Tag Archives: silent film accompaniment

A Quiet Place (2018): the horror of silence

A Quiet Place, directed by and starring John Krasinski, is not a silent movie, but it is a movie that revolves around silence. It made me think about what sound gives to a movie, and what it takes away. Krasinski’s co-writers Scott Beck and Bryan Woods, who originated the idea, say that they watched a lot of silent films in college, their excellent horror film made me ponder silent film presentation rather than production. In fact, I kept thinking about a recent, controversial score for a 1920s movie, and what the purpose of music and sound is in a film.

Hitchcock said that one mark of a good film is that you can follow it with the sound turned off, and that is certainly true of A Quiet Place. Our heroes are a family of five, led by Krasinski and his real-wife wife Emily Blunt. Their daughter is played by Millicent Simmonds, the young deaf actress who is every bit as remarkable here as she was in Todd Haynes’s Wonderstruck, and her little brother is played by Noah Jupe, whom you may have seen in The Night Manager or Suburbicon. The premise, as with the best horror movies, is both simple and devastating. New York State has been left desolate after an influx of seemingly indestructible monsters. They’re blind, but highly sensitive to sound, so staying silent is the only way to stay alive.

The opening sequence, in which the family raid a deserted drugstore for supplies, illustrates their survival strategy. The cast go barefoot, move slowly and deliberately, and communicate only via sign language (subtitled for those viewers who don’t read it). There are just two intertitles, counting the days since the invasion. Because the scenario unfolds so neatly with so little spoken or audible dialogue, much has been made of the film’s clever visual exposition, though that may be laying it on a bit thick. There’s a whiteboard back at the family’s base camp with helpful notes writ large, and a selection of carefully curated headlines from the New York Post pinned up alongside it. Continue reading A Quiet Place (2018): the horror of silence

Le Giornate del Cinema Muto 2017: Pordenone post No 5

To reverse the usual order of proceedings, let’s start with the music, not the movies. This morning, in a Pordenone first for me, I attended one of the masterclasses AKA a crash course in silent film accompaniment, from the professionals, for the benefit of the Giornate audience and two very talented students. This was a fun session, led by Neil Brand and Gabriel Thibaudeau (with a little light heckling from Philip Carli and John Sweeney), who put Richard Siedhoff and Bryson Kemp through their paces with the help of some carefully chosen film clips.

Their instructions were wise, inspired, and stricter than I expected. Also quite bizarre. At one point a student was required to play to The General in the style of Wagner, and then with an added Bossanova rhythm. Another was asked to score the same film just on one bass note, and then to perform a “one-fingered love song”. Don’t google that last one, I fear you might end up somewhere untoward. From the secrets of playing ice, say, or heroism, but with fear, or without patriotism, to the use and abuse of musical cliché and the “toolbox” with which an accompanist can suddenly summons bells, trains, or even China, this was invaluable advice. Brand’s exercise in reading a film, guessing where the narrative and the characters will go next (Beggars of Life was the chosen example), was useful for us critics and punters too.

SAMMELT KNOCHEN! (DE 1918) Credit: Lobster Films, Paris
SAMMELT KNOCHEN! (DE 1918) Credit: Lobster Films, Paris

Continue reading Le Giornate del Cinema Muto 2017: Pordenone post No 5