Film Still: Edward Scissorhands

To start with the obvious – the colours. We’ve already been introduced to the town, snow-covered, at night, which is exactly where a mansion of that sort belongs; not glanced at in a kitsch wing mirror. The sharp corners of the foreboding castle on the hill couldn’t be a bigger visual contrast to the pastel coloured suburb. And it’s clearly in the second world that Peg belongs, with her lilac pencil skirt suit and manicured nails. She knows she’s not going to sell any make-up to the inhabitants of the black castle, but in a row of houses that try too hard to reek of individuality, she finds her day a complete monotony.

For me she’s easily the best character in the film – curious, bored, and with the kindest nature in the world, and yet never over-romanticised. And yet a mystery – on some level it’s impossible to fathom why she visits the castle, but lucky she does, because it kickstarts one of the most beautiful films – and most beautiful love stories – I’ve ever seen.

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