The Girl from Plainville Is a Case Study in the Dangers of Relying on Prosthetics
Photos Courtesy of Hulu
As the film and television industries have become more reliant on depicting stories inspired by true events, actors donning heavy amounts of prosthetic makeup in order to better resemble the person they are portraying has become a common sight. In the past year alone, press runs for multiple films have been dominated by stories of actors radically transforming their appearance in order to resemble their characters: Jared Leto’s portrayal of Paolo Gucci for House of Gucci played a significant role in the “camp” label that was frequently applied to the film; even more recently, Jessica Chastain won an Academy Award for her depiction of television personality Tammy Faye Bakker in The Eyes of Tammy Faye, which also garnered a win for makeup and hairstyling.
The reasons for the gradual increase in roles that include prosthetic application are multifaceted. For one, as more money has been allocated to fewer films in recent years, the monopolization of the film industry has resulted in the domination of the familiar, leading to an increase in the production of biographical films of familiar faces that audiences easily recognize. Additionally, because the medium of film has grown so homogeneous, television has been increasingly left to pick up the slack. An intersection of this trend with the true crime boom of recent years has resulted in a glut of stories of scams, swindles, and other shady behavior inspired by real events.
Besides industry motivations, roles that promise a supposed “complete transformation” for actors are often doubly rewarding. Headlines that fawn over an actor’s radical change in appearance garner immediate interest, prompting potential viewers to wonder how an actor’s outward transformation will influence their performance. Even more attractive to production companies is the viability that these roles can have in gaining prestigious awards, particularly the Oscars. Nicole Kidman famously set a precedent for how prosthetic applications are rewarded by the Academy for her role as Virignia Woolf in The Hours, which remains her only Oscar win to date. Perhaps even more noteworthy, despite being one of the most-nominated actors in the Academy’s history, Meryl Streep’s only actual win this century was for her performance as Margeret Thatcher in The Iron Lady.
As prosthetically-enhanced roles have grown more dominant in film and television, the idea that an external transformation in appearance reflects an equally skilled internal transformation in acting seems to have gained more influence in kind. Despite his lack of humility regarding his preparation for the role, Jared Leto’s failed attempts at comedic relief in House of Gucci were widely regarded by critics as one of the worst aspects of the film. Furthermore, Jessica Chastain’s Oscar win was not reflected by either critical or popular acclaim: The Eyes of Tammy Faye failed to make much of an impression at the box office, with critics dubbing it lacking in originality. For all this bombast, very little focus is given to the reality of how little both of these performances actually resemble the people they portray, relying on the contrast between these actors’ attractiveness and their characters’ supposed grotesqueness to convey characterization, rather than actually giving a compelling performance.
While it has yet to make the pop cultural splash that these examples have, perhaps the most egregious example of the failure of prosthetics to enhance a narrative is that of the new Hulu limited series The Girl from Plainville, in which Elle Fanning stars as Michelle Carter, who was found guilty of manslaughter after having encouraged her late boyfriend Conrad Roy III to commit suicide. Upon the news of the series’s creation, Elle Fanning was similarly the subject of headlines noticing how different she looked while wearing prosthetics and makeup in order to resemble Carter.
In reality, the most drastic differences from Elle Fanning’s regular appearance aren’t revealed until the final three episodes of the series, when Carter is required to appear in court a few years after Roy’s death. Here, her foundation is darker, her eyebrows harsher, and her posture more uncertain, all of which is rendered much more noticeable by Carter’s morose presence throughout these scenes. Regardless, even before this change, Fanning clearly looks different than usual: with the application of her prosthetics, her forehead is elongated with the additional help of an obvious wig.
The Girl from Plainville is rife with problems outside of Fanning’s disorienting appearance. In attempting to humanize Carter, the show chooses to depict her and Roy’s mostly digital interactions through fantasy sequences in which the two discuss the subjects of their messages in person, as if they were always close together. Given that both teenagers were struggling with mental health issues prior to Roy’s death, these interactions carry a sense of heightened emotion and melodrama, which is made disjointed by the show’s oscillation between flashbacks and the grief-stricken realities shown in the present.