"Pearl": A Horror Sequel Praised by Martin Scorsese

Following the success of "X" (2022), director Ti West returns with "Pearl" (2022), the second installment in the "X" trilogy. Premiering at the 79th Venice International Film Festival and produced by indie darling A24, "Pearl" has maintained a 90% fresh rating on Rotten Tomatoes over a month into its North American release—a remarkable feat for a horror film.

Even Martin Scorsese couldn't hold back his praise, stating in an interview, "Ti West's films have an energy that's incredibly rare today, stemming from his pure love of cinema... You can feel it in every frame. As a prequel to 'X,' 'Pearl' is crafted in a completely different style, reminiscent of the widescreen Technicolor melodramas of the 1950s—wild, enchanting, and unsettling. Ti West and his muse, Mia Goth, have mastered teasing the audience. I was fascinated and terrified so that I couldn't sleep, yet I couldn't stop watching."

If "X" was Ti West's love letter to 1970s exploitation and indie porn films, inviting audiences to engage with the filmmaking process and cinema history, then "Pearl" is an evil ode to Technicolor fairy tales and the corrosive power of Hollywood. It delves into the origins of the wicked old lady Pearl, emphasizing the "people in the movies" and providing a backstory that fills in the gaps left by "X."

"Pearl" experiments and transforms its narrative to flesh out Pearl's background. Fans of "X" will recognize West's signature style—numerous blood-soaked killing scenes in locations like driveways, porches, and basements. Yet, in "Pearl," West takes a different approach, maintaining a restrained, measured tone throughout the first half.

"Pearl" takes place in 1918, near the end of World War I and during the Spanish flu pandemic, affecting a third of the global population. Unlike the grim atmosphere of "X," "Pearl" opens on a picturesque Texas farm with vibrant colors and a sense of life.

Pearl, dancing in her mother's old clothes in her bedroom, is abruptly brought back to reality by her mother's harsh words. Her husband Howard is off fighting in the war, and she's left tending to the farm and her paralyzed father. Pearl's biggest dream is to escape the farm and become a movie star, her ambitions overshadowing her harsh reality.

Young and ambitious Pearl dreams of becoming a movie star, immersed in her fantasies. Her opportunity arises when Howard's sister, Mitsy, informs her of a local dance audition for military performers. This is Pearl's chance to leave the farm. Though it's unclear if she'll succeed, "Pearl" emphasizes the unattainable nature of her dreams.

Her mother's relentless discouragement drives Pearl deeper into her disturbed psyche, contrasting Mitsy's freedom to pursue her dreams despite having a perfect family. Pearl's desperate dances for the farm animals highlight her isolation and misunderstood passion. Her love for cinema, potentially tainted with ulterior motives, reveals a warped dream consuming her soul. This is intensified when she meets a charming projectionist, only to uncover his true nature as he distances himself from her upon learning about her life.

In numerous scenes, "Pearl" portrays its titular character dancing for the farm's cattle, highlighting her deep isolation and misunderstood existence. Apart from dancing, Pearl's greatest passion is watching movies. As viewers, we can't help but question if a hidden ambition drives her love for cinema. What we witness more prominently is Pearl's almost pathological dream devouring her soul, her distorted persona gradually magnified on the screen. When Pearl encounters a charming projectionist at the cinema, she is instantly captivated by him, and he reciprocates her interest.

However, as their relationship develops, the projectionist's true colors begin to show. Privately involved in the adult film industry, he becomes repulsed by Pearl's actual life circumstances, driven by a sense of superiority. His initial enthusiasm turns into disdain. This marks the film's second act—human darkness unfolds. Yet, it remains distinct from the gore of "X." Pearl kills the projectionist. Earlier, her mother dies in a confrontation with Pearl.

Pearl taps into her dark energy as the town's dance competition approaches. As expected, her audition fails, dashing her hopes of leaving the farm. Near the film's end, Pearl experiences a complete emotional breakdown, confessing to Mitsy her twisted feelings towards her husband Howard, whom she loves and hates. Mitsy does not escape Pearl's wrath. The film concludes with Pearl living alongside her deceased parents, and Howard returns from the war, stunned by the horrific scene. The film ends abruptly with Pearl's unsettling smile, tears streaming down her face.

There's no denying that the success of "Pearl" is greatly owed to Mia Goth's phenomenal performance. From "X" to "Pearl," Goth has consistently portrayed the lead character. Since her debut in Lars von Trier's "Nymphomaniac" (2013), she has starred in several horror films, including "A Cure for Wellness" (2016), "El Secreto de Marrowbone" (2017), and "Suspiria" (2018). Goth co-wrote "Pearl," describing her collaboration with Ti West as "one of the most creatively fulfilling experiences of my life."

To capture Pearl's duality of starry-eyed ambition and latent violence, Goth drew inspiration from classic cinema, particularly Björk in "Dancer in the Dark" (2000) and Bette Davis in "What Ever Happened to Baby Jane?" (1962). The most terrifying aspect of Pearl is not her violent outbursts but her human turning points. For instance, Goth's extended monologue near the film's end draws from Michael Fassbender's long monologue in Steve McQueen's "Hunger" (2008), exuding a deep, repressed emotion that vividly conveys Pearl's entrapment by her environment.

Director Ti West announced the third installment, "MaXXXine" (2024), set in the 1980s, exploring the impact of home video. This film will focus on Maxine, the last girl from the "X" murders, potentially addressing many unresolved elements from "Pearl." According to West, while each film can stand alone, they complement each other in creating a cohesive world.

"I'm trying to build a world with these films. You can't make a truly gory movie without a series of sequels," West said. This strategy is validated by other horror franchises like James Wan's "The Conjuring" universe and the "Fear Street" series.