20/30
Why should Robert Eggers enjoy historical entertainment?
Narrative
A poor construction worker makes a deal with a dying business magnate to inherit billions, only to discover that he too has been cursed by the terrible sins of man. Director Justin Denton has uncovered a rather obscure historical practice that (apparently) was in use in England, Scotland, and Wales until the 19th century: The wealth of a wealthy decadent could pay someone with less means to eat food from the decadent’s body, thereby passing on the deceased person’s sins to the recipient. Of course, the catch is that in Christian society, the recipient not only carried the burden of sin into the next world, but was now a sort of social pariah in this world as well. The moral economics of such a practice seem to be quite rich and interesting.
"TPP" is not just another haunted house movie
And the fact that Denton decided to make a film about the practice deserves more than a little credit. The two main actors in the film are Carter Shimp (Rick Malone) and Antonette Morro (Elizabeth Laidlaw). Malone plays a young construction worker who just happens to land a temporary gig at the “George Drayton” mansion in the Chicago area. Malone harms himself on the job, and Morro accompanies Malone to the mansion to clean up.
Then, it’s where things start to fall apart
Malone proves to be something less than 100% honest; but that only serves to intrigue the dying Drayton. Drayton turns Malone into the titular victim; and it’s Morro who then shepherds Malone through both the terms of the “deal”; and the consequences of that deal. So far so good; and the first 1/3 of TPP is pretty engaging. "Consequences" part of the deal is often literal and religious: literally haunted by sins that in turn force Malone to act out in somewhat predictable ways (drinking, etc.).
But with one exception, it’s unclear what those sins are or why they would cause Malone to become increasingly psychologically moored
There are also a few plot points that are only touched on superficially: Malone’s fading religious faith; his relationship with his (now deceased) mother; and his relationship with his ex-girlfriend “Tanya.” The last of these would seem particularly important given what happens in the final part of the film (though, again, it’s hard to put together). All of which is to say that I was expecting a more metaphorical and “post-Christian” treatment of sin eating (if you can call it that). For example, Japanese kaidan and onryo films famously use ghosts and hauntings as only slightly veiled metaphors for exploring the horrific moral consequences of deception, revenge, infidelity, etc. It seems like the central moral element of CSE—the devil’s bargain for worldly power in exchange for a sense of self—would seem as rich as thematic content.
The bottom line is that this is a very well-made, well-acted film
But the consequences of that bargain are too often the monster of the week. I just wish the writing and thematic focus had been a little sharper.