Vampires have been done to death, no pun intended, so it’s impressive when a movie like Jakob’s Wife comes along, takes some of the most well-established tropes of the genre and does something fresh and exciting with them. The sophomore feature from Travis Stevens (The Girl on the Third Floor), which he co-wrote with Kathy Charles and Mark Steensland, somehow also manages to make vampirism a feminist concept in a similar manner to how Julia Ducournau’s celebrated Raw tackles cannibalism. It helps, of course, that horror icon Barbara Crampton plays the titular role and was also instrumental in getting the film made in the first place.
Crampton stars as Anne, the dutiful, meek wife to fellow horror icon Larry Fessenden’s Jakob, a local pastor in the town of Kinski — likely a reference to Klaus Kinski, whose iconic look as Nosferatu’s bloodsucker is a key influence on Stevens’ vamps. Crampton and Fessenden have appeared onscreen before, in modern horror hits You’re Next and We Are Still Here, but the focus is entirely on them for the first time in Jakob’s Wife, which allows these two highly underrated actors — in mainstream terms, at least — to really show off what they can do. Their rapport is warm yet barbed with hostility, suggesting years of placid domesticity.
More by Joey Keogh: Review: Steven Kostanski’s ‘Psycho Goreman’
Anne frequently regards Jakob with barely disguised contempt when he, for instance, brushes his teeth too loudly, snores into the night or obnoxiously chews with his mouth open. Jakob’s Wife plays with oral fixation as a precursor to what is going to happen to Crampton’s long-suffering character. When Anne meets an old boyfriend for a potentially improper rendezvous, he cheekily reassures her “I won’t bite you.” Religious iconography is used liberally throughout, and the threat of temptation lurks around every corner, but Anne isn’t about to lose her head over a man.
In fact, The Master, as played by beloved creature actor Bonnie Aarons, of creepy-homeless-person-behind-the-dumpster in Mulholland Dr. fame and, more recently, The Nun, is confidently presented as female. Sure, the (terrific) makeup work gives Aarons the look of Kinski as Dracula/Petyr from What We Do in the Shadows, but her taunting whispers from the shadows are undoubtedly womanly. And, when The Master makes her rallying cry for Anne to join the illustrious ranks of the immortal, her core argument is based around self-empowerment rather than servitude.
More by Joey Keogh: Review: Anthony Scott Burns’ ‘Come True’
As strange as it might sound, Jakob’s Wife hinges on a woman finding her voice through becoming… a vampire. Crampton is initially styled all buttoned-up and demure, very polished in pastel cardis and understated makeup, with her blonde hair slicked back in a low ponytail. Following Anne’s transformation, everything about her gets a little, well, more vampy — from her red lipstick to even her voice, which becomes a low, defiant hum. The styling is age-appropriate and pretty, particularly the selection of scarves Anne utilizes to hide the huge, throbbing bite marks on her neck (watching Crampton push her fingers inside them is not for the trypophobic).
A sequence featuring Anne striding through the supermarket, sunglasses on, is the lead marketing image for Jakob’s Wife, and it’s easy to see why. Her look is instantly iconic, evocative of Tilda Swinton and Tom Hiddleston’s achingly cool vamps in Only Lovers Left Alive, and will likely inspire Halloween costumes for years to come. Crampton is a uniquely gifted performer, whose career renaissance began with You’re Next, and she fully commits to each increasingly gruesome moment, whether it’s plunging her finger into a bloodied piece of meat, classily drinking the red stuff out of a wine glass, enthusiastically dancing with a lamp or ripping a victim’s head off before lapping his blood up off the floor like a dog.
More by Joey Keogh: Review: Rose Glass’ ‘Saint Maud’
“I’m sorry Jakob! It wasn’t me!” Anne cries hysterically, upon being discovered by her horrified husband, in a moment that solidifies the jet-black comedy at Jakob’s Wife’s rotting heart. Later, a blanket-covered reanimated corpse bounces around the kitchen as Jakob tries to shoo away a suspicious police officer. The image of Fessenden gussied up as a priest is a sight gag in itself since he often plays it super grungy. The man can do anything, obviously, but it’s refreshing to see him sink his teeth into something more challenging, and so far removed from the cuddly performer audiences have come to know over the years.
Jakob’s Wife is loaded with style, a keen attention to detail alleviating what was a low-budget production by necessity. From The Master’s sharply-taloned grey hand drifting out of her long, black hooded cloak to a horrific death by rats (and an untold number of blood spurts), the movie has fun getting messy and frequently revels in the more gruesome elements — Anne’s visit to the dentist will put you off teeth whitening for life. And yet, the classic big car the couple drives around in, accessorized with a giant gold cross, as well as the old-school workout videos Anne partakes in, give Jakob’s Wife a curious timelessness that lends itself well to the subject matter.
More by Joey Keogh: Review: Jordan Graham’s ‘Sator’
The makeup and FX are excellent, clearly created by a team of dedicated artists who are likely hardcore horror fans too. However, although Jakob’s Wife works perfectly well as a vampire movie and is plenty scary to boot, this is also a defiantly and demonstrably feminist tale. As Anne proudly tells Jakob, she feels more alive than ever before, chiefly because the neglected housewife is finally taking control of her own life. It’s an important, empowering message, particularly for young, female horror fans. Although Crampton deserves most of the credit for sticking with the story and ensuring it got made, Stevens should be heralded for his role in bringing it to the screen in such an entertaining, respectful and impactful way.
Still, Crampton’s performance is the shining star around which everything else rotates, and both Fessenden and Stevens do their utmost to ensure all eyes are on her throughout. If there was any doubt about whether the 80s starlet has more to show us, Stevens’ vampire tale should silence any discerning voices. Aside from being a furiously feminist film, Jakob’s Wife is mordantly funny, gruesomely gory and gloriously unpredictable. It’s a genuinely unique proposition that doesn’t waste a moment, and the purposely tongue-in-cheek final moments will be furiously debated for years to come.
Joey Keogh (@JoeyLDG) is a writer from Dublin, Ireland with an unhealthy appetite for horror movies and Judge Judy. In stark contrast with every other Irish person ever, she’s straight edge. Hello to Jason Isaacs.
Categories: 2020s, 2021 Film Reviews, 2021 Horror Reviews, Featured, Film Reviews, Horror
5 replies »