Speak No Evil *****

Starring : James McAvoy, Mackenzie Davis, Aisling Franciosi, Alix West Lefler, Dan Hough, Kris Hitchen, Motaz Mulhees and Scoot McNairy

Director : James Watkins

Duration Running Time : {approx} 1 Hour 50 Minutes {110 Mins}

Certification Rating Certificate : 15

Distribution : Universal Pictures (UK) - (A Comcast Company), Blumhouse Productions

The history of the 'HORROR SUSPENSE MOVIE GENRE' in cinema - has in fact - 'a rich and also a fascinating history, evolving as a significantly over time.

Here what follows is a brief overview.

'EARLY BEGINNINGS'

A : LITERARY ROOTS - The genre's origins - in question - can be originally traced back to the 'GOTHIC LITERATURE' back in the 18TH CENTURY - with Horace Walpole's 'THE CASTLE OF OTRANTO' (1765), - often cited as - 'THE FIRST HORROR NOVEL'.

'GOTHIC NOVELS' - in question - had in fact - typically featured many dark, mysterious settings, and also supernatural elements.

'EARLY CINEMA'

'THE FIRST HORROR FILM' is often considered to be - 'LE MANOIR du DIABLE' - originally released in 1896 - and directed by Georges Melies, and which also included the following major themes that were originally featured in the art of supernatural such as animated skeletons and also ghosts.

'THE GOLDEN AGE OF HORROR' - {1920-1930's}

'THE SILENT ERA'

Films like 'THE CABINET OF DR CALIGARI' [1920], and also 'NOSFERATU' [1922], - had originally 'set the stage' for - ''HORROR CINEMA'' - simply by using - 'THE EXPRESSIONIST TECHINQUES' and also 'TO CREATE UNSETTLING ATMOSPHERES'.

'THE TALKIES'

The advent of 'SOUND' in question - had also bought many 'HORROR CLASSICS' like 'FRANKENSTEIN' (1931), directed by James Whale, produced by Carl Laemmie Jnr, and featuring Colin Clive, Mae Clarke, John Boles and Boris Karloff (aka William Henry Pratt - his real name) and also 'DRACULA' (also 1931), based on Bram Stoker's novel, directed by Tod Browning, produced by Browning and Laemmie Jnr, and also featured Bela Lugosi, which solidfied also 'many horror tropes' and also introduced 'iconic monsters'.

'MID 20TH CENTURY'

'FILM NOIR AND ALSO SUSPENSE'

It was then that during the 1940's/1950's that originally saw 'THE UNIQUE RISE OF FILM NOIR', and that which also heavily influenced 'THE GENRE OF THE SUSPENSE MOVIE', but also that many film directors such as Alfred Hitchcock - 'HAD ORIGINALLY MASTERED THE UNIQUE ART OF BUILDING THE UNIQUE TENSION AND ALSO FEAR' in movies such as 'PSYCHO' (1960), directed by Hitchcock, and also featuring Anthony Perkins as Norman Bates and also Janet Leigh as Marion Crane - and therefore became 'LANDMARKS' in 'THE HISTORY OF CINEMA'.

Hitchcock, often hailed by many as 'THE QUINTESSENTIAL THRILLER FILM DIRECTOR' had in fact significantly influenced 'THE GENRES OF SUSPENSE AND ALSO HORROR' - through the following methods and also many films throughout his illustrious career - as a unique career - and these sections include the following :

A : Pioneering the use of music to create and also enhance the suspense - Hitchcock's favourite film composer was in fact Bernard Herrmann - who had composed many of his films.

B : Developing storyboarding into a unique essential of a pre-production tool.

C : Exploring the many psychological themes, such as psychopathy and also repressed sexual tendencies.

D : By simply demonstrating that the 'GENRE' films in question - could be either classed as sophisticated, complex, and also enduring works of art.

However 'HITCHCOCK' films are also classed as 'HIS ORIGINAL BLUEPRINT' in the history of cinema and that the term 'HITCHCOCKIAN' - not only implies in question to more than just the director's 'UNIQUELY TRUE SIGNATURE' -by simply appearing 'IN A CAMEO ROLE' - but that it also suggests that in a unique perfect world that where every detail throughout - also serves the main purpose of creating a suspenseful horror movie shown in movie theaters/cinemas worldwide for movie audiences to experience it - 'FULL-ON' and also 'SUPER-CHARGED'.

