“A Place In Silence: Part 2”: In The Way Of Spielberg | Director John Krasinski Improves His Own First Part

A place in silence: part 2 8 points

A Quiet Place: Part II; United States, 2020.

Direction and script: John Krasinski.

Duration: 97 minutes.

Interpreters: Emily Blunt, Cillian Murphy, Millicent Simmonds, Noah Jupe y Djimon Hounsou.

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The post-pandemic film industry, with the new distribution and exhibition logics conquering hitherto impregnable lands, will be very different from what it used to be. A paradigm shift that should take away some old and inaccurate maxims. That the second parts are not good, for example, as dozens of sequels have shown to match, or even superior to, the first. The last one is A Silent Place: Part 2, which takes up the actions almost in the same place where the 2018 film had ended, although with a short and intense prologue that describes what life was like for the Abbott family before the arrival of the mysterious creatures, with the physiognomy of giant reptiles, that will plunge humanity into a silent interaction. Because these bugs, like almost all of them, run very fast, to which they add a developed auditory system that allows them to detect their victims as soon as they make noise.

A phrase said in a tone higher than a whisper, a tool that falls to the ground, the crunch of dry vegetation before an inattentive footfall, a heavy breathing: any mistake can mean death in the midst of a tremendous, savage daily dynamic and dark. Nothing new for a survival story in an a priori impossible context, one might think, except for the detail that John Krasinski – the remembered Jim Halpert from The Office, repeating the role of director here – makes fear a ubiquitous element, present even when calm seems to reign, making use of both sound work and a staging by which the off-field plays a fundamental role.

There is something Spielbergian in his way of filmingA style evident from an introductory sequence in which the Abbotts attend a children’s baseball game of one of the sons. Everything goes on the usual tracks of sport, until strange figures begin to appear in the sky. Krasinski, like Spielberg with ET’s bike flight or first encounter with dinosaurs in Jurassic Park, It does not direct attention directly to what is happening hundreds of kilometers up, but instead first fixes the camera on the puzzled faces of Lee (Krasinski) and Evelyn (Emily Blunt) looking up like this. Y is the 2005 version of War of the Worlds, nothing coincidentally directed by Spielberg, the one that appears as the clearest rhythmic, narrative and visual reference, although without the socio-political resonances that enabled the recent attacks on the Twin Towers at that time. There they were a father and his little daughter who, trying to survive external attacks, came across people as dangerous as creatures. Something similar happens here with Evelyn, little Regan (Millicent Simmonds), Marcus (Noah Jupe) and their baby sister.

Almost five hundred days after the game, and with the wound from the sacrifice of Dad Lee still open, the family leaves with what they wear in search of new horizons, a path that leads them to an abandoned factory where Emmett (Cillian Murphy) has lived since he he lost his own. Among the (few) items the Abbotts brought with them is an old battery-powered radio with which they listen to a song repeated at irregular intervals. The meaning of the letter, added to a clue about the origin of the signal, lights the fuse of a new displacement, this time in charge of Regan and Emmett, while Marcus and Evelyn are waiting for the return. Or at least it was planned that way.

It is convenient not to anticipate more about what adventures the journey will bring, as long as Krasinski plays his best cards by putting on the table an unbearable suspense at times that mainly uses a parallel montage that divides the attention (and the tension) in several scenarios. Much more intelligent in its narrative scaffolding than the first part, and possessing a formal sophistication worthy of expert hands, the film ends by preparing the pieces for a continuation. To continue breaking down prejudices, then, that third parties can also be good.

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