THE OTHER SIDE OF THE DOOR
UK/US/India, 2016, 96 minutes, Colour.
Sarah Wayne Callies, Jeremy Sisto, Sofia Rosinsky, Logan Creran, Suchitra Pillai.
Directed by Johannes Roberts.
There is an exotic feature of this horror/ghost film, the Mumbai settings, the views of the city in the 21st century, the coast, the water, the affluent areas, the poorer areas, business areas. Then there is the contrast, after a train ride, to the mysterious countryside and the ruined temple.
Sarah Wayne Callies and Jeremy Sisto are a happy couple living in Mumbai, deciding to settle there, the husband doing his business in the city. They have two children but, it is later revealed, that one has died in drowning while his mother had made the option to save his sister. The mother is in continued grief.
However, the woman looking after the house who has lost her own daughter, tells the wife about a temple, ritual, the sacred men appearing, going into the temple and having a sense of the presence of the dead. The wife does this, hears the voice of her son but has been warned not to open the door otherwise the ritual is ruined and there are dire consequences. And this is what the audience sees, the young boy becoming a malevolent spirit presence, the effect on his sister, on his mother and, ultimately, on his father.
At the end, the ritual is going to be repeated by the father wanting to see his dead wife once again.
Probably more effective if seen in the cinema and for an ordinary audience rather than those who are expert in horror films and expect much more horror and gore.
1. The title, as shown during the story? Religious rituals? Life after death? Horror dimensions?
2. The Mumbai setting, the views of the city, the coast, the beaches, the high-rise, the streets, affluent homes, poorer business sections? Going to the countryside, the train ride? The remote jungle, the ruined temple, its interiors? Musical score?
3. Maria and Michael, in India, liking it, Michael’s work, the romantic atmosphere, the decision to live there? Six years passing? The photo of the family, two children? Only one in the house – and then the flashback, Maria in the car with the children, their drowning, her decision to save Lucy rather than Oliver? Her grief, people helping?
4. Michael, a good man, kind, his work, love for his daughter, care for Maria, her attacking him on the bed, her being upset, apologies? His wanting to get her help?
5. Lucy, with her mother, happy, the meals, reading the stories?
6. Piki, working in the house, her Hindu background? Her wanting to help? Her daughter’s death? Her story about the temple, the door? Arranging for Maria to go, the train travel, Maria in the jungle, going alone, discovering the temple? Piki’s warning not to open the door no matter what? In the temple, the darkness, the candles? The sense of presence? The voice behind the door, Olivers, the pleading, Maria and her doubts, eventually opening the door, the consequences? Her seeing the men, the paint, they’re being sacred – but also the images of corpses and debt?
7. Her return home, her being calmer? Michael reassured? Lucy and her experiences, talking about Oliver’s return, Lucy’s sense of his presence, the bite on her shoulder? Not telling her father?
8. Piki, reacting to what had happened, the bird dying, the goldfish, the plants dying, the garden? Her confronting Maria? The decision to burn every relic of Oliver? Collecting the items, in the garbage bags, trying to light the fire, her daughter, the ribbon, Michael C her dead in the pool?
9. Michael, his reaction, trying to save Oliver’s book? Maria, explaining the presence of Oliver? Asking Lucy – and her denials?
10. Oliver taking possession of Lucy, the facial appearance? The knife, stabbing her father?
11. Maria, desperate, the men appearing, her offering herself, her being inhabited by Oliver? The knife, her death? Michael in his desperation?
12. The ending, Michael within the temple, Maria outside, urging him to open, – and his opening the door? The consequences?
