Una enfermera de hospicio, quien trabaja en una extraña casa en una plantación de Nueva Orleans, se ve envuelta en un misterio que involucra el oscuro pasado de dicha casa.Una enfermera de hospicio, quien trabaja en una extraña casa en una plantación de Nueva Orleans, se ve envuelta en un misterio que involucra el oscuro pasado de dicha casa.Una enfermera de hospicio, quien trabaja en una extraña casa en una plantación de Nueva Orleans, se ve envuelta en un misterio que involucra el oscuro pasado de dicha casa.
- Dirección
- Guionista
- Elenco
- Premios
- 5 nominaciones en total
- Hallie
- (as Fahnlohnee Harris)
- Nurse Trula
- (as Trula Marcus)
- Robertson Thorpe
- (as Tom Uskali)
- Mama Cecile
- (as Jeryl Prescott Sales)
- Dirección
- Guionista
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Opiniones destacadas
The film tells the story of young nurse Caroline Ellis (Kate Hudson, from Almost Famous, 2000), who, through a newspaper ad, takes care of an invalid man named Ben Devereaux (John Hurt, from Alien, 1979), who lives with wife Violet (Gena Rowlands, from Taking Lives, 2004) in a detached 18th-century house on the outskirts of New Orleans. The region is famous for the amount of mystical ceremonies performed there since the colonization period, but Caroline doesn't believe in these beliefs. The huge house has several rooms and a master key that unlocks all the rooms, except for a door hidden behind furniture located in the attic, where Ben had suffered a stroke that left him paralyzed weeks before. Moved by curiosity, Caroline does not take long to open such a door, then getting involved in a curse that seems to plague much more than the place and its inhabitants.
Despite the ad campaign trying to sell it as a horror movie, The Skeleton Key is not tense or frightening. In fact, its occasional supernatural elements don't even take on particularly grim characteristics, as the script sees voodoo (or, for that matter, 'hoodoo') as something almost prosaic, used - or, at the very least, known - by virtually every local. That strange region. So, instead of investing in fear, the film opts for an atmosphere of restlessness, employing a dark photograph and unexpected shots, such as plongées (camera pointing vertically downwards) on Caroline and traveling along just her feet, as if the girl were being constantly watched and followed.
The film's art direction is also quite effective, creating a house that really is capable of causing fear. Old, dark and full of rooms. It even resembles the dwelling of the great The Others (The Others, 2003), but on a smaller scale and without appearing to be a copy. The swamps around the city of New Orleans also help to create this macabre setting, and the region itself is known for having a great tradition in cults involving rituals of religions and beliefs of African origin. At the beginning, the camera walks around the house and through well-dosed movements, it presents us with enough iconography to understand the characters' conflicts, as well as suggesting things in the extra-field context that we will only see in scenes closer to the final act. Leaving the urban area and blending in with the rural environment is one of the ways used by the film to better hide the exploits of the "invaders of bodies". The film does not actually "desecrate" the rituals arising from the practice of voodoo and hodu, being concerned only with showing the issue and using the material as an element to coax the action.
Directed and produced by Englishman Iain Softley (Backbeat, 1994), the film deserves to be checked out as it manages to capture attention through a well-developed and non-linear suspense. As the action unfolds, new elements are presented with the intention of deciphering or confusing the plot. The script, signed by Ehren Kruger (from Scream 3, 2000 and also responsible for the american version of The Ring, 2002) has interesting twists in addition to working positively with the time factor, showing some scenes using flashbacks. The characters in The Skeleton Keyare well built, the events do not require explanations with so many unbelievable twists and the ending is, as we have seen little in horror movies, surprising. There is no infamous search for a sequel and that's what makes the film a successful narrative. Unlike easy scares, this film is more interested in developing a good argumentation on the themes of faith, courage, evil and contact with the unknown.
Ingeniously conducted, the film grabs attention from start to finish. Especially when we realize a mystery that bothers Caroline when she notices that Violet has imposed strange rules, for example, mirrors are prohibited in the house, and Caroline finds several in the attic. The movie gives you a tense and terrifying atmosphere when we notice that strange house, and Ben showing fear of his wife, even he tries to escape from there, but without being able to say anything. Caroline, in turn, is convinced that Violet mistreats Ben, and plans to save him. What she doesn't know is that she's there for a purpose. Tension and suspense predominate in the final minutes, and when we least expect it together with the protagonist, we find ourselves embarrassed by a devastating ending.
Adopting a firm posture, quite different from the usual girls of the genre, Kate Hudson embodies Caroline as a brave and intelligent young woman who doesn't usually scream whenever she is surprised by something or someone - which is already a relief for all who are tired of the hysterical screams of the disciples of Jamie Lee Curtis (in fact, in this respect, Hudson's approach is close to that adopted by Jennifer Connelly in the superior Dark Water). Deeply skeptical, Caroline doesn't easily accept the fantastic explanations given to her - and, above all, The Skeleton Key is mainly concerned with following the protagonist's trajectory towards acceptance of the supernatural, which is nonetheless interesting. Meanwhile, the supporting cast plays its part: John Hurt turns a speechless role into a fine portrayal of a man gripped by fear; Peter Sarsgaard does what he can with a purpose-built character; and Gena Rowlands abandons the sweetness of her previous character (from the great Diary of a Passion) and takes on an ambiguous type that annoys the viewer.
