{"id":1752,"date":"2014-05-01T12:58:44","date_gmt":"2014-05-01T19:58:44","guid":{"rendered":"http:\/\/moviesharkdeblore.com\/site\/?p=1752"},"modified":"2014-10-12T13:03:50","modified_gmt":"2014-10-12T20:03:50","slug":"the-quiet-ones","status":"publish","type":"post","link":"https:\/\/behindthelensonline.net\/site\/reviews\/the-quiet-ones\/","title":{"rendered":"THE QUIET ONES"},"content":{"rendered":"

By: debbie lynn elias<\/strong><\/p>\n

Hammer Films is iconic when it comes to the history of film and horror films in particular.\u00a0\u00a0 Thanks to a steady stream of B-movies with stunning production values, talents like Christopher Lee and Peter Cushing became household names.\u00a0 Revived and reinvigorated in the 21st Century, Hammer has been the name behind such recent hits as \u201cThe Woman In Black\u201d starring Daniel Radcliffe and the Matt Reeves directed\u00a0 \u201cLet Me In\u201d adapted from the Swedish smash \u201cLet the Right One In.\u201d\u00a0\u00a0\u00a0 Furthering the 21st century thrills of psychological horror, Hammer now brings us THE QUIET ONES.<\/p>\n

\"quiet<\/p>\n

With a script by Oren Moverman, Craig Robinson and veteran screenwriter John Pogue, the latter of whom also directs, THE QUIET ONES is inspired by a true story and true events that happened during the 70’s when great social science experiments became \u201cthe thing\u201d, so much so as to result in Departments of Parapsychology being created at colleges like Princeton and UVA and all over the United States.\u00a0 For Pogue, the excitement of bringing THE QUIET ONES to life stemmed from the fact that it is based on something that was real, most notably, the \u201cPhilips Experiment\u201d of 1972 in which a group of Toronto based researchers attempted to prove that ghosts, demons and evil are all manufactured within the human mind.\u00a0 For moviegoers, Pogue\u2019s excitement translates into an intriguing, all consuming, psychological thriller that pits science against the paranormal, evoking discussion and thought, some real jump out of your skin frights, as well as giving Hammer and cinema as a whole, the 21st Century Christopher Lee and Peter Cushing in Jared Harris.<\/p>\n

Joseph Coupland is a well respected psychology professor at Oxford University, albeit engaging in some rather unorthodox methods of teaching with experimentation on human subjects as a tool.\u00a0 It is Coupland\u2019s hypothesis that his current subject, a young woman by the name of Jane Harper diagnosed with \u201csevere mental instability\u201d, has created an alter ego\/ evil manifestation named Evey purely through her own telekinetic powers.\u00a0 Further, that if he can prove his theory, it may hold the key to curing mental illness.\u00a0 As part of his study and treatment, Coupland locks Jane in a closed an secure cell-like bedroom, blasting loud music to keep her awake and thus from manifesting Evey.\u00a0 To insure the authenticity of the project, Coupland hires a local amateur cameraman, Brian McNeil, to document the experiment.\u00a0 Joining in the project are Coupland\u2019s two student assistants, Kristina and Harry.<\/p>\n

\"quiet<\/p>\n

Thanks to complaints by the staid Oxford residents forced to enure the blasting of music 24\/7, screams and shrieks of Jane that can be heard across blocks, Oxford pulls the plug on Coupland.\u00a0 Undeterred in his pursuit of academia (which clearly borders on obsession) and forced to now self-finance the venture, Coupland leaves Oxford and takes Jane and his team to a new location, a remote centuries old country house that does anything but scream inviting on seeing its bright red front door.<\/p>\n

While Brian films and Harry assists Coupland in situating Jane as well as all sorts of monitoring equipment, Kristina makes quick work of checking out the house.\u00a0 Phone doesn\u2019t work.\u00a0 Some lights work and some don\u2019t but flickering of electricity seems constant, construction and renovation make for tricky navigation among the various rooms and floors, and the attic is a black hole jam packed with \u201cstuff\u201d.<\/p>\n

