
Marmalade is a strong first feature by Kier O’Donnell. It is a story of crime romance where there is love, and there is crime. The movie focuses on human relations and the concept of emotions and their amalgamation seems, mysterious and new due to the sudden changes in the plot. Unlike a regular romantic crime comedy sub-genre in Marmalade, there are no Bonnie or Clyde inspired cliches but an attempt to create something different that marries crime and romantic comedy genre targeting the mature audience in an imaginative way.
Baron (Joe Keery) is a skater who’s in love and is faced with eviction from his mom’s house to her apartment. Baron underwent a lot of depression as a child due to the demise of his mother and wanted nothing more than to impress his mom with everything. Fortunately, he met Marmalade, who wants to be a Pink haired bank robber which is the best way to get attention. I am beginning to understand what it is to be inside a bank and have the intention of robbing it.
To commence with, it’s quite obvious that this film doesn’t possess any modesty, the opening inner scene consists of lots of skin and romance, between two lovers who seemingly could do anything they want to until the law arrived From the Index of Censorship 1.
That summarizes the very first third of the movie, I also will not share anything from the other captivating elements so as not to spoil it for the audience. During this part of the film, however, such feelings of smugness were already registered by me, believing that it will be predictable that it is a plot of a meeting between bad girl who steals and good boy. In this case, Baron is by far the most pleasant one, while Pearl makes attempts to be tough and that is an effort, and Marmalade straw. She is a combination of a mischievous tornado, pink fur and too much chaos, they are both entertaining, but one would expect them to be very flat characters. At least that does not last and it is also the last moment when you can be astonished by the movie before the credits roll.
In her later career, O’Donnell after being in the acting realm for a long time created the role of ‘Marmalade’ with a different perspective as being the writer and director’s role by the turning behind the lens.
In terms of sheer ambition and originality, Clockers meets its expectations thanks to its solid gags and outlandishly stylized direction. And while the film is rife with clever wit, it also features some truly twisted dark comedy and utter insanity.
O’Donnell always makes use of the accent Mermeladov in his sobering narrative, even though sometimes it looks romanticized. It is in some of the performances of the actors of the story where O’Donnell in the role of an actor fully merited understanding of how to make use of different accents. This serves to amuse Stewart Reeves in addition to O’Donnell, however, while a twist is being narrated, they are also interspersed with day to day activities that Polly Morgan captures beautifully in his cinematic pieces. .
Morrone brings an interesting dynamic to the picture by playing Marmalade with carelessness and by making it very apparent that her character’s personality would be completely fragmented from the work and life of a bank robber, which is what the quiet Baron seems to get transported into whenever she is around.
We tend to wish the worst for Marmalade, hoping for things to not turn out as we expect, but Keery’s enhanced character manages to do exactly that, since he is bound to perform quite impeccably, this barely even manages to be considered an actual slump for him which is probably the intent the character was designed around. Despite appearing to be the third wheel and pretending to listen in on sounds, Otis has far more complexity than has been described and Hodge seems to share in the amusement much as Keery does as his and Hodge characters get to expand in this brilliant movie. So sit tight and watch ‘Marmalade’, and even if the film succeeds in what it is supposed to do, you will still go in with the wrong impression which will give the movie a somewhat unique changing narrative.
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