As not everything in life is perfect, the film also has some slips, which don't interfere with the final product, but if they were removed they wouldn't be missed. As it became fashionable in the made-in-Hollywood thriller movies after Wes Craven released his Scream (Scream 1996) in The Skeleton Key, director Softley also unnecessarily uses elements to provoke the so-called easy scare in some scenes such as sharp cuts, fast movements of camera and a soundtrack that suddenly increases. Such frights add nothing to the plot, which is actually supported by the unfolding of the story. In fact, not even the occasional stumbles compromise the film - such as underestimating the viewer's intelligence and insisting on drawing a parallel between Caroline's pain at not having the opportunity to help her sick father and her exaggerated dedication to Ben Devereaux - something that it was already clear long before Softley forced his hand to include a shot in which the girl sees a photo of her father and then looks at the frail Ben on the porch.
Overall, however, The Skeleton Key is a film that unfolds discreetly, without showing serious defects, but also without having great moments. Whether for the well-conducted history, to see the beautiful and talented Kate Hudson or to discover the natural beauty of New Orleans, especially after the place was devastated by Hurricane Katrina leaving thousands of people homeless and hundreds of dead, as well as a large part of the city destroyed. It is a place that, in addition to its history and architecture, also has strong beliefs and legends that will be perpetuated for future generations and that will continue to serve as inspiration for good films.
Oddly enough, "The Skeleton Key" doesn't fall into any of these categories and it comes across as a breath of fresh air, an old-fashioned throwback to the traditional Gothic mystery thriller, where a pretty female outsider (Kate Hudson acquitting herself rather nicely here as the hospice nurse traveling deep into the Bayou to care for an apparent stroke victim) moves into a big old house/castle that just might be haunted. The director and screenwriter start things slowly, and do a nice job of creating a realistic setting before letting all the mumbo-jumbo slowly and effectively creep in. Gena Rowlands and John Hurt (immobile and mute for most of the film) are fairly good in their respective roles as the married couple with more than just skeletons in their closets. We've seen this stuff all before, but it's done fairly well here with no sense of flash or pretensions, and as silly (and potentially offensive) as all this Hoodoo in the Bayou stuff is, the audience is treated to a twist ending that makes perfect sense in the context we have been given. This isn't a twist ending for twisting sake, but a fitting conclusion to the story.
"The Skeleton Key" tries to remind people of classics like "Rosemary's Baby" and "The Others." It may not ultimately hold a candle to those films, but it's a very entertaining way to spend a few hours.
The film deals with the adventures of a young care worker in the middle of Louisiana. The atmospheric surroundings, the haunting score, beautiful, spooky photography, and some very good acting by Rowlands and Kate Hudson raise the bar for upcoming "horror films". We're glued to the screen for nearly two hours, as things become more mysterious and intriguing. A few times we're treated to a jolt and a revelation, but what closes the film is bound to ruffle a few feathers.
Above all, this is a very good movie, with a script that doesn't cheat anyone and doesn't rely on silly gimmicks. Those factors should portend good tidings for its success in its original release, but it will probably become a classic of its kind. The heroine in distress manages to be smarter than the usual stereotype. She wants to explore the surroundings and solve the problem. The problem is she has no idea how bad the situation might be.
Gena Rowlands provides her character with nuances rarely seen in this type of film. She is a strange character and hooks up the audience from the very beginning. There is no really an archetype for what Rowlands brings to life. A few might find the previous statement questionable, but if you look closely to the development of her character, it is almost an original.
Kate Hudson makes a very strong impression in this film. She goes beyond the pretty actress to an accomplished performer who matches up to Rowland's intensity. She navigates the film with an ease rarely seen in today's roster of plastic pre-packaged pseudo celebrities. It is refreshing to see an actress make you care for the character that has so often been portrayed as an offensive stereotype. There no gratitude's screaming scenes here. The film reminds me of "The Others", a movie with substance and intelligence.
This is a film that I will highly recommend to my friends, particularly because I want to hear what they have to say about that ending.
¿Sabías que…?
- TriviaThe swamp behind the Devereaux house was created with CGI effects. The actual house used in this movie, Felicity Plantation, is situated inland in St. James Parish, and is surrounded by farmland. The fictional Devereaux house was situated in Terrebonne Parish, which is coastal and swampy.
- ErroresViolet rides up in the elevator when all power is out.
- Citas
Caroline Ellis: I told you I wanted a Black one this time.
Luke: You know the Black ones never stay. Beggars can't be choosers. I think it suits you beautifully. It's better than Violet, or Grace, even. We'll get used to it. We always do.
- Créditos curiososThere are no opening credits.
- ConexionesFeatured in The Making of 'The Skeleton Key' (2005)
- Bandas sonorasDo Whatcha Wanna
Written by Keith Frazier, Philip Frazier and Kermit Ruffins
Performed by ReBirth Brass Band (as The Rebirth Brass Band)
Selecciones populares
Detalles
- Fecha de lanzamiento
- Países de origen
- Idiomas
- También se conoce como
- The Skeleton Key
- Locaciones de filmación
- Bayou Gauche, Luisiana, Estados Unidos(trip to see hoodoo lady)
- Productoras
- Ver más créditos de la compañía en IMDbPro
Taquilla
- Presupuesto
- USD 43,000,000 (estimado)
- Total en EE. UU. y Canadá
- USD 47,907,715
- Fin de semana de estreno en EE. UU. y Canadá
- USD 16,057,945
- 14 ago 2005
- Total a nivel mundial
- USD 93,983,911
- Tiempo de ejecución1 hora 44 minutos
- Color
- Mezcla de sonido
- Relación de aspecto
- 2.39 : 1