The Strangers is a 2008 American horror film written and directed by Bryan Bertino. Kristen (Liv Tyler) and James (Scott Speedman) are expecting a relaxing weekend at a family vacation home, but their stay turns out to be anything but peaceful as three masked intruders leave Kristen and James struggling for survival. Writer-director Bertino was inspired by real-life events: the Manson family Tate murders, a multiple homicide; the Keddie Cabin Murders, that occurred in California in 1981; and a series of break-ins that occurred in his own neighborhood as a child. Made on a budget of $9 million, the film was shot on location in rural South Carolina in the fall of 2006.
The Strangers | |
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Theatrical release poster | |
Directed by | Bryan Bertino |
Produced by |
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Written by | Bryan Bertino |
Starring |
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Music by | Tomandandy |
Cinematography | Peter Sova |
Edited by | Kevin Greutert |
Production company |
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Distributed by | Rogue Pictures |
Release date |
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Running time | 85 minutes (theatrical)
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Country | United States |
Language | English |
Budget | $9 million |
Box office | $82.4 million |
Originally slated for a theatrical release in November 2007, it was postponed before a theatrical release on May 30, 2008. It grossed $82 million at the box office worldwide and received mixed reviews from critics, with some praising its atmosphere and tension, and others criticizing its script and characters. Contemporary film scholars have interpreted it as a criticism of the perceived safety of pastoral life, as well as an exploration of stranger-on-stranger violence. A sequel, titled The Strangers: Prey at Night, was released on March 9, 2018.
Screenplay
In a secluded area, away from civilization, James Hoyt and Kristen McKay arrive at night to James' childhood remote summer home. After being tired and irritable after a long evening at a friend's wedding reception, James calls his friend Mike and asks him to pick him up in the morning. Shortly after 4:00 AM, there is a loud knock at the door. A young blonde woman, whose face is hidden under the shadows, asks "Is Tamara home?" but is turned away by James. He goes for a drive to purchase a pack of cigarettes; before he departs, he starts a fire in the hearth. Kristen realizes the chimney flue is closed, and attempts to open it; smoke emanating from the fire triggers a smoke alarm. Kristen attempts to disarm the smoke alarm when she is startled by another knock at the door; she drops the alarm on the floor, unnerved. She calls James' cellphone from the landline, but their call is cut short. She returns to the kitchen, where, unbeknownst to her, a man—Man in Mask—watches her from an adjacent hallway.
Kristen notices the smoke alarm she left on the floor is now sitting on a chair, and realizes someone else has been in the house. Upon going to retrieve her cell phone from the charger, she finds it is missing, and begins to panic. When she hears a noise from the backyard, she arms herself with a knife, and opens the curtains to find the Man in Mask, staring at her. Screaming, she stumbles into the hallway, and watches as the front door unlatches with a crack. When she goes to push the door closed, the blonde woman, now in a doll mask—Dollface—peeks in a creepy manner. After locking the door, Kristen hides in the bedroom and hears the strangers outside banging violently against the walls of the house. The noise eventually stops and James returns to the home. After she explains what has happened, he goes outside to the car to get his phone, whereupon he finds the car ransacked and sees Dollface watching him from afar. The couple attempt to leave in James' car but another woman in a pin-up girl mask—Pin-Up Girl—rear-ends them with a truck, forcing them to flee.
Back inside the house, Kristen and James find a shotgun and wait for the intruders in a bedroom. Mike arrives and realizes something is wrong after seeing the smashed car in the driveway. He enters the house, and James, mistaking him for one of the strangers, shoots him dead. Devastated, James remembers an old radio transmitter in the backyard shed. He leaves and encounters Pin-Up Girl, searching the backyard with a flashlight. When James tries to shoot her, the Man in Mask knocks him unconscious, discharging the gun in the process. Kristen hears the shot and runs to the shed. She finds the radio, but Pin-Up Girl smashes it with an ax. Kristen rushes back to the house where she encounters Dollface, who taunts her with a knife, saying, "You're gonna die." She tries to leave but is incapacitated by the Man in Mask. Finding themselves tied to chairs in the living room with the strangers standing before them, Kristen demands, "Why are you doing this?" Dollface replies, "Because you were home."
