Short Film Review “The Pearl Comb” Myth collides with misogyny, promises with peril, and the price paid for maintaining that which shouldn’t be ours
WATCH THE TRAILER BELOW:
First, the Recap:
To lead the way. The ability to accomplish that which has never been done before can be both a wonder and a bane. It remains a boon to those who are benefitting from a monumental discovery that can subsequently aid others and promote the advancement of career and a conquering of prejudice. Yet, when it may be that the means to gain such knowledge and ability has come at a veiled cost, the revealing of it could then open the door to more…nefarious…dealings.
It is the late 1800’s, Cornwall, England and the coastal town has been the fortunate recipient of medically-related healing for some time that is nothing short of miraculous. Leading it is a stalwart but kindhearted widow, Betty (Beatie Edney), who is now under the hard, misogynistic scrutiny of doctor and familial relation, Gregory (Ali Cook). When Betty regales him with a tale of late husband Lutey (Simon Armstrong) and a beguiling mermaid (Clara Paget), it becomes evident the ends may, or may not, justify those means.
Next, my Mind:
Back in 2018, the Freeform Network debuted a new show titled “Siren”, which for me became arguably one of the most unexpectedly amazing and fascinating efforts to this day centering on the concept of mermaids, what and who they are, their actual nature, and a blunt force realization of not just how intelligent they are, but that they SHOULDN’T be trifled with or underestimated in ANY way! It was this contrasting study of the legendary creature, a mix of the dramatic and ethereally fantastical, plus the sheer mature intensity of the series and its portrayal of said entities that I had always wished to see. Fast forward to 2025 when I initially became aware of a short film called “The Pearl Comb”. When I read its premise and got even a HINT of not just the story, but the beautifully crafted and stark imagery of another tale involving a mermaid, I knew I HAD to see it, for it reminded me SO much of everything I relished about “Siren”.
Well, now here we are in 2026, and the opportunity to finally take in this much-lauded and massively awarded film came about. I will not be remotely exaggerating when I first state that not only did the film deliver the magnitude of excellence I was hoping for, it eclipsed it, conveying a deeply cautionary tale of mythical dealings, seductive promises, and multi-faceted revelations about the high price of even that which could benefit not only ourselves, but others as well. Through its narrative that sees, via flashbacks, the foundational story of an old seaman whose life is altered forever when a supposed rescue of a mermaid turns into a pact with the Devil, and the ramifications of this through the years following, the film carries both a wondrous and wrathful ambiance to it thanks to effective writing, stunning visuals, and an unsettling truth that is equal parts gratifying yet unequivocally disturbing.
The worthiness of all of this well-earned praise is thanks to the excellent writing and directing of Ali Cook, along with producers Miranda Richardson, Matthew James Wilkinson, and Ross Williams as well as executive producer Dasha Sherman. But, this doesn’t mean the accolades end with all mentioned above. What then allows this film to stand out even more is its absolutely unflinching look at the damaging nature of patriarchal mindsets and all the associated efforts to try and keep women in their “place” in society, which is one of the other consistently explored thematic ventures this film cleverly embodies. With the timeframe this narrative takes place within, it only serves to further emphasize this topic when also showcasing how it was seen as a threat that a woman was educated as well as having an ability to meaningfully contribute and/or practice a given discipline and be APPRECIATED for it, instead being feared and shunned.
Yet, as this story progresses, and the building magnitudes of tension become more and more palpable, it yields a finale that is one for the ages, SO acutely harrowing yet utterly, and dare I say, deliciously satisfying, while still maintaining the ominous seriousness and relevance of the foundational themes. This all lends to the film’s ambiance of dramatic horror with fantasy aspects intermixed as well, which are more than astutely presented through the amazing visuals that leave you wishing this film went well beyond its abbreviated but thoroughly gratifying 21-minute runtime. I would love to see this expanded upon via a feature film version, as there are more facets that could be delved into with even grander scope and impact, especially if one element would be adding to the study of the magical yet disquieting realms of the mer-people and their haunting interactions with humankind.
But, again, this film transcends all the genres it represents and molds them into one cohesive exercise in character-driven, narrative-centric brilliance that makes it NO shock whatsoever that, at the time of this article, it’s now won over 100 awards worldwide on the festival circuit. This IS what manifests when indie film and its creators are at the top of their game, and it makes me anticipate what Cook & Co. will have coming next. Edney is the first of the primary cast to definitively shine brightly through a performance that is as subtly nuanced as it is filled with explosive resolve and gritty realism via her role as Betty, a humble fisherman’s wife who has been experiencing some miraculous success in curing both common and not-so-common illnesses in her local town, much to the thankfulness of those treated but the disdain of so many others who think her, most likely, a witch or a fraud….and out of her “place” as a woman.
After a relative, who’s also a doctor, comes calling to disprove her “magic” AND put her in her place, the tale that Betty spins will usher forth truths that shake belief and reality alike, while setting up the birthing of dark ambition and the means to maintain her abilities. Edney channels the kind of simmering and menacing fervor a la Kathy Bates in “Misery”, a marvelous performance that deftly speaks volumes from start to finish with stirring and creepy effectiveness. Cook himself steps out from behind the camera to be in front of it via his role as Gregory, a direct relative of Betty’s family and a physician whose haughty, misogynistic attitude and intentions with his visit to hear simply ASKS for retribution to be levied against him. Dead-set on proving Betty’s practices are false and one particular healing was random, spontaneous remission, it becomes more than clear he will not relent or give any credence to the story she chooses to share explaining things.
It’s the kind of character we cannot help but love to hate, and whether a comeuppance may be in his future remains to be seen, with Cook embodying this cad of a man with total believability thanks to a great performance. Simon Armstrong is Lutey, Betty’s husband who is the focal point of the story’s ultimate gist, a seaman whose penchant for drink would seem to be the main issue Betty has with him, along with other suspicions. But as we see the actuality of what has happened to him unfold before us, it is more than understandable why his shattered mind and path in life goes the way it does, and it offers the core of the film’s cautionary tale in spades, with Armstrong very solidly presenting a man in a mythologically-infused circumstance where temptation clashes with conscious, the results yielding a future that might seem golden at first, until it isn’t.
Finally there is Paget (in the second film I’ve now seen her in recently, the other being “The Nomophobe”) who absolutely crushes this performance with a mix of magnificently executed understatement and blatantly unnerving malevolence through her role as the Mermaid. Found by Lutey via employing the infamous “siren’s song” and mystical, trance-inducing eyes to lure him into her highly premeditated web of alluring assurances and the bestowal of a gift that could aid his own life and the greater world in ways no one else would match, she then demonstrates what else can occur when anyone choosing to resist what she is giving, or flat out refusing it, comes into play. Yet, how the course of her own path, having revealed herself to him, might also come to pass remains part of a mystery, one that could have a jarring new actuality, and Paget’s raw fervency, whether muted or ablaze, is just awesome to watch, lending a terrifying grandeur to events.
Supporting appearances are made by Roxana Cook and Thomas Stocker. So, in total, “The Pearl Comb” is pure majesty on screen, transporting us to not just a bygone time, but into the arena of fable and folklore in a definitively keen manner, ascending beyond its genre-meshing borders to present a candidly yet eerie exploration of human frailty, misguided mentalities, how we pursue ambitions, seeking validation and worthiness amidst intolerance, and the cost of tangling with legends……or perhaps even vice versa.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
