Through small moments, The Perrons are shown as a struggling family of seven. Plus, the characters each get a few moments that help expand them and allow the audience to empathize or understand them a bit better. It’s this pair of great performances that propel the film forward. She plays the loving mother and devoted wife with charm and charisma, and when the shit hits the fan, she goes for the gusto. Taylor on the other hand gives a fearless performance, throwing herself bodily into a difficult role. Her character, despite being the lone figure with a connection to supernatural power, comes off as rational and grounded. Farmiga is calm and measured, unflappable even in the face of things no one else can see. The Conjuring focuses on the four leads, but it’s the women who really anchor the film with their performances. Not only is it impressive on a technical level, but it quickly and easily establishes a good part of the geography of an otherwise confusingly large home that serves as the location of much of the action.īeyond the look and feel, the cast is excellent. As the Perron’s are moving into their new home, we are treated to an extensive Steadicam shot that follows one of the girls entering the front door and seamlessly switches to another daughter as she exits through the back. There are many lush shots throughout the film, but there’s a fantastic long shot at the beginning of the film - slightly reminiscent of the restaurant scene in Goodfellas – that’s especially outstanding. Leonetti is rich and vibrant and elevates the film significantly. It’s worth noting that along with the Hayes’ great screenplay and Wan’s fantastic direction, the film’s cinematography by DP John R.
Wan holds that beyond reach, but obviously any modern horror film (even one with so many callbacks and similarities to classic horror films) needs to show us something, so eventually we’re invited to see what the Perron’s have been seeing all along. It plants that seed in the audience’s collective mind you want to know what she saw and you start imagining what it might be. When Roger asks Ed what Lorraine saw that affected her so deeply, Ed says that he doesn’t know and refuses to ask her. Throughout the film, Ed is very protective of his wife because she was attacked while performing an exorcism by a possessed man that gave her a soul-rocking vision. The horror you imagine in your head is naturally hard for a filmmaker to top, but the script addresses this directly in a clever and unique way that offers up both sides of the imaginary coin. Impressively patient, the Hayes brothers and Wan wait a diabolic amount of time before actually showing you what the family sees, and it works like the best kind of foreplay. The intensity is a straight line at a 45 degree angle, starting slow and gradually growing, becoming worse and worse until the climax. We get great, thorough set ups for both the Warrens and the Perrons even though bad things start happening almost immediately. What’s striking about the script and James Wan‘s direction of that diagram for the film is how carefully it’s paced. The script, written by brothers Chad and Carey Hayes serves the story incredibly well. Ed is initially reluctant, but they agree to come to the Perron home to help. Things are off about the new house and as the disturbances grow in intensity, Carolyn seeks out the Warrens. The film opens with them going through a famous case of theirs involving a creepy doll, but we then meet the Perron family, Roger and Carolyn (Ron Livingston and Lili Taylor) and their 5 daughters as they move into a new home. Patrick Wilson and Vera Farmiga play real life husband and wife paranormal investigation team Ed and Lorraine Warren. I’ve seen The Conjuring twice now, and I’ve gotten goosebumps both times. It’s a sort of ineffable quality, difficult to put into words, but often characterized by causing goosebumps. Movies like The Exorcist, Poltergeist and Halloween all do this in different ways. That reaches through the screen, grabs you and pulls you into the film. They create an atmosphere filled with tension that puts a stranglehold on the audience. The best horror films transcend simple scariness.
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