V.C. Andrews' Pearl in the Mist (2021) - Film Review

The Banno sisters reprise their roles in the sequel to Ruby. Raechelle Banno's Ruby is hopeful for a new start with her twin sister as they continue their education at an all-girl’s boarding school. However, she soon endures torturous punishments and public humiliation as her cruel headmistress and stepmother plot against her. This was the first time in awhile I went into a V.C. Andrews film without having read the book first - I was surprised by how much I enjoyed this film.

David Bercovici-Artieda makes his TV movie directorial debut in this feature. This was one of the most beautiful films within the V.C, Andrews franchise - his vision behind the camera had a cinematic tone as he effortless transitioned through scenes and captured the southern gothic undertones.

Richard Blaney and Gregory Small pen this screenplay together again and their collaboration delivers another strong script with great characterisation and dialogue. Pearl in the Mist chronicles Ruby's loss of innocence and her growth into a woman, we really see the transition here from beginning to end. With so many women at the centre of this story. Blaney and Small explore the hierarchy of not just the boarding school, but how women in general are judged within a time period that only cared about lineage and wealth - the hypocritic nature of this narrow-minded structure is also addressed in this screenplay through Ruby's selflessness and inability to ignore injustice against herself or others.

The Banno sisters excel as Ruby and Gisselle in a nearly all female-lead cast. Raechelle Banno portrays Ruby's coming of age arc brilliantly - as well as growing in confidence, this film depicts healthy representation of female sexually and Ruby really finds her voice in this instalment. Similarly, Karina Banno captures Gisselle's stage presence perfectly - unlike the first film where she's very theatrical in her body language, Karina finds a stillness of Gisselle's intimidating mannerism while in her wheelchair.

The supporting cast are incredibly strong in this production - Richard Harmon, Glynis Davies, Darien Martin and Meaghan Hewitt McDonald are just a few actors who shone in this film. We also get the return of the original Duma cast and Ruby's beau - Ty Wood's "Beau" - are back with the twisted melodrama goodness. This film also tackles a multitude of themes that were unspoken of during the 1960s - disability, homophobia, childhood sexual abuse and racism. These films were actually dealt with tastefully and responsibly, not relying on campy tropes and instead focusing on the characters.

But not to fret, the campy melodrama does surface through the antics Gisselle manages to conduct in her wheeled-throne of her privileged minions. We also see the twin relationship with new layers as Ruby finds surprising support from Gisselle at her lowest point, giving small glimpses of what their relationship could have been as sisters.

The rags to riches transformation Ruby underwent in the prequel reverses as she flees back to her home in the bayou after becoming pregnant with Beau's child - disinherited by her stepmother, her boyfriend shipped off to France, her drunk of a grandfather dead and Paul still very much in love with his half-sister. Ruby returns to Louisiana a much stronger character than the girl who left the bayou and after surviving a horrific storm during childbirth, Ruby is determined to raise her daughter alone - debating whether to accept Paul's offer of marriage. Not the wisest choice, but she's in a V.C. Andrews heroine after all - what else can you expect?

I immensely enjoyed this part, this being a very strong sequel in this series. With a solid script, nuance characterisation and great cinematography - I rated this FOUR and a HALF-STARS on Letterboxd... I'm saving a possible five star rating for All that Glitters or Hidden Jewel.