It was back in 1972, when Hitchcock, in question, had hired Enrico Nicola ''Henry'' Mancini, a film composer famed for his musical score of 'THE PINK PANTHER' {1964}, to score 'FRENZY' - which was also Hitchcock's penultimate film -of his illustrious career - and also that this was 'THE THIRD AND FINAL FILM MADE IN THE UK' - just for the record the film featured Jon Finch, Alec McCowen, Barry Foster, Billie Whitelaw, Anna Massey, Barbara Leigh-Hunt, Bernard Cribbins and also Vivien Merchant - that was originally based on the novel by Arthur La Bern entitled as 'GOODBYE PICCADILLY - HELLO LEICESTER SQUARE' originally published in 1966 - plus the screenplay of this was written by Anthony Schaffer - and that it is believed that Hitchcock had 'read the novel' back in the Autumn of 1970, whilst looking for a new project after the disappointment of 'TOPAZ' (1969), based on the novel by Leon Uris, and starring Frederick Stafford, Dany Robin, Karin Dor, John Vernon, Claude Jade, Michel Subor, Michel Piccoli, Philippe Noiret, and also John Forsythe but also that according to Mancini's autobiography that Mancini in question, had met with Hitchcock in the Autumn of 1971, to discuss the ideas of his forthcoming music score - and that it is likely that Hitchcock himself 'HAD ALSO SPECIFIED WHICH SCENES OF THE FILM IN QUESTION - REQUIRED MUSIC'.

But then Mancini, who was also a composer, conductor, and also an arranger, and who is also best remembered for his 'film and television scores' - plus that he not only won a record of 'GRAMMY AWARDS' plus 'A POSTHUMOUS GRAMMY AWARD' back in 1995, in question, 'WAS THEN SENT A COPY OF THE FINAL SCREENPLAY' at the beginning of November 1971, and had also 'COMPLETED THE SCORE', in December 1971, one month later - and also for which that Mancini, in question, was also paid a flat fee for at least $25,000 (￡18,726.62 -UK ).

But then that in an exclusive interview with Catherine Stott of 'THE GUARDIAN' - this was just after 'THE RECORDING SESSIONS'. - Mancini, in question, talked about the original music score - and then said the following:

''You want to know how I go about scaring people? Really it is a matter of colours. Of using the orchestra in various combinations to create tension. ''FRENZY'' is a very low-key picture about a neck-tie murderer, and what I have done is to just cut off the orchestra round middle ''C''. - There is no high -there are no violins nor high flutes -it is all there down with 'TEN CELLOS', 'TEN VIOLAS', 'BASSES', HORNS' 'BASSOON' and 'BASS FLUTES'... none of the screeching, high, intense sounds, that would be through a little melodramatic today. It is very sparse... there's not a lot going on, but what there is will, I trust, sound pretty spooky''.

Hitchcock, in question, then attended the 'END OF THE LONDON RECORDING SESSIONS' in 'MID-DECEMBER' (12TH-15TH) for at least 'FOUR DAYS' back in 1971, - but then 'SUBSEQUENTLY HAD REJECTED THE COMPOSER'S SCORE' after 'SIMPLY HEARING IT MIXED WITH THE FILM', and soon Hitchcock then hired Ron Goodwin, a British film composer, basically to create a new music score for the film.

However, in his autobiography, Mancini wrote the following :

''It was not so much a matter of being there as that [ HITCHCOCK ] didn't say much when we were doing the {RECORDINGS}. He sat through every piece and nodded approval, and finally, when he was alone in the dubbing room, he decided that didn't work. His reason for thinking so, I was told, was that the 'score' in question, was macabre, which also puzzled me because it was a film with many macabre things it in. It wasn't an easy decision to accept, and it was crushing when it happened.''

Unlike Hitchcock's ''acrimonious'' split with Bernard Herrmann over 'the rejected music score' for 'TORN CURTAIN' {1966}, featuring Paul Newman and also Dame Julie Andrews, plus it was John Addison, a British film composer, who also 'composed' the music score, it seems that Mancini, in question, was 'NOT LET TOO BITTER' by the 'EXPERIENCE' in question, and also fondly recalled in his autobiography how Hitchcock, in question, had sent him - 'A CASE OF CHATEAU HAUT BRION MAGNUMS', but also that 'THE REAL REASON' why Hitchcock 'HAD IN FACT REJECTED THE SCORE' during the original recording sessions by simply telling Mancini the following:

'LOOK IF I WANT HERRMANN, I'D ASKED FOR HERRMANN !' - is classed as 'APOCRYPHAL' and was originally made by Herrmann in an interview back in 1975, with Royal S. Brown.