Plunging into experiment mode, Brian\u2019s camera rolls, capturing not only monitors, readings and Jane, but sinister and sexual happenings amongst the players, with truths and horrors revealed, blood splattering and all culminating in a battle of science and the supernatural.<\/p>\n

\"quiet<\/p>\n

Jared Harris is masterful as Professor Coupland.\u00a0 Assuming an air and persona through chain smoking randiness, Harris walks the rapier line of \u201cIs he good? Is he evil?\u201d, Harris effectively instils the \u201cWhat\u2019s lurking beneath the surface?\u201d energy.\u00a0 He is engrossing and intriguing, luring us into Coupland\u2019s experiment as willing participants.\u00a0 According to Harris, \u201cIt was a really delicious role.\u00a0 You weren\u2019t quite sure whether or not he was the good guy, was he the bad guy.\u00a0 He\u2019s definitely the antagonist.\u00a0 What is the reason behind what he is doing?\u00a0 How far is he prepared to go?\u00a0 A lot of those things, which I liked about it, they weren\u2019t so definitively racked up.\u00a0 But when you get to the end of the story he\u2019s got this crazy plan about what he\u2019s gonna do . . . It\u2019s nuts!\u00a0 But I loved it.\u00a0 I just loved that he becomes more and more twisted as he\u2019s trying to hang on to what he wants to be true, he has to keep convoluting his logic to try and maintain it and he becomes more and more tortured.\u201d\u00a0 Adding to the depth of Harris\u2019 performance is his own study into the 1970’s experiments and research which he undertook once cast as Coupland, giving him a foundation from which to create the character and explore emotional avenues of reality and fantasy.<\/p>\n

With his performance as Brian, Sam Claflin brings a naivete and blindness to the parapsychology process that helps ground the film.\u00a0 Essentially the POV for the film, Claflin serves as the eyes of the audience allowing us to experience the unfolding events just as Brian is.\u00a0 Finding the perfect balance between his most well known performances to day – the young priest Philip in \u201cPirates of the Caribbean and Finnick Odair in \u201cThe Hunger Games: Catching Fire\u201d, Claflin himself sees the similarities and differences.\u00a0 \u201c[Brian] is very softly spoken, barely spoken, kind of introvert which is similar to Philip in that sense but also finds his voice through the journey as does Philip in \u201cPirates of the Caribbean\u201d.\u00a0\u00a0 And Finnick is completely the polar opposite.\u00a0 He\u2019s a sort of confident extrovert. . .I knew that I wanted to explore something completely different.\u00a0 I wanted to do a different genre.\u00a0 I wanted to do something that was kind of embedded in reality a little more.\u00a0 I know this is a supernatural film and therefore you could argue is it real, but for me the character was very very real.\u00a0 I could relate to him a lot more than I could in some sort of fantasy movie, for example.\u00a0 We have a lot of similarities so that was something I was very keen to explore.\u201d<\/p>\n

\"quiet<\/p>\n

As Jane Harper\/Evey, Olivia Cooke mesmerizes.\u00a0 She is both affecting and effective.\u00a0 With a wide-eyed sleep deprived hollow stare, Cooke finds moments of life and emotion both as evil incarnate and as a young girl falling in love with Claflin\u2019s Brian.<\/p>\n

Handily assuming the role of the seductive ingenue, Kristina, is Erin Richards.\u00a0 Epitomizing at times the \u201cblonde bimbette\u201d, she exudes sex appeal.\u00a0 Hand in hand with Richards is Rory Fleck-Byrne\u2019s Harry.\u00a0 Unfortunately both characters and the performances are rather one-note, serving more as window dressing than substance.<\/p>\n

