Chris Kentis and Laura Lau were responsible for the 2003 shark feature Open Water and surprisingly enough, despite getting a considerable amount of buzz from that film, Silent House is their first feature since.
Purporting to be based on a true story (I’ve yet to see evidence this is true though), this is a remake of a Uruguayan film from 2010 that gained attention due to the fact it was filmed in a single 85-minute take as a girl is tormented inside a house her and her father are repairing and putting up for sale. Kentis and Lau’s film sticks with the same plot and the same “one take” gimmick, but attempts to tell a little more story than the rather terrible original while still running into the same problems the original had.
Curiously enough, the way they’ve chosen to shoot this film is its biggest problem. Considering the twists in the story, the fact we stick with the same lead character the entire time means there shouldn’t be anything we don’t know or can’t explain as we near the film’s ending. Not to mention, the camera’s purpose is unclear. Playing our tormented lead is Elizabeth Olsen (Martha Marcy May Marlene) and it’s clearly her story we’re following, but what the camera chooses to show us doesn’t always reflect that fact.
Unfortunately, the problem with a film such as this is that I can’t say much else without ruining it, but I will say this adaptation does do a slightly better job of selling the audience on its story than the original, at least to the point I didn’t have as many questions nagging me once it was over.
One thing Silent House does do is solidify Elizabeth Olsen as a major up-and-coming actress. This is a near impossible performance to pull off without some hiccups, but Olsen comes about as close as you possibly could in terms of eliciting fear, anxiousness, concern and despair.
Where the film runs into problems and where the original actually got it better is in the reasoning for why the lead character is doing what she’s doing. Silent House walks a fine line as it battles traditional horror film cliches and telling its story. It would be easy to laugh at what you’re watching, yelling, “Why would you go back into the house?” But if you’re looking for the best possible viewing experience, don’t let yourself get sucked in by expectation and instead do your best to stay in the moment.
While Kentis and Lau do manage some impressive things with the single take technique, especially in a tormented bathroom segment near the end of the film that would probably make for a great DVD extra “making-of” feature, I can’t say this is necessarily a film you need to rush out and see. However, if you’re interested I don’t think it’s one you should completely overlook.
I made sure to remain seated after my screening just to listen to the people walking out and reactions were mixed with some frustrated with how it all played out, but others debating it passionately. Any film that gets people talking afterward can’t be too bad in my book. So whether it’s in a theater or a dark night at home alone, give it a watch some day and see what you think.
