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The Beguiled

The Beguiled

Thriller · History · Drama · 1971

Offbeat Civil War drama in which a wounded Yankee soldier, after finding refuge in an isolated girls' school in the South towards the end of the war, becomes the object of the young women's sexual fantasies. The soldier manipulates the situation for his own gratification, but when he refuses to completely comply with the girls' wishes, they make it very difficult for him to leave.

Movie details

The Beguiled

“his love...or his life...”

1971 Thriller · History · Drama 1h 45m

Critical arithmetic

One number, for now.

TMDB

7.0 / 10

Community rating

Offbeat Civil War drama in which a wounded Yankee soldier, after finding refuge in an isolated girls' school in the South towards the end of the war, becomes the object of the young women's sexual fantasies. The soldier manipulates the situation for his own gratification, but when he refuses to completely comply with the girls' wishes, they make it very difficult for him to leave.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Beguiled?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Don Siegel

Written by

Irene Kamp · Claude Traverse · Albert Maltz · Don Siegel

Clint Eastwood

Clint Eastwood

John McBurney

Geraldine Page

Geraldine Page

Martha

Elizabeth Hartman

Elizabeth Hartman

Edwina

Jo Ann Harris

Jo Ann Harris

Carol

Darleen Carr

Darleen Carr

Doris

Mae Mercer

Mae Mercer

Hallie

Pamelyn Ferdin

Pamelyn Ferdin

Amy

Court is in session

Put The Beguiled on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.