Schatten der Wahrheit

Robert Zemeckis, by dint of such phenomenally popular films as "Romancing the Stone," "Who Framed Roger Rabbit?," the "Back to the Future" trilogy, "Death Becomes Her," "Forrest Gump" and "Contact," was already a highly successful Hollywood director when, along with producers Steve Starkey and Jack Rapke, he formed the ImageMovers production company in 1998. As the company's first project, Zemeckis chose screenwriter Clark Gregg's "What Lies Beneath," a modern-day ghost story that, the director told his crew, he wished to bring to the screen as Alfred Hitchcock might have done, IF the Master of Suspense had had access to modern FX technology and computer graphics. (Never mind that none of Hitchcock's 54 films dealt with ghosts or the supernatural per se.) Filmed largely in the Lake Champlain region of Vermont, near Addison, during a hiatus from shooting "Cast Away," the resultant picture, released in July 2000, was still another significant feather in Zemeckis' already crowded hat, and, like those other films named, features impressive yet subtly integrated FX to complement a highly intriguing story. As both a horror film and an exercise in suspense, "What Lies Beneath" must be deemed a complete success.

In the picture, we meet an attractive, middle-aged couple, Norman and Claire Spencer, and indeed, as portrayed by Hollywood icons Harrison Ford and Michelle Pfeiffer, the Spencers might be one of the handsomest couples in the history of the horror film! Living as they do in a beautiful home overlooking a Vermont lake, the professional couple (Norman is a renowned geneticist; Claire, a retired cellist), although their only daughter has just left for college, would seem to have an enviable marriage. But before very long, weird occurrences begin in the newly "empty nest." Strange noises and whisperings, a broken picture frame, spectral reflections in the surface of the lake and (in perhaps the film's single scariest scene) bathtub water, all serve to convince Claire that the ghost of a young woman is haunting her abode...possibly the ghost of her new next-door neighbor, who Claire believes has been killed by her husband. But, as it turns out, the truth is considerably more complex, and the unraveling of this truth will go very far in unraveling the Spencers' marriage, too....

So, DOES "What Lies Beneath" strike the viewer as a Hitchcockian exercise, abetted by 21st century computer wizardry? I would have to say yes. There are any number of scenes that are undeniably scary or suspenseful, the most agonizing of which is the wonderful scene in which Claire lies paralyzed in a bathtub that is slowly being filled with water. Some of Alan Silvestri's score is reminiscent of Bernard Herrmann's classic music for "Psycho," while Claire's use of binoculars to spy on her neighbors at night cannot help but call to mind Jimmy Stewart in "Rear Window." Pfeiffer and Ford work well together and do have some screen chemistry; they make a credible couple, although Norman, as it turns out, might be one of the least sympathetic characters that Ford has ever essayed. For this viewer, however, the bulk of this picture's success must lie squarely with Pfeiffer, who appears in virtually every single scene and is simply terrific in all of them. Watching her in this film, in which she easily displays far more dramatic heft than her costar, and also reveals what an effective "scream queen" she can be, the viewer will most likely regret how few other horror vehicles Ms. Pfeiffer has appeared in. And really, besides 1994's "Wolf," I can think of no others, unless we stretch the point a bit and include 1987's "The Witches of Eastwick" and this past summer's horror comedy "Dark Shadows." One of the finest combinations of sensational looks and undeniable acting chops to this day (and Michelle is 54 as I write these words), she is quite simply one of the best we've got, and makes Claire Spencer and "What Lies Beneath" a character and a film to savor. The venerable "Leonard Maltin Movie Guide," apparently, does not concur in this assessment, concluding its lukewarm comments with the statement that the story "doesn't make sense." But the film DID make perfect sense to me...as long, that is, as one is willing to believe in spooks. And by the end of Zemeckis' highly effective film, most viewers, I have a feeling, will be uttering that famous line of the Cowardly Lion: "I DO believe in spooks, I DO believe in spooks, I do, I do, I do, I do, I DO believe in spooks...."

I sat down to watch this film with basically no pre-conceived notions concerning its plotline (or quality, for that matter.) A little over two hours later, I was still shivering and shaking. Robert Zemeckis has taken what is undoubtedly a good (though maybe somewhat predictable) screenplay, and has lifted it to the level of Hitchcockian genius. My eyes bugged out, my skin crawled, my breath got short, and I couldn't have torn myself away even if the Publisher's Clearing House Prize Patrol was at my door.

Along with a great story and masterful directing, this movie features the superb performance of Michelle Pfeiffer. Ambivalent about her acting skills in the past, I am now a full-fledged Pfeiffer fan. Harrison Ford is certainly adequate, and this role is a refreshing change for him, but Michelle steals the show.

