The prequel to Tobe Hooper's classic, by French duo Alexandre Bustillo & Julien Maury, turns up new themes in the iconic killer.
The Conjuring. 2013. Directed by James Wan. Screenplay by Chad & Carey Hayes.
Starring Vera Farmiga, Patrick Wilson, Lili Taylor, Ron Livingston, Shanley Caswell, Haley McFarland, Joey King, Mackenzie Foy, Kyla Deaver, Shannon Kook, John Brotherton, Sterling Jerins, Marion Guyot, Morganna May, & Amy Tipton. New Line Cinema/The Safran Company/Evergreen Media Group.
Rated 14A. 112 minutes.
People can argue to the contrary all they want: James Wan is a modern horror master. What’s more, he refuses to abandon the genre which made him such a big hit in Hollywood, leading him to the Fast & Furious franchise and the upcoming Aquaman DC film. Just now, the sequel to The Conjuring is in theatre making giant impressions on audiences, many (critics alike) claiming it’s one of the best horrors in a long time. So I hope that once he takes off even more with his DC adaptation that Wan won’t forget from where he came. Because from the revolutionary Saw (yes I called it that; the first one only which is of course the single one he directed) to the underrated Dead Silence and Death Sentence, to the first two Insidious films (love them to death), this is a director who proves, time and again, he understands horror. Not every film is perfect, nor should you expect that. But each one takes an excellent, gouging stab at the genre and more often than not gives us new and terrifying scenes that will go down as classics in the years to come.
The Conjuring didn’t actually impress me first time around. Funny how that works, considering now after watching it a couple more times recently I feel it’s destined to be a classic of the horror genre; it already is, just needs the time to pass for an official label. But some movies work like that. They don’t always get you right away. Sometimes you watch a movie on DVD or VOD, you’re sitting at home and the attention span isn’t perfect. Sometimes you don’t notice everything right off the bat. Either way, after seeing this a couple more times I’ve come to realise how perfectly old school this supernatural haunted house/paranormal story works. Better than that, we’ve got the backdrop of a true story concerning world famous paranormal investigators Ed and Lorraine Warren, as well as one of their big cases from 1971 in Harrisville, Rhode Island where the Perron family came under siege by the terrifying spirit of a dead witch from the 1800s.
Wan does incredible work as director, along with solid performances from the likes of Lili Taylor, Vera Farmiga, Patrick Wilson, and Ron Livingston, all in order to make this into a truly scary movie. So many people complain about the horror genre being stale these days, saying there aren’t any good offerings coming out. Well, drink this one in. It’s up there with the best of the haunted house movies, and certainly one of the greatest in terms of demonic possession. You can’t ask for more than an eerie story, chillingly based on real events, and top notch acting in a horror flick.
What I love about horror based on true stories, or supposedly true, is that I’m a real sceptic. I do indeed wish to believe, as Fox Mulder and his decorative poster both state in yearning. Absolutely. If there were some evidence of life beyond death, it might actually be comforting. Maybe it’d only be more difficult. Nevertheless, I do find myself hoping to come in contact with a ghost. On a couple occasions, I’ve questioned whether I actually did. Alas the scepticism goes on. The Conjuring does go for jump scares in quite a few scenes. What it does best is create this unsettling, dire atmosphere where the line between what is real and what is paranormal/supernatural becomes nearly eradicated.
A huge part of what makes this movie work is the dual look at and parallel between the difference between a family experiencing paranormal events v. a family standing as a physical dike against the mental anguish those other families faced. Though the Perrons find themselves completely torn apart by demonic influence, the Warrens are similarly troubled. They are essentially charged to withholding all the demons, the dead spirits, the poltergeists, whatever. They’ve got a ton of the possessed dolls and objects in their basement under lock and key, constantly threatening their own existence and their own family. So there’s a super interesting dynamic that happens between the two separate families, each tormented in their own right. This also allows for a lot of great acting between the two couples, both sets with their own issues and their different lives, so on. Other screenplays might have made this into a jumbled mess. Instead, Chad and Carey Hayes are able to use every last second of their 112 minutes appropriately, and expanding the characters, the plot with care without ignoring anything.
Lili Taylor is actually one of my first celebrity crushes, if we’re being honest. Being a young man on the furthest Eastern Coast of Canada, I grew up watching Showcase on Channel 34. I can’t remember which movie I’d seen her in first, either Girls Town or I Shot Andy Warhol, but her beauty and her talent struck me. She’s an engaging actor. I find that even without that teenage crush, her acting speaks for itself. Here, even before any of the wild stuff starts happening with her character Carolyn there’s an excellently fun quality to her. That’s what makes the rest of the plot involving her struggle so difficult to endure. In fact, immediately from the first moment we hear and see her there’s an admirable element to Carolyn, endearing, as she and her husband have a brief little laugh while getting out of the car at their new home. Just how she laughs at him, so natural. Great talent to so quickly enjoyable in a performance. This only increases as the film wears on. Her work in the latter portions, as Carolyn succumbs to a demonic possession of intense proportions, Taylor makes the horror far too real for comfort. Likewise, as much as I only enjoy Ron Livingston mostly while watching Office Space, he does well with the character of Roger. He’s the everyman-type American dad, out in the country taking his family into their new home, then dealing with the excessively sinister fallout that nobody ever could have predicted, not in a million year. There’s a complexity to the character. Even if I don’t think he was amazing, Livingston makes the character honest, likeable. Above all, he’s real. Both him and Taylor make the family dynamic play well, in turn selling the whole situation, as it’s them at the eye of the storm. Whereas I say Livingston wasn’t anything extraordinary, without his solid performance as the father and husband of the Perron family the whole personal, human drama would not work, only in a one-sided sense with Taylor doing the heavy lifting.
Both Patrick Wilson and Vera Farmiga are great. The latter has even more work to do, being the more susceptible to the influence of the demons and the supernatural entities. Most of all they do stellar work portraying the Warrens, their relationship particularly one being under different strains than a lot of regular people. They make the Warrens into very genuine human beings. They don’t have any air of the kookish qualities many associate with modern day ghost hunters. These two allow Ed and Lorraine Warren to feel like warm, understanding, caring individuals. They’re not self-serving or narcissistic in their aims of ghost hunting. Of course that’s partly because of the real people and their efforts, but Farmiga and Wilson put their hearts into these performances. It shows in the natural way the Warrens come across. Along with Livingston and Taylor, they’re able to make the personal drama of the horror become so powerful.
Wan’s directing is beyond amazing. Many of his choices are perfect for the horror. On one hand, he knows when to employ the use of jump scares. He understands where they fit and how they ought to be used. On the other hand, Wan is also adept at building tension, making the atmosphere of his films drip with fear. Just as Insidious works nicely using the visuals and its score to create a thick, atmospheric creepiness, The Conjuring is a haunting mix of eerie-looking images and yet another set of fittingly horrifying pieces from Joseph Bishara (Insidious trilogy). All together, these elements work to unsettle the audience at every turn, never settling to be lukewarm scary, but always trying to find the heart of terror.
After letting this settle on me, The Conjuring is one of the best horrors in so many years. There’s never too much of anything, always the correct amount. Wan finds a balance between the jumps and the subtle creeps, as well as manages to find the appropriate performances in his cast to warrant the emotional ties necessary for the horror to hit home. There’s not a lot I can say against the power of this movie. Don’t always judge right on first viewing. Sometimes your opinion won’t change. Now and then, you’ll find you were wrong. And damn, was I ever sleeping on this one. Glad I’ve taken the time to watch it more because I’ve discovered I love it and its fun, classic scares.