'PSYCHOLOGICAL THRILLERS'

The 1960's and also the 1970's in question, also introduced more 'PSYCHOLOGICAL ELEMENTS', by simply focusing on - 'THE HUMAN MIND'S DARKER ASPECTS' - and these movies in question also included the following movies : such as - 'ROSEMARY'S BABY' (1968), featuring Mia Farrow, John Cassavetes, and Ruth Gordon, based on Ira Levin's 'best-selling novel' and directed by Roman Polanski, and also 'THE EXORCIST' (1973), featuring Ellen Burstyn, Max Von Sydow, Lee J. Cobb, Jason Miller, Kitty Wynn, Jack MacGowran and also Linda Blair, based on the novel by William Peter Blatty, directed by William Friedkin, and also featured 'TUBULAR BELLS' by Mike Oldfield, although it was Jack Nitzsche, who did the original score, and who also exemplified this trend.

'THE MODERN ERA' - ie: 'NOW'

'THE SLASHER FILMS'

By the late 20th century - saw the 'RISE OF THE SLASHER MOVIE' - with movies such as 'HALLOWEEN' (1978), directed by John Carpenter, and featuring Donald Pleasence - and also a very young Jamie Lee Curtis (whose parents happen to be Tony Curtis and also Janet Leigh - star of 'PSYCHO') as Laurie Strode, and also 'A NIGHTMARE ON ELM STREET' (1984), directed by Wes Craven and also featuring Robert Englund as Freddy Krueger, - and therefore these became cultural phenomena in cinema.

'DIVERSE SUBGENRES'

Today, the 'HORROR SUSPENSE GENRE' in question, - includes 'A UNIQUE WIDE-RANGE OF SUBGENRES' consisting of the following : such as - 'SUPERNATURAL HORROR' - to - 'PSYCHOLOGICAL THRILLERS' - and also - 'FOUND FOOTAGE FILMS', - but also that today that the 'MODERN FILM DIRECTORS' - in question - also continue to innovate, by simply blending 'THE TRADITIONAL ELEMENTS THAT ARE UNIQUELY COMPLETE WITH NEW STORYTELLING TECHNIQUES'.

The genre's original evolution has also reflects a broader cultural anxieties and also a technological advancements, by simply making it as a continually dynamic - and also - an engaging field in the original craft of cinema itself.

And now in 2024, we have 'SPEAK NO EVIL' directed by James Watkins, and is actually classed as 'A REMAKE OF THE DANISH MOVIE'- originally released back in 2022 - but is also classed as a 'PSYCHOLOGICAL HORROR FILM'.

Now the story in question, follows an American family, notably Louise and Ben Dalton (Davis and McNairy), and their daughter Agnes (Lefler), who meet a 'free-spirited' British couple, notably Paddy and Ciara (McAvoy and Franciosi), and their son Ant (Hough), as you do while on vacation in Italy.

Back home in London, Louise and also Ben, in question, are simply at odds over Ben's unemployment and also Ciara's infidelity, but then that a letter soon arrives from Paddy and Ciara, from the Daltons, who in question, are then invited to spend a unique weekend at Paddy's and also Ciara's remote farmhouse, originally situated in the British countryside, and that the family in question, decide to accept the invitation of the British hosts, hoping that the change of scenery will certainly be good for them - and also for Agnes as well - who has anxiety - and that she in question - is also attached to a stuffed rabbit toy, but also that what begins as a pleasant visit - quickly soon turns into a 'psychological nightmare', as the hosts' strange behaviour becomes increasingly unsettling, with passive-aggressive actions and also quite disturbing incidents.

Tensions however soon escalate when Louise discovers that both Paddy and Ciara - the original hosts - also have a dark side to their unique persona as a family - their history also includes luring families to their homes, also killing the parents, and then abducting the children - and that the film in question - running at an amazing time of 1 Hour 50 Minutes - just ten minutes short - of becoming - 'A TWO-HOUR MOVIE' - builds plenty of suspense - right through its eerie atmosphere as a horror suspense movie - which it is - by the way - and also - a social commentary throughout - thus making it as - a gripping watch for the many fans of the genre involving a unique psychological horror-suspense thriller.

