“The Invisible Man” joins a long list of horror films in using spooky monsters as a metaphor to discuss larger issues. In this case, director Leigh Whannell’s film explores the depths of trauma stemming from domestic abuse and how such trauma remains with people long after their relationships end.

In this case, Elisabeth Moss plays Cecilia Kass, who has just escaped her abusive relationship with scientist Adrian Griffin. When Adrian dies and leaves her a large amount of money in his will, Cecilia starts to be haunted by an invisible being that is seemingly following her everywhere she goes. She comes to believe that the invisible being is Adrian torturing her from beyond the grave, although no one seems to believe her.

From the first scene, “The Invisible Man” is a master class in tension building. The usage of silence creates a sense of dread and fear. Much of the film is composed of scenes with Cecilia in a room by herself, and yet these small, intimate moments are some of the film’s strongest scenes. They show the viewer how Cecilia is struggling to find herself amid hiding behind years of abuse, and the filmmaking supports this entirely.

The movement of the camera and even Cecilia’s continuing steps forward create an uncomfortable atmosphere, like a bubble waiting to pop. This comes mostly from a long-term scarring that is present in every scene with Cecilia, and part of this comes from the opening scene with Cecilia and Adrian.

Elisabeth Moss’ brilliant performance also contributes to this tense atmosphere. Even with so few scenes featuring her and Adrian, Moss is able to convey the long-term torture that has evolved from years of relationship abuse. She starts out trying to find her own true identity because of her abuse but sees her newfound freedom being ripped away by this unseen being. This painful journey is effective and present in almost every scene.

On top of the great acting, Whannell has crafted a solid, eye-catching film. The cinematography is strong, with unsettling pans to empty rooms and long, still takes that allow the audience to sit on an image as the tension builds. In addition, the grayish lighting throughout the film, while not overt, fits as an extension of Cecilia’s constantly harsh outlook upon the rest of the world following her relationship.

As far as shortcomings, “The Invisible Man” comes up a tad short in terms of dialogue and action in the final third. Some of the lines spoken by the characters feel unnatural. Also, the action in the last third feels a bit too much like a typical horror action film rather than the strong, quiet tension that was built before it. In addition, the score is inconsistent. At times, the music fits its accompanying scene, but at other times it is slightly overbearing and undercuts the dramatic tension in the scene.

Overall, this is a deeply unsettling film that left me disturbed for hours upon leaving the theater. The slow build of tension throughout normally mundane moments highlights the difficulty faced when leaving such a binding relationship. That’s where the horror comes from in “The Invisible Man.”

This film is never reliant on cheap jump scares and shock horror, but rather quiet, psychologically challenging horror that enriches and sticks with a viewer. Such is the very real horror of domestic abuse, and “The Invisible Man” perfectly conveys this terror in a fantastic film.

Published on March 2, 2020 at 11:01 pm

Contact Patrick: pagunn@syr.edu