Peter Mitchell (Peter Nelson) inherits a house in Sweden from an aunt he never heard about before. Instead of just selling the place off from back home in LA, he packs in his girlfriend writer and grown-up of the relationship Sarah (Kristen Jensen) and her deaf-mute son Dennis (Dennis Castillo) for a nice little holiday on his new Swedish property.
The “house” turns out to be rather large mansion situated near the sort of
village where horrible secrets of the past are buried, and guests from afar are
treated with communal silence in the village pub. At least Dennis finds a friend
rather quickly. Admittedly, little Bill (Jonas Ivarsson) is dressed in rags,
blue in the face, the son of the dead aunt and a ghost but BFFs are BFFs, right?
As it goes with the more personable type of ghost Bill certainly belongs to, the
dead boy needs help with disclosing above-mentioned secrets which have something
to do with the death of all the children of Bill’s orphanage decades ago, or
rather, the people actually responsible for that. That, and bloody ghostly
revenge, of course.
Peter Borg’s Swedish/American co-production (with a heavy emphasis on the
Swedish part) is a nice little bit of ghostly horror. It is neither subtle nor
original, but it tells its generic story earnestly and convincingly enough for
it to become enjoyable, and manages to finish on a strong and atmospheric
finale. In between, there’s lots of dry ice, some serious “Man is the greatest
monster of them all” business, a perfectly crap synthesizer soundtrack, and many
a scene which greatly resembles other books and movies without Sounds of
Silence ever becoming a complete rip-off of other films.
Rather, it plays out as a traditionalist film out to tell a traditional ghost
story with pleasant directness; as it sometimes happens with this kind of film,
it stumbles on a moody shot, a creepy scene or an interesting variation of the
usual rather often, and ends up a pleasant way to while away an evening in the