A PLACE IN SILENCE A QUIET PLACE, PART II

The dynamic trailers of this film suggested a dramatic change of pace similar to that which occurred with “Alien, The Eighth Passenger” (Scott, USA, 1979) in its transition to the more moving and less atmospheric “Aliens, The Return” (Cameron, EU, 1986), something that, if not handled properly, could undermine the careful plot construction of the first part about an invasion of strange insectoid beings susceptible to noise that detonate a dramatic plot about a family that seeks to survive in this world dominated by the hostile creatures, moving and existing in absolute silence, distinguishing the narrative nature of this successful directorial debut of actor John Krasinski from other similar films. And indeed, this continuation has a higher dose of action, but, dropwise, to be used in suitable situations where an explosion, a chase or even a fight tells something or has a meaning, without relegating the characters to mere puppets that they run, suffer, or cry for our sadistic delight.

The film opens with a prologue where the arrival of the toothy monsters is briefly illustrated with an agile montage that pays attention to suspense and an intelligent transition from the idyllic existence of the protagonists (the mother, played by Emily Blunt, and her husband, played by John Krasinski, watching a baseball game where his little son is a hitter), to the panic unleashed by the unexpected attack of the aliens. A Quiet Place Part II movie With this, a rhythmic line is marked that does not leave the tape, where the moments of stillness will be perceived more as a calm that precedes the storm, at the same time that the personal development of this truncated family is continued after the events in the first part, expanding on the two key aspects of this universe: silence and family, renouncing even diegetic resources such as background music and too much incidental acoustics, effectively prolonging the tension in several scenes.

Blunt consolidates as the protagonist, protecting her three children: the eldest, Marcus (Noah Juppe), her deaf-mute sister Regan (Millicent Simmonds) and a baby who must constantly be kept in a wooden box provided with an oxygen tank to that their involuntary cries do not alert the aliens. On their journey to find another place to live, they run into a neighboring farmer (Cyllian Murphy) who will help them settle down, while also representing the missing father figure of these youngsters hell-bent on survival.

The focus of hope resides in Regan, who discovered that her hearing aid, in conjunction with equipment capable of transmitting audio, can produce acoustic feedback that severely damages invaders, so she is determined to undertake a long journey to reach the only radio station in operation to transmit with its apparatus to all possible radios the frequency harmful to the bizarre beings. When escaping for that purpose, analogous plots are produced where we will see how the farmer seeks to protect Regan from various dangers, including other survivors who, like all post-apocalyptic society, have abandoned the rules or moral guidelines and could be even more dangerous than the creatures, while Blunt reaffirms her ironclad and independent stance as a mother who will do everything to keep her children out of harm’s way, even risking her own life, while Marcus will grow even more as a character when he must overcome his fears and inexperience, as For now, she must take care of the baby on her own, once her mother goes out in search of medicines.

All these dramatic lines are carefully cared for by John Krasinski, who returns to directing once again getting his creative decisions right, allowing the camera to be more participatory this time, rather than limiting it to mere exposure, while his vision over the story and subsequent expansion flows naturally. All his characters, conceived by a script that cares for them carefully in terms of motivations and actions, are conducted within the parameters of reality without superhuman or excessively heroic acts, always sowing doubt in the viewer if perhaps one of the most appreciated by they will survive this bloody process. “A Silent Place, Part 2” raises the narrative volume a little more, keeping everything, like the first, in a constant, but effective silence.