‘It’s definitely an uncomfortable film,” said Mia Wasikowska, who stars in the creepy psychological reverie “Stoker,” and whose character is both the source and the object of much of that discomfort.
India Stoker has just turned 18, on the day her father dies in a mysterious accident. She lives with her mother, a frosty and distant Nicole Kidman, in a beautiful house in the country. And then, at the funeral for her father, an uncle she never knew — Uncle Charlie, an effortlessly sinister Matthew Goode — appears.
And life in the Stoker home becomes very strange indeed.
“As a film about a young girl’s reality, there’s a part of her that I understand and I identify with, the more universal feelings of loneliness, and isolation, and desire,” Wasikowska said about her India. “And then there’s a part of her that’s a mystery to me. As it will be to most people, I imagine.”
“Stoker” marks the English-language debut of South Korean auteur Park Chan-wook, he of the exquisite “mise en scene,” the turbulent psychology and the joltingly brutal violence. His “Vengeance” trilogy — “Sympathy for Mr. Vengeance,” “Oldboy” and “Sympathy for Lady Vengeance” — is the stuff of cult fervor.
“I had heard of him and ‘Oldboy,’ but I hadn’t seen his films when I signed on,” confesses the actress, acknowledging that perhaps that was the wrong way to go about things. “So I signed on and then did a Director Park marathon. ... I was so excited. I think he’s brilliant. He is a real original. He has a very unique vision. ... And this was a really strong story. It’s fascinating to get an intimate peek into the lives of these three family members.”
More intimate than some might like. But while lots of unsettling stuff happens, or seems to happen, in “Stoker,” not the least being an attempted rape and a series of murders, the film has a rhapsodic beauty about it. It’s full of slo-mo shots of the natural, and unnatural, worlds that India walks through in a state of, well, what is her state, exactly?
“Director Park wanted the film to have a dreamlike quality,” Wasikowska explains. “And people have completely different interpretations of the film as a whole. ... It really does leave things open to question. Even to question whether Uncle Charlie is completely a product of India’s imagination.”
Wasikowska said that before they started filming in and around Nashville, Tenn., Park gave each of the leads a giant book of storyboards. Taking a page, so to speak, from Hitchcock, who conceived every shot before he arrived on set, Park had the entire film drawn out in elaborate detail.
“Director Park storyboards the whole movie before we start filming, so we were given a giant booklet of every single shot in the film, start to finish. And although that changed during the shoot, due to timing and circumstance, the film remains very true to that original vision.”
Wasikowska, 23, hails from Canberra, Australia. She started acting in Australian TV when she was 15. She came to the attention of Hollywood after appearing as Sophie, the suicidal teenager in the 2008 season of the HBO series “In Treatment.” A few years later, and she was in a multiple-Oscar nominee (“The Kids Are All Right”), had the title role in a new and beautiful “Jane Eyre,” and starred in Tim Burton’s “Alice in Wonderland,” the second-highest-grossing film of 2010.
It’s the kind of career arc that might be recognizable to one of Wasikowska’s fellow Aussies: her “Stoker” mom, Kidman. She, too, started off in Australian TV as a teen, before making the move to movies, and to Hollywood.
“Being a young actor from Australia, she was a huge role model for me,” Wasikowska said of Kidman. “It was pretty wonderful and quite surreal to end up on a set with her, and she was so incredibly open, kind and warm, and really took me under her wing. It was just an amazing thing to work with her.”
Open, kind and warm, it should be noted, are not applicable descriptions of Kidman’s Evelyn Stoker.
“Luckily, off-camera, our relationship was very different,” Wasikowska said, laughing. “Nicole is not a Method actor.”
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