Whistle and I’ll Come to You (2010)

Directed by: Andy DeEmmony | 52 minutes | drama, horror, thriller | Actors: John Hurt, Gemma Jones, Lesley Sharp, Sophie Thompson

This 2010 ‘Whistle and I’ll Come to You’ is a remake of the BBC’s 1968 ghost story of the same name. And again, a scholar arrives at a coastal town, takes up residence in a remote hotel, roams the deserted environment and witnesses cases that are becoming increasingly disturbing. So far according to the original. Also regarding some additional matters that the scholar has to deal with: the wind howling past the hotel, nighttime crackling and scratching noises, his tossing and turning in bed, his lying awake… it constitutes, along with the sadness and guilt about his incarcerated wife in the almost empty hotel, a suitable setting to arrive at another worthwhile ghost story, if things are dosed in the right amount.

Soon enough, however, the differences compared to the original also stand out. These don’t do the remake too good in terms of quality. Director DeEmmony wants to evoke an atmosphere that is too ominous from the start. For this he first frequently records dark-sounding music to accompany the events in his film adaptation. In itself this can be effective enough, but most of the time it doesn’t come across as such as there is often no reason to include it. This also applies to the many scenes in which all kinds of everyday and irrelevant events pass by. Despite the atmospheric contribution it apparently has to make, these often come across as superfluous or meaningless.

In addition, what the professor encounters and which should cause real concern is designed to a limited extent or not always as effectively. The not-too-terrifying figure on the beach…why would the professor run off in panic? The light in his hotel room that no longer works… not so disturbing either. The interim images of Parkin’s demented wife – again with all too dark music in the background – don’t add much either. At a later stage it becomes clear what meaning should be assigned to her emotionless facial expressions, but then things come across so exaggerated and far-fetched that it is not very meaningful. Not that this film adaptation does not have its merits. The environment is beautiful, atmospheric and deserted and there are a number of things that are disturbing to the professor, but unfortunately these have not been portrayed convincingly enough. It’s starting to look more like the nocturnal scratching the professor hears, the banging on the door of his hotel room, and the close-ups of the terrified facial expressions of the frightened Parkin. However, it is not decisive enough, because it is too small and too little effectively designed parts.

Furthermore, some question marks can be put behind the disappointing denouement. In the original from 1968, the professor learned the lesson that there are things that in all scholarship are not even defined by him, a lesson that came across as fitting with his arrogant and know-it-all attitude on several fronts. In DeEmmony’s film adaptation, however, it is about a denouement that the rationally minded, but more socially minded, lonely and emotionally tormented professor certainly did not deserve. A denouement where, with regard to the ring found by Parkin, the necessary question marks can be raised about its relevance. This ensures that the quality of this remake does not match the original from 1968. Although a somewhat dark atmosphere is present, the too forced and convulsive attempts to evoke it, in combination with the inadequate design of the few really disturbing things undermine this film adaptation too much. It’s not exciting and the viewer has to struggle to keep up because the story is repeatedly slow.

Nevertheless, acting veteran John Hurt shows neat work as the lonely professor Parkin, tormented by thoughts of his demented wife. It’s just a shame that Hurt’s character wanders around for a relatively long time, due to the lack of effective threats and the too little creation of a truly disturbing atmosphere. Solid work continues from Sophie Thompson as the hotel owner, although she gets little screen time to emphasize Parkin’s loneliness. Furthermore, from the point of view of the story, Gemma Jones’s meritorious work as Parkin’s wife Alice, but not very effective given the shortcomings of this production. All in all, unfortunately, this remake is not a high flyer. Interesting for the fans of Hurt and for the connoisseurs of the original from 1968 to take a look at it, but otherwise not too much to write home about.