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We invite you to believe in this story because “without stories, we are nothing.” This line, which is included in the prologue of Sebastian Lelio’s captivating “The Wonder,” is essential to understanding the rest of the movie. Lelio doesn’t want you to just sit back and let the drama unfold as she adapts Donoghue’s novel with co-writers Alice Birch & Emma Donoghue. It’s an encouragement to believe in this story rather than to hear or see it. Lelio is more interested in the meaning, what they say about humanity, and how they challenge our beliefs than he is with the actual facts and lies of “The Wonder.”
Pugh portrays English nurse Lib Wright in the year 1862, when the landscape of Ireland, where she goes, has been scarred by the 1840s great famine. She has been called to the location by a committee that includes Toby Jones, Ciaran Hinds, and Brian F. O’Byrne in the role of underwritten characters who are investigating a local girl who seems to be a miracle. Anna O’Donnell, age nine (played admirably by Kila Lord Cassidy), hasn’t eaten in four months. She claims to exclusively eat manna from heaven, and because of this, devotees have come to consult with her in hopes of becoming a saint. Rosaleen (Cassidy’s real mother Elaine) insists there is no deceit going on, but it will be Lib’s responsibility to keep an eye on Anna and see if any food is being smuggled into her bedroom. To add to Lib’s suspicion, a journalist named William (Tom Burke) has also made the trip, and it’s no accident that both the writer and the nurse have loss grief in their possession.
You are only here to watch, they keep telling Lib. Like us, she is the spectator. This story pushes the boundaries of form, but it has fascinating bookends. It’s unusual to have a piece that is equally about faith and doubt be so bluntly confrontational with its audience. Lib’s inclination starts out naturally where most viewers would—worried that Anna isn’t eating and then growing more worried about her deteriorating physical condition. Pugh brings us along on her journey from doubt to worry, and “The Wonder” develops into a study of action and empathy. How long should we merely “watch” when a child’s life is in danger? How long can we remain passive when Christianity is so divisive that it splits up families and communities?
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A bold actor like Pugh is required for a drama this ambitious because she understands the fine line to walk when it comes to the story’s delicate balancing act between realism and hyperbole. Pugh must avoid going overboard with the sentimental or else “The Wonder” would revert to a more conventional melodrama that is simpler to categorize and dismiss. That is not what Lelio wants. He wants the audience to experience the same unease that Lib has as she becomes aware that she is being asked to witness either a miracle or a child’s death. The terrific score by Lelio’s go-to composer Matthew Herbert, which avoids the period-piece lilt in favor of something more unsettling, adds to Lib’s unease. Additionally, the film is expertly shot by Ari Wegner (“The Power of the Dog”) in a dark, gray color scheme that nearly gives it a horror picture appearance.
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Lelio occasionally seems unsure of his goals, reverting to a more conventional tempo and rhythm, but he always returns to the more compelling version of “The Wonder” that eventually comes together. Burke’s journalistic persona is also appallingly underdeveloped; rather than serving as Lib’s wealthy counterpart, Burke’s character is treated more like a plot device. He’s not horrible, but his character is frustratingly frozen. Burke is a consistently captivating actor, but while he’s around, the tension between Anna and Lib feels strained rather than strengthened.
Also, you will find out which character are you in this The Wonder quiz.
Netflix users won’t be interested in its theological issues, but they will like the performances. Lelio has established himself as an actresses’ director who constantly produces excellent work, including Daniela Vega in “A Fantastic Woman,” Julianne Moore in “Gloria Bell,” and Rachel McAdams in “Disobedience.” Now Pugh (and Cassidy, really) may be added to that list of women who are routinely requested by the male characters in this movie to stand aside and only watch. She begins the film by merely observing, but by the time it is over, she has a different type of resolve—one that stems from her unwavering conviction.
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today in a constrained theater run, and starting on November 16 on Netflix.Also, you must try to play this The Wonder quiz.
For more personality quizzes check this: The Swimmers Quiz.