Good ghost stories are few and far between. Even "Stir Of Echoes" and "The Sixth Sense", fine films that they are, don't compare to the perfect blend of soundtrack, plot twists, camerawork and performance that make up "What Lies Beneath". If goosebumps are your thing, don't miss this one.

Oh man!! What a fun movie! Without giving too much away, it's a ghost movie. The plot wasn't anything to write home about, it's been done about 100 times before, but it was just done better than it has been in recent memory. Seems that movies try to over-do everything lately with special effects, gore, music and violence. Not here... I kept thinking that they had taken a step back and returned to what makes movies spooky. It's not a computer generated demon, or a high intensity soundtrack; it's a creaky door, it's a reflection in the glass, it's that feeling when you know you just pushed that chair in a minute ago and now it's away from the table again. That's what makes people uneasy, that's what makes them check their closets and sleep with the hall light on when they go home.

The most notable difference in the movie was the silence. I'd guess that about 50% of the movie was completely silent except for breathing, footsteps, creaking doors... wonderful. Seems that lately the powers-that-be just have to fit every second of the soundtrack into the movie (seems they should since now-a-days there's commercials for the soundtrack separate from the movie in many cases) in order to boost the spooky level... it rarely works. The silence in the movie just added to that tension in your shoulders and made you slowly edge up on your seat.

If I had to pick anything to complain about, it'd be the weak foreshadowing of two events, I don't want to give anything away, but you'll know when you see it. It's like they gave up on trying to write them into the plot. They may as well have put a subtitle on the screen (or a "Pop Up Video" bubble) that told you that what they were saying was important. For my wife and I, it gave a bit away about how the movie was likely to end.

Michelle Pfeiffer was really good, I'd guess she was in almost every single shot in the film, so anything but a great performance would have shown. I'm not normally one to judge actors performances, but there's some credit to be given to someone who can act that scared using only her eyes. I wouldn't be surprised if she gets a nod at the academy for this one.

This is the most suspenseful thriller I have seen in the past year. As a refreshing change to more formulaic chillers, WLB takes its time to build the suspense. It is allowed to do this by virtue of Harrison Ford, and, especially, Michelle Pfeiffer, who, I feel, deserved an Oscar nomination for her convincing portrayal of a happy, but suddenly lonely, wife. It is just about as Hitchcockian as you can get, and I rate the bath sequence as gripping (pardon the pun) as taking a shower at the Bates Motel. The plot is thin and the action is played out sedately. Yet it seems perfectly timed in setting the mood of the whole piece. I particularly liked the music,and the supporting actress Diana Scarwid, whose lighthearted attitude during the seance scene made it all the more chilling. A perfect example of good film-making with only a slight plot. I am sure this movie will mature with age until it is rightfully regarded as a modern classic. Count the number of times you jump!

Claire and Norman Spencer's marriage starts to fall apart when she believes there is a ghost in the house. Things gather apace when Claire is convinced that the spirit is trying to tell her something. Something that could be too close to home for comfort.

Robert Zemeckis does Hitchcock? Well yes, the influence is obvious, unashamedly so. But the trouble with that, is having the maestro as a benchmark renders all other modern day attempts as folly. However, casting aside that gargantuan issue, What Lies Beneath is an effective creeper come thriller that boasts star credentials.

Directed by Zemeckis, formed from an idea by Steven Spielberg (from the story by Sarah Kernochan) and starring Harrison Ford and Michelle Pfeiffer as the fragmenting Spencer's. That's a pretty tidy bunch from which to launch your movie. What follows is a mixture of genuine unease and mystery, red herrings and standard boo jump moments, all of which almost gets lost on a saggy middle section as Zemeckis plays Hitchcock one too many times and loses sight of the supernatural heart of the piece, not helped by Clark Gregg's meandering script I might add. None the less, the picture gets pulled around for the finale as the spooky combines with thriller to produce some quality edge of the seat stuff. But it's only then that you totally realise that the makers here have tried to cram too much in to one film. In eagerness to manipulate the audience for the fine ending (though you probably will have it worked out at the half way point) the film just ends up as being confused as to what it mostly wanted to be.

Pfeiffer is excellent and looks stunning and Ford gives it gusto when the script allows. Support comes from Diana Scarwid, Joe Morton, Miranda Otto and James Remar. The house is suitably eerie with its waterside setting and Alan Silvestri's score is perfectly in tune with the creepy elements of the piece. It's a fine enough film in its own right, regardless of the Hitchcockian homages. It's just that it should have been a far better horror picture than it turned out to be. 7/10