2016.76: The Quiet Ones (Film Four)
Its another October horror film, and this one’s a horror for all the wrong reasons.
Its an odd one in so many ways. Partly it’s a period film, of demonic possession obviously inspired by The Exorcist, albeit with a more scientific bias akin to Altered States (I know, I know, at this point it actually sounds like it might be interesting), and its also one of those found-footage character POV films like Blair Witch Project and the early REC. films. Its a weird combo that doesn’t really work. It certainly doesn’t need any of that found-footage nonsense – the conceit of all those found-footage films is that they are based on camcorder footage or webcams etc, which is a hard sell set in the ‘seventies with a character lugging around film reels, projectors and a bloody big film camera. The whole point of that found-footage movie genre was that thanks to modern everyday technology they were somehow realistic/rational, setting it up in the 1970s is a bit of a stretch.
So the film is basically about a young girl, Jane Harper (Olivia Cooke) who is either mentally ill or possessed, and is the subject of experiments by obsessed Oxford professor Joseph Coupland (Jared Harris chewing up the scenery like a storm) who rather than subscribe to paranormal explanations such as demonic possession, rather subscribes to it being a quantifiable mental or physical disorder that can be extracted and cured. Cue all sorts of mad scientist cliches as Coupland refuses to ‘see’ anything that doesn’t agree with his own hypothesis. Of course being a modern horror film there is no pretense of ambiguity here, which is a pity, as the central drama is interesting. A film about scientists arguing about what they believe/reason/see from differing perspectives while all sorts of strange shit is going on, a sort of horror-themed Altered States, would indeed be very interesting and possibly quite challenging had it stayed ambiguous and possibly even inconclusive to the end, but filmgoers don’t like ambiguity or having to come to their own conclusions. So instead, and this being, at its heart, very much a Hammer film, its fairly obvious to everyone but the characters in the bloody movie what is actually going on.
It doesn’t help that, on the whole, none of the characters are particularly interesting. There’s all sorts of varied relationship nonsense amongst the ensemble which adds nothing to the story other than padding out the running time. The period setting doesn’t in itself have any importance either, other than perhaps making the science basic enough to maintain the ‘mystery’ a little longer (we don’t have the internet or mobile phones to make life awkward for the screenwriters).
Which is really the confounding thing about it- why indeed set it in the ‘seventies (lots of period pop songs infect the soundtrack if only to enforce the period setting) and why bother with the found footage nonsense if it’s so technically awkward? You could tell this story in the present-day and still get away with it. Maybe its all a ruse to maintain a ‘based on a true story’ subterfuge to keep audiences hooked. I don’t know, but none of it really works. Ambiguity is lost and things become increasingly literal and obvious as the film progresses towards its non-climax. Well, I say non-climax; its loud and violent but it’s quite emphatically non-involving.
A rather sad stumbling block then for what was a promising Hammer revival.