Haunted houses. They pepper the landscape as Halloween draws near. Many festivals and campgrounds feature some form of the attraction, be it a walk-through, a car and rail, or a religious variant intent on scaring a customer into paradise. When it comes to the celluloid variant, Hollywood is no different.
Sometimes, they combine a genuine tale of a ghostly abode with a possession film. Thankfully, today’s film fits such a bill.
<span style=”color: red;”>31 Days of Films and Frights – Day 14: The Conjuring</span>
From the opening moments of this film, I knew I was in for an immersive experience in which I would likely lose much sleep. The music, excellently crafted, sets the tone for the film the moment the picture fades from black. I instantly reached for my iPad to begin a second screen experience in order to see the credits of composer Joseph Bishara (Insidious, Insidious: Chapter 2) and cinematographer John R. Leonetti (Insidious, Insidious: Chapter 2, The Mask), whose camera work was beautifully haunting as well.
The editing, something I always notice, was superb. Each scene is allowed to breath, only cutting when necessary, facilitating the eeriness necessary to amp the nerves of the viewer into the stratosphere.
That’s not to say the film was flawless. There were certain story elements that I found baffling, such as the hidden room being the room that contains the heater to heat the house (they didn’t notice during their initial purchase that it appeared the house had no heater nor basement?) However, the film was so excellently crafted that I was tempted to pause and watch an episode of Golden Girls every 20 minutes in order to take the edge off. The unknown is always more tense than what we can see, hence the reason Hitchcock’s films were so suspenseful/successful.
Prepare the chamomile laced with Xanax. Otherwise it’s bound to be a long night…