The Invisible Man (15, 124 Minutes)
“All right, you fools. You’ve brought it on yourselves!”. The maniacal shrieking of Claude Raines always rings in my ears when someone brings up The Invisible Man.
Having revolutionised cinematic horror through Frankenstein, James Whale’s third surprise came in the form of Raines as the misguided scientist Griffin, whose formula to cloak the human body condemns him to remain invisible forever.
Jumping forward to the present, the film has been rebooted with Saw and Insidious writer Leigh Whannel fronting.
Cecilia Kass escapes from her psychotic scientist boyfriend, Adrian Griffin in the dead of night, tormented by his abuse. Finally, in the care of her loved ones, news arrives of Griffin’s suicide and desire to leave all his wealth and possessions to his tormented victim.
But Cecilia’s freedom is short lived as she suspects her demented ex has survived death and made himself invisible in a final attempt to drive her to insanity.
First and foremost, this film belongs to Elisabeth Moss. She delivers a harrowing performance that throws consent and the psychological impact of an abusive relationship into the horror genre with the sensible coverage that it needs – not something that can be said for a lot of blockbusters nowadays.
Moss plays the part with great profundity. She stands there at night in complete silence, nothing afoot, or noticeable to signify any approaching danger. But she knows all is not well. Those wide, tormented eyes give us that chilling knowledge that she’s not alone in there. The twists and turns are nicely planned, and the suspense is all part of the thrill.
What scares us the most shouldn’t be the thing that jumps out, but the presence silently tiptoeing its way into your thoughts. A belief of something watching you, playing you and eventually turning your belief into delusion. The horror of psychology.