\"quiet<\/p>\n

Written by Craig Rosenberg with subsequent draft by writer\/director Oren Moverman, the script then came to writer\/director John Pogue who was captivated by Moverman\u2019s work, cinching the deal for Pogue\u2019s involvement.\u00a0 \u201cWhat I [then] brought to the project was trying to elevate the genre elements as much as possible so that it didn\u2019t feel like we had this great premise and these interesting characters and then sort of standard spook horror scares.\u00a0 I tried to make the scary elements as psychological and minimalistic as possible to kind of reflect what the story was about.\u201d<\/p>\n

Although the film may be called THE QUIET ONES, there is nothing quiet about Pogue\u2019s direction as the film is technically polished with high production values that belie the minimal budget.\u00a0\u00a0 So important to the construct of THE QUIET ONES is the cinematography with a blend of 16mm verite footage lensed by the character of Brian within the film, and a 70’s 35mm filmic grain for the unfolding story.\u00a0 Calling on cinematographer Matyas Erdely, the two designed a tonal bandwidth creating a \u201cfound footage omniscient camera hybrid but the found footage is real time.\u00a0 So you\u2019re watching a movie but you\u2019re also watching real time found footage.\u201d\u00a0 Wanting the effect to be \u201csubconscious and psychological\u201d, Pogue and Erdely \u201cspent all of our time in pre-production trying to create a visual grammar for the audience so that they would identify with Sam Claflin\u2019s character\u2019s point of view, so that the audience is \u2018making this film\u2019. . .[W]e created moments were we were in 16mm and then we would go back to Olivia [Cooke], for example, in omniscient footage – 35mm – for which we put lots of layers of grain on.\u00a0\u00a0 Then we go back to the 16mm just so [the audience] would have a comfortability with this back and forth. . . [W]e created these moments so that the audience by the end of Act One would be fully immersed and thus scared, so when that camera is knocked over we\u2019re feeling the same fear that you hear in Sam Claflin\u2019s voice.\u00a0 Then as the movie progresses you start to feel that even more and more until you get into the attic sequence so that you\u2019re one of the experimenters in the attic as opposed to objectively watching.\u00a0 I was trying to create a sort of subjective feeling.\u201d\u00a0 Pogue more than achieves the desired result.<\/p>\n

\"quiet<\/p>\n

And yes, much of the verite footage was actually shot by Sam Claflin who, according to Pogue, had great input into camera angles and placement for emotionally compelling POV.\u00a0 For Claflin, \u201cWhat was amazing was I had the opportunity to sit behind the camera so much that I did sort of feel like I was the director\u2019s right hand man a lot of the time.\u201d<\/p>\n

Hand in hand with the cinematography is Matthew Gant\u2019s production design.\u00a0 With judicious yet strong use of vibrant color punches, mood is effectively captured, while interior and exterior room design affords opportunities for Erdely to capitalize on light, shadow and POV.\u00a0 A wonderful marriage of design and construct.<\/p>\n

\"quiet<\/p>\n

As a director and viewing the film as \u201cscientifically analytical\u201d, for Pogue editing was crucial.\u00a0 Calling on Glenn Garland, they \u201coriginally thought that the 16mm sequences would be much more continuous than they actually are.\u00a0 What happened was, even though we did a good job of making them continuous, we were a little bit slow and it wasn\u2019t quite as exciting.\u201d\u00a0 As a result the pair made the decision to cut-up the verite footage which then \u201clent to certain aesthetic as to how we ended up editing the entire movie.\u00a0 It actually made it much more of a roller coaster as opposed to a slow burn, up and down.\u201d<\/p>\n

