Short Film Review “The Widow’s Ring” A classic Irish specter of death and peril forms the backdrop for a cautionary tale of avarice’s deadly grip
WATCH THE TRAILER BELOW:
First, the Recap:
It looks like the honeymoon is over. Not just from the perspective of a literal one, but rather the reaction to things when all that was going well suddenly, discouragingly, and frustratingly goes awry. Therefore, while immersing ourselves in a haze of trying to figure out precisely what will alleviate the upending of plans, what might come about when the kindness of a stranger arrives, which we take advantage of, but then summarily abuse?
Deep in the mist-shrouded Irish woodlands, couple Ellen (Sophia Adli) and Tom (Abe Smyth) find themselves in exactly this predicament, as their vacation has been unceremoniously halted by their car’s breaking down in the middle of nowhere. Finding unexpected shelter in the home of an old widow, Mrs. O’Rourke (Helena Bereen), even with strange, disturbingly ethereal cries ringing through the dark forest around them, things escalate into chaos when she tells them the tale of her blue diamond ring….and the powers it supposedly possesses.
Next, my Mind:
The concept of supernatural and folklore-based horror takes on a uniquely-crafted twist both haunting and grounded in displaying the price paid for poor choices that then leaves you wanting more thanks to this 16-minute short film from Irish writer/director/producer/editor Nathan Hughes, executive producers Chris Patterson and Randal Plunkett, plus executive producer/creative producer Carl Hughes and creative producer Abe Smyth. I will state from the start that, given the region of the world this film heralds from, that alone attracted my attention, as the Celtic arena is SO rich in this style of horror as they have a wider pantheon of otherworldly creatures to pull from that so adeptly suit it, and hence why after seeing this project, I am hoping to gain access to more in the same vein, both from Ireland/Northern Ireland and the British Isles.
However, what allow this film to also stand out is that what begins as, perhaps, “standard fare” in the genre turns into something far more than that while acting as, I personally feel, more of a proof of concept piece that could really take on a grander narrative beyond what we’ve been given here. But make no mistake, the narrative presented that sees a young couple on vacation getting stranded where no one should, discovering shelter, but not realizing precisely what they’ve actually stumbled onto with their host for the evening IS a complete, self-contained story. It firmly establishes a nicely constructed atmosphere of creepiness (which again is precisely what I want in a genre film like this) but never lets that steal away what becomes a very interesting morality tale that very effectively paints the portrait of how our decisions, even in response to kindness and unanticipated revelation, can become warped and misguided. Sadly, to our detriment of course!
What is likewise different for me about this film is that normally I would be attempting to uncover and/or discern ideally a litany of underlying thematic elements the narrative is looking to give us. But here, just being frank, that really in itself isn’t the intention. This is about as straightforward as one can get, and that is absolutely ok and does not remotely detract from the sheer enjoyment of the film’s course. If anything, I think this is the part where I felt the effort being more that “laying the foundation” for something that could very much be expanded on into feature film territory is evident and I truly hope this DOES come about. If there IS one primary thing to point out, it’s the idea of GREED and the disastrous impact it has on us as people. Also, it’s refreshing to finally get to see a film addressing the Banshee as its creature facet, and that is something I would LOVE to witness more of as well!
Now, this is independent cinema closer to its grass roots level, yet visually the film assuredly stands solid in its delivery and overall look in creating the necessary ambiance we would desire. The ONE thing that admittedly I wish might be improved (and mind you, again, I totally understand from a budget standpoint why things were done the way they were, so NO issues) should a future expanded work be explored was the look of the Banshee itself, here done with practical effects as opposed to a digital creation. I simply feel the latter might allow for an even more eerie and menacing display to enhance the chills to another level. But, again, for what was being worked with, the main point in the film’s finale where everything comes to a head is still well-done and impactful as is. The Banshee sounds were potent, wind noises were beautifully apropos, and the music score was spot on for man manifesting that horror film environment you long for.
Adli is the ever-present and perfectly portrayed illustration of sane thinking, the voice of reason, AND the frustrated girlfriend through her role as Ellen, one half of a young couple just trying to enjoy their holiday away and have now found themselves in the last predicament they’d ever wish for….in the last place they’d really ever wish for it to occur! Even as she tries her best to trust her beau’s efforts to help their situation, Ellen always still appears to have the more solidly intelligent mindsets when it comes to accepting the hospitality of the widow whose home they stay in for what turns out to be a quite ominously upended night. Adli’s performance, like the film itself, is nicely executed and very uncomplicated, which befits the role while keeping your attention as if we already know somehow she COULD become the victim of another’s unchecked rapacity.
Honestly, Smyth gets one of the more “juicy” roles here via his well-acted turn as Tom, a man who seems to ultimately be more about himself than completely dedicated to taking care of the building disharmony between him and Ellen when their vacation has been unceremoniously interrupted. Still attempting to be “the white knight”, he finds an unexpected but desperately needed place to stay in their stranded state of affairs, only to be drawn into the widow’s story..and her blue diamond…that starts to send him into a spiral that can only lead to ruination. What works so well with Smyth’s performance is the excellent way the actor embodies the character’s slow but intentional de-evolution, and it has both heartbreaking and harrowing aspects to it as events unfold that hits you with tangible force.
Then we have the other particular role that just oozes with that fashion of calm, seemingly “innocent”, yet conspicuously threatening uncanniness that makes your skin crawl, which is Bereen’s role as Mrs. O’Rourke, the widow within whose spookily isolated home in the Irish woods becomes the focal point of all that is unearthly AND natural. Her welcoming demeanor and warmth appears innocuous, yet as she spins her tale about the blue diamond to Tom and Ellen, there’s this undercurrent of warning that is avoidable, much less when other instances flat out make us aware that she is NOT so innane a person as we might imagine. Yet, what will her fate be? It’s a brilliant performance that deftly strengthens the entire films premise and proceedings, and Bereen’s ability to inhabit this kind of quietly macabre character is just wonderful to watch.
Primary supporting appearances are made by Julian Simmons as a local jeweler and the director himself Nathan Hughes as said jeweler’s assistant. So, in total, “The Widow’s Ring” is an exercise in the wonder of one of Irish folklore’s classic horror figures taken to a strikingly exceptional direction that just cries out, like a Banshee’s wail, for further expansion. It plumbs the depths of the human condition in a manner that calls us to assess who we are, the choices we make, the cost of wrong indulgences….and to never, ever not believe!
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
