‘The Ugly Stepsister’ Review: Stylish Norwegian Debut Takes ‘Cinderella’ for a Body-Horror Spin

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Everyone is familiar with the tale of Cinderella: A young woman, bound by duty to an unkind stepmother, receives aid from mystical powers. With the assistance of a fairy, some enchanted forest creatures, and a transformed pumpkin carriage, as depicted by the Brothers Grimm, Perrault, and Disney, Cinderella captures the heart of a prince and lives blissfully forever. However, one might wonder about her cruel stepsisters, the tormentors we assume were due for retribution. After all, don’t they also have their own story?

In the film titled “The Ugly Stepsister“, director Emilie Blichfeldt reimagines the traditional tale of the “ugly” sisters as a chilling exploration of the pursuit of beauty. As you may remember from the Brothers Grimm story, one of the stepsisters resorts to a gruesome act by cutting off parts of her toes in an attempt to fit into the magical slipper. Blichfeldt delves deeper into this macabre setting and examines other methods a young woman might resort to in order to gain acceptance. Following the success of Coralie Fargeat’s horror film, “The Substance“, about beauty and the body, it is expected that “The Ugly Stepsister” will attract viewers when it is released on Shudder this year.

Blichfedlt’s artistic pursuit – with hyper-pop dominating the soundscape – and a dedicated portrayal by Les Myren as the main character, Cinderella’s stepsister, bring energy to a movie that occasionally gets bogged down by its more slapstick moments. Modern life, from Ozempic to facial sculpting procedures like buccal fat removal, illustrates how beauty can be a merciless and violent industry. Businesses exploit vulnerabilities, peddling remedies for fabricated issues. When The Ugly Stepsister repeats these familiar themes through visual jokes or overt dialogue, the impact can feel unoriginal.

However, when Blichfedlt delves into specifics – exploring the dynamics between the stepmother and her daughters, or portraying the prince’s ball as a political affair – the movie discovers fresh perspectives to modernize the classic story.

In my own words, I’d say: As a smitten admirer, I find myself immersed in the captivating world of “The Ugly Stepsister.” The tale begins with a whimsical dream – a dream where I, Elvira (Myren), an unassuming and insightful young lady, envision myself as the princess gracing the arm of Prince Julian, the most sought-after bachelor in our realm. He’s recently released a book of poems, filled with self-indulgent verses about love and passion, which I find myself lost in during my leisure moments.

Elvira’s longing undergoes a significant shift as her family’s situation alters drastically. Her mother, Rebekka (played by Ane Dahl Torp), remarries and Elvira, along with her sister Alma (Flo Fagerli), acquire a new sibling named Agnes (Thea Sofie Loch Naess). Agnes embodies everything Elvira aspires to be: she is blonde, blue-eyed, and appears refined. Initially, the sisters get along well, but after their father, Otto (Ralph Carlsoon), passes away, Agnes becomes vulnerable to grief’s capriciousness. Rebekka also transforms; it is revealed that Otto had no financial resources. This revelation causes the bank to seize the family’s assets, leaving them in a state of poverty.

When word gets out that Prince Julian is seeking a bride, Rebecca perceives a chance to alleviate her financial troubles. She focuses her efforts on Elvira, aiming to make her irresistible. Scenes artfully staged by Blichfedlt depict Elvira undergoing plastic surgery and dieting, symbolizing the saying linking beauty with suffering. These instances of success serve to further emphasize Blichfedlt’s grisly portrayals of body horror, reflecting Elvira’s increasing desperation to be beautiful. Myren delivers a captivating performance by subtly presenting this quest as a haunting experience. Over time, Elvira, who was once plump and sincere, metamorphoses into a hollowed-out version of her former self.

Blichfedlt adds depth to other characters as well, by delving into their underlying reasons. Rebekka, now a widow for the second time, is faced with an unfavorable predicament – merely trying to make it through life. Her obsession with ensuring her daughters are perceived as attractive becomes her sole means of safeguarding their futures. Thorp’s portrayal (notably in a pivotal scene with her youngest daughter toward the end of the film) shows an understated vulnerability that subtly expresses the stepmother’s profound feeling of insecurity.

Agnes, often unfairly treated like Cinderella by her stepfamily, yearns for the Prince’s affection, not just out of love, but as a means to escape her difficult life. Unfortunately, her storyline can become confusing at times due to an excess of unresolved subplots. Alma, the stepsister who despises being manipulated by her mother, also finds herself trapped in a complex web of unnecessary plotlines.

(Note: This version maintains the original’s focus on the characters’ motivations and struggles with storyline complexity.)

In its most potent form, “The Ugly Stepsister” offers fresh perspectives on a well-known theme. Blichfeldt’s interpretation of this classic tale is particularly striking when viewed through a lens. The cinematography by DP Marcel Zyskind creates a sense of confinement, while Mahon Rasmussen’s elaborate costumes and the moody set designs by Sabine Hviid and Klaudia Klimka-Bartczak add depth to this world. Furthermore, the unconventional music choices contribute significantly to Blichfeldt’s portrayal of a realm that underscores the grotesque aspects of beauty.

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2025-01-25 20:25