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| "It only got a 30?! You're shitting me." |
There's nothing for it: I've got to stump for the redemption of the film version of
Silent Hill. This is a movie, and I can't stress enough how unusual this is for me, where I had put it on in the background while I gazed into the internet but then found myself more and more drawn to the film and actually put the internet to one side altogether so I could watch it closely. After it finished, I returned online again to look up the reviews, which I vaguely recalled being bad. I was wrong: the reviews of this movie eviscerated it. They are literally worse than
Gothika.
I don't know if it had been a disappointing summer and all the critics were hot and angry or what, but there are far more deserving targets that received an indulgent pass while Silent Hill was getting its neck stomped. I daresay there was an aspect of revenge in it: TriStar refused advance screenings, to mitigate an expected poor response, and critics clearly jumped at the chance to punish this behavior. Horror is not the genre to work in if you're hung up on critical acclaim in any case, but when
28 Weeks Later,
Shadow of the Vampire, and
THX 1138 get scores in the 70s on Metacritic while
Ravenous,
Final Destination, and
Saw have scores in the 40s, some metric other than quality of filmmaking is clearly being drawn on to evaluate them.
I must say, first, that I have never played through a Silent Hill game, because they are scary and I get scared. I can't, therefore, relate to
some people's experience of the film as a betrayal of the franchise, comparing it against the film that
should be there. I have the luxury of only being able to evaluate what
is there.
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| I NEED AN ADULT |
I don't mean to argue that
Silent Hill is a very good film, heavens no. I'm quite comfortable losing that argument. It just has much to recommend it and is, though this is faint praise indeed, a standout among video game adaptations. The critical perspective I draw on which rewards me richly when I watch
Silent Hill is a feminist critique, something that's still fairly thin on the ground in movie review circles. It's very much a women's picture, if such a thing still exists: all of the characters save those inserted at the behest of execs are women; the horror is that classically feminist style, body horror; it doesn't use women's suffering primarily to titillate a presumed male gazer, as
Gothika does; and, as in
Aliens, it's not so much big dumb guns as motherhood that saves the day. As far as I'm aware, no marketing to a specifically female demo was attempted: the trailers just about reproduce Sean Bean's role in full, the way the marketing for
Scream was cut to suggest that Drew Barrymore survived the credits.
The storyline is a regular ghost one, revenge/justice for a female victim of patriarchal violence and social ostracism, here with heavyhanded religious overtones that do little besides absolve the viewer of responsibility for the mistreatment of women unless they're a member of a Christosatanic cult. The town and its horrors are explicitly manifestations of the psyche of this ur-victim. Frankly, I'd rather have it that way than how supernatural elements are manifest in most horror films, where characters devised specifically to treat a protagonist's experiences of non-materialistic phenomena with skepticism are then punished for their disbelief with grisly death. Here the grisly death is distributed much more impartially, which is always refreshing.
The main thing going for
Silent Hill outside of its feminism is its atmosphere. All the exteriors are dampened in a gray-white mist where black ash falls from the sky like snow, and all the interiors have the perfect quality of urbex in a dying steeltown. The town itself is based on the story of
Centralia, Pennsylvania, but I can't help but think Roger Avery missed a trick (one of, you know, many) not writing it as a more explicit portal to hell. The monsters have been designed from the principle of the uncanny valley, and I can't think of an instance where it's been used more pitch-perfectly, except maybe Gore Verbinksi's version of
The Ring, another female-focused atmospheric horror.
Generally the film is about mothers and daughters, which may explain the low level of sexualization experienced by the cherubic Radha Mitchell as main/final girl Rose. Her companion for most of the film, Laurie Holden's Officer Cybil, has a cop-appropriate blatant lesbian image. She's sexualized, but as a sleek muscular object along the lines of Robert Patrick halfway through unmelting himself in
T2. The rest of the film's sex is tied up in Pyramid Head, here a straightforward avatar of rape, and the mannequinesque nurses, whose forest of bared cleavage Rose has to cautiously pick her way through lest she be torn to ribbons.
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"I would have liked more time with the cleavage nurses
and less with the religious fanatics." |
Now, I think Tycho's a hundred percent correct when he says that the style of the film evokes the style of video games. I've seen just about all the video game movies, and I've played a fair amount of survival horror, and I've seen a fuckton of cutscenes. And the quality of cutscenes is this: they contain a lot of bad, clunky exposition, and they contain a lot of visual spectacle. Their function is to provide a break in the action which briefly suspends the player's control in the interest of advancing the plot.
Silent Hill retains the cutsceneness closely enough that I kept feeling like I ought to be pressing X.
I don't put much stock in the idea of faithfulness as a measure of the quality of an adaptation--who wants to hear a cover of a song identical to the original, anyway?--but I have love for films that have love for their source. Christopher Gans spent years trying to obtain the rights to Silent Hill, going so far as to create his own fan-film scored with the Silent Hill soundtrack and send it to the game's creators. Aided by this purity of feeling, he's produced something that expresses the spirit of, if not the games themselves (for how can I judge that), the medium and the genre they spring from. The whole idea of survival horror is that you are resource-poor and nearly powerless in a landscape designed to do you harm, and from themes to sets to characters, the movie carries this idea through wonderfully.
I can't say I don't feel a little hurt that
Silent Hill was panned so especially badly, because the symbolic language it used was so close to my own experience of feminine terror, and so keenly expressed. When I read through mainstream reviews, I can see that none of that has come through for most reviewers, and as usual with an adaptation (especially from a devalued medium), a number of them have felt free to just make shit up to pretend familiarity with the source, like when Roger Ebert wrote that the brilliant colors of
From Hell closely evoked the graphic novel.* Fans of the game are also very angry at the ways in which it differed from the movie that happened in their minds, but that kind of bitching has been easier to write off since
Watchmen. When I look at amateur reviews, such as
this one from the Bechdel Test site, though, I get the feeling that I'm not the only one who sees the value in it.
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| "30, though! What the fuck." |
*
Maybe I am conflating him with a different critic, but I swear that someone said this, and Ebert is a critic I have no real issue with slandering in a post that touches on gaming.
