Exceptionally gripping in the face of its simplicity, ‘Hush,’ released in 2016, navigates the bloody waters of the home invasion subgenre to tremendous results. With only five characters and a single location to speak of, the performances and sound design of: ‘Hush’ are both key in the film’s goal of establishing a disquieting tone, captivating its audience while simultaneously making them dread that the story they are witnessing on-screen could realistically transpire in the most peaceful of surroundings. Certifying ‘Hush’ as a concise and well-executed horror/thriller despite the film’s continuous cat-and-mouse pursuits growing a little tiresome by its third act.
Plot Summary: When ‘Maddie,’ a deaf and mute author, moves to a secluded woodland house with the hopes of living a peaceful, solitary life as she writes her second novel, she soon finds her isolated home the target of a deranged masked killer…
Co-written, directed and even edited by Mike Flanagan, this talented director has been the face of modern horror for many years now, crafting chilling and original genre pieces such as: ‘Oculus,’ ‘Before I Wake’ and ‘The Haunting of Hill House,’ in addition to adapting much of Steven King’s iconic catalogue of literature with ‘Gerald’s Game’ and ‘Doctor Sleep.’ ‘Hush,’ however, was one of the director’s earlier films, with Flanagan conceiving the storyline whilst on a dinner date with his co-writer/leading actress Kate Siegel in 2014, not long before the pair married in 2016. To get a better understanding of the film, Siegel and Flanagan even role-played each scene in their house before writing them into the screenplay, enabling them to better envision how the characters would react in the face of danger, a method that I feel ultimately paid-off.
Although the lead role of: ‘Hush’ seems tailor-made for a hearing-impaired actress, Kate Siegel portrays ‘Maddie’ divinely as a quick-witted heroine who keeps the audience on her side at all times, constantly thinking on her feet, overcoming a few of the obstacles that come with her disability, as well as using her hearing impairment to her advantage when possible. John Gallagher Jr. is just as stellar as the mysteriously motivated antagonist; a character only ever known as ‘The Masked Man.’ Who, throughout the film, we learn seems to enjoy playing mind games with his victims, receiving some kind of fetishistic pleasure from toying with those he’s about to slaughter. In many ways, ‘The Masked Man’ shares similarities to the horror icon: ‘Michael Myers,’ with his motivation for killing never being stated and his costume consisting primarily of an unadorned white mask, which only adds to the character’s intrigue.
Whilst a substantial portion of the cinematography by James Kniest is hand-held, removing the possibility of: ‘Hush’ being one of Mike Flanagan’s most visually impressive films. The fluidity of: ‘Hush’s camerawork does allow the audience to follow ‘Maddie’ as she wanders through her contemporary home, the camera tracking her every movement as she enters/exits various rooms on impulse. However, a major shortcoming of the film’s visuals is certainly it’s lighting, as due to all of the narrative taking place at night, it makes sense that ‘Hush’ would be quite gloomy lighting-wise, yet most shots are seemingly over-lit considering the characters are supposed to be in a dense woodland area in the dead of night.
At times peaceful, at times aggressive, the original score for: ‘Hush,’ composed by The Newton Brothers, greatly enhances the story at many points, as tracks like ‘Maddie,’ ‘Intruder,’ ‘Against the Glass’ and ‘Crossbow’ are all incredibly atmospheric. And even if the score lacks a predominant track that could be regarded as the film’s theme in years to come, ‘Hush’s soundtrack still more than serves its purpose, especially when taking into account the film’s reliance on sound as opposed to a non-diegetic score.
Since the protagonist of: ‘Hush’ is both deaf and mute, the film contains less than fifteen minutes of dialogue, meaning, with a runtime of around eighty-two minutes, ‘Hush’ has more than seventy minutes of screen-time without a single word spoken. This set-up provides Mike Flanagan with a perfect opportunity to play with sound in creative ways, removing audio entirely (with the exception of an ultrasound machine) to put the audience into ‘Maddie’s shoes and deliver a sudden jolt when appropriate, avoiding the common horror cliché of having nonsensical, ear-piercing jump-scares for no apparent reason. Through the sound design, we also learn more regarding ‘Maddie’s character, as she hears the echoing voice of her deceased mother whispering to her, a voice that usually helps her conjure-up endings for her novels, but, in this case, layouts her options on how to approach her current situation.
To conclude, ‘Hush’ is a sharp, violent and finely-tuned horror/thriller that goes down familiar paths yet with flair and skill, not quite reinventing the wheel, but proving that the genres it’s drawing from still have firm legs. From ‘The Masked Man’ toying with ‘Maddie’ as he steals her phone and sends pictures to her laptop, to ‘Maddie’ rapidly locking all of her windows and doors before the killer can enter, ‘Hush’ is truly an engrossing story with an excess of suspenseful moments, its sound design only adding to this appeal as the film frequently gets closer to becoming a sensory-deprivation experience. Final Rating: high 7/10.