The Bye Bye Man
The Bye Bye Man is the kind of film that is so boring and bereft of anything of possible interest that it becomes infuriating.
In your average movie, helicopter shots are just for decoration. The camera soars over a breathtaking landscape or cityscape to show off the scenery and the production budget. These glorified establishing shots make the scale and the scope of the movie appear to be more expansive, even if they really aren't.
In Baran bo Odar's first-rate thriller "The Silence," the aerial panoramic images, which survey undeniably gorgeous slices of Bavarian countryside, express so much more. This is a movie about the gaps between two points in time and space — the murders of two young girls in the same spot, 23 years apart — and the invisible connections the deaths forge between people: Peer (Ulrich Thomsen), the maintenance worker who rapes and kills Pia (Helene Doppler); Timo (Wotan Wilke Mohring), his passive accomplice; Elena (Katrin Sass), Pia's mother, who still takes flowers to the memorial on the bucolic spot where her daughter died; Krischan Mittich (Burghart Klaussner), the retired police detective haunted by his inability to solve Pia's homicide; the Weghamms (Roeland Wiesnekker and Karoline Eichhorn), whose daughter, Sinikka (Anna Lena Klenke), becomes the second victim; Matthias Grimmer (Oliver Stokowski), the lead investigative officer on the new case who believes it's merely a copycat killing, and his partner, David Jahn (Sebastian Blomberg), a damaged soul mourning the recent loss of his wife to cancer, who detects more personal links between the crimes.
The overhead images from helicopters and cranes are integral to the telling of the story, but also essential to tracking its reverberations. The twin killings in "The Silence" aren't just crimes against individuals; they're crimes against the natural order. Sometimes the aerial views are simply date-stamped chapter markers, dividing the narrative into discrete blocks of time; sometimes the camera rises as if tracing a silent howl of grief across the temporal and spatial landscape; sometimes they feel like the manifestations of an objective moral intelligence — not a "God's-eye-view," exactly, but a kind of cosmic perspective tracing the marks human beings make upon the Earth, literally and figuratively.
The film begins on a sizzling day in July, 1986. The camera closes in on two brown exterior doors in an anonymous apartment complex. Behind one of them, two men sit in semi-darkness, watching a grimy 16mm amateur bondage movie. A fan buzzes in the corner and an amber sliver of afternoon sunlight is exposed under the blinds. When the film runs out, the two men silently exit the building, walk to the garage and get into a car. They act with solemn determination, having apparently reached some sort of unspoken agreement about where they're going and what they plan to do. The camera watches them — and the heedless everyday life all around them — from directly overhead. Until their vehicle comes up on a girl riding her bike beside the road, the view shifts to ground-level; in a chilling moment, she veers off the highway and down a perpendicular dirt road, riding directly away from the camera. The car passes by and, seconds later, backs into the frame and turns down the side road after her.