DISTURBIA
US, 2007, 105 minutes, Colour.
Shia La Beouf, Sarah Romer, Carrie- Anne Moss, David Morse, Aaron Yoo, Jose Pablo Cantillo, Matt Craven, Viola Davis.
Directed by D.J. Caruso.
American producers are always looking for movies to remake – and, most times, audiences complain that they are not as good as the originals, so why bother?
Somebody must have asked the question, ‘what would it be like to take the basic plot of Hitchcock’s Rear Window (1954) and update it to the new surveillance technology?’ (after all James Stewart in those days was confined in his wheelchair and to a camera and its flash). And what about putting it in a youth setting for the multiplex moviegoers? The answer would be Disturbia. And they haven’t done a bad job at all!
Disturbia is, of course, disturbing suburbia, that view of American streets with their neat houses and lawns, where all is surface respectable, but behind the windows, behind so many of them, as in Rear Window with the apartment blocks, curtains are open inviting some neighbourly voyeurism, there lurks violence and mayhem. Disturbia offers a different variation on the phrase ‘Neighbourhood Watch’.
The film opens in tranquillity, father and teenage son bonding in mountain fishing. Disturbia? And then comes a graphic car crash and the film takes a different tone. The question arises, how can you confine the teenage hero to his home so that he will watch the neighbours? Answer: have him disgruntled, punch his teacher and have the judge limit him to his home with an ankle bracelet alarm to warn police when he goes out of bounds. That works well – especially when he is bored and starts looking and speculating. Can a Grace Kelly character be worked in? A cool blonde teenager moves in next door, so no problems there. And Thelma Ritter as the nurse? What about a kooky Korean American classmate who likes practical jokes and has photo equipment.
When a lone neighbour who mows his lawns incessantly (and reminds cinema buffs of Raymond Burr) carries out plastic bags of rubbish dripping with blood, then it is suspicion and snoop.
Actually, for those not in the Hitchcock know, there is enough plot, some scares and suspense to make this a better than average teen movie. For those in the know, it is entertaining but it is also enjoyable to see the reworking of the original.
Shia La Boeuf (Holes, A Guide to Recognising Your Saints, Transformers) is an agreeable lead even when he is being disagreeable. Carrie-Ann? Moss is his worried mother. And David Morse is the quietly violent killer.
1.A satisfying thriller? Teen thriller? For adult audiences?
2.The background of Rear Window, the themes, treatment, the variation? Updating? Homage to Hitchcock’s film? The importance of surveillance, camerawork, the different styles of taking photos, cameras, computers? The technological surveillance of the 21st century?
3.The title, disturbance, suburbia?
4.The atmosphere of suburbia itself, the houses and streets, the confined and claustrophobic locations of the film, the interiors of the two houses?
5.The mystery, suspense? How well built up?
6.Kale, in himself, age, the opening and the impact of his father’s death in the accident, his bonds with his father? His bond with his mother? Tensions, the mockery at school, his punching the teacher, the charges brought against him, the police and their attitude, his being confined, the ankle bracelet, the limits of his movement, the rules? The alarm going off when he went beyond his limits?
7.Kale as confined, boredom, his interests, technology, Ronnie and his visits, the discussions? His watching the neighbours – Rear Window style? Ronnie and the jokes? Seeing Ashley, the family moving in, watching her – the sexual attraction, the teenage voyeur? The meeting? Watching Turner, suspicions?
8.Ronnie, his friendship, jokes, practical jokes, his skill with electronics, the mobile phone, going into the house, his pretending and frightening Kale? The ultimate threats? Turner and his attack on Ronnie?
9.Ashley, in herself, at the pool, on the roof, knowing that Kale was watching, coming into the house, the discussions, participating in the surveillance, the supermarket, the electronic photos? The threats by Turner? Going into the house?
10.Kale’s mother, her concern, her visit to Turner – and Turner turning against her?
11.Turner, suspicious, Kale hearing the reports of a serial killer, the women, the car? The house, the garbage? The supermarket and his catching Ashley?
12.Kale and his breaking the perimeter, the police, the apology to Turner?
13.The build-up to the climax, Kale’s mother in the house, the charming talk, Turner against her, imprisoning her? Ronnie, the attack? Kale going into the house, the bodies, the cellar, rescuing his mother? Turner and his attack, the police? Deaths?
14.A satisfying ending for this kind of thriller? Order restored?
