The Wasp

Revenge is a dish best served cold, and the revenge in the film “The Wasp” has been in the freezer for twenty years. This revenge is so satisfying that it is disguised as another intention. This film misguidedly prepares us for something and what we are looking at is not, in fact, what we are led to believe it is. The screenplay is on lock and key.

Given that “The Wasp” is based on a play by Morgan Lloyd Malcolm (who wrote the screenplay as well), one can easily say that it is very theatrical from the very beginning. The action is ‘opened up’ for the screen, but only a little.

There are only two central characters and all the action happens in one place. e.g. building boundaries are crossed mainly to support the two man acting at a time and their limits. They both are extreme, the character development arc. Exhilarating performances are given by Naomie Harris and Natalie Dormer, fell free and together but mostly together.

The work of the actors is confirming the script – it is true, and it is also confirming Guillem Morales, who is the director of this picture, who resolves this cramped issue in a broad open direction, pushing out sure and down to given actors space so to say. It is as if the bottom drops out. The trailer does not give much away. It is shocking, but after the facts are laid out, it makes absolutely horrible sense.

Heather (Harris) lives in a nice townhouse together with her husband (Dominic Allburn), who spends his time away from them, and even when at home, he is unpleasant. He hardly gives an explanation as to why he stays out late. Heather is aware of the fact and she knows that something is going on.

A notification lift arising out of her fertility app on her phone reminds her that her marriage is practically over. She is hinting at a nervous breakdown in one of the rooms of her house, where wasps have invaded, buzzing quickly away her peace.

There is a nest somewhere, she just knows it. She resolves to take matters into her own hands, or rather than just that. Heather has a flashback of an event that was rather unfortunate during her childhood when she saw Carla, her companion, smashing a sick pigeon with a stone. Ever since Heather had decided not to concern herself with Carla it had never been an issue.

However, that was some time ago and since then he now thinks that anybody with an aptitude for such a ‘deed’ could do away with her husband without much effort. Carla (Dormer), who is now on her fourth pregnancy and works in a grocery store, is the one she is trying to contact. The two have not seen or spoken to each other since grade school.

Carla would not have nothing to do with it, except for how the money Heather offers is yummy. It’s obvious that Heather is lovelorn, very docile if a little out of sorts, perhaps even scared of the sharp-edge street gal Carla.

Carla is losing hope and considers Heather to be an ignorant dreamer, a stereotype of a privileged lady. She thinks it very silly, and rather childlike of Heather to now suggest some bizarre ways of putting her husband permanently out of her life.

Hence, at a certain level, when Heather declares with all seriousness, ‘I want to get rid of this man but I want to make sure every other area of my life is untouched,’ one can only laugh. What the heck, how can this subject be taken seriously? Here, Carla has the last word in the argument.

Carla is a powerfully built women: puffy coat, big size of a pregnant tummy looking very menacing goes way ahead of Heather fully engaged in a run to meet that brisk pace. On the other hand, Heather is always neat and well pressed while Carla looks somewhat disheveled but it is apparent who has the territory.

“I know it is,” Heather says to Carla, waving her off. Carla looks back at her stubby, skeptical head, and asks, “Are we?”

Some of the symbolism- the wasp, for instance- struck me as somewhat on the nose at first, or at the very least, too much. The introduction was particularly hard to get into as it was centred around Heather’s passafiley for wasps, which became tedious as the stage i.e. spine covered with a row of scary pictures of spiders in Heather’s townhouse had already been set.

The portraits loom over the action unfolding in the room beyond, reminding us of what is going on: the women are weaving a web for Simon. They hope they will not be caught in their own web. Carla is poking holes in the spider’s web which is Heather’s plan. There is a class angle in all these things.

Heather is cozying up to Carla and that is class politicking, the presupposition that of course working class Carla would know ‘the such things’. So Heather will defer to her “expertise”. Each character condescends to each other.

Once the second major scene begins, the entire atmosphere has changed and consequently, so did the symbols. Just like that the wasp, and the spiders on the walls become one of the symbols, revealing more than they appeared to the lash’s eye.

The symbols are left to do too much of the heavy lifting, but as far as this was concerned-in keeping these symbols in operation-as an active force within the story as it was rather remarkable especially how they were transformed.

Albeit the script being impressive the film The Wasp hinges on the performances of Harris and Dormers. Harris, who received an Oscar nod thanks to her heart-breaking emotional bite in Moonlight, has range that is gorgeous.

Heather is a tightly wound ball of controls, her instinctive politeness hiding inner turmoil. She is all quiet calmness one moment, and then out of nowhere, she bursts into eager-friend-helping-you, and you know from that gesture that she needs to be taken away for her own mental health into one of those locked wards.

Herbia is in control – in fact, she is in control of the plot. Harris is in complete control of how and when that secret is revealed to us. “Ah, this is why it was slow, because I have to act like this”: this is the frustration at my level. Dormer matches Harris’s performance, turning on contempt, bewilderment, and irritation.

This is the reason why I go to the movies-to see Harris and Dormer create this event together. In that stylish, dreadful twinhouse design, anything was possible. And anything is indeed possible.

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