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“The Invisible Man,” adapted from the H.G. Wells novel of the same name, has been through a slew of iterations. A 1933 Universal Monsters depiction kickstarted the jump from page to screen, with a slew of movies to follow including 2000 Kevin Bacon flick “Hollow Man.” 2020 Leigh Whannell-directed “The Invisible Man” succeeds in reinvigorating the story with a strong cast led by Elisabeth Moss, as well as a subtext of survival makes this a fresh reboot.
Cecilia Kass (Moss) escapes an abusive relationship with her husband Adrian Griffin (Oliver Jackson-Cohen). After drugging Adrian with Diazepam, Cee is picked up by her sister, Emily (Harriet Dyer). Living with Emily’s ex-husband James (Aldis Hodge) and his teenaged daughter Sydney (Storm Reid), Cecilia attempts to get her life back in order. Shortly thereafter, Adrian’s brother and lawyer, Tom (Michael Dorman) contacts Cee explaining that Adrian has died of a supposed suicide. And he’s left Cecilia his entire fortune.
However, Cee can’t quite shake the sense that Adrian’s still lurking close by, just out of sight. Minor incidents lead her to believe, no matter how implausible it sounds, that Adrian is alive and has found a means of making himself invisible. Despite the protestations of her sister, Emily, and close friend and confidant James, Cecilia maintains that she’s not losing her mind.
Although “The Invisible Man” has been adapted countless times before, Leigh Whannell’s 2020 big-screen version remains refreshingly original. Acting is strong throughout. Elisabeth Moss dominates with her masterful performance, portraying Cee as simultaneously scared yet unflinching. Aldis Hodge, of “Turn: Washington’s Spies” renown, matches Moss’s brilliance as a likable character in James, a stalwart friend and ally to Cecilia. Similarly, Storm Reid infuses much pizzaz into Sydney who, despite her young age, exhibits a close bond with the adult Cee.
Script-writing is top-notch. Dialogue flows easily, and the narrative remains taut throughout. A minimalist score composed by Benjamin Wallfisch lends an eerie atmosphere when necessary, with onscreen visuals punctuated by a deafening silence at other times, reinforcing a sense of terror. Cinematography is superb with shots panning down seemingly empty halls and honing in on empty space which fosters a creepy feeling of being watched. I appreciate that “The Invisible Man” eschews CGI mostly. Watching Cee being whipped across the room and attacked by an unseen assailant it far more effective than shoddy computer animation. Similarly, there’s a technology angle satisfactorily explaining, at least in a semi-plausible sci-fi manner, how Adrian accomplishes becoming invisible.
But “The Invisible Man” stays fresh largely through its examination of survivors. The film uses its suspense plot as a lens through which to analyze abusive relationships. Cecilia escapes the physical clutches of Adrian, and his ever-present home security system locking her in what’s essentially a prison. Yet even once removed from her previous environment, the anxiety persists. A task as simple as walking to the mailbox is excruciatingly agitating. Lurking nearby, just out of sight, is a hidden stalker. For many, this isn’t the invention of science fiction. Rather, it’s a real-world challenge.
I’ve always enjoyed Stephen King novels, and while many of his horror books feature prominent supernatural happenings, it’s the human drama where the true terror lies. That’s exactly what makes “The Invisible Man” a masterpiece. Superbly acting, taut scriptwriting, and lush cinematography chisel Leigh Whannell’s movie into an epic tour de force.
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