Panic Room is a 2002 American thriller film directed by David Fincher. The film stars Jodie Foster and Kristen Stewart as a mother and daughter whose new home is invaded by burglars, played by Forest Whitaker, Jared Leto, and Dwight Yoakam. The script was written by David Koepp.
Panic Room | |
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Theatrical release poster | |
Directed by | David Fincher |
Produced by |
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Written by | David Koepp |
Starring |
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Music by | Howard Shore |
Cinematography |
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Edited by |
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Production companies |
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Distributed by | Columbia Pictures |
Release date |
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Running time | 112 minutes |
Country | United States |
Language | English |
Budget | $48 million |
Box office | $196.4 million |
Koepp's screenplay was inspired by news coverage in 2000 about panic rooms. The film was Fincher's fifth feature film, following Fight Club (1999). Fincher and Koepp brought together a crew of people with whom each had worked before. The house and its panic room were built on a Raleigh Studios lot. Nicole Kidman was originally cast as the mother, but she left after aggravating a previous injury. Her departure threatened the completion of the film, but Foster quickly replaced Kidman. The filmmakers used computer-generated imagery to create the illusion of the film camera moving through the house's rooms. Foster became pregnant during the shooting schedule, so filming was suspended until after she gave birth. The film's production cost $48 million.
The film was commercially released in the United States and Canada on March 29, 2002. The film grossed $30 million on its opening weekend. In the United States and Canada, it grossed $96.4 million. In other territories, it grossed $100 million for a worldwide total of $196.4 million. Critics were generally positive or mixed in their reviews. In retrospect, Panic Room has been assessed for its portrayal of childhood and feminism, the elements of video surveillance and diabetes, and its thematic approach to mortality.
Screenplay
Recently divorced Meg Altman, and her eleven-year old daughter, Sarah, move into a four-story brownstone on the Upper West Side of New York City. The house's previous owner, a reclusive millionaire, installed a "panic room" to protect the house's occupants from intruders. The room is protected by concrete and steel on all sides, a thick steel door, and an extensive security system with multiple surveillance cameras, a public announcement system, and a separate phone line. On the night the two move into the home, it is broken into by Junior, the previous owner's grandson; Burnham, an employee of the residence's security company; and Raoul, a gunman recruited by Junior. The three intruders are after $3 million in bearer bonds, which are locked inside a floor safe in the panic room.
Discovering that the Altmans have moved in earlier than expected, Junior convinces a reluctant Burnham, who had assumed the house was unoccupied until he had noticed a glowing night light, to continue with their heist. As they begin the robbery, Meg wakes up and happens to see the intruders on the video monitors in the panic room. Before the three can reach them, Meg and Sarah run into the panic room and lock the door. They are unable to use the dedicated phone in the room, which was never hooked up by Meg. Intending to force the two out of the room, Burnham introduces propane gas into the room's air vents. Raoul, in conflict with Burnham and Junior, dangerously increases the amount of gas. Unable to seal the vents, Meg ignites the gas, while she and Sarah cover themselves with fireproof blankets, causing an explosion which vents into the room outside and causes a fire, injuring Junior.
The Altmans make several attempts to call for help, including signaling a neighbor with a flashlight through the opening of a ventilation pipe, but the neighbor ignores it. Meg then taps into the main telephone line and gets through to her ex-husband Stephen, before the burglars cut them off.
All attempts to get into the room fail. Junior lets slip that there is much more money in the safe than he let on, and gives up on the robbery. About to leave the house, he is shot dead by Raoul, who then forces Burnham, at gunpoint, to finish the robbery. Stephen arrives at the home and is taken hostage by Burnham and Raoul—who severely beats him. Sarah, who has diabetes, suffers a seizure. Her emergency glucagon syringe is in a refrigerator outside the panic room. Raoul dons an unconscious Stephen’s trench coat to trick Meg into momentarily leaving the panic room. Burnham enters and finds Sarah motionless on the floor. After retrieving the glucagon syringe, Meg struggles briefly with Raoul, who is thrown into the panic room, his gun knocked out of his hand. As Meg throws the syringe into the panic room, Burnham frantically locks himself, Raoul, and Sarah inside, crushing Raoul's hand in the sliding steel door. Meg, who now has the gun, begs the two intruders over the PA system to give Sarah the injection. Burnham, who has shown no interest in hurting either Meg or Sarah, injects Sarah. While doing so, he tells Sarah he did not want this, and the only reason he agreed to participate was to give his own child a better life. Sarah thanks him for the injection and he tells Meg that Sarah is now alright.
Having earlier received a call from Stephen, two policemen arrive, which prompts Raoul to threaten Sarah's life. Knowing the danger to her daughter, Meg lies to the officers and they leave. Burnham opens the safe and finds $22 million in bearer bonds inside. As the robbers attempt to leave, using Sarah as a hostage, Meg hits Raoul with a sledgehammer and Burnham flees. After a badly injured Stephen shoots at Raoul and misses, Raoul disables him and prepares to kill Meg with the sledgehammer, but Burnham, hearing Sarah's screams of pain, returns to the house and shoots Raoul dead, saying, "You'll be okay now,” to Meg and her daughter before leaving. The police, alerted by Meg's suspicious behavior earlier, arrive in force and capture Burnham, who lets the bearer bonds go and they fly away with the wind.
