Sánchez’s film draws from Jackson’s sense of distrust, her drive to reflect the instability of the mind in a house’s aching old architecture, and her sense of the ostracized seeking solace and finding instead more hardship inside such a house.
The work of Shirley Jackson also haunts Marrowbone, namely her brilliant We Have Always Lived in the Castle, a slender novel about a murderous young girl and her older sister, both sequestered in their looming old home on a hill above a town that’s shunned them. One early scene brings to mind Peter Weir’s Picnic at Hanging Rock, as the children climb along rocks in the woods, and the story shares more than a few similarities with Ian McEwan’s unnerving novella The Cement Garden. The children (played by George MacKay, Charlie Heaton, Mia Goth, and Matthew Stagg) are left on their own, so when an outsider (Anya Taylor-Joy) enters their lives, you know new horrors will soon follow. She soon dies, and her last wish is that the family remains together. “From now on, our last name will be Marrowbone, just like this house,” the mother says. The walls have the hue of gangrenous flesh, the wooden floors creak, and the doors that line the halls are the color of old teeth. It’s a house culled from the pages of a Victorian ghost story. “It’s not how I remember it,” the mother (Nicolas Harrison) says. A mother and her children step into the darkened foyer of a dilapidated house, the vibrant green of the outside world almost seeming to encroach upon them. Sánchez’s Marrowbone is a forgettable hodgepodge of familiar thematic and aesthetics trappings. A ghost story rife with plot twists and loud things going bump in the night, writer-director Sergio G.
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