Silent House (film)
|Directed by||Chris Kentis
|Produced by||Agnes Mentre
|Screenplay by||Laura Lau|
|Based on||The Silent House screenplay
by Oscar Estevez
|Music by||Nathan Larson|
Elle Driver Productions
Eye for an Eye Filmworks
|Distributed by||Open Road Films
|Running time||87 minutes|
Silent House is a 2011 American independent horror film directed by Chris Kentis and Laura Lau. The plot focuses on a young woman who is terrorized in her family vacation home while cleaning the property with her father and uncle. The film premiered at the Sundance Film Festival in January 2011 and was released in United States (US) theaters on March 9, 2012.
The film is a remake of the 2010 Uruguayan film, La casa muda (The Silent House), which was allegedly based on an actual incident that occurred in a village in Uruguay in the 1940s. The film is notable for its use of "real time" footage and the manufactured appearance of a single continuous shot, similar to Alfred Hitchcock's Rope (1948).
A young woman named Sarah (Elizabeth Olsen) is staying at her family's dilapidated Victorian house in the countryside with her father and her uncle, helping them fix it up. Due to petty fighting between Sarah's uncle and her father, her uncle decides to take a break from working and drives into town to get tools. While her father works upstairs, there is a knock on the door and Sarah answers it, meeting a young woman named Sophia who claims to be one of Sarah's childhood friends, though Sarah does not remember her. The two plan to meet again later.
Soon after, Sarah hears strange noises upstairs and immediately notifies her father. He is not worried, but goes to check, finding nothing. Sarah calms down, but soon hears the sound of her father falling down the stairs. Panicked, she tries to leave the house but all exits are locked or boarded up, and she hides from an unknown perpetrator who attempts to grab hold of her under a table. Sarah searches for her father and finds him unconscious with a head wound. She runs to the basement in search of the cellar door leading outside, and finds a bed and other human necessities, evidence that someone else has been living there, possibly squatters. She sees a figure shining a light in the basement to find her but she escapes out the cellar door.
Outside, she meets her uncle, who has returned, and sees a young girl on the side of the road who disappears before her eyes. Her uncle insists on driving them back to the house to rescue her father, despite Sarah's plea that they should both go get help. They discover her father's body to be missing, and find a generator lamp running on the third floor of the house in the billiard room. While searching the billiard room, the generator kicks off; the only source of light available is a Polaroid camera's flash.
Through a series of intermittent camera flashes, Sarah sees the young girl and an unidentified man in the room. The power returns to reveal that her uncle is missing. She hides under the pool table while two men take pictures, presumably pedophilic in nature, of an unseen girl on the top of the table. Sarah then sees one of the men dragging her uncle's body toward the staircase. She attempts unsuccessfully to shoot one of the men with her uncle's gun.
Sarah returns to her room to hide, and begins to exhibit signs of paranoia and psychosis. She has hallucinations that depict traumatic childhood events, including a blood stain appearing on her bed, a young girl in the bathtub with beer bottles and bloody water, and a toilet spewing blood. These vivid hallucinations frighten Sarah, and she runs downstairs.
In the foyer, she is confronted by Sophia, and finds her now conscious father wrapped in plastic, sitting up in the living room. Sophia shows Sarah a box containing pedophilic pictures of Sarah as a little girl, implying that her father sexually abused and photographed her. Sarah is then shown dragging her unconscious uncle into the living room. Sophia vanishes, and Sarah's father convinces her to untie him, at which point he slaps her and whips her with his belt. Her uncle then regains consciousness and tries to stop her father, who mocks his brother's pleas. As his back is turned, Sarah bludgeons his head with a sledgehammer. Her uncle begs for mercy and tells her he should have stopped the rape and abuse that went on at the hands of her father. Sarah leaves him and walks outside silently, and the film cuts to black.
