Cinema Scholars reviews Columbia Pictures’ new romantic murder mystery Where The Crawdads Sing. The film is directed by Olivia Newman and stars Daisy Edgar-Jones and David Strathairn. Where The Crawdads Sing opens exclusively in theaters on July 25, 2022 courtesy of Sony Pictures Releasing.
Introduction
The adaptation of a book to film is a tricky business. Especially when the tome is a beloved best-seller. While the brevity of a feature-length movie certainly limits the scope of a story originally told in novel form, sometimes the abridged format crystallizes the main narrative perfectly. In other cases, certain details lost in the translation causes a storyline to feel clunky or even nonsensical.
In the new film Where The Crawdads Sing, the tale of an epic love triangle set in the remote marshes of North Carolina makes the transition from the page to the big screen with only a few question marks.
Synopsis
Based on the 2018 novel of the same name by author Delia Owens, Where The Crawdads Sing is an epic love story covered in crime drama wrapping. The story begins in 1969 when a man is found dead after an apparent fall from a fire tower in the marsh of fictional Barkley Cove, NC. In lockstep, local gossips, as well as the county’s DA, have pinned the crime on a mysterious young woman rumored to have survived alone in the swampy woods since she was a child. To make matters worse, there is actual physical evidence tying the “marsh girl” to the scene. Thankfully, a local attorney steps up to defend the recluse who maintains her innocence. From here, the backstory of the swamp girl is told in flashbacks revealed in between scenes of the ensuing courtroom drama.
Born Catherine Danielle Clark, but nicknamed Kya, the mysterious marsh girl grew up where people get around in small boats that buzz in and out of hidden lagoons. In 1950s North Carolina, it was common for rural homes to lack electricity or running water. Despite their primitive home, Kya’s family lives a happy life until her father’s escalating abuse forces her mother to leave. One by one, the rest of Kya’s family also make their exit, leaving the young girl to fend for herself. After years of isolation, a grown Kya finds herself in an unexpected relationship with a local boy and fellow nature lover named Tate. When things eventually fizzle, Kya goes on with her life, finding new love along the way. However, when Tate resurfaces, Kya gets caught in an unexpected love triangle that culminates in her current terrible predicament.
Analysis
The switch between crime drama and full-on romance is crucial to the tonal balance of Where The Crawdads Sing. The seriousness of the courtroom scenes mercifully cuts the saccharine sweetness of not one, but two love stories. Romantics will swoon at the picture-perfect meet cutes and cliche milestones. But just when cynics may roll their eyes at the amorous rhapsody (complete with make-out montages and some surprisingly salacious love scenes) the story returns to the procedural nuts and bolts in the nick of time.
In her second narrative feature, director Olivia Newman (First Match) lovingly conveys the lushness of mid-century coastal North Carolina without drowning in nostalgia. Much of the film takes place among the shady waterways, and Newman’s gorgeous depiction is a delight. Additionally, the wild and untouched setting of the marsh lends itself to multiple fascinating boating sequences plus an obvious nod to the untamed virtues of the heroine.
Performances
In the lead role, Daisy Edgar-Jones (Gentleman Jack) handily glides over the melodramatic tightrope with her earnest rendition of Kya. Not all performers can achieve genuineness amid the intoxication of a mushy romance. Much less the far-fetched character development. Yet, Edgar-Jones’ turn as the misunderstood orphan has a sincerity that diffuses any schmaltz.
As Kya’s determined defense attorney, David Strathairn (Good Night, And Good Luck) is as endearing as ever. His kind, thoughtful delivery represents one of the only glimpses of humanity from the townspeople. Each time the story juxtaposes the wily nature of the marsh with the institutional vibe of the courtroom drama, Strathairn’s brief but comforting presence helps bridge the divide.
In the dueling love interest roles, Taylor John Smith (Hunter Killer) and Harris Dickinson (The King’s Man) fit the white hat/black hat bill. Smith gets to revel in the near-perfection of Tate. This includes a dream date timed to a Snow Geese migration and a fantasy apology that only exists in adaptations of romance/mysteries. Dickinson also shines as the fundamentally flawed Chase. The actor’s subtle hints at Chase’s underlying duplicity help his later shift in demeanor make sense. It’s tough to transcend the stereotypical good guy/bad guy character tropes in a story like this. Yet both actors dodge those pitfalls heroically.
Special kudos go to Jojo Regina as the younger version of Kya in the first act. Little Kya endures the brunt of the emotional trauma in Where The Crawdads Sing. Accordingly, Regina’s performance is as strong as it is heartbreaking.
Further Discussion
Regarding some of the key plot points, the idea of an entire family abandoning the youngest of their clan is a tough sell. Even with an explanation about her mother from her long-lost brother, it’s a hard narrative leap to make. Similarly, Tate’s return and noteworthy apology after inexplicably disappearing five years earlier seem like too little too late. At least the weakness of his reasoning matches the weakness in Kya’s resolve. Obviously, the 50s and 60s in rural North Carolina were a different time, but the suspension of disbelief with these storylines is not the easiest.
There are other aspects of Where The Crawdads Sing that beg for a bit more explaining. Rampant racism of the day is briefly touched upon during an interrogation of a black couple who befriend Kya. While the acknowledgment is appreciated, the single call-out leads to more questions about that aspect of the story. Furthermore, in flashbacks of Kya and her dad (the incredible Garret Dillahunt), a hint about his army past leaves the audience wondering if he might be suffering from PTSD. Not that it’s an excuse to leave your child alone in the marsh. But a little context goes a long way and there is very little offered here.
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