Carey Mulligan: Gone girl
Actress delivers performance of her career in Promising Young Woman
Not every Carey Mulligan movie begins with a Charli XCX song, but maybe more of them should. When
Promising Young Woman deploys the 2017 pop bop
Boys in its opening moments, it’s the first sign you’re about to get something from Mulligan that you’re not used to: namely, a contemporary setting.
“I know that for a cinema audience, I’m just constantly in period costume,” Mulligan said recently, shrugging her shoulders in an oversized red sweater.
She was video-chatting with me from her British country house in Devon, where she had sequestered herself in a darkened music room typically used by her husband, Marcus Mumford, from the band Mumford & Sons.
A single, solitary lamp illuminated her — as single, solitary lamps often do with Mulligan.
You’ll find little more than a meagre light source in many of the 35-year-old actress’s most recent movies, which include Far From the Madding Crowd, set around 1870; Suffragette, about equal-rights protests in 1912
Britain; and Mudbound, which begins in the year 1939. It has been nearly a decade since Mulligan starred in a modernday film — Steve McQueen’s
Shame, from 2011 — a span of time that initially surprised even her. “I think of Wildlife as being kind of contemporary!” she insisted.
I had to point out that the 2018 domestic drama, in which Mulligan plays a restless mother on the brink of an affair, takes place 60 years ago.
This is not necessarily a good or bad thing, but it is a thing, and it’s part of the reason that Promising Young
Woman lands like a lightning strike. Imagine the cognitive dissonance of taking, say, Audrey Hepburn out of her midcentury roles and plopping her into a thoroughly 2020 movie about consent, revenge and stalking your college acquaintances on Facebook. And imagine, in doing so, that she turned in the performance of her career.
A black comedy told in pastels, Promising Young
Woman casts Mulligan as Cassie, a disaffected med school dropout whose life has never been the same
“WHY DOES EVERY WOMAN WHO’S EVER ON SCREEN HAVE TO LOOK LIKE A SUPERMODEL?”
CAREY MULLIGAN ★ Actress
since her best friend was raped in college. Lately, Cassie has come up with a confrontational way to deal with her grief: She’ll go to a nightclub, arrange herself in a vulnerable position — typically slumped on a banquette, acting too drunk to stand or even speak — and wait to see if a guy will seize upon the tableau as an opportunity. Depressingly, someone always does.
Of course, the guy doesn’t think he’s doing anything wrong; he’s just offering Cassie a “safe ride home” that happens to go back to his place. There, he will advance on her splayed body until Cassie suddenly sits up, revealing her sobriety just as he is about to assault her. “But I’m a nice guy!” he will sputter, caught in the act. Cassie’s inevitable reply: “Are you?”
The film is a tonal tightrope walk, and Mulligan is astonishing in it. There is so much about Cassie that an actress might be tempted to overplay — her biting sense of humour, her well-defended soul sickness, the startling lengths to which she’ll go in her mission — but Mulligan makes the character feel achingly real. And sometimes, as if it were as easy as breathing, she can convey all of those warring traits in the space of a single line.
“She is so unfailingly truthful and about as grounded as an actress gets,” said Emerald Fennell, the writerdirector of Promising Young
Woma’. By casting Mulligan, Fennell sought to steer clear of a more stereotypical presentation of female revenge, which would portray Cassie as “a woman walking down the street in slow-mo with a fire burning behind her,” as Fennell put it.
Last month, it happened again. Mulligan was reading a screenplay, and when a female character was introduced, the description said, “Beautiful but doesn’t know it.”
If you’re an actress in Hollywood, you’re familiar with that phrase. And in the 10 years since Mulligan was nominated for an Oscar for playing a schoolgirl seduced by an older man in An Education, she has certainly come across that sort of description more than she’d like. “I kind of can’t believe it still happens,” she said.
We wondered aloud about the deeper meaning of a description like that. Do men write it to turn other men on? Maybe to them, it isn’t pertinent whether a female character is a nurse, a marketing executive or a serial killer — what matters most is conveying that this fictional woman is out of your league, but you’d still have a shot with her.
It may seem like a little thing, but those little things add up in Hollywood, where the way women are viewed becomes something the whole world can watch. That’s why Fennell told all the men to play their nightclub scenes with Mulligan as if they were the heroes of their own romantic comedy; in another era, they would have been.
Just look at seminal comedies like Animal House, in which a college freshman debates date-raping a passed out girl; or Sixteen Candles, when Molly Ringwald’s love interest leaves his blackout drunk girlfriend with a virgin nerd and tells him, “Do anything you want.”
The movie Fennell and Mulligan have made is as sticky and dangerous as a spider’s web, and men’s reactions to it can be telling. Before the pandemic scuttled its original spring release,
Promising Young Woman had a buzzy debut in January at the Sundance Film Festival.
I asked Mulligan if she had read any of the responses to it then, and she winced.
“I read the Variety review because I’m a weak person,” Mulligan said. “And I took issue with it.”
She paused, debating whether she really wanted to go there. “It felt like it was basically saying that I wasn’t hot enough to pull off this kind of ruse,” she said, finally. Although Promising Young
Woman earned its fair share of raves at Sundance, Variety seemed stumped by the movie and strongly implied that Mulligan had been miscast. “Margot Robbie is a producer here, and one can (perhaps too easily) imagine the role might once have been intended for her,” read the review.
Mulligan can still recite some of the lines from that review. But she said, “It wasn’t some sort of ego wounding thing; like, I fully can see that Margot Robbie is a goddess.”
What bothered Mulligan most was that people might read a high-profile critique of any actress’s physical appearance and blithely accept it. “It drove me so crazy. I was like, ‘Really? For this film, you’re going to write something that is so transparent? Now? In 2020?’ I just couldn’t believe it.”
It’s all the more ironic for Mulligan because Promising Young Woman explicitly grapples with the litany of cultural expectations about how a woman ought to look and behave. “We don’t allow women to look normal anymore, or like a real person,” Mulligan said. “Why does every woman who’s ever on screen have to look like a supermodel? That has shifted into something where the expectation of beauty and perfection on screen has gotten completely out of control.”