Hairy and horned or soft and sulking, we need to discuss sexy beasts because they’re everywhere.
“Every romance novel I’ve ever seen could be summed up as ‘Love for woman tames dangerous man’,” writes one Reddit fanfic devotee with the weary resignation of someone who has put far too much time into confirming this point. The untamed anti-hero may be a glamorous cad, but he may equally be the Hunchback of Notre Dame. Romantic monsters, apparently, resemble the second kind. “They are just more dangerous. And often hairier.” Like men, in other words, but more so.
Spartan queen Leda’s encounter with the swan was a favourite subject for Renaissance artists, always depicted – despite the story’s suspect sexual assault vibes – as a transport of feathery bliss. Sexuality was anarchic and animal, a troubling primal urge. In these stories and the work inspired by them, that urge that could be unleashed in safety., written by French novelist Gabrielle-Suzanne Barbot de Villeneuve in 1740 as a salon entertainment, date back 4000 years.
Director Robert Eggers cleaves to the plot points of F.W. Murnau’s original, but turns the narrative around to be told from Ellen’s point of view. The switch of focus effects a telling change of tone. In the first film, an ailing Ellen senses the approach of “the Master” from Transylvania, as if she were a kind of wireless transmitter picking up his signal, not long before he arrives.
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