It’s possible that my recent dissection of Paranormal Activity came across as a tad harsh. Although I tempered the review with praise, the general impression was probably negative. I didn’t mean to imply that Paranormal Activity is a bad movie, because it isn’t. But even a brief inspection of proceedings reveals the forced plot mechanics cranking away underneath. As a consequence, Oren Peli’s debut doesn’t feel genuine. It’s a work of palpable fiction, slave to the same story conventions as a more traditional narrative. Unless you’re making anti-cinema that only people seeking refuge from the rain will see, that’s the tried and true way to do it.
But despite the touch of artificiality that all fake documentaries possess, Paranormal Activity is still creepy as hell. Though not the best new movie I saw this year, it was certainly the eeriest. Peli makes effective use of simple elements like a door, a light switch and a billowing blanket. (More “cinematic” ingredients, like the demonic footprints and Ouija board, aren’t quite as effective.) Additionally, the mundane setting heightens the tension. Many people, after viewing the film, go home to houses that look not unlike the one in the movie (Peli’s own). In the dead of night, do they wake up for no apparent reason, dreading the innocuous click of a light switch?
Peli is currently at work on an Area 51 movie, once again comprised of “found” footage but this time with a bigger budget ($5 million). I can picture it now—lab technicians ensconced in dark laboratories, panicked soldiers, shadowy hallways and a sinister, barely-glimpsed alien or two. Or perhaps something completely different. At any rate, on the basis of his debut, I’m looking forward to Peli’s next project. I just hope he doesn’t shake the camera too much, as that gives me motion sickness. Fat chance, right?
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