If there’s one thing I can’t get enough of these days it’s video game adaptations – because they’re all so incredibly amazing – and because everyone else in the world seems to share my feelings screenwriter Roger Avary and Samuel Hadida have signed on for a sequel to “Silent Hill,” the film adapted from the popular video game franchise in 2006. I’ll continue to be not-so-silent after the jump.
The original film was about the mother of an adopted child taking a trip to the eerie town of Silent Hill after her daughter experiences severe nightmares and sleepwalking episodes, during which she utters the name of the ghost town. On arrival the mother (played by Radha Mitchell) loses her daughter after a car accident renders her unconscious, and begins to search through the deserted town in search of her child. As time progresses, and sirens sound, the town’s true face and history start to unravel and the hidden horrors emerge.
In all honesty, I unabashedly dig the original film. I think it’s a much closer representation of its source material than any of the other game to film adaptations, and despite its flaws it is visually and atmospherically amongst the most impressive horror films we’ve had here in the States over the past ten years, at least; not to mention one of the most intimidating horror figures in Pyramid Head.
Which brings me to my major issue with the The Hollywood Reporter news of Avary and Hadida in that neither one of them had any real impact on the elements that were good from the first film.
The original “Silent Hill” was directed by Christophe Gans of “Brotherhood of the Wolf” fame, and while I can’t necessarily credit solely him for the production design and art direction he is the name that I know and since the director essentially calls the shots I will credit him and his team with my praise. The name that I also know is Roger Avary whom I will also credit, but for the shortcomings of the original film as most of my problems stemmed from the script, and made me long for the days of silent cinema as “Silent Hill” could have been a classic if words weren’t spoken. If I could somehow get a copy of “Silent Hill” with a score and title cards I would have a Halloween staple for the next few decades.
Part of me is intrigued by the prospect of revisiting Silent Hill, but the majority of me knows to curb my expectations until I can get a director’s name attached to place images in my imagination, especially with a title as dependent on imagery as “Silent Hill” is.