Based on the real-life author Shirley Jackson, Josephine Decker’s fifth feature film finds its namesake protagonist (Elisabeth Moss) and husband, college professor Stanley Hyman (Michael Stuhlbarg) taking in a young couple (Odessa Young and Logan Lerman) as the husband, Fred, works under Stanley. The moment these two couples meet, a palpable tension remains in the air, particularly due to the stellar performance of Moss. While the comparison of an unhinged, psychotic character seems to be in her wheelhouse (note her last role earlier this February in Invisible Man), Shirley’s character has much more deliberate and sickly motivation to her actions. Struggling to write her next ground-breaking novel during the couple’s visit, Shirley uses Rose, the wife, to explore the subject of her next novel, the disappearance of a local woman named Paula.
While Moss deserves praise, it is not her show. Odessa Young as Rose delivers a solid performance as the line of reality begins to blur. Literally, Decker uses the lens to show this, rarely opting to provide a deep depth of field in the background. The viewer’s eyes will fixate on the figure in the frame, whose presence will pulsate in and out of focus as the edges of their being melt into the background. No doubt, it is disorienting. Yet, coupled with Shirley and Rose’s unrelenting quest for control, the style is very uncomfortable – in the best way possible.
Indeed, this quest for “control” lies at the heart of the film. Shirley, in both the film and real life, struggled with anxiety and, in the film, finds it difficult to amicably connect with people. At the same time, there is an aura of admiration that draws Rose into her world. This contradiction repeats throughout Shirley, whether it be Stanley’s need to put down Fred and treat Rose kindly or Fred distancing himself in his relationship while having frequent sex with Rose. The latter part of the contradiction – the close proximity between characters – sets a claustrophobic atmosphere to the film. Rarely does Decker cut to a wide shot of the characters. The tight framing, minimal room between characters, and dialogue can be unsettling.
While the project has a clear, distinctive, and interesting voice, Shirley’s strength also becomes its fault. At times, the narrative can be confounding while balancing complex relationships and ideas. The film feels fragile, which easily may lose the interest of audiences looking for a fun flick to pop on the small screens. The ideas carry this film, not the narrative or emotional plights of the characters. It does not make this film “bad” by any stretch of the imagination. It does not make this “great” either.
Ultimately, the film is not at all a biopic for Jackson fans. Rather, it pays homage to the thriller/horror writing for which the author is renowned. For anyone looking for an auteur-driven vision to stand out from the mediocrity found commonly on streaming services, they may hit “the lottery” with this film on Hulu.
4/5 STARS