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Beyond the Walls is a three-part French miniseries (basically the length of a longish movie) that follows the journey of Lisa, an emotionally shut-down woman who inherits a house from a mysterious stranger. This is possibly the best GU story I’ve encountered that takes place entirely inside a house. It is both creepy and emotionally powerful, and I like how Lisa is consistently strong in spirit, unable to be swayed by fear or temptation.

After hearing weird noises coming from inside the walls, she smashes through and finds herself in a labyrinthine, windowless, endless house – mostly empty but for the occasional terrifying once-human monsters called Others. She eventually runs into a single companion, Julian, who has been stuck in the house for years – though for him, it’s 100 years ago (time is strange in the house). It becomes apparent that those who end up in the house are struggling with some kind of deep guilt, and if they can’t face it they eventually become the Others. After many trials, Lisa finds a door that leads to a forest (though still, somehow, inside the house) and is reunited with the little sister she lost (partly due to her own negligence), who is living in a cottage by a lake with a mysterious older woman named Rose. It is always day there, always pleasant, and both Rose and her sister want her to stay there forever. But Lisa is not fooled by this charade and eventually finds her way back into the house proper to search for Julian, who she became separated from in the forest. They fall in love but realize they could only be together if they stayed there. Instead, they decide to pursue a return to the outside world, and venture down, down, down to the basement where a giant vortex-like hole leads to parts unknown. Rose reappears to try to tempt Lisa into staying, but instead she makes a leap of faith.

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As Above, So Below is really only an Honorable Mention as a Girls Underground film, especially as there is no singular defined Adversary, but considering how very underground it is, I felt it fitting to include here.

Scarlett is on a mission to finish her late father’s scholarly work on the philosopher’s stone, which brings her on a quest through the Paris catacombs with several companions. But down in the deep below, all of their fears and past tragedies come back to haunt them, in a very material form. Hidden doors appear while others vanish just after being used. They end up trapped in a labyrinth of chthonic tunnels, and not many make it out alive. But in the end, Scarlett finds the magic she was looking for.

 

I just re-watched The Girl With All The Gifts (so good it merited a second viewing), and decided it qualifies as at least an Honorable Mention as a Girls Underground story (there’s a lot more going on in this film, so the GU aspect is somewhat secondary). However, can only give some broad strokes here as any more would be spoilers.

Melanie, an orphan (though from causes more grotesque than normal), is locked in a military base, but makes friends with a teacher and eventually also some of the soldiers, who are her companions. The adversary is the doctor who wants to dissect her brain for a cure to the zombie outbreak. She has to navigate a post-apocalyptic world (made even more otherworldly, I’m sure, by the fact that she’s probably never been outside of that base before), and try to rescue her friends. She has a final confrontation with the adversary that is very much a “you have no power over me” situation, and discovers her destiny to be something More.

A Cure for Wellness is a movie with a lot of potential to be something truly original and creepy, and it has some stunning visuals, but ultimately it was very disappointing for me, especially in the last third or so of the film. I kept thinking it was becoming a pale copy of Phantom of the Opera, and was gratified to see a reviewer point out the same thing. However, perhaps that is an even more apt comparison considering the Girls Underground angle.

This is one of those “If the Story Were About Her” situations – I didn’t notice it at first, but if one imagines the whole scenario from the point of view of Hannah (who doesn’t even appear to be a major character initially), it’s at least an Honorable Mention. Dr. Volmer is the Adversary, of course, who she defeats, and Lockhart is her companion, who even betrays her in a way by succumbing to the waters. The climax takes place underground, and almost the entire story happens within one “house” (okay, a large sanitarium, but a nicely labyrinthine one at least).

Dig Two Graves was unfortunately less creepy and supernatural than the trailer made it seem, but nonetheless it’s at least an Honorable Mention as a Girls Underground story.

Jake, a young teenage girl, loses her brother when they decide to jump off a high cliff into a quarry, and she hesitates at the last minute – he jumps without her, and disappears into the water forever. Her parents seem to quickly move on, distracted by a new baby on the way, so it is up to Jake to seek a way to get her brother back from the dead. One day she is approached by some strange, anachronistically-dressed men (led by one who might be called the adversary) at the entrance to a tunnel, who promise they can bring her brother back, provided someone is sacrificed in his place. She then must decide if she can bear to push a school friend off the cliff.

Like Forbidden Game, it turns out that a lot of what is going on had its start with something her grandfather was involved in many years before, coming back to haunt them all. Unfortunately as far as the GU archetype goes, it is largely the grandfather and not Jake who deals with, and ultimately defeats, the adversary.

I just had a chance to watch the independent film American Fable, and while it’s not quite the classic GU story, it hits enough points (and the general tone) to warrant an Honorable Mention here. It is perhaps a less fantastical Pan’s Labyrinth, or a less grim Tideland, both of which have been covered here previously, and both of which feature an innocent and story-obsessed girl caught up in the harsh world of adults. The fantasy and dreamlike elements could have been turned up a notch in my opinion, though they were very well done.

11 year old Gitty lives with her family on their farm, her only friend a beloved chicken. While she is close with her father, her parents are both nonetheless distracted by the possibility of losing their farm, and some other intrigue she doesn’t understand. One day Gitty stumbles upon a man who appears to be being held prisoner in their old grain silo – although she intuits that her family has something to do with it, she eventually befriends the man, even going so far as to descend into the silo to spend time with him (not quite underground, but a journey down at least). In a way, everyone is a potential adversary for Gitty – the man himself, who turns out to be a threat to her family, her own parents who are hiding things from her, the strange woman they seem to be colluding with, and possibly most of all her older brother, who ends up in a final, violent confrontation with her when he discovers she’s been fraternizing with the enemy. The imprisoned man could also be seen as her companion, and/or the one she is trying to rescue in classic GU style.

