Orphan First Kill

Orphan: First Kill (2022)

Orphan: First Kill first published by VODzilla.co

Jaume Collet-Serra’s Orphan (2009) told the story of a bourgeois family adopting a nine-year-old in an attempt to fill the chasm of grief left by a stillbirth, only to discover that they have let into their already fraught household a psychopathic murderess (played by Isabelle Fuhrman) who is not at all what she seems, and has already left a trail of bodies in her wake. It was a tense, rather baroque thriller with an all-timer of a killer twist. It also presented itself as an entirely self-contained domestic saga – so that the emergence, some thirteen years later, of William Brent Bell’s follow-up Orphan: First Kill is as surprising as it seems belated. 

Given where the original film ended, Orphan: First Kill is of necessity, and as its very title suggests, a prequel rather than a sequel, even if, contrary to the same title, the orphan at its centre has already long been a killer before we first meet her in a high-security Estonian asylum. While this prequel comes with its own new twist (which shall not be spoilt here), it also gives away the twist of the original Orphan in its opening minutes, so if you have not seen the 2009 film, you may wish to stop reading now.

This is the story of how Leena Klammer, a 31-year-old con artist and killer whose proportional dwarfism makes her resemble a 10-year-old girl, goes on to become Esther Albright, who we know will eventually attempt to destroy the Coleman family that adopts her. To bridge that narrative gap, though, she must enact a bold and bloody escape from the ‘Saarne Instituute’, and impersonate the young American Esther who she learns from the internet has been missing, and to whom she bears a passing resemblance. She must also infiltrate the well-to-do Albright family, convincing the socialite mother Tricia (Julia Stiles), the artist father Allen (Rossif Sutherland) and teen brother Gunnar (Matthew Finlan) that she is their long-lost Esther, resurfacing at last after having been improbably abducted by a stranger to Eastern Europe four years earlier.

Time and age operate mysteriously here. It is not just that Orphan: First Kill is set two years earlier than the original Orphan and made 13 years later, but also that Fuhrman, now 13 years older, is playing an even younger Leena/Esther, albeit one who, as an essential part of the plot, looks several decades younger than she actually is. Bell uses every trick in the book – false perspectives, intercutting between characters, child actors viewed from behind, as well no doubt as some less in-camera compositing and digital effects – to maintain the illusion that Fuhrman looks 10, even as her character tries to carry off a similar masquerade of youthful innocence with her more immediate audience. Accordingly, the first half of the film plays off as a modern version of Daniel Vigne’s The Return of Martin Guerre (1982), with an impostor being embraced by a family which, for various reasons, wants and needs to believe that she is who she says she is – even as child therapist Dr Segar (Samantha Walkes) and police detective Donnan (Hiro Kanagawa) are more sceptical.  

  “Nothing is ever one thing, right”, says Allan, showing Esther the “hidden layer” in his paintings that is only visible under ultraviolet lights. Of the Albrights, sensitive artist Allan was the most deeply affected by Esther’s long, unexplained absence, to the extent that he had stopped working alogether and become emotionally withdrawn from his wife and son. Now with little Esther’s return, Allan has come back to life, and is overjoyed to discover that in the four years that she has been gone, she has acquired an aptitude for drawing and painting akin to daddy’s – and Allan’s revitalisation is good for the integrity of the whole family. So even if Tricia, intimate once again with her husband for the first time in years and delighted to see him back at his easel, has real doubts about Esther, she is content to buy into, and go along with, the deception. After all, nothing is ever one thing, and Leena is not alone in having a hidden layer.

“This is America,” Gunnar (sharing his forename with the actor who played Leatherface in Tobe Hooper’s 1974 classic of American family dysfunction The Texas Chain Saw Massacre) will say at at one point in Orphan: First Kill. Sure enough, the tensions and secrets laid bare in the Albright family also expose the divisions of class and race, of privilege and privation, of entitlement and exclusion, that polarise the America of today – and also of 2007, the year when the film is set and when the rapid development in predatory financial products for marginalised minorities led to a housing bubble that put entire financial dynasties into collapse along with it. Coming from nothing but full of ambition, Leena may be keen to jump the queue and to get a foothold in the US domestic market, and she may dream the American dream of wealth and comfort and a loving, secure home (no matter how much her accent will always mark her as an outsider), but the relationship of mutual exploitation that evolves between her and the Albrights, and the impossible tensions that this engenders, will prove a destructive powderkeg that brings the whole house down, inevitably leaving her an Orphan. Meanwhile the Albrights, who can trace their own origins back to the Mayflower and who have long since become part of the American establishment, are doomed, for all their own self-preserving malice, to be outdone by a not-so-young pretender. 

Strap: William Brent Bell’s prequel is a twisty domestic tale of entitlement, exclusion and exploitation in Credit Crunch America

Anton Bitel