Box Office Gamble: 'Wicker' Relies on Cinematics Amidst Plot Confusion
The film features a fantasy narrative set in a 17th-century village where characters are defined by their trades rather than names, drawing mixed reactions from critics.
By Alina Campbell ·
A new fantasy-comedy-drama titled 'Wicker' has entered theaters, drawing attention primarily for its scenic quality rather than its narrative clarity. The film is set in a village in England during an unspecified period that appears to be the 17th century. Critics note that while the visual presentation is strong, the storyline presents logical challenges that may test audience patience.
The film distinguishes itself by avoiding traditional character names. Instead, individuals are identified by their occupations or social roles. The central figure is the Fisherwoman, portrayed by Olivia Coleman, who is described as a lonely spinster subject to community mockery. Following a wedding ritual involving the Bottle Washer and the Tailor’s Wife’s Sister, the Fisherwoman is selected as the next eligible woman for marriage in the community.
In an attempt to secure a partner, the Fisherwoman commissions the Basket Maker, played by Peter Dinklage, to construct a husband. The resulting figure, known as the Wicker Husband, is a living entity woven in the style of a basket. This unconventional spouse proves to be diligent and attentive, performing household repairs and tending to the land with a consistency that contrasts sharply with the behavior of the village men.
The arrival of the Wicker Husband disrupts the social dynamic of the village. The Tailor’s Wife, played by Elizabeth Debicki, sows doubt in the Fisherwoman’s mind regarding her husband's fidelity. Meanwhile, the Bottle Washer attempts to mimic the Wicker Husband's domestic efforts to please his own wife. During this attempt, he falls through the roof and sustains serious injuries. Despite medical intervention from the Doctor, played by Richard E. Grant, the Bottle Washer dies, leaving his wife in distress.
Tensions escalate when the Tailor’s Wife’s Sister requests that the Basket Maker create a baby for her. The subsequent appearance of a wicker infant convinces the Tailor’s Wife that the Wicker Husband is unfaithful. This belief spreads to the Fisherwoman, who reacts by throwing a burning lamp at her husband. The incident forces the Wicker Husband to flee into the woods while on fire.
The narrative concludes with the recovery of the Wicker Husband and his reconciliation with the Fisherwoman. The couple discovers the wicker baby in the woods and adopts it as their own. The film ends with the Basket Maker announcing his retirement and proposing to create a wicker woman for the person who gifts him the best farewell present. John O’Neill of Allen Park, who writes a weekly review for The Oakland Press, compared the film to a late Medieval version of 'Star Trek.' He advised viewers to see the movie at their own risk, citing the fantastic nature of the plot as a potential barrier for some audiences.
