Review: Orphan (2009)

[Scott Mendelson]

Orphan
2009
123 minutes
Rated R

by Scott Mendelson

Orphan puts so much care into its construction that it's that much
more unfortunate when its narrative foundation collapses under its own
weight. The film (and it does strive to be a film) is exquisitely
shot, wonderfully acted, and imbued with a genuine sense of dread and
tension. As a straight-up scare fest, it's quite effective. As a piece
of trashy pulp fiction, it struggles with its desire to have three-
dimensional characters and dramatic weight versus its urges to give
into the tawdry demands of its genre. But come what may, the picture
is a brutal horror flick. The film may not reach the lofty ideals that
its European pacing and high-toned cast suggests, but it scares,
startles, and surprises with ruthless efficiency.

A token amount of plot: Following a stillborn birth of her would-be
third child (and the resulting alcoholic breakdown that followed),
Kate Coleman (Vera Farmiga) and her husband John (Peter Sarsgaard)
have done their best to keep the family together, and they have
decided to adopt an older child from a local orphanage. While Kate is
introduced to the available children by a kindly nun (CCH Pounder),
John comes upon an isolated and oddly independent nine-year old from
Russia. Since those who want to give love understandably target those
who might need it the most, the family is drawn to this loner and
decide to give her a home. Needless to say, young Esther's world-
weariness and almost supernatural timing leads to suspicious
circumstances and alleged peril for the rest of the Coleman clan.
Although John is seemingly oblivious, Kate immediately notices that,
to quote the film's marketing hook, 'there is something wrong with
Esther'.

That's all you need and that's all you get. What sets this one apart
from other mainstream horror films is the quality of the acting and
the leisurely pacing. While most horror films hover around the ninety-
minute mark, Orphan dares to slowly unfold its narrative in just over
two hours. What makes the film work is that it does not fall into the
trap of having Kate become a variation on 'no one believes the truth
except me'. The story's cruelest trick is that there are probably more
people in the story that do see the danger but are prevented from
doing anything about it. The second-half skirts the 'idiot plot'. By
the third act, John's belief in his adopted daughter's innocence is
downright inexplicable. The picture depends on the somewhat reasonable
paranoia of those who suspect vs. the plausible fear of those who know
but stay silent. If there is a lesson to be taken from Orphan, it is
that parents should have long, serious talks with their children about
'good secrets' vs. 'bad secrets'. For the record, the incident that
occurs around the hour mark qualifies as a 'bad secret'.

Despite the somewhat contrived storyline, Orphan is a resoundingly
jolting scare-fest. The long running time allows for ample character
development and director Jaume Collet-Serra makes sure to pay it off
for the thrill-seekers. The finale contains both the best plot twist
of the year and at least one genuinely cruel story turn. The film
doesn't shy away from realistic violence and feels no qualms about
putting children in peril. This is easily one of the better 'evil
children' movies, even if it pales in comparison to The Children or
The Omen. Orphan is an icky and disturbing little movie. If that's
your cup of tea (my wife loved it), then by all means dive right in.

Grade: B