Gitty sees the world through the lens of stories (The Power of Story), making sense of what she experiences by relating it to the tales she knows well. And so what is on the one hand a mundane situation – a farm being threatened by economic failure and the response of desperate people – becomes a fairy tale from a different angle, surreal and moving in its telling.

crookedmirrorsKingdom of Crooked Mirrors (listed on Amazon Video as World of Crooked Mirrors) is a wonderful Russian allegorical fantasy film drawing heavily on Alice Through the Looking Glass.

Olya is a little girl living with her grandmother (so, presumably an orphan). When her cat dashes right through the mirror to another world, Olya naturally jumps in right after it (like any good Girl Underground). She meets her reflection Yalo (everyone living there has backwards names) who becomes her companion. Together they chase after their cats, but end up befriending a young mirror maker. This boy is imprisoned by evil leaders for the crime of making mirrors that actually reflect reality, rather than the warped mirrors that the government prefers.

Olya and her reflection must rescue the boy and defeat the evil Reptile, Toad and Kite adversaries, and return the mirrors in the kingdom to their proper function. They are helped by a kind chef, and Olya encounters doubles of things in her normal life (such as the King being named the reverse of the word for “parrot”, a bird belonging to her grandmother). The whole production is delightfully Carrollian with obvious political overtones.

mv5bmtcznzcyodcwn15bml5banbnxkftztcwmzc1mtuzmq-_v1_Midnight’s Child is a pretty mediocre made-for-tv movie from the early 90’s featuring Olivia D’Abo as the Adversary and a very cute young Elisabeth Moss as the girl she threatens. Since this was recommended to me as a potential GU story, at first I thought it would be the little girl who was the protagonist (especially since she’s the magic age of 7, and her parents are pretty self-absorbed and distracted), but in fact this turns out to also be one of the classic variations with an older, adult “Girl Underground” who is trying to save her child. And, in a way, the Adversary herself was clearly once a Girl Underground. So it’s a trifecta!

From the perspective of Kate, the mother, the au pair she hires to watch her daughter turns out to be using a false identity (that of a girl she actually killed to take her place), but worse, she is grooming the child to be the next bride of a dark entity – they keep saying it’s Satan toward the end, but all the imagery is reminiscent of the Erlking of folklore, which would make sense since the au pair is Scandinavian. This evil nanny seduces her husband (thereby making him a companion who betrays her) and is able to get the daughter right to the point of the ritual dedication, when Kate inexplicably manages to get through to her daughter and husband at the last minute (even though she does almost nothing right, and they were all entranced by the Adversary a moment ago), which somehow defeats her.

But the Adversary was once a child bride of the devil herself, who has grown old enough to find him new girls. One wonders if she might have had her own GU story, the rare kind that ends with the girl choosing to stay with her male Adversary lover.

lightsoutJust got back from seeing Lights Out. It was not what you would call a “good” horror movie, but nevertheless it was Girls Underground, possibly from two different angles. I’m not going to tiptoe around spoilers here because really, this wasn’t worth it.

At first I thought the Girl Underground was Rebecca. After having moved away from home as soon as she could because of her crazy mother, she finds herself drawn back in order to rescue her little brother, who is the victim of the mother’s same old delusions…except of course they’re not delusions, she is keeping company with some kind of creature (not really a ghost per se, but a girl who was once alive and now isn’t, who was evil and abnormal even as a living person) who wants to destroy everyone in her life. Rebecca’s companion is her boyfriend, it mostly takes place in a house, she has a dead father and distant mother, so it all fits. But in the end, it’s her mother Sophie who ends up defeating the monster, and does so in order to save her own children. So if you look at it from her perspective, she might be the Girl Underground – the adversary attached itself to her at a young age, drove her even more mad, and is out to kill her loved ones. She can only defeat it by sacrificing herself.

dreammaster

After recently re-watching New Nightmare, I thought I might re-visit some of the other installments of the Nightmare on Elm Street franchise, and ended up on 4: The Dream Master. Terrible movie, really, but what’s interesting from a Girls Underground perspective… the main character is named Alice. Now, I’ve noticed over time that Alice in Wonderland references pop up in a lot of GU examples. In this case, it’s not just the name – Alice is a pretty solid GU (no mother, useless father, trying to save friends and brother, faces adversary alone, etc.), but more importantly, she enters the otherworld through a mirror. And in fact, manages to defeat Freddy by showing him his reflection in a mirror. I always wonder if these allusions to Alice are intentional on the part of writers with GU stories.

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“The traffic flow from folklore to fiction and film has always been heavy.” - Maria Tatar, Secrets Beyond the Door

An exploration of story…

In which I describe examples of the Girls Underground archetype that I have discovered in literature and film. For more information regarding the concept, including its earlier incarnations in fairytales and mythology, visit the pages linked above. Here is a list of all the examples I have covered thus far.

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Alice Days

Celebrate one of the primary inspirations for Girls Underground - Alice in Wonderland - with a holiday down the rabbit hole and through the looking glass! Check out the Alice Days page for party ideas, movie recommendations, and more.

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