The eerie line, “Why don’t you come to the shed? We’d like to show you our inner cowgirl,” encapsulates the unsettling vibe of Werner Herzog’s latest film, "Bucking Fastard." Starring Kate and Rooney Mara as the unnervingly synchronized twins Jean and Joan Holbrooke, the film is set to debut on September 30 at the New York Film Festival with a running time of 109 minutes.
The story, inspired by the real-life Freda and Greta Chaplin, begins intriguingly as the twins, dressed identically and communicating in an unsettling unison, navigate their peculiar existence in the city. Their quest for companionship takes a twisted turn after they become embroiled in a court case involving a drunken man named Gareth, portrayed by Orlando Bloom. The sisters' obsession with Gareth leads them to share an intimate encounter that is both absurd and darkly humorous.
Herzog, now 84, brings his signature brand of provocative storytelling to the screen, but the film quickly sheds its initial allure. After an engaging start, the narrative descends into a series of aimless misadventures across Ireland, ultimately losing steam. Critics have noted that the film mirrors the experience of riding the subway, where initial discomfort eventually transforms into indifference.
As the Holbrooke sisters embark on their bizarre journey, they exhibit behaviors reminiscent of the Children of the Corn, with their American accents contrasting sharply against the Irish backdrop. The filmmakers introduce them as tabloid sensations following their trial, but rather than capitalizing on this momentum, the plot meanders into the mundane.
A character named Timothy, played by Domhnall Gleeson, devotes several minutes to teaching the twins how to open a sardine can, a scene that underscores the film's aimlessness. Herzog's dialogue ranges from absurdity to irritation, with the twins responding to a gang member's question about their single pint of gas with a robotic cadence, “We all need fuel.”
The film's pacing suffers as the twins explore Dublin’s less glamorous locales, including a country farmhouse and a cave where they attempt to dig a tunnel to the Orkney Islands. Such fantastical elements seem to serve no narrative purpose, leaving viewers longing for a more coherent storyline. When a character arrives to kill local foxes due to a rabies outbreak, it adds a layer of absurdity that feels both out of place and oddly fitting in Herzog’s world.
While the film's screenplay falters, the Maras deliver commendable performances. They successfully embody the unsettling essence of the Holbrookes, intertwining their portrayals into a singular, eerie presence. Kate Mara displays an intense demeanor, while Rooney Mara adopts a more aloof quality, creating a compelling dynamic that holds the audience’s attention.
Despite the film’s shortcomings, Herzog's ambition is evident. He challenges viewers with a script filled with offbeat humor and unsettling scenarios, yet the execution leaves much to be desired. Audiences find themselves chuckling, not necessarily at the characters, but rather at the audacity of Herzog to present such peculiarities in a mainstream film.
"Bucking Fastard" ultimately stands as a testament to Herzog’s willingness to confront the bizarre and the absurd. However, the film’s descent into a series of disjointed events raises questions about its overall cohesion and purpose. The Maras work tirelessly to evoke empathy for their characters, but even they cannot salvage the disjointed narrative that unravels in the latter half of the film.
The film's exploration of love, companionship, and the bizarre nature of human relationships provides a rich ground for discussion, yet the execution feels lacking. As Herzog crafts a world filled with oddities, he also leaves viewers pondering the thin line between eccentricity and incoherence.
According to NY POST.
