Indie Film Review “Plucked” The Gilded Age’s repressive soul gets a lesson in rebellion, brashness, jilted love, and one woman’s modernity of mind….with a vengeance!
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First, the Recap:
Constraint. Discretion. Suppression. Words that, if applied to certain scenarios or grander eras in history (and to modern life as well), might be seen as referencing something GOOD. Ushering forth control, wise thinking, ensuring that cooler heads prevail perhaps, that deductive reasoning and the truths it reveals win the day. And then there are the more negative connotations those three words can carry, descriptives of times when they symbolized holding people back…..and shunning those to dared to go against “the etiquette” of the day.
It is 1886…ish…and a woman named Katherine (Katie Vincent) is ALL about ruffling as many feathers as she can while making every attempt to prove she will NOT be held back in action or attitudes. When she chooses to surprise her affluent but quite emotionally unbalanced husband Peter (Jared Canfield) with some news he truly doesn’t wish to hear on a night meant to celebrate him and his upwardly mobile achievements, what could occur when Katherine just cannot keep her mouth, or intent, quiet?
Next, my Mind:
It has been a spell….most recently 2021’s short film “Homebound“, along with 2020’s short films “Windblown” and “Trapped Inside“, 2018’s feature “Pickings“, 2017’s short “Fine Dining“, and 2016’s short “Prego“….that I’ve had the opportunity to witness the amazingly adept stylings, eccentric narratives, genre-defying, wholly entertaining ventures as brought to life by writer/director/producer/executive producer/editor Usher Morgan. So when I was watching the progression of this newest passion project unfolding via Instagram over the years, I must say I already had high hopes for it, as it assuredly pays tribute to the stalwart, unwavering, blood-and-sweat dedication the indie community represents. Now, HERE IT IS, the wait is over, and at least for this critic, IT….WAS….WORTH….IT, presenting an engaging film encompassing drama, horror/thriller, and darkly comedic elements while being all-around delicious, entertaining FUN!
Created in association with longtime collaborator, writer/director/producer/executive producer/editor Katie Vincent, as well as producers/executive producers Paul Luba and Chad Verdi Jr.. plus associate producers Anne Leigh Cooper and Mike Mazzilli, this taut narrative deftly showcases the serious trials and tribulations of a woman truly ahead of her time having to face the harsh scrutiny of the age for making one understandable choice, even as she seeks to tenaciously maintain her own identity as a woman, that quickly goes awry during a dinner party to laud her husband. Admittedly, while yes there were instances that did make you chuckle here and there, this film was really seeming to be more of a straight drama….until it wasn’t! And I feel that is the sheer genius of Morgan and Vincent’s manner when writing a project like this. It IS serious, yet they find a means to inject snarky humor (albeit dark) into the proceedings that simply WORKS.
There’s a sassiness and defiance to it that so beautifully befits and parallels the intensity of it all. In taking on this direction and accompanying execution, we’re thrust into the perfect set-up for everything the narrative is embodying to devolve and drastically shift from vitality to violence, but smartly and with the kind of build up that makes you as the viewer realize what is coming, but not necessarily HOW or WHERE it will ultimately lead once it all explodes in your face. Then, this again is where the quirky, jocular facets work their way in, but never in a way that detracts from the underlying aspects and themes the film is addressing, conveying authentic messaging about the era it takes place in while making us aware that we ARE allowed to LAUGH during those moments where you are thinking “was this SUPPOSED to be funny here??”. Oh. Yes, it is!
As hinted at above, thematic forays into the overt pomposity of the age the story takes place in, its patriarchal, narcissistic, and aristocratic mentalities, fears of a “modern”, self-reliant, thinking woman, the dynamics of relationships, how we change, the masks we wear, how love can seem euphoric until it isn’t, recognizing what we really want, how we can build empires of our own while not considering the cost to those closest to us, and just wishing to BE free to be who we truly are all find their way into the narrative, even as it bombards us with its sharp wit and bold violence, leading us to the finale that is admittedly brilliant, disturbing, cathartic, and intentionally exaggerated to a certain magnitude, all to relentlessly draw us in, pick us up, shake us to the core with impunity, then slam us down with emphatic purpose. This so defines Usher & Co.’s modus operandi, and hence why this film is as lusciously pleasing as it is undeniably, magnificently twisted.
