A patient’s suicide will lead a therapist down a dark path against a malevolent force.
Raises the stakes, and excites, but doesn’t fully deliver… There are numerous types of narrations that the camera can help convey to the audience. One of them is the “omniscient narration” where the audience gets to experience situations that the characters can’t. For example, be at multiple places at once and have background knowledge of the characters without them knowing it – they haven’t disclosed it, but you have seen it. This is part of the reason why you get to engage more with their suffering and the events surrounding them. But not only. Not wanting to bore you more with jargon, I’ll move on to what I believe matters while watching Smile.
For the horror part, the film successfully relies on the contradiction between the abhorrent anticipation of death and the eerie smiles right before it happens. Smiling is a feeling that should derive from happiness and not from a malevolent presence that totally ruins one’s life before taking it. And Smile effectively builds up the suspense that leads to the pending horrors. While the narrative is not original – a paranormal evil that forces people to harm others or themselves, and the protagonist, racing against time, needs to find a way to break that curse before it’s too late – Smile has certain strengths and weaknesses. Horror, in that respect, is the strong suit.
For the thriller part, the film utilises the fear of doubting oneself and the feeling of helplessness. And that feeling is especially enhanced when the heroine is meant to be an expert in explaining and controlling those emotions and feelings. Writer/director Parker Finn manages to balance those two genres really well and offers a refreshing perspective on something that has been said and done numerous times before.
The script’s weakest point is Rose trying to explain what is happening to her to the people around her. Being a doctor, even deeply and severely traumatised, she should be able to convey her message in a slightly less “crazy” manner; rationalise it in a more effective way, at least, to the people that she should have known how they would react. In that respect, the drama isn’t as powerful as the situation demands it to be.
As I’ve said numerous times before, it’s worth mentioning that none of the efforts behind the camera would matter if the cast in front of the camera didn’t deliver. Sosie Bacon, first and foremost, and all the supporting cast deliver convincing performances that increase the believability of something extraordinarily unrealistic such as the specific supernatural force. And while at it, the fact that Finn chooses not to explain its origin or its true motives is something that you will judge.
On a different note, I guess here there is a discounted underlying message given (or not) in a Hollywood manner. The invisibility and therefore unpredictability of mental illness that constitutes it harder or even sometimes impossible to diagnose, let alone treat, makes the person suffering from it… all alone. And that’s infinitely scarier drama than any CGI.
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