While I’m not really in the mood for scary movies this month, the vampire ballerina movie Abigail had me intrigued. Horror movies aren’t my thing. But looking at different genres gives me insights into building any type of story. The plot is completely given away in the advertising, so I don’t think I’m spoiling anything for anyone who would watch this.
And if you’re reading this just to be nice, well, thank you.
A fun question to ask writers is, "Do you start with characters or a concept?" Abigail clearly started with a concept, and the laws of Story dictated the characters. If the story is about a group trapped in a house with a monster, everyone in the group must be distinct and serve a function. If they're monster fodder, they should be somewhat reprehensible. That said, one person must be more sympathetic than the rest so that we have someone to root for and identify with.
This movie starts with a kidnapping, and for a while we’re led to sympathize with the victim.
That doesn't last long.
Once you establish the rules of the world, so that you remain true to the concept, and identify your characters, the story quickly falls into place. From there, you just have to make sure the events play out in creative and entertaining ways. In all these areas, Abigail succeeds. There's nothing particularly new or complex, but the movie maintains its structural integrity.
Well, except for the basement swimming pool of bodies. That belongs in a different movie.
The reason audiences have connected with the movie, though, is for its little flourishes. Opening with Swan Lake is a perfect example. The melody is ominous, yet hopeful, and since Abigail is a ballerina, why not use one of the most famous ballets? The Nutcracker just wouldn't work. More importantly, the filmmakers knew that Swan Lake was also used for the title cards in the 1931 Dracula, which speaks to their knowledge of film history.
We can feel their (sorry) media literacy, even if we don't know their motivation.
There's also shades of Let the Right One In and Interview with The Vampire, as we're led to consider how a child monster would function in a society run by adults. Where this movie stumbles a bit is in bringing in Abigail’s father. It tacks on a few unnecessary minutes and a hint of backstory when I would have preferred none at all. If they’re setting up a sequel, I’m afraid all of the comedic elements (which most feel should be more pronounced) will have to be abandoned.
Yes, Abigail is a comedy/vampire/slasher/thriller. A monster mash, if you like.
While the tone of the movie may wobble under close inspection, the setting is perfect. If they'd gone with a lower budget location, like a generic apartment building, the story could still work. But the creepy, luxurious mansion in candlelit orange makes the movie visually interesting and creates atmosphere. Part of going to the movies, or just watching one at home, is getting the sensation of being somewhere different.
Beautiful people in exotic places doing exciting things = a good movie
Finally, (and I hope this isn't too puerile) casting the lovely Melissa Barrera as our protagonist (a wounded woman who just wants to see her daughter again) and putting her in a pushup bra with a scoop neck top appeals just enough to the male gaze. Without, I must stress, getting trashy. Vampire movies always have at least a hint of sensuality, and that's all that's appropriate here: just a hint. I'm sorry, but guys feel more protective of sexually attractive women. Female viewers respond to a mother in peril, no matter how she's dressed.
Either way, there's something here for everyone.
While Abigail didn't blow me away or leave me asking any deep questions about the nature of humanity, I appreciate the craftsmanship and was consistently entertained.
