Greta [Review by SpecialK]

Frédéric Chopin. Franz Liszt. They don’t call them Romantic composers for nothing—their majestic pieces draw from the meager piano the most massive, dramatic phrases that conjure the deepest, truest emotions of adoration and yearning, only to later lull you back into delicate, peaceful moments of respite—Liszt’s Liebstraum, for example, or “love dream,” is an iconic example of this Romantic era. So surely, any film showcasing Liebstraum in its score would be a drama? Perhaps at least a rom-com? But no, instead, Greta spins Romantic piano solos together with bone-chilling acting and themes of love, loss, and terror, into a delightful little surprise of a horror film.

In Greta, Chloë Grace Moretz plays Frances McCullen, a young college grad spending some time in New York City putting the pieces of her life together after the loss of her mother. Frances happens upon a lonely purse on the subway on her way home from work one day, and kindly decides to return it to its owner. This is how she meets Greta Hideg, a crisp, quaint French woman played by true Parisienne and actress extraordinaire Isabelle Huppert. In her warm, antique apartment, Greta quietly mourns the loss of her husband and the ocean between her daughter and herself, evoking stereotypical themes of the lonely mother and wife that I’ve historically scoffed at.

But in Greta, it works. First, because it passes the Bechdel test, thank God. Second, because this trope of the lonely old woman gets twisted. We start to wonder whether Greta is truly genuine, or whether she might be hiding something more sinister behind that strong red lip, smart bob, and love of Liszt. Frances quickly learns that Greta leaves purses on the subway with a purpose. But what does she want from Frances and others like her? The more Frances pulls away, the more insistent Greta becomes. She will not be left alone, and Frances only seems to get drawn further into Greta’s web, leaving us all wondering if she will ever make it out.

Moretz and Huppert are fantastic in this film—Huppert blurs the lines between polite, sinister, and psychotic until you can’t tell if you’re genuinely empathizing with, or truly terrified by her character. But it also becomes clear that Moretz’s charm and skill as a complex horror character persist beyond her younger years (lest we forget her haunting portrayal of a child vampire in Let Me In). She’s especially convincing in Greta through her vulnerability and her terror, making us all root for her as our heroine.

Perhaps what’s more remarkable about this film is how it builds its scares. It’s got a little something for everyone – creepy, eerie moments when you know you have to keep your eyes trained carefully on the background; the terror of being stalked when there’s nothing you can do about it (truly, this film might want to consider including a trigger warning); and pure, unadulterated gore.

But what I love the most are the masterful juxtapositions—between romantic piano music and the horrific scene it accompanies, between true companionship and deep loss, and even the battle between simple human emotion and madness within Greta’s own mind.  Perhaps it is only when we hold up that which comforts us next to that which terrifies us that we can understand most fiercely the depth of true horror.

Sure, this film is a bit silly at times, and the scares and creep factor can be a bit over the top, even laughable. And yes, not all the acting is supreme—I was actually deeply disappointed by Maika Monroe’s less-than-stellar approach to Frances’ rich New York roommate Erica—especially given how much she blew me away in It Follows—come back Maika!) I’d even say some of the “twists” in Greta are a bit predictable. But none of that can take away from what director Neil Jordan managed to do with some of the simplest themes of love and madness. It’s simply spellbinding.

SpecialK Verdict: Although it may not be perfect, Greta is a maddening, terrifying thrill ride of a film, and much like the Romantic piano solos it features, I’d venture to say Greta is even a bold little metaphor for love.

Greta opens everywhere Friday, March 1.

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