The Girl (2012)
Average Rating: 5.7/10
Reviews Counted: 19
Fresh: 9 | Rotten: 10
No consensus yet.
Average Rating: 6/10
Critic Reviews: 10
Fresh: 6 | Rotten: 4
No consensus yet.
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User Ratings: 238
Director Julian Jarrold (Red Riding: 1974) teams with screenwriter Gwyneth Hughes (Five Days) to explore the relationship between legendary director Alfred Hitchcock (Toby Jones) and actress Tippi Hedren (Sienna Miller) during the production of The Birds and Marnie. ~ Jason Buchanan, Rovi
There's little forward momentum in The Girl. It's just the dramatization of one humiliation after another.
You need to know that Hitchcock was a real-life Famous Artist in order for the drama, not to say the creepiness, to fully take effect. Otherwise, this is just the story of a sadistic sad old man and the young woman who escapes his clutches.
Miller's Hedren is cool, distant, humorless, whiny and reproving. She's the perfect block of ice.
The Girl may make movie lovers want to screen The Birds and Marnie again, perhaps seeing Hedren's performances in a new light through the eyes of the obsessed director.
Doesn't quite manage to portray Hitchcock as masterfully as past biography films, but it's at least a more internal look at Hitchcock's obsession with the blonde.
[Toby Jones is] the best thing about the project to an almost laughable degree, for it is a nearly complete failure of dramaturgy, filmmaking, and acting.
Certainly explores an enticing tale of obsession and revenge, but it seldom trusts the inherent horror of it all, preferring to spell out jealousies and malicious behavior to a point where fact unfortunately resembles fiction.
It looks gorgeous, with lush production values and gorgeous cinematography, but there's a strange inertness at the film's core.
It's well-written and well-directed in terms of historical accuracy and the performances certainly aren't bad but the film never finds a strong creative justification to exist.
Because of stars Jones and Sienna Miller, there are reasons to watch The Girl, but the one-dimensional approach defeats any chance that any serious film fan will revise their opinions on much of anything.
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