Jessabelle (2014)
Returning to her childhood home in Louisiana to
recuperate from a horrific car accident, Jessabelle comes face to face
with a long-tormented spirit that has been seeking her return -- and has
no intention of letting her escape.
Director:
Kevin GreutertWriter:
Robert Ben GarantStars:
Jessabelle "Jessie" Laurent is pregnant and accepts to move to the house
of her boyfriend to raise a family of their own. However they have a
car accident where her boyfriend and her baby die. Jessie is seriously
wounded and trapped to a wheelchair, and the direction of the hospital
asks her to contact her estranged father to help her. Leon Laurent
brings his daughter to his house in Louisiana and lodges her in her
mother's room. Jessie snoops around the room and finds a videotape where
her mother Kate Laurent is pregnant and reads tarot cards to her. She
tells that Jessie would never left Louisiana; she is attracted by water;
and another woman wants her out of the house. However Leon arrives and
destroys the tape. On the next morning, Jessie watches another videotape
when her father is out of the house, and her mother talks about the man
that had taught her to read cards, Moses. Jessie is haunted by the
ghost of a woman and her father discovers the two other videotapes she
has hidden...
Country:
USALanguage:
EnglishRelease Date:
26 November 2014 (Philippines) See more »Also Known As:
Ghosts See more »Company Credits
Technical Specs
Runtime:
Sound Mix:
Dolby DigitalColor:
ColorAspect Ratio:
1.85 : 1Did You Know?
Trivia
Jacob Sullivan did uncredited rewrites. See more »Goofs
When Jessie and Preston investigate what is reflecting across the lake, the boat they drive is registered in North Carolina, where the film was shot, instead of Louisiana, where the film is set. (at around 53 mins)Quotes
Title Card:
We will cast a shadow over you that cannot be distinguished from Fate. -"Legends of Haiti"
There are a lot of dark family secrets in "Jessabelle," involving drawers of forgotten objects, Voodoo ceremonies in the woods,
and VHS tapes containing ominous messages from beyond the grave. Steeped
in Southern Gothic melodrama, "Jessabelle" is interesting in some of
the small details, and in its strong sense of the Louisiana bayou
atmosphere, and then it completely falls apart when it starts being a
horror film. The trauma in the family story is full of potential, having
to do with identity and how Jessabelle understands her own life, but
all of that is short-changed for cheap scares that just are not scary
enough and a preposterous plot that won't withstand the most cursory
examination. Director Kevin Greutert, after directing multiple entries
in the "Saw" franchise, feels adrift in tamer material. He responds to
the Flannery O'Connor-esque qualities of the script (written by Robert
Ben Garant), and there are details there that ring really true, but then
he falls back on a lot of tired tropes from other horror films, missing
the mark almost every step of the way.
In
the opening scene, Jessabelle (Sarah Snook) is about to move in with
her boyfriend: she's pregnant and they are both excited. On their way to
the new place, they get into a car accident. He dies, she loses the
baby, and her legs are crushed. Wheelchair-bound now, she moves home to
live with her gloomy father (David Andrews). Jessabelle's mother died
when Jessabelle was a baby; she and her father barely speak to one
another when she returns home. Expressionless, he leads her through the
house to the dead mother's old bedroom, untouched since her death.
Jessabelle will sleep there since it's on the ground floor.
The
house is the scariest element of the film; it is a masterpiece of a set
(Jade Healy was production designer). Red brick on the outside, with
tiny squinting windows, it is yawningly empty on the inside, rooms
careening off into the distance, unfurnished except for random gigantic
cupboards and cabinets shoved up against the walls. It feels like a
place where time has stopped. Seen mainly from Jessabelle's point of
view, rolling through it in her wheelchair, the house is disorienting.
You never get the real lay of the land. You never see the upstairs.
Jessabelle
keeps seeing and hearing strange things in the house. She glimpses a
strange girl with long black hair (reminiscent of the girl from "The
Ring") through the sheer curtains hanging around her mother's bed.
(Despite how frightening the vision was, Jessabelle keeps closing those
curtains every night, making one think she enjoys being
terrified). In a box hidden under the bed, Jessabelle finds VHS tapes
containing video-taped messages made for her by her mother (Joelle
Carter) in the last months before giving birth. The
mother, at first, is filled with joy and anticipation, bringing tears of
happiness to Jessabelle's eyes as she watches. Soon, though, a dark
foreboding mood intrudes (Joelle Carter is rivetingly uneasy in the
role, leaning forward to whisper to the camera, "Don't tell Daddy about
the Tarot cards.")
In a fit of fury,
Jessabelle's dad throws out the video tapes and also tosses her
wheelchair into the lake. Things go south from there. Jessabelle finds
an unlikely ally in a high school boyfriend named Preston (Mark Webber),
who is married and yet seems to have a ton of free time to drive
Jessabelle around as she investigates her past. Their journey leads them
deep into the bayou, and involves Voodoo altars, strange graveyards,
and an old white-haired woman with giant terrified eyes moaning a Creole
chant. Some of this ends up having undeniable racist implications, the
black characters presented as completely "Other," with no humanity
whatsoever, just frightening creatures with strange rituals emanating
hostility and evil.
The scenes where
Jessabelle watches her mother on video tape are the best in the film. In
them, there is emotional communication flowing between the past and the
present, longings and needs on both sides, giving a unique look at the
mother-daughter bond: the mother needs to tell her story, and maybe warn
her daughter about something, and the daughter needs to feel close to
the mother she never knew. The fact that Jessabelle starts out by losing
her own baby is never mentioned; it's a huge dropped ball (one of
many in the script).
The main dropped
ball in the film has to do with Jessabelle's injured legs. She
cannot move without assistance, and is completely at the mercy of
whatever horrible thing comes at her. But "Jessabelle" totally lacks a
visceral sense of how vulnerable she is; how trapped she is, physically.
One needs only to think of the bone-chilling scenes in "Wait Until
Dark," where blind Audrey Hepburn walks through her apartment, unaware
that three thugs loom all around her in the shadows. As capable as she
is as a character, she cannot see what we in the audience can see. Our
helplessness is activated ferociously by her predicament, filling "Wait
Until Dark" with a sense of pure dread. It seems a no-brainer that
"Jessabelle", with its heroine in a wheelchair, should work on that same
level, but it doesn't. Like so much else in the film, her physical
disability just sits there onscreen, but unexamined beyond a facile
surface level.
Sarah Snook is good in
the title role, especially in the solo scenes where she watches her
mother's video-taped messages. There's a ton of bad vibes from her
grumpy silent Daddy, there's a lot of mystery in who her beautiful
mother really was, the secrets she hid. At one point, Jessabelle finds a
couple of steamy romance novels her mother hid in a drawer, and
Jessabelle says, delighted, and almost embarrassed, "Oh my word. Thank
you, Mama." These are the true Southern-fried guts of "Jessabelle."
These moments are specific and lived-in. If only it hadn't decided to be
a horror film instead.
Final rating: 7/10 for the genre and 6/10 overall, however this might sound like it is just an average movie but still I am celebrating this one since I like haunted house movies a lot and this one is one of the best I ever saw.
Thanks for reading and have fun watching movies.
0 comments:
Post a Comment