For his part, Hiddleston feels much more prepared to shine some light on the darkness of his on-screen sibling. He says of Thomas’ view of Lucille: “I think he feels very responsible for Lucille. He feels a need to look after her and protect her. She’s a very delicate and vulnerable woman, and given their family history, she needs a great deal of care and attention. On one level, he’s pulled home by Lucille, reminded of the past and the pain and the experiences they’ve had — but Edith is this light that’s pulling him away from her, that represents new experiences. She’s the future, the light in his life.”
Chastain puts it another way: “Edith is the sun, and Lucille is the moon.” The sun isn’t exactly setting well with Lucille, though we won’t know exactly why or how that displeasure will manifest until Crimson Peak plays before our eyes. At the moment, however, we do know a little bit about Lucille’s traumatic past. It involves a baby, and while Chastain won’t say what happened to the infant, she’s teases that “it did not turn out well, for her or for the child.”
The child lingers heavily in Lucille’s heart, and lingers in the air, as well, in the form of a mournful melody that Lucille plays on the piano at certain points throughout Crimson Peak. Chastain learned how to play piano specifically for the movie, and she demonstrates her skills for us, methodically moving the keys of her keyboard with pain and purpose. There are few dry eyes inside of Chastain’s trailer when she’s finished performing.
“See, I love her,” an emotional Chastain tells us, sitting by the keyboard. “Even though she’s… she’s misguided.”