Voice from the Stone is a European-set mystery/ghost story… I think. Set in 1950s Italy, a nurse that specialises in helping children, Verena (Emilia Clarke, yeah, her with the dragons) is hired by moody sculptor Klaus (Marton Csokas, so brilliant in Kingdom of Heaven) to help his son Jakob (Edward Dring) who has not spoken since his classical pianist mother Malvina (Caterina Murino) died several months ago. They live on a remote beautiful estate with a grand old house, Malvina’s family being rich for centuries from the profits of working a quarry nearby that held a particularly fine stone. The quarry is now disused and flooded, and the house showing its age, the estate almost frozen in time as if unable to shake off the grand old days. Varena struggles to connect with the boy, who believes he hears his mother speaking to him from the walls. Is it possible that the house, and the boy, are indeed haunted by Malvina?
Its an intriguing premise for an old-fashioned ghost story, but I’m not sure this film really really wants to be a ghost story. Based on a book, I don’t know if this is a factor in the original work, but the film itself seems to be all over the place- not really helped by a lack of chemistry between Clarke and Csokas when a romance suddenly flares up between them, possibly engineered by Malvina who seems to be possessing the nurse. I say ‘seems’ because the film really feels like its in two minds- serious romantic drama or supernatural thriller, it can’t seem to decide which. By the end of the film. I wasn’t sure what was even going on. Was Varena herself going mad or was she really possessed? And was Malvina’s mother really a ghost or just some kind of projection of Varenas? Maybe the film was trying to be sophisticated enough to have it both ways, leave it up for interpretation.
In anycase, it doesn’t pull it off, turning out to be a somewhat confusing mess. Which is frustrating because it looks ravishing and the cast is pretty good. I must confess to feeling a little ambivalent about Clarke, though- her range seems to consist of raised highbrows for confusion, frowned highbrows for intensity, and relaxed highbrows for mild amusement. LIke in Game of Thrones, I don’t think she’s really up to the material (something true of most of the younger thespians in that show, which is carried thankfully by all the older actors who elevate the material somewhat) – or maybe I’m just being unfair to her, maybe it’s just that I don’t ‘get’ what she’s doing.
Overall the film has a very fine sense of mood and atmosphere but this only carries it so far, and the confusing last half-hour really leaves a bit of a sour feeling of disappointment. Perhaps it really wasn’t intended to be a horror film, but not for the first time of late, it feels like it was horror film made by film-makers who thought they were above such pulpish horror nonsense, and it just got away from them.