Surprisingly key to the technical beauty of THE QUIET ONES is the sound design.\u00a0\u00a0 Eclectic and diverse in composition, the sound creates its own level of emotion and quite often elicits more scares than visual surprise.\u00a0 Working with composer Lucas Vidal, Pogue made the decision early on to avoid using any music other than practical music.\u00a0 \u201cI want to create sound design from the machines that we use in the movie and let that be the music and let that be the sound.\u00a0 What we did was we recorded the oscilloscope, the brain scanning machine, all the amplifiers, the feedback from the microphones, the little clicking sound that the EEG and the EMF make, we took all of that and we created music out of it, Lucas did. . .We tried to avoid genre horror as much as possible and just have it be about these sounds are sort of creeping in to create a sense of terror and that the sounds were practically sourced from the environment so that you felt that era, you felt those sounds.\u00a0 I felt like that was much creepier with the subtle approach.\u201d\u00a0 Trust me, creepy doesn\u2019t do some of the sound design justice.\u00a0 Scaring the hell out of you is more like it!<\/p>\n

\"quiet<\/p>\n

Although there are some script holes and unanswered questions, and yes, some of the unavoidable horror tropes, at the end of the day, there\u2019s nothing quiet about THE QUIET ONES.\u00a0 It screams frightening terror.<\/p>\n

Directed by John Pogue<\/p>\n

Written by Craig Rosenberg, Oren Moverman and John Pogue<\/p>\n

Cast:\u00a0\u00a0\u00a0 Jared Harris, Sam Claflin, Olivia Cooke, Erin Richards, Rory Fleck-Byrne<\/p>\n","protected":false},"excerpt":{"rendered":"

By: debbie lynn elias Hammer Films is iconic when it comes to the history of film and horror films in particular.\u00a0\u00a0 Thanks to a steady stream of B-movies with stunning production values, talents like Christopher Lee and Peter Cushing became household names.\u00a0 Revived and reinvigorated in the 21st Century, Hammer has been the name behind […]<\/p>\n","protected":false},"author":2,"featured_media":1754,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36,9],"tags":[146,274,143],"class_list":["post-1752","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-movies","category-reviews","tag-horror","tag-the-quiet-ones","tag-thriller"],"yoast_head":"\nTHE QUIET ONES - Behind The Lens Online<\/title>\n<meta name=\"description\" content=\"Behind the Lens is your home for in-depth movie reviews, filmmaker & celebrity interviews, and more, all by industry professional and film critic debbie lynn elias...\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/behindthelensonline.net\/site\/reviews\/the-quiet-ones\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"THE QUIET ONES\" \/>\n<meta property=\"og:description\" content=\"Behind the Lens is your home for in-depth movie reviews, filmmaker & celebrity interviews, and more, all by industry professional and film critic debbie lynn elias...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/behindthelensonline.net\/site\/reviews\/the-quiet-ones\/\" \/>\n<meta property=\"og:site_name\" content=\"Behind The Lens Online\" \/>\n<meta property=\"article:published_time\" content=\"2014-05-01T19:58:44+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2014-10-12T20:03:50+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/behindthelensonline.net\/site\/wp-content\/uploads\/2014\/05\/quiet-ones-1.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"400\" \/>\n\t<meta property=\"og:image:height\" content=\"266\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"debbie lynn elias\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"debbie lynn elias\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"10 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/the-quiet-ones\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/the-quiet-ones\\\/\"},\"author\":{\"name\":\"debbie lynn elias\",\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/#\\\/schema\\\/person\\\/2d9b602095eb0ce3d363efb75ad0b5d4\"},\"headline\":\"THE QUIET ONES\",\"datePublished\":\"2014-05-01T19:58:44+00:00\",\"dateModified\":\"2014-10-12T20:03:50+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/the-quiet-ones\\\/\"},\"wordCount\":2061,\"publisher\":{\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/the-quiet-ones\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/wp-content\\\/uploads\\\/2014\\\/05\\\/quiet-ones-1.jpg\",\"keywords\":[\"horror\",\"THE QUIET ONES\",\"thriller\"],\"articleSection\":[\"Movies\",\"Reviews\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/the-quiet-ones\\\/\",\"url\":\"https:\\\/\\\/behindthelensonline.net\\\/site\\\/reviews\\\/the-quiet-ones\\\/\",\"name\":\"THE QUIET ONES - 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