The strangers then unmask themselves to the couple offscreen and take turns stabbing the couple before leaving the home. As they drive away in the truck, they come across two young boys on bicycles distributing religious tracts door-to-door. Dollface comes out of the truck and asks if she can have one of their tract cards. One of the boys asks her, "Are you a sinner?", to which Dollface responds saying, "Sometimes." The boy gives her one, and the strangers drive away as Pin-Up Girl states, "It'll be easier next time." The two boys come upon the house and discover the chaotic scene with a messy house, including blood on the walls, a gun sitting on the kitchen counter, an empty wedding ring box, a bloody knife, red rose petals on the floor, chairs and tables tipped over, the record player still playing but no songs or music, and the bloodied bodies of Kristen, James, and Mike inside. One of the boys approaches Kristen's body and attempts to touch it. As he reaches out to her, Kristen wakes, startles him by grabbing his hand and screams.
- Liv Tyler as Kristen McKay
- Scott Speedman as James Hoyt
- Gemma Ward as Dollface
- Kip Weeks as Man in Mask
- Laura Margolis as Pin-Up Girl
- Glenn Howerton as Mike
- Alex Fisher and Peter Clayton-Luce as Mormon boys
Film scholar Kevin Wetmore noted the film's portrayal of violence as a reflection of its contemporary culture, writing: "Death is a random act in post-9/11 horror—the result of being in the wrong place at the wrong time, as the cliché goes. Unlike in eighties slasher horror, for example, where engaging in negative behavior such as drinking, doing drugs, having premarital sex are often forerunners to being killed by the killer(s); , death is random and unrelated to one's behavior."
In The Horror Show Guide: The Ultimate Frightfest of Movies, Mike Mayo noted the film's "grim realism," writing that the main characters "could have wandered out of a gloomy Ingmar Bergman film," ultimately branding the film as an example of "naturalistic domestic horror" akin to Michael Haneke's Funny Games.
The film has also been noted by scholar Philip Simpson as highlighting "the divide between the underprivileged and privileged classes," as well as for its inversion of commonly-held beliefs about violence in urban areas and pastoral ethics: "The Strangers, as many horror films do ... undermines the conventional notion of rural society as a simpler, crime-free place. One might call the narrative sensibility informing The Strangers 'pastoral paranoia', in that danger lurks among the rough folk of the country rather than the suburbs and cities. Of course, it may be that provincial violence is a result of contamination, or in other words that the kind of stranger-upon-stranger violence typically associated with urban life metastasizes to the rural, a phenomenon noted by Louis Wirth."
In his book Hearths of Darkness: The Family in the American Horror Film (2014), scholar Tony Williams notes the film's setting within a 1970s-era home as representative of an "American tradition of violence that is random and without any coherent explanation." Additionally, Williams reads the three masked assailants as metaphors for the "repressed and unresolved tensions affecting the couple inside the house."
Screenplay and inspiration
Bryan Bertino, on his inspiration for the film.
Writer-director Bryan Bertino wrote the screenplay which was originally titled The Faces; it was the third screenplay he had ever written. Bertino had a particular interest in the horror genre, noting how one can connect to an audience by scaring them, and would state in subsequent interviews that he grew up watching horror films. In particular, he stated he was significantly inspired by thriller films of the 1970s while writing the screenplay, and envisioned a film that "put the audience in the world of the victims."
According to production notes and subsequent interviews, the film was inspired by true events from Bertino's childhood: Bertino explains:
As a kid, I lived in a house on a street in the middle of nowhere. One night, while our parents were out, somebody knocked on the front door and my little sister answered it. At the door were some people asking for somebody who didn't live there. We later found out that these people were knocking on doors on the area and, if no one was home, breaking into the houses.
In interviews, Bertino stated he was "very impressed" with some of the theories circulating on the Internet about the "true events" the movie is allegedly based on, but said that his main inspiration was the true crime book Helter Skelter about the Manson Family murders; some journalists speculated that the film was also inspired by the unsolved Keddie Cabin Murders of 1981 that occurred in a small vacation community in California's Sierra Nevada. The film's premise has been compared by some film critics to the French horror film Them, released two years earlier, which also features a couple terrorized by strangers in their remote home.
Bertino entered the screenplay for The Strangers into a screenwriting contest, after which he sold its directorial rights to Universal Pictures.
Casting
When casting the two leading actors in the film, Bertino sought Liv Tyler for the role of Kristen. Tyler, who had not worked for several years after the birth of her son, accepted the part after being impressed by the script, which she read while on a flight from Japan to Los Angeles: "I especially liked Bryan's way of saying a lot, but not saying everything. Often in movies, it's all spelled out for you, and the dialogue is very explanatory. But Bryan doesn't write like that; he writes how normal people communicate—with question
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