Nine Inch Nails — Film Noir Blonde

Tense one-take ‘Silent House’ undercut by lack of depth

Silent House/2012/LD Entertainment, et al/88 min.

Does the average moviegoer care if a movie seems to be shot in one continuous take? Maybe, maybe not. To create the appearance of a one-take thriller, “Silent House,” directed by Chris Kentis and Laura Lau, was filmed on one Canon 5D camera with two operators in 13 total shots.

Whether you know or care about tricky production, the point is to try to make you feel the fear of the main character Sarah (Elizabeth Olsen) a girl who’s in for a bad night at her family’s dark, isolated, creaky, spooky (natch) summer home. “The continuous take in itself is really what builds the tension,” said Lau at a recent press day in Beverly Hills. “She’s trapped in terror.”

(Similarly, Alfred Hitchcock crafted the illusion of a continuous shot in his first color film, 1948’s “Rope,” starring James Stewart, John Dall and Farley Granger.)

Kentis and Lau (co-directors of 2003’s “Open Water”) remade “Silent House” from Gustavo Hernández’s “La Casa Muda” (2010), which was inspired by events that occurred in a Uruguayan village in the 1940s. For their version, Lau wrote a new script, working late at night and listening to Nine Inch Nails. In addition to Trent Reznor, the filmmakers said they drew inspiration from psychological thrillers like Roman Polanski’s “Repulsion” (1965).

“Silent House” also features Adam Trese and Eric Sheffer Stevens as Sarah’s father and uncle, and Julia Taylor Ross as a family friend, but ultimately it’s Olsen’s movie. Because she’s rarely offscreen, the film hinges on her presence and acting.

Expressive, vulnerable and luminous, Olsen is compelling to watch. “I felt like I was part of the editing process,” said Olsen at the press day. “It was like dancing with the DP [Igor Martinovic] and figuring out a rhythm.”

The drama hinges on a devastating secret, long hidden within the walls of this sinister summer home. Though “Silent House” is swift and slick, unfortunately, the twist that’s supposed to lend psychological depth feels clumsy and lame, like a thin slap of paint on a faded front door.

“Silent House” opens today nationwide.

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8mm sizzles with noir-tinged rock: Friday at the Roxy

With a haunting voice, retro-glam sexiness, and material both subtle and raw, Juliette Beavan of 8mm melds a femme fatale’s sophistication with flinty rock energy. From the first searing notes, often punctuated by smoke and shadow, the songs draw you in like a Hitchcock thriller; lyrics linger in your head well beyond the show’s end. This part of “Crawl,” for instance, is hard to forget: “or maybe there’s another/ trick, another spell/ and I could change you/ and I’d draw you to me/ pull you to me, crawl to me./ draw you to me/ pull you to me/ call you to me/crawl to me.”

Her bandmates include her husband Sean Beavan (guitar, vocals) and Jon Nicholson (drums). They describe their sound as “trip-hop influenced pop-rock.” First-rate musicians, the guys are the perfect complement to Juliette’s vocals and keyboard.

Juliette Beavan of 8mm. Photo by Critter Newell

“That’s right, blame it on the girl,” she might tease them between songs, before adjusting her mic or straightening a cord. A New Orleans native, she’s fond of bringing beads, candy and banter to toss to the eager crowd, many of whom clutch cameras the way people used to flick lighters as preface to an encore.

Together since 2004, 8mm has an impressive resume that includes four albums and several tours (the US, Canada, the UK and Chile). Sean Beavan, who hails from Cleveland, formerly worked with bands such as Marilyn Manson, Nine Inch Nails and God Lives Underwater. He and Juliette write the songs; their work has been featured in the 2005 film “Mr. & Mrs. Smith” as well as in a number of TV shows, including “One Tree Hill,” “Grey’s Anatomy,” “Moonlight,” “Dirt,” Road Rules,” and “The Real World: Sydney.”

You can see 8mm for yourself Friday, June 3, at the Roxy Theatre, with the Kidney Thieves, Cage 9, The Shakers and DJ High Voltage. The show starts at 8 p.m. and 8mm goes on at 9 p.m.

I caught up with Juliette recently to chat about the band’s penchant for noir.

Film Noir Blonde: The band’s name is a film reference, your shows are richly atmospheric and your songs often deal with mystery, secrets, betrayal and hidden desire, much as a film noir would. Can you talk about how the aesthetic of film noir in general has been an influence for you?

Juliette Beavan: Yes, a reference to the film stock, because for us, 8mm film brings to mind smoky back rooms of 1930s Berlin, the first stag films, the early home movies … in other words, secrets, memories, longings (secret and professed) and decadence … all the things we try to bring to our music. They also happen to be things that are part and parcel to any good film noir. In addition, the look, the sleek styling, elegant and dangerous players, well, that sounds like a band to us!

8mm plays the Viper Room. Photo by Billy Howerdel

FNB: Any femmes fatales that stand out for you?
JB: Hahaha, are you gonna ask any questions with short answers? Where to start … Marlene Dietrich, Bette Davis, Marilyn Monroe, Gene Tierney, Lauren Bacall, Joan Crawford, Anne Baxter, Nora Zehetner in “Brick” does a wonderful job, not to mention (I know they’re not femmes fatales, but I would be remiss to leave the men out) Joseph Gordon-Levitt gives Bogey a run for his money in that film. And for the men, of course, there is the one and only Humphrey Bogart.

FNB: Of ’40s and ’50s singers or bands, who are your top favorites?
JB: Nat King Cole, Frank Sinatra, Billie Holiday, Edith Piaf, Bing Crosby, to name a few.

8mm's Jon Nicholson, Juliette Beavan and Sean Beavan. Photo by Herwig Maurer

FNB: Do you essentially get into character when you perform, especially Juliette as the frontwoman?
JB: In a sense, yes, and it varies from song to song, because each one is a different story, character, sort of mini movie for us. I’m a storyteller not a character (like a GaGa or Madonna), so the approach is a little different. It only takes a note or two for me “see it” in my head again, to step into “her” shoes … from there it’s just natural.

You kind of have to use your whole body to tell the story, and the story becomes my own for that time.

FNB: Raymond Chandler said a good story cannot be devised; it has to be distilled. Do you think that’s true for writing songs and music?
JB: Certainly at times … what Sean plays makes me see stories, so I suppose you could say that is a bit of a distilling process to bring the story down into its key emotional components for a 3 minute song. However, there are other times when you get a “cosmic FedEx” (a term we’re stealing from Scott Russo of Unwritten Law). That’s where the song comes to you almost writing itself and you have to grab and get it down before it moves on. You know, the muse will find another host if you aren’t paying attention.

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