Later, Meg and Sarah, having recovered from their harrowing experience, begin searching the newspaper for a new home.
Actor | Role | |
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Jodie Foster | ... | Meg Altman |
Kristen Stewart | ... | Sarah Altman |
Forest Whitaker | ... | Burnham |
Dwight Yoakam | ... | Raoul |
Jared Leto | ... | Junior |
Patrick Bauchau | ... | Stephen Altman |
Jodie Foster stars as Meg Altman, a recently divorced woman who, with her daughter Sarah, looks for a new home in New York City. Nicole Kidman was originally cast as Meg, but she left the project due to a knee injury. Foster, who almost joined the cast of Fincher's 1997 film The Game, replaced Kidman. Fincher said Kidman's portrayal was "about glamour and physicality", while Foster's portrayal was "more political". Meg was originally written to be helpless, but with Foster's involvement, the character was revised to be stronger. The casting change also led to Meg's being rewritten to be similar to her daughter, whereas Meg had been different from her before. Foster became pregnant soon after she started filming. She told the filmmakers, and they decided to keep filming her scenes but with a wardrobe that would conceal her pregnancy. Studio executives did not like the dailies and suspended production until Foster gave birth and returned to perform re-shoots. Foster was reportedly paid $12 million for her role.
Kristen Stewart stars as Sarah, Meg's diabetic daughter. Hayden Panettiere was originally cast as Sarah, but when she left the project toward the end of 2000, Stewart was cast in the role. Panic Room was Stewart's second feature film after The Safety of Objects (2001). Stewart was ten years old when she started filming Panic Room and turned eleven during production. When Kidman was cast as Meg, Fincher said Stewart was "to complement , to be her antithesis, tomboyish, androgynous, dismissive, a teenager at ten years old. It was about the daughter being a parent to her mother." When Foster replaced Kidman, the character Meg was rewritten so she and Sarah would be similar.
Forest Whitaker, Jared Leto, and Dwight Yoakam star as the film's burglars. Whitaker's character Burnham was originally written to be "a slick, technical type" and the designer of the panic room in Meg and Sarah's home. Fincher did not think a designer could be persuaded to break into a home, so he rewrote the character to be a blue-collar worker who installs panic rooms for a living. The director told Whitaker to watch Key Largo (1948) and to emulate Humphrey Bogart's character. Whitaker said he liked Burnham's "conflicted" nature and preferred it over Raoul's villainy. Raoul was originally written to be "a giant scary hulking guy", but Fincher rewrote him to be "this wiry, mean kind of ex-con white trash guy". In one revised instance, Raoul punches Meg instead of slapping her to be reinforced as "an appalling character". The role of Raoul was originally offered to Maynard James Keenan, whom Fincher had directed in a music video for A Perfect Circle's "Judith". Keenan was too busy as the lead singer for Tool, so Fincher then offered the role to Yoakam, knowing him from his performance in Sling Blade (1996). For the role of Junior, Fincher cast Leto, who was in the cast of Fincher's previous film Fight Club (1999). As part of atypical class division, Junior is "the uptown rich kid", where Whitaker is blue-collar, and Raoul is undefinable.
Patrick Bauchau had a minor role as Meg's ex-husband Stephen. Kidman, though she left the primary role due to her knee injury, had an uncredited off-screen role as the voice of Stephen's supermodel girlfriend. Screenwriter Andrew Kevin Walker, who was a credited writer for The Game and an uncredited writer for Fight Club, had a cameo in Panic Room as a sleepy neighbor.
Conspiracy thrillers and feminism
Academic Jyotsna Kapur identifies Panic Room as one of several American conspiracy thrillers in the 2000s that re-cast the subject of childhood as "one of horror and alarm", where it had previously been a subject of celebration in family films dating back to the early 1980s. Kapur also says the depiction of paranoia in the decade's conspiracy thrillers is divided by gender. She describes the male protagonist as "an idealized subject who thinks fast on his feet and cuts through fear to find the conspirators". In contrast, the female protagonist "gives in to her fear, turns delusional and vulnerable to suggestion"; Kapur cites Meg Altman in Panic Room as such a depiction with her divorcee status and her residence in a home too big for her and her daughter Sarah. The academic says calling this depiction merely a sexist stereotype is too dismissive: "It is logical that anxieties around the home and loss of children would privilege women because the domestic sphere has remained a gendered space." Kapur recalls 1940s films wherein a woman enters the husband's home as a stranger, with "the house and the husband as sources of dependence and dread". She contrasts them with films like Panic Room, in which the female protagonists instead defend against dangerous intruders. She writes, "They are not economically dependent on the marriage. Yet they portray for most of the film an image of feminized vulnerability, replaying the racist trope of diminutive white women in need of protection from outsider threats."
Medicine and technology as themes
Panic Room
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