Netflix’s recent addition, “Damsel,” starring Millie Bobby Brown as the protagonist Elodie, aimed to deliver a fresh spin on the conventional fairy tale narrative under the direction of Juan Carlos Fresnadillo. However, despite its attempts at innovation and subversion, the film ultimately succumbs to the pitfalls of predictability and clichés, offering little in the way of originality or depth.
In “Damsel,” Brown transitions from her well-known roles in “Stranger Things” and “Enola Holmes” to embody another Netflix character named Elodie, a young noblewoman with a knack for finding herself in dangerous situations. The story unfolds with Elodie’s engagement to a prince, which she soon discovers to be a sinister plot by his royal family to satisfy an ancient, dark debt through her sacrifice.
The premise promises an intriguing blend of dark fantasy and a critique of traditional genre tropes, setting the stage for what could have been a compelling narrative. However, as Elodie’s journey progresses, it becomes mired in a survival thriller that leans heavily on creature-feature elements, losing much of its initial allure. The film’s attempt to present a strong female lead navigating through adversity and battling a formidable dragon in a subterranean lair quickly devolves into a series of predictable scenarios that fail to captivate or surprise.
Despite the dragon’s unique design and its menacing presence, complete with a lore-accurate portrayal of its abilities, its interactions with Elodie grow repetitive and lack the depth that could have made their encounters more engaging. This, coupled with lackluster CGI, diminishes the potential impact of their showdowns.
Visually, “Damsel” impresses with stunning landscapes and imaginative costume design reminiscent of epic fantasy tales. However, these aesthetic successes are overshadowed by the film’s narrative and thematic shortcomings. Once the story moves into the dragon’s lair, it loses momentum and struggles to maintain the viewer’s interest as it cycles through familiar tropes and sequences that feel more suited to an amusement park attraction than a gripping fantasy epic.
The film’s soundtrack, composed by Hans Zimmer, starts off strong, creating an atmospheric backdrop for the unfolding drama. Yet, as the movie progresses, the score becomes overbearing, often overwhelming scenes that would have benefited from a more nuanced auditory approach. This misstep in sound design serves to further detach the audience from the emotional core of the story, undermining moments that should have been impactful.
One of the more contentious aspects of “Damsel” is its portrayal of Elodie, particularly in terms of her costume design. As the narrative advances, Elodie’s attire becomes increasingly revealing, a choice that seems at odds with the film’s initial promise of subverting traditional gender norms and expectations within the fantasy genre. This decision not only distracts from the story but also sparks debate over the practicality and representation of women in fantasy settings, undermining the film’s attempt to position itself as a tale of empowerment.
The conclusion of the film, which sees Elodie overcoming the dragon and earning its allegiance rather than slaying it, attempts to circle back to themes of redemption and alliance. However, this resolution feels unearned and does little to salvage the film’s earlier missteps. Millie Bobby Brown’s performance as Elodie, while earnest, is not enough to carry the film beyond its mediocrity, despite her best efforts to imbue the character with resilience and determination.
Supporting performances from an ensemble cast including Ray Winstone, Nick Robinson, Shohreh Aghdashloo, Angela Bassett, and Robin Wright, though competent, are not sufficiently developed to add significant depth to the story. The film struggles to flesh out its characters, leaving much to be desired in terms of their relationships and motivations.
“Damsel” endeavors to weave together elements of dark fantasy with a narrative centered on empowerment and overcoming adversity. Yet, it falls short of delivering a convincing or engaging story, instead retreading familiar ground and succumbing to the very tropes it seeks to challenge. While it may find an audience among those with a penchant for the fantasy genre or viewers in search of light entertainment, those looking for a thought-provoking or innovative film are likely to be disappointed.
In sum, “Damsel” represents a missed opportunity to truly subvert fairy tale conventions and offer a narrative that is both empowering and original. Instead, it treads a well-worn path, failing to distinguish itself amidst a crowded field of fantasy offerings. As such, it stands as a cautionary tale of the challenges inherent in attempting to breathe new life into traditional stories, especially when such efforts are not matched by a willingness to fully commit to innovation and depth.