Guillermo del Toro has been a director to watch ever since he wrote and directed his masterpiece, “Pan’s Labyrinth.” Since then, he’s made a “Hellboy” sequel, “Pacific Rim,” “Crimson Peak” and “The Shape of Water.” He has now followed up those projects with “Nightmare Alley,” another masterpiece.
Del Toro shows Stanton “Stan” Carlisle (Bradley Cooper) putting a dead body below his floorboards and burning down his house. This is a man with a dark past. He then takes a job as a carny. While employed at the carnival, Stan encounters a variety of interesting characters, including Clem, an immoral owner (Willem Dafoe); Madame Zeena, a clairvoyant (Toni Collette); Pete, her alcoholic husband (David Straithairn); Molly, a beautiful performer (Rooney Mara); and Bruno, a strongman (Ron Perlman). That list of actors should be enough to convince anyone to stream the film. Add Cate Blanchett, Richard Jenkins and Mary Steenburgen, who appear later in the movie, and you’ll wonder why you’re not watching it right now.
As Carlisle assimilates himself with the other carnies and learns clairvoyance from Zeena, he falls in love with Molly, much to the chagrin of Bruno. In the first hour of the film, it seems as if “Nightmare Alley” will be a beautiful romance between two unusual people. But with del Toro, nothing is that simple. This is a dark romance between a woman who desired more and was willing to follow an ambitious yet monstrous man.
Del Toro often makes movies about monsters like a half-demon or a humanoid amphibian, but the monster of “Nightmare Alley” is a man. While Stan has secrets, he seems like a decent fellow after joining the carnival. He contributes to many acts, and he is an observant learner. This learner’s spirit seems selfless, but it is egocentric. He learns to earn money and fame. Then his ambition strangles him and pushes him to make deals that have deadly consequences.
“Nightmare Alley” — uncharacteristically of del Toro — has no magic, ghosts or other fantastical elements. Magic is only present as a charlatan trick. It’s fun to watch del Toro step out of his comfort zone with something ultimately reliant on human drama and not the supernatural. When you rely on human drama, you must also rely on a stellar cast, and del Toro has it. Cooper starts the film silently absorbing everything like a sponge of skill and emotions. Then he develops into a confident performer who manipulates audiences and deep-pocketed clients.
Cooper is not only the manipulator; though, he is manipulated. Cate Blanchett plays Lillith Ritter, and in her introduction, she attempts to expose Stan as a fraud. She fails, but her failure opens the door to a partnership that leads to Stan’s downfall. Blanchett gives one of her best performances in “Nightmare Alley” by developing a compelling femme fatale. She is masterful at wielding her sexuality, intelligence and confidence like a weapon.
While Cooper and Blanchett are the best performers in the film, there is no weak link. Every actor gives their all, and you get a sense that they believe in del Toro’s expertise and vision. They should believe. Del Toro has developed a film that challenges the concept of what makes a monster and does it with an eye for dark beauty. While “Nightmare Alley” is yet another great addition to del Toro’s filmography, we can only hope that the best is yet to come.