Adapting a novel into a movie is no easy task, one that few have successfully done. For every “Lord of the Rings” and “Harry Potter” franchise, you get stinkers like the “Divergent” series and “Eragon”.
The problem with bringing an author’s vision to the big screen is that what works on paper doesn’t necessarily work on film. This is certainly the case with “Where the Crawdads Sing”, based on the bestselling novel of the same title by Delia Owens.
Incidentally, Owens is wanted in Zambia for questioning over the shooting of a man on her property. This might not be entirely relevant to this review, but – coupled with the many allegations of racism by Owens against people of African descent – it might be prudent to separate the art from the artist.
It’s probably a good thing the author had minimal influence over the production of this movie, with acclaimed actress Reese Witherspoon serving as executive producer instead… not that this saves it from being a boring dirge.
“Crawdads” centres on Kya (Daisy Edgar-Jones), a societal outcast who lives her life in the swamps of North Carolina. When local man Chase Andrews (Harris Dickinson) is found dead in the swamp, Kya is immediately blamed and thrown into prison.
In jail, she tells her life story, with perspectives shifting between flashbacks and the present. As is eventually revealed, Andrews was part of a love triangle, competing against her childhood friend, Tate (Taylor John Smith), for Kya’s attention.
From this alone, you might surmise this movie is meant to invoke the feel of a Nicholas Sparks novel or big-screen adaptation (“The Notebook”, anyone?). And it does just that, with saccharine scenes between the lovebirds and overwrought moments of “she loves me, she loves me not”.
All of which would be fine if only Kya’s love interests weren’t about as interesting as cardboard. Smith’s character is boring and static, while Dickinson’s is meant to be ambiguous but only gives off bad vibes all the way.
Besides having no personality, audiences do not know much about them aside from the fact that they know Kya and are hopelessly smitten with her.
Perhaps it is not director Olivia Newman’s fault: the book itself is tedious, its plot contrived; and even the “shocking” twist at the end hardly feels earned.
In fact, “Crawdads” seems unsure of what it wants to be, stuffing romance, drama and mystery into a messy, two-hour-long chore. Yet, somehow, this runtime seems insufficient to successfully explore the movie’s ideas, causing several plot threads to sink into the swamp.
Speaking of which, you’d think the characters would at least look a little dishevelled marching through dirt and mud. Au contraire – the North Carolinian swampland appears to be the most gorgeous place in the United States, where even the moss looks shiny!
And bafflingly, Kya is treated as a wild and dangerous outsider but looks and dresses like an Instagram influencer for most of the film. One particularly ridiculous scene is when she walks into town with combed hair and makeup, and everyone gapes at her in shock. Facepalm.
Also questionable is the fact that the movie romanticises poverty in rural communities, associating it with a nature-friendly lifestyle. It’s not exactly the same thing, folks.
For all its shortcomings – and there are plenty – recognition ought to be given to the actors, particularly Edgar-Jones. She invests herself in the character and her performance, doing what she can with the woeful material.
The score by Oscar winner Mychael Danna also does the film a great service, his haunting themes fitting the mood and atmosphere; while the cinematography is commendable, with shots of the pristine swamp fit for a tourism commercial.
At the end of the day, though, “Where the Crawdads Sing” is like a nicely wrapped present. It looks great on the surface, but tear off the fancy wrapping and you’re left with nothing but a major disappointment.
‘Where the Crawdads Sing’ is screening in cinemas nationwide.