And so that we ask ourselves this unique question :

What are the differences between the original version released back in 2022, and also the 2024 remake of the original ?

Well the answer is quite simple - as there are many key differences - between the original - and also the remake - and that they includes the following - such as

A : 'THE SETTING'

The 'ORIGINAL FILM' in question, is actually set in the Netherlands, while the 'REMAKE' shifts from its original setting - to the British countryside, therefore providing a different cultural and also a geographical backdrop.

B : 'THE CHARACTERS'

The 'NATIONALITIES' concerning 'THE MAIN CHARACTERS' throughout have in fact changed. In the 2022 ORIGINAL VERSION - the 'MAIN COUPLE' is 'DANISH' - and also that the 'HOSTS' are in fact - 'DUTCH', however in the 2024 'REMAKE' of the 'ORIGINAL'- The 'MAIN COUPLE' in question - are in fact - 'AMERICAN' - while the 'HOSTS' - are in fact classed as 'BRITISH'.

C : 'THE ORIGINAL FILM DIRECTORS' and also 'THE ORIGINAL STYLES THROUGHOUT'

The 2022 'ORIGINAL VERSION' was directed by Christian Tadrup, who's known for his unique approach to the unique genre - involving 'PSYCHOLOGICAL HORROR', while the 2024 'REMAKE' to the 'ORIGINAL VERSION' in question, directed by James Watkins, steps up a notch and who also brings his own style and interpretation to the story in question, by simply and also potentially altering the unique tone and also the unique pacing.

D : 'THE CULTURAL CONTEXT'

The '2024' REMAKE - may also include the 'CULTURAL NUANCES' and also the 'SOCIAL COMMENTARIES' throughout and which that are also relevant to the many audiences concerning the 'AMERICAN' and also the 'BRITISH' in question, and which that can also differ from the main themes - that were originally explored in the 'DANISH' original version.

E : 'THE PLOT ADJUSTMENTS THROUGHOUT'

While the 'CORE PLOT' remains the same, - their simply might be 'MINOR ADJUSTMENTS' in the 'storyline', 'character development', and also the specific scenes throughout - to better suit the new setting and also the audience expectations.

These unique changes also aim to 'ADAPT THE STORY' - for a unique 'DIFFERENT AUDIENCE' - while also maintaining the 'SUSPENSE' and also the 'PSYCHOLOGICAL' elements - that also made the original film compelling - and which also - by the way - that it is.

And then there is also 'A UNIQUE TWIST ENDING' to this unique story - and like many others - this one is no exception, as both 'THE 2022 ORIGINAL' as well as 'THE 2024 REMAKE' of this unique 'PSYCHOLOGICAL HORROR SUSPENSE FILM' -also features - 'A UNIQUE TWIST ENDING'.

However without giving it as too much away, that 'THE UNIQUE TWIST' in question also involves a 'UNIQUE SHOCKING REVELATION' - about the 'TRUE NATURE' involving of 'THE HOSTS' in question - and also their unique intentions throughout - but also that this 'UNIQUE TWIST' that you'll ever experience in a movie theater - will significantly alter the many perceptions of the events - leading up to it - and also leaves a lasting impact on the movie audiences worldwide - that are involved.

And so that in closing is that if you simply like and also enjoy the psychological horror - with a unique unexpected twist and also many turns - that this will be simply be right up your alley - that's also complete with a unique twist ending throughout.

Just think of it as 'STRAW DOGS' meets 'ESCAPE TO THE COUNTRY' plus a small helping of 'FOUR IN A BED' - although there's more than four in this one - plus 'HOMES UNDER THE HAMMER' - to complete the recipe - although - there's no sign of the likes of Martin Roberts, Dion Dublin, Martel Maxwell, Jacqui Joseph and even Tommy Walsh plus Owain Wynne Evans - the newbie and also the former weatherman on BBC North West Tonight - who loves banging his drums at all hours - 'the stars of the show' hiding under 'the trap doors' in Titchmarsh's award-winning establishment - and also 'pulling off more' than just their puds - with one or two surprises - located inside their portfolios - of their job descriptions.

A UNIQUE CINEMATIC MASTERPIECE - AND ALSO ONE THAT'S SIMPLY NOT TO BE MISSED !

DON'T MISS IT !

David M.G.Mitchell