- Elizabeth Olsen as Sarah
- Adam Trese as John
- Eric Sheffer Stevens as Peter
- Julia Taylor Ross as Sophia
- Adam Barnett as Stalking Man
- Haley Murphy as Little Girl
The script for the film was written by Laura Lau, and based on the Uruguayan film La casa muda (2010). According to Lau, she saw the original film twice and wrote the script for the remake based on the viewings rather than adapting it from paper. The script ultimately came out to only fifty-five pages, which left the filmmakers concerned as to whether or not the timing would translate during filming: "We wondered whether it would time out properly, because there are no cuts," said Lau. "There’s no way to fix anything in post, it has to pace perfectly when you shoot it. So I think that was a huge challenge in terms of writing the script." Upon acquiring the house used for filming, Lau re-wrote the script in order for it to be compatible with the restrictions and characteristics of the house.
In terms of the film's unique presentation (being presented as a single take following one character), Lau said: "This entire movie is this woman's experience; it is her reality [...] it is one character's point of view, it's exactly what she's experiencing." She also stated that several aspects of the film were purposefully left open for interpretation. While writing the script for the film, Lau did extensive research on childhood sexual abuse and posttraumatic stress disorder stemming from psychological trauma.
Although the film's marketing campaign (as well as the promotion for the original film La casa muda) states that it is inspired by actual events, the specific events are not entirely known. According to Lau, she and Kentis were told, when approached to make the film, that it was based on an occurrence in Uruguay, though the details were left ambiguous:
When we were approached to do the remake, the first thing that we were told, aside from the fact that it was a single take, was that it was based on a true story, and that the true story had to do with something that happened in a village in Uruguay like, 60 years ago, where there were dead bodies and incest was involved.
In terms of casting, Kentis and Lau sought an actress with theatrical training due to the demanding nature of the filming process; Elizabeth Olsen was cast as the lead after impressing Kentis and Lau with her audition.
The movie was shot with Canon EOS 5D Mark II cameras between October and November 2010 on location at a house in New Rochelle, New York. The house used in the film was found by directors Kentis and Lau entirely empty, and was wallpapered and filled with props and furniture by the production design.
Due to the unique nature of the film's presentation as a single take, the production crew ran into several technical issues while filming, mainly surrounding lighting issues and mobility around the house. Since filming was carried out in 12-15 minute takes, there were several occurrences where entire sequences had to be thrown out and re-done repeatedly due to lighting problems or missed cues.
Although the promotional material for the film suggests that it was filmed in real time in a single long take, Elizabeth Olsen revealed that the movie was actually filmed in 12-minute takes and edited so as to appear as one, which was later confirmed by Kentis and Lau.
Directors Kentis and Lau stated that they were inspired by Alfred Hitchcock's Rope (1948) and Russian Ark (2002), both purported single take films, as well as the home invasion thriller The Strangers (2008). Due to the unconventional filming process and storytelling mode, Kentis felt he was making an "experimental film". He also stated that the presentation and storytelling mode of the film as a single take was the main focus of the production, and that the fact that there were cuts in the film was irrelevant.
Release and reception
Silent House received mixed reviews from critics who were present at advance screenings. Some publications, such as The Daily Telegraph, applauded Olsen's performance, calling it "brilliantly nervy and detailed", while Peter Bradshaw of The Guardian said Olsen "isn't as interesting as she was in Martha Marcy May Marlene", and said the film, despite being atmospheric, "feels like a copy". Nonetheless, he awarded the film a 3/5 star rating. The Star Tribune described the film as "a psychotic episode come to life", and that it "follows the form of a Gothic novel", applauding it as being "impressive and oppressive".
Others praised the technical production of the film, such as The Atlantic, who noted "the camera's unblinking eye constantly stays with Olsen, and we feel in as much danger as she is." Jonathan Crocker of Total Film described the camera as "gliding with impressive agility, the queasy HD lensing closes in tight and tracks Olsen’s petrified face, room to room", and, although critical of the film's ending, called the film "brutally effective" and "a fun campfire horror tale".
Olsen's performance was nonetheless praised by most critics. Other critics found the film's technicality unappealing, with Rob Gonsalves of eFilmcritic saying "the underlit setting occasionally produces unsettling, suggestive imagery, but the technique took me out of the movie", while The Observer accused the film of "wasting the talent of Elizabeth Olsen".
Rotten Tomatoes gives the film a score of 44% based on reviews from 124 critics, with the site's consensus: Silent House is more technically proficient and ambitious than most fright-fests, but it also suffers from a disappointing payoff.
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