Whilst most eighteen year olds are still trying to find their place in the world, George Baron has decided that a life in the movies is for him. Making a film is no small undertaking at any age, but for someone so young it is near impossible. Baron though proves to be one of the exceptions, and his debut, The Blue Rose, has just screened at Pigeon Shrine FrightFest.
Not content to merely direct The Blue Rose, Baron also wrote the script, devised the concepts for the costumes, and even stars in the project. It is a lot of plates to spin, especially given Baron’s young age, but what he lacks in inexperience he makes up for in enthusiasm. A filmmaker filled with surprises, Baron’s choice of story is not what most would expect. Rather than stick to a modern setting, or a more straightforward plot for his debut, Baron shoots for the moon with a twisted fifties-set film noir. The Blue Rose joins rookie detectives Lilly (Olivia Scott Welch) and Dalton (Baron) as they set out to solve a homicide, but end up in an alternate reality made up of their worst nightmares.
A clear disciple of the film school of David Lynch, Baron’s film plays with those twisty-turny, absurd plot points that made Lynch famous. There is a strong whiff of Twin Peaks to The Blue Rose meaning that it already has a baked in audience. Baron does add his own interpretations, the main being that, although presented as the 50’s, there is something inherently modern about aspects of The Blue Rose.
Inspired by the artwork of Sophia Victoria Frizell, The Blue Rose is a very visual film. Whatever the budget of Baron’s film, The Blue Rose looks ten times more expensive. Painstaking care has been put into the production design and costuming, so much so that even if the story leaves the viewer cold, the visuals will entrance and delight them. The world on screen is a beautifully stylised version of fifties Americana, the sets impeccable and the costumes worthy of contention for any big name award. The costumes featuring standard fifties style dresses mixed in with latex and lingerie add a frisson of kink. This ties to the story neatly, but also injects a clever deviation from the expected twee costuming expected from the era.
The young cast, Baron included, are all a delight to watch. Each has a distinct look and voice, and their differences draw the viewer further into the world. Of everyone, it is club singer Catherine (Glume Harlow) that is the most mesmerising. Glume is a singer in real-life and her vocals are haunting. As Catherine she is simply intoxicating and the audience gets just as entangled with her as Dalton and Lilly. Glume channels the late Marilyn Monroe and it is easy to imagine Glume having a similarly bright career.
A technical marvel, The Blue Rose demonstrates a vast amount of potential for someone still so early in their career. Fans of David Lynch are sure to be entertained with this head-scratching and kooky story that embraces the bygone decade of the fifties.
The Blue Rose
Summary
George Baron proves himself a talented film-making force with debut The Blue Rose, a film whose technical prowess is akin to those twice, if not triple, his young age.
The Blue Rose was reviewed at Pigeon Shrine FrightFest 2023.
