As a film critic who has been around the block more times than I care to remember, I must say that “Speak No Evil” left me speechless – or rather, shaken to my very core. Having seen my fair share of horror films, I thought I had seen it all, but this Danish gem proved me wrong.
HEADS UP: The upcoming paragraph unveils the full storyline of the 2022 film “Speak No Evil,” so if you prefer not to know the plot details ahead of time, please skip this part. Enjoy your reading!
The first time I saw the original “Speak No Evil” was an unforgettable moment. It’s about a Danish family’s nerve-wracking encounter with a Dutch family they met on vacation. After seeing it described as one of the most shocking and disturbing films in a while, my dark interest was piqued. With my Shudder subscription, I decided to give it a go. Although it’s a slow-building horror movie, the chilling climax it delivers is truly harrowing and leaves a lasting impact, making it one of the top horror movies of 2022 in my view.
As the upcoming Blumhouse movie, a remake of director Christian Tafdrup’s acclaimed work, draws near, I decided to summon courage and re-experience the film that served as the basis for the forthcoming horror story about an American family’s harrowing encounters with an English one. Let me tell you, despite my current understanding, it remains just as mind-bendingly unsettling and despairingly grim as I recalled. Brace yourself for the American adaptation of “Speak No Evil” — hitting theaters on September 13 — by delving into (or encountering for the first time) the Danish sensation that sparked it all through my account below.
An Early Dinner Sets Up The Film’s Thesis
In my opinion, Speak No Evil seemed deserving of an Oscar nomination for its horror genre, with the screenplay by Tafdrup and his brother Mads skillfully crafting the plot from early on. For example, the movie’s central theme becomes apparent in a seemingly ordinary and almost forgettable conversation between the main Danish characters, Bjørn (Morten Burian) and Louise (Sidsel Siem Koch), and two unnamed friends. Upon rewatching, I recognized that this scene was one of the film’s most crucial moments.
The group ponders over a peculiar invite extended by Patrick (Fedja van Huêt), Karin (Karina Smulders) and their son Abel (Marius Damslev), inviting their daughter Agnes (Lisa Forsberg) to spend a weekend at their Dutch residence. They hesitate due to having met them only once in Tuscany, yet the friends argue that refusing such an invitation would be seen as impolite. This theme of going out of one’s way to avoid appearing rude and prevent conflict, even if it means personal sacrifice, is central to the film, as Tafdrup pointed out during an interview with RogerEbert.com.
The Ominous Score Is Very Telling
A noteworthy aspect of the initial dinner scene that captivates me is when an anonymous companion queries, “What’s the most terrible thing that might occur?” At this moment, Sune Kølster’s music, previously rather subdued, resonates with a haunting tone that escalates as we transition to a view of Bjørn, Louise, and Agnes aboard a ferry bound for Holland.
After that point, the score becomes relatively uncommon until it achieves its maximum intensity at an equally powerful climax. Yet, had Kølster’s music not made its early appearance, you might not have foreseen the movie’s grim twists.
I Would Never Leave My Child With A Strange Man I Met Seconds Earlier
A noticeable issue between Patrick and Karin arises beyond their score, particularly when they surprise Bjørn and Louise by suggesting to leave the children unattended while they go out for dinner. This revelation comes after the appearance of a man named Muhajid (Hichem Yacoubi), whom Karin presents as a reliable babysitter from the neighborhood. Louise exhibits discomfort, but remains silent about it.
In this scenario, if I’m not a parent yet, I wouldn’t hesitate to voice my opinion in a similar situation. If I were Louise, I’d let Muhajid know that I’m not intending any disrespect, but his services won’t be required because our kids will either join us at the restaurant or we won’t be going out. To put it bluntly, I find it challenging not to feel frustrated with Louise for remaining silent, but she quickly makes amends.
Even Before Patrick’s True Intentions Are Revealed, He Is Revolting
It’s important to acknowledge that Louise was right in pointing out Patrick’s disrespectful actions, which are indeed infuriating to observe, regardless of the fact that we may not fully understand the extent of his callous nature. In all honesty, describing him as “rude” is quite lenient, and more fitting words could be arrogant, confrontational, manipulative, shockingly intrusive, and abusive.
1. Patrick disregards Louise’s vegetarian diet (or “pescetarianism,” as he insists on calling it) and belittles her for it; he uses the bathroom while she showers, forces Bjørn to cover the entire restaurant bill, and drives them home recklessly after drinking. The most appalling actions, however, are when Patrick and Karin ask Agnes to sleep with them naked, and later, when he scolds young Abel for not dancing in sync, even going so far as to throw a ceramic mug at him in anger. It is only then that Bjørn decides to confront Patrick about his behavior.
Bjørn Almost Idolizes Patrick
Until Patrick behaves inappropriately towards Abel in full view, regardless of how tense or uncomfortable their circumstances grow, and despite repeated expressions of worry from his wife, Bjørn maintains an unruffled demeanor, appearing indifferent to his guest’s behavior. Initially, this may seem irrational, but when we delve deeper into the character of Bjørn, it becomes clear.
In the moment when Bjørn confides in Patrick that he’s not entirely content with his routine life as a husband and father, it also hints at his secret desire to emulate the carefree, independent figure he perceives Patrick to be – an alpha male. This conversation offers a compelling insight into contemporary views of masculinity versus traditional ones, and how embracing the role of a family man might influence or challenge those perspectives.
If It Were Not For That Damn Bunny…
Demonstrating family responsibility often involves setting aside personal desires, as shown in the novel “Speak No Evil” when Bjørn immediately prioritizes Agnes’ feelings over his own on two occasions. The first instance occurs when she misses her beloved rabbit toy, Ninus, and the second time is during a quiet morning departure from Patrick and Karin’s house, where Agnes thinks the toy might still be there.
Discovering Ninus hidden under my seat feels unbearably frustrating knowing the outcome for his family later on. I can’t help but feel heartbroken imagining how they were so near to their freedom, yet fell back into the clutches of Patrick and Karin due to a toy-related mishap.
The Most Upsetting Final Act I Have Ever Seen
After having watched numerous horror films, I must confess that I’ve become somewhat immune to graphic scenes, especially when re-watching a movie. However, the final 30 minutes of “Speak No Evil” were still tough to endure, and I suspect this will remain true regardless of how many times I watch it again.
Witnessing Bjørn uncover proof that Abel is one of numerous kids kidnapped by Patrick and Karin while vacationing families, only to later find the boy lifeless in a pool, is already startling. However, the heart-wrenching scene where they mutilate Agnes by cutting out her tongue in front of her parents before brutally killing them with stones in the midst of a quarry is almost indescribably tragic. Patrick’s chilling reply to Bjørn’s question about his actions (“Because you let me”) will forever linger in my memory. Regardless of how well one might have guessed the twist, nothing can fully prepare you for the intense brutality portrayed in the film’s climax.
The teaser for the upcoming film “Speak No Evil” hints that writer-director James Watkins is venturing into uncharted territory with the finale, and I secretly yearn for a less dismal resolution, given that exceptional horror remakes typically steer clear of mirroring their originals too precisely. However, what I truly crave from this reinterpretation above all else is for James McAvoy, Mackenzie Davis, Scoot McNairy, and Aisling Franciosi to deliver compelling performances that keep conversations about it alive long after the credits roll.
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2024-08-28 02:37