The visual and musical stylings likewise reflect the dark ambiance with equally lush and effective impact, ideally making it an amalgamation of period piece and contemporary dramedy, which is just another tribute to the excellence in filmmaking that Usher and Vincent always manage to manifest with the highest quality for serving both entertainment and contemplative objectives. Vincent most definitely rules the screen with a level of burning ferocity that is unavoidable and a literal force of nature, whether simmering quietly or bursting forth with abandon, both of which are on display here through her role as Katherine, a woman far ahead of her stuck-up peers in both demeanor and independent thought who’s now found herself needing to be further freed from the societal expectations she’s forced to be under.
When the choices she makes lands her not just under scrutiny, but under repercussions that could threaten her life, how will Katherine react while trying to show the world she is NO ONE’S b****. Vincent has always reminded me of Katie Holmes with a controlled edgy side, and here the actress channels that to perfection, exuding so much sass and doggedly fiery tenacity through Katherine’s character that you cannot help but root for her! Canfield, with a highly similar disposition, brings the outright arrogance of an era paired with a purposefully emotionally devoid (at first, anyway!) presence to vivid reality via his role as Katherine’s husband Peter, a successful doctor on the cusp of even further greatness to be bestowed at the couple’s home-based dinner party…until it isn’t! When Katherine’s behavior undermines all he’s accomplished, topped off by other revelations to come, Peter’s fragile sanity could all but fracture.
How he follows through with everything he discovers about her and himself will determine what the future may or may not hold for them, and Canfield’s fantastically performed mix of timidity and wrathful reactive states Peter’s character endures, much less some VERY painful experiences as well, is absolutely winning thanks to the actor’s poise and delivery throughout the film. J. Anthony Crane also steals scenes via his turn as James, Peter’s ego-driven brother whose role to play in the affairs at hand will likewise have severe influences, and potential consequences, on both Katherine and Peter’s already faltering relationship. I relished Crane’s ability to imbue James’ character with SUCH conceit, and the way he allows it to come forth is awesome, a total validations of the actor’s talents brought to bear.
Primary supporting turns come about first from Catherine Curtin as Maggie, the main woman whom Katherine and Peter have serving in their home. But, her attachment and support of Katherine is more so what stands out here, a voice of both reason and total understanding of who and what her employer is about and wants to be, which will come to an interesting moment of realization during the film’s third act. Curtin, as with every role she does, owns Maggie’s character with complete authority. Susan Gallagher plays Emelie, the true picture of both a woman who believes she knows her place in the age and one who is VERY judgmental and uppity (especially towards Katherine!) when interacting with anyone going against these “rules”. Gallagher is always an actress who brings her best to the screen, filled with vigor and an urgency infused into the characters she plays, with there being NO exception to that here. Wonderfully acted.
Bryant Carroll is Nigel, another guest at the party and the local Commissioner whose lurid eye for the ladies is almost as bad as his love of any alcohol he can imbibe, and who inadvertently become a part of the unfolding disaster that is to come at the dinner party. Other main supporting turns come from Tony D. Head as Oswald, Katherine’s godfather and benefactor who doesn’t;t remotely know what he’s getting into when unexpectedly showing up at the party. Jacob A. Ware is Will, a free-spirited and fun-loving man and fellow doctor who only wants everyone to just get along….much to his impending failure. H. Lynn Pai is Diane, a socialite who is hilariously out of her depth when it comes to the unbecoming speech and actions Katherine chooses to put forth, making the reactions she has to her hostess a total riot to watch, which Pai plays marvelously.
Additional supporting appearances are made by Bailey Macejak, Fred Sullivan, Taso Mikroulis, J. Tucker Smith, Liliane Klein, Anthony Ritosa, Usher Morgan, Katya Zykina, Josh Thibeau, Matson Anthony, Wallace Douglas, Mike Mazzilli, Anne Leigh Cooper, and Melanie Sovern. So, in total, “Plucked” is a candidly unapologetic, genre-bending exploration of love scorned and the price of uncompromising individuality, told with bitingly wry levity and punchy dramatic flair, a morality tale for bygone and current times, all while giving us one raucous ride to enjoy it all with.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
