Written by Romain Serir and Katharine Lee McEwan and directed by Jesse V Johnson, the film starts off very much feeling like our lead may very well be a Nazi sympathizer and it takes a bit too long for her to be made to be a better person than originally expected. That leads to making it difficult to stand on her side, with her as she fights opponents left and right. Eventually, things shift and it becomes easier for the viewer to side with her a bit more and then the film really gets in its right pace and the action becomes more interesting. This issue with how she is depicted at first is something that could have easily been avoided with just a scene or two early on explaining what she is doing or a little bit why. The mystery being kept here hinders the film from being one where it’s easier to connect with the lead and thus with the story. Considering Johnson’s previous work, this seems a bit out of character for him. The action, once things get really going, is well done and works, so this angle of things is as expected here.
Playing the lead of Marie is Nina Bergman doing a decent job of her character’s accent and showing that she can act and put up a fight. She’s the center of the film as the subject and as the best performance of the bunch. She gives the film personality and gives her all to the part and it shows. Playing with/against her is a cast of mainly men including Louis Mendylor, Timothy V Murphy, Daniel Bernhardt, and a few more. Here, they all convey a similar thing and that is that the greed of men will lead them to do unspeakable things in the name of riches and treasures. They all play different levels of sleazy just about right and give Marie counterparts that work just right in the settings here. All around, all the performances are good with Bergman’s rising to the top with just the right level of subtle nuances when needed.
The film as it is was clearly produced on limited resources and has had limited filming capacities from the pandemic, but none of this really shows on screen. The film looks good, on par with mid-range action films released in the last few years and with cinematography that make the locations look about right for where the film is supposed to take place. The cinematography work by Jonathan Hall looks great and makes the most of the limited locations, making the film looks quite good and giving the period piece style here something more. It’s a good-looking film that does not rely on gimmicks or effects done in post to achieve its style and look.
Hell Hath No Fury is an action film and a period piece that does take a bit too much time in getting the viewer on the side of the lead, but once it does, it becomes a more satisfying watch. Some may be tempted to turn it off early, but do no such thing as sticking it out makes it all worth it. Overall, it’s an entertaining take on a little-known part of the Second World War and it does bring something new to the screen. If anything, Nina Bergman’s performance is the main reason to watch here as she truly is the star here and gives the film its personality and strength.