‘Went Up the Hill’ Review: Vicky Krieps and Dacre Montgomery Are Dazzling in a Poetic Ghost Story

As someone who’s been a lifelong connoisseur of both ghost stories and unique cinematic experiences, I must say that “Went Up the Hill” is a truly haunting masterpiece that defies genre norms while delving deep into the human psyche. The atmospheric setting, understated performances by Vicky Krieps and Dacre Montgomery, and Samuel Van Grinsven’s poetic direction create an emotional symphony that resonates long after the credits roll.

In “Went Up the Hill,” Vicky Krieps and Dacre Montgomery portray an intriguingly tormented couple. The movie, directed by Samuel Van Grinsven, is a ghost story that subtly deviates from conventional horror elements. Instead, it cleverly employs the ghost as a tool to delve into themes of grief, desertion, and the tumultuous emotional legacy left behind by a woman even before her death.

The scene unfolds in a hauntingly secluded region of New Zealand. A man named Jack (Montgomery) attends a vigil for Elizabeth, who took her own life. The vigil takes place within Elizabeth’s grand, uninviting house, where sunlight streams through the windows but the coldness in the air is palpable and indomitable. Jack believes that Elizabeth’s widow, Jill (Krieps), has extended the invitation for him to be there. Although their names echo the well-known nursery rhyme characters, Jack and Jill, don’t let that deceive you; the movie’s mood is far from playful. The whimsical title, derived from Mother Goose, suggests that appearances can be deceiving in this story, as the extraordinary plays a significant role.

Jill never contacted Jack before, was oblivious to his existence despite being Elizabeth’s son, yet she extends an invitation for him to stay. One night, it seems as if in a dream, they both find out that Elizabeth can switch control between them, speaking through them as if possessed. In a surprising turn of events, Van Grinsven avoids the usual spooky vibe. Jack feels unsettled while Jill experiences a mix of shock and happiness at hearing from Elizabeth again. However, they nonchalantly acknowledge this ability, viewing it as Elizabeth channeling her presence rather than taking over their physical voices. There’s nothing eerie about Elizabeth’s voice; Krieps and Montgomery retain their unique tones even with the spirit using their words.

Both performers exhibit a subtle yet impactful delivery. Krieps, who has previously shown strength in more restrained roles like in “The Phantom Thread,” portrays a slightly fiercer demeanor when speaking as Elizabeth. Montgomery, recognized for his role as Billy on “Stranger Things,” adopts a sterner expression when he speaks through Elizabeth. Through these minor nuances, they effectively convey the narrative without resorting to overly dramatic expressions.

In Van Grinsven’s work, the artistic decisions align perfectly with the narrative’s atmosphere, making the eerieness stem equally from his style as well as any plot development. Initially, Robert Mackenzie’s sound effects could be interpreted as wind, but they might just as easily convey a moan or howl. Tyson Perkins, the cinematographer, skillfully manipulates focus at the outset, blurring the foreground and background at times to induce a feeling of confusion. Lastly, Sherree Philips’ production design is subtle yet impactful.

In the movie, Jack and Jill are primarily the main focus, seldom engaging with others within the secluded house. However, Sarah Peirse leaves a significant mark in her minor role as Elizabeth’s sister. Her demeanor hints at strict judgment, while her dialogues with Jack suggest that anyone associated with Elizabeth has suffered. Later, when both Jack and Jill are seen with bodily injuries, it becomes clear that Elizabeth was not just manipulative but also physically abusive.

Experiencing Elizabeth’s spectral presence stirred an unsettling curiosity within me as I, her devoted admirer, yearned for answers. Jack, a man separated from his childhood by the cold hands of social services and foster care, longed to understand why. Confronting Elizabeth, Jill cried out with bitterness, “Why did you leave me?” Yet, Elizabeth’s spectral form was not there to provide solace or explanation.

Towards the closing scenes, the movie transitions into traditional horror, featuring a startling surprise and an edge-of-your-seat finale. Notably, “Went Up a Hill” is a unique spin on the ghost story genre, skillfully crafted by a director who, in his sophomore project, demonstrates the finesse of a seasoned professional.

2024-09-06 02:56

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