I interpreted these generational differences in terms of second-wave feminism and third-wave feminism. Elsa tells Dren that she hid her doll from sight because her mother would not allow her to play with dolls Elsa also explains that make-up was forbidden because, her mother said, it “debased women.” Elsa’s mothering of Dren, then, contrasts her mother’s approach.ĭren from Splice. These lessons in femininity contrast Elsa’s own accounts of her relationship with her deceased mother.
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Along with skills, Elsa passes along lessons of femininity, giving Dren a Barbie-like doll, adorning her in dresses, and as she matures, teaching her how to use make-up. From the time of Dren’s birth, Elsa relates to her like a mother to a child, protecting Dren from danger and, as she grows, teaching her new skills and praising her for her accomplishments. This last image of an older woman holding a younger woman draws attention to the mother/daughter dynamics central to the film. The film ends without reassurances, fading to black with the image of a female executive embracing Elsa. The now clearly pregnant Elsa agrees to carry her baby to term despite the personal risks and ethical implications. Months later, Elsa makes a deal with the company to enter phase 2 of the Dren project. Elsa, however, finishes the job by smashing Dren’s head with a rock.
Clive impales Dren, but Dren kills Clive with his regrown stinger. After killing Clive’s brother and one of the executives sent to investigate, Dren attacks Elsa and rapes her. Soon thereafter, Dren appears to grow sick and die however, Dren rises from her fresh grave, transformed into a male. Elsa walks in on a freaky intra-species sex scene, one of the film’s more shocking moments. The emotions between Clive and Dren quickly become sexual, and Dren successfully seduces him. Dren rebels against the mother figure Elsa while Clive and Dren become closer. Rather, the film’s final third revolves around tensions amongst Dren, Clive, and Elsa. Elsa extracts DNA from Dren, successfully reproducing the protein demanded by the company.īut work seems the least of their worries. The couple must develop the proteins demanded by the company using DNA samples. Meanwhile, the “Fred and Ginger” project takes a disastrous turn when Ginger changes sex and the two kill each other in front of the company’s shareholders. As Dren grows, she becomes more difficult to hide from other workers in the lab and Clive and Elsa decide to move her to a secluded farm house where they keep her locked in a barn. With wide set eyes, chicken-like legs, and a tail with a stinger, the creature (which Elsa names “Dren”) looks uncannily human, yet behaves with the unpredictability of an animal. The animal ages rapidly starting out looking like a fleshy tube with a bulbous appendage at one end and becoming more human-like as time passes.ĭren and Elsa in Splice.
In an intense scene, Clive and Elsa extract the creature from it’s fetal tank. The egg, however, grows more rapidly than expected. Despite orders to refrain from using human DNA, Elsa and Clive move forward with the project in secret with plans to abort the egg once it proves viable. Riding the high of their success, Clive and Elsa propose an even more radical experiment involving the incorporation of human DNA, much to the dismay of the executives of their company. They succeed in developing strange, penile like creatures for this purpose, calling the pair Fred and Ginger. You simply must see it.įor those who missed my previous post, Splice follows a couple of scientists, Clive and Elsa (Brody and Polley, respectively) tasked with creating animal hybrids in order to extract proteins for gene therapy. I am happy to report that Splice may be this summer’s Drag Me to Hell, in terms of high quality, provocative, mainstream horror. A friend tempered my high expectations by telling me that some reviewers panned the film, but I went to see it last night anyway with hopes that the film would prove strong. Previously, I posted about how highly I anticipated Splice, a sci-fi/horror film written and directed by Vincenzo Natali and starring Sarah Polley and Adrian Brody. ( Adrian Brody, family, film, horror, mother daughter relationships, Psychoanalysis, Robin Wood, Sarah Polley, Splice, Vincenzo Natali)
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