Real-life sisters Rooney Mara and Kate Mara play Joan and Jean Holbrooke, sisters living in Ireland—they are not, they adamantly insist, twins—who share every emotion, every thought, every waking moment as if they were a single entity. They dress exactly alike, in droopy trenchcoats and modest granny-style skirts; they both wear their long, silky hair parted neatly in the middle and tied partially back, like identical waterfalls. They don’t finish each other’s sentences; instead, they form their thoughts and words in unison and speak as one. It’s an eerie effect the first time you hear it. Even more unsettling, it comes to sound completely normal as the movie wears on.
But their bliss is short-lived. That meet-cute and its aftermath are relayed in flashback as the sisters huddle together in a courtroom, essentially defending themselves against charges of stalking. Gareth, after dallying with Joan and Jean for a time, has thrown them over and taken a wife. They can’t believe it—in their futile rage, they set the interior of his car on fire. (Their procurement of the gasoline they use to do so is a cracked mini-adventure by itself.) They also set the postbox outside his house aflame. Before the bewigged judge, Gareth’s lawyer tries to argue that the relationship was purely sexual. Joan and Jean justify their actions plaintively. “It was love!” they cry in unison, and later, “I am never going to stop loving him!”
Joan and Jean, forever in sync —Courtesy of Courtesy of Gateway to Orkney LLCWhat does any of this mean? Though the story was inspired by real-life twins from York, England, Freda and Greta Chaplin—who spoke in unison and, like Jean and Joan, did everything together—the meandering storyline is pure, sweet, gaga Herzog. The picture’s most radiant sequences take place in the girls' beloved cave, where they toil for years to dig their way, admittedly nonsensically, to a better life. Herzog and his frequent cinematographer Peter Zeitlinger film the two of them, within a halo of light as they dutifully chip through a rocky passageway—their twin images are as luminous as a delicately carved shell cameo.
The ending of Bucking Fastard might be considered a flaw; it’s hard to know exactly what has happened, or what it means. But then, an ambiguous ending is one we’re free to write ourselves. How can you not want the best for these dreamy, heartbroken girls, who at one point race through their cave in matching gauzy white gowns, like freedom-loving butterflies? You’ll want to believe that their hearts have at last found a home—a cave not of forgotten dreams, but of remembered ones, made sweeter with every recounting.
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