As a cinephile with over two decades of movie-watching under my belt, I must confess that the remake of “Speak No Evil” left me both perplexed and amused. The original Danish film was a chilling psychological thriller that masterfully explored the tension between cultural differences and human decency. However, this American version, while maintaining some of its predecessor’s dark allure, took a decidedly different approach.
The original Danish horror movie, “Speak No Evil,” revolved around behavior that left audiences shouting at the screen in frustration. But the remake, “Speak No Evil” (2023 U.S. version), takes this concept to a new level by repeating it twice. This remake, directed by James Watkins of “The Woman in Black,” shifts the setting from Denmark to the UK and ends on a more action-packed, optimistic note, which weakens the chilling impact of the original. However, these changes also make the film a more eccentric experience.
Moreover, the harshness that gave the initial “Speak No Evil” its powerful impact also allowed for an easier recovery. The characters were mere sketches of middle-class apathy, effortlessly discarded as they marched towards what appeared to be impending doom. However, Ben and Louise, despite being somewhat irritating, are genuine individuals – the film makes this clear by devoting time to depicting the cushioned torment of their lives. They’re Americans who moved to London for a promotion that failed, leaving them financially secure but socially isolated and unemployed. Ben feels castrated by his layoff and Louise’s affair with one of Agnes’s (Alix West Lefler) school dads. Louise is worn out by Ben’s continuous retribution for this infidelity and feels she sacrificed everything for a move that left her husband emotionally distant. Agnes’s anxiety is at an all-time high, and at 11, she still requires a stuffed animal for comfort. In contrast to their constipated, guarded lives, Paddy (James McAvoy) and Ciara (Aisling Franciosi from “The Nightingale”) seem liberated, hosting dance parties in their hotel room and taking their son, Ant (Dan Hough), on joyful rides around the Italian town they’re all vacationing in. They are lively and entertaining, and Paddy is a doctor. When they invite the Daltons to visit their farm in the West Country, the invitation captivates the Americans, who have little else going on and desperately seek escape.
In the unexpected sequel, “Speak No Evil”, it boasts an exceptionally skilled ensemble of actors. McNairy and Davis, former cast members of “Halt and Catch Fire”, deliver compelling performances as two unhappy individuals who are too evasive to gather the necessary momentum for a divorce. Franciosi portrays Ciara with a mix of innocence and menace, while McAvoy, armed with muscles and a charming grin, plays Paddy as a captivating psychopath who subtly reveals his intentions yet remains compelling enough to lure his guests back. The film leans heavily on the children, whose friendship introduces one of the most implausible elements in this precarious setup — particularly Agnes, who must fluctuate between fear and trust based on the plot’s demands. However, the adult performances are commendable, especially between Ben and Paddy, who, under Louise’s dismayed gaze, develop a destructive bond that has enticed many a weaker man into acts of bullying to gain acceptance among their peers.
The original “Speak No Evil” utilized the lack of connections between Danes and Dutch for its plot, with characters tolerating various insults and questionable behavior due to cultural differences and hospitality. However, this approach doesn’t translate well when dealing with Americans and British, particularly as the former are portrayed as overly cautious and reserved. In the new movie, Paddy humorously addresses gun ownership among Americans through his character’s comments about managing to find Americans who don’t like guns. Instead of focusing on cultural differences, Watkins emphasizes class consciousness in the characters’ development, which shifts the film into a narrative about an unusual criminal encounter rather than the dark allegory present in the Danish version. Despite losing some of the original’s intense darkness, the remake avoids potentially controversial messages about the need to confront passive liberalism to protect oneself and one’s family. The new “Speak No Evil” subtly mocks the ineffectual nature of its characters, transforming it into a humorous commentary rather than the anticipated climax (similar to “Straw Dogs”), leaving us instead to cringe at these awkward individuals as they struggle, albeit poorly, to save themselves.
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2024-09-14 00:53