely pleasing. Maybe in some extent it’s from the point of view I’m less interested in, but nevertheless it was nice to see another side to Clint Eastwood here.

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