The Stylist: Stitched-Together Horror
True to its title, The Stylist is a gorgeous film. It contains some of the most beautiful, meticulous compositions I’ve seen within the past year. The attention to color and specific lighting schemes keeps your eyes consistently dazzled. Director and co-writer Jill Gevargizian clearly had an aesthetic plan going into this, and it pays off wonderfully.
On the surface, the film plays like the umpteenth variant on Repulsion, following beautiful yet disturbed loner Claire (Najarra Townsend) as she cuts hair…and occasionally scalps female clients whose lives sound better and more exciting than hers. (That’s not a spoiler – the opening credits conclude with her consummating this deed on an unfortunate transient.)
Yeah, there’s a bit of Sweeney Todd running through its veins…albeit without the grandiose musical numbers.
The Gift of Confidentiality
Unlike some female horror icons, in The Stylist, Claire is remarkably well-put-together (on the surface, at least). Gevargizian often films Townsend in close-up, as if to underline her seemingly effortless attention to wardrobe, makeup, and hair.
But there’s a nagging hollowness at her core. She fumbles with social interaction and struggles with identity. In other words, her façade disguises a personality missing several key pieces.
What’s interesting is how Claire’s chosen profession lends itself well to her quiet, reserved nature. We’re introduced to her cutting a walk-in’s hair, and understand a few things within a couple minutes: the gift of gab need not be a stylist’s best friend…however, the gift of confidentiality is.
I would imagine someone sitting in a barber’s chair would talk more frankly about their domestic troubles and personal transgressions than they would to a priest during confession. Speaking from personal experience, the best haircutters have a disarming demeanor that inspires an easy flow of conversation. Ergo, Claire establishes trust with her clients through minimal effort.
Filling the Void
We know very little of Claire’s personal history – a brief line of dialog alludes to a rough upbringing – but key to The Stylist’s overall success is Townsend’s commitment to the role. More than anything, she wants to fill the void in her soul, and does so by trying to adopt the personae of some of her deceased clients. It’s a magnificently intuitive performance, made even more impressive considering she’s in nearly every scene.
Townsend never sidesteps into caricature, and the film maintains a somber tone throughout. Despite her deeds, Claire is a troubled, empathetic character who encompasses the toll of social alienation in the modern world. Even the moments where she text-messages bride-to-be Olivia (Brea Grant) are awkward and full of suppressed emotion.
While some films ask the viewer to suspend disbelief in how an antisocial character gets to a point of functionality and economic stability in their adult lives, The Stylist makes a case for intuition and skill – not sociability – being the drivers of Claire’s professional success. (This also plays into her ability to avoid attention for her crimes.)
Allure of Idealism
Claire strikes up a friendship with Olivia, who is in the final stages of planning her wedding. At first reluctant to help, Claire eventually accepts, and, as a result, finds her ultimate aspirational symbol of “normality.” I don’t know anyone who hasn’t idealized someone in their lives, and Gevargizian (along with co-writers Eric Havens and Eric Stolze) presents this perception as a slippery slope.
Granted, we’ve seen many films where an obsessive relationship culminates in psychotic or homicidal behavior, thus catapulting the genre from “thriller” to flat-out horror. But the best examples muddy the waters by presenting the psychological break as inevitable – tragic, even. We may not agree with the extreme actions the character takes, but we understand what’s led them to that point.
While the conclusion of The Stylist feels telegraphed, it fully realizes Claire’s arc. The result may harken back to Repulsion, the Soska Sisters’ American Mary, and Lucky McKee’s outsider epic, May, but Claire finds a home among these misunderstood misfits, doing what they must to endear themselves to – or alienate themselves from – human contact.
3.5 out of 5 stars
The Plot Sickens: Jonny Numb dines on Hannibal in a full course meal…
Crash Analysis Support Team
Jonny Numb
Jonny Numb (aka Jonathan Weidler) is a TV dinner in a farm-to-table world. He co-hosts The Last Knock podcast with Billy Crash, and his writing can also be found at The Screening Space. Go to @JonnyNumb on Twitter and Letterboxd for more succinct and succulent takes on the state of the world and cinema.
THE LAST KNOCK horror podcast is a Crash Palace Productions’ featured show. Besides this site, you can find THE LAST KNOCK on iTunes and Spotify and more, with new shows posted every other Sunday at 9 PM ET.
Crash Palace Productions website design and creation from Brian Yount Digital Enterprises with banner and THE LAST KNOCK art from Palko Designs. Logo designs from Paul Belci.
(The Stylist movie still from Claw Productions.)