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A long corridor, the mist rising from the ground and black crosses suspended by chains to an invisible ceiling that we can only suppose to stop just before paradise. A cemetery populated with crooked crosses and tombstones with bells in case the dead woke up. A castle, an entrance door splashed with blood and a corpse hanging from its windows, eyes being devoured by crows. These are familiar landmarks – staples of the European Gothic horror movies of the 70s and 80s. It is in these places, marked by history, that Corin Hardy is The nun. We are rooted in the franchise known as The Conjuring Universe, which has successfully remixed a number of aesthetic choices of classic horror with contemporary fears and characterizations.
Despite this line, it is a universe where the rules are not completely clear, despite the pre-existing factor in the case of Warren files. The universe of Conjuring, for the benefit of artists and the public, remains unmapped. In its absence of great design, horror reigns with an identity adapted to each entry. While the idea of cinematic universes, still relatively innovative for movie franchises, often meets moans with few exceptions, The Conjuring Universe has become a model of success, a style that sneaks quietly into the public.
When James Wan was unveiled for the first time Conspiracy to the public in 2013, most had little idea of what to expect. The paranormal investigators Ed and Lorraine Warren had not yet been known, and Wan had acquired his reputation on Viewed and Insidious – Ambitious but dirty, low-cost films for the midnight crowd. ConspiracyThe summer release date was our first clue that Wan was about to redefine expectations. While the horror movies of the summer have become a must in the five years ConspiracyWan's movie was the first horror movie to have a big release in the months of June and July, since 2006, The omen – and this, only because of the market date of 6-6-06. Conspiracy, with its slow zooms, skillful characterizations, multi-faceted narratives and economical use of digital effects, as it has regained its sense of scale. Conspiracy managed both critically and financially (86% on Rotten Tomatoes and $ 319.5 million on a $ 20 million budget) as it made the horror an event again.
Without a doubt, some of the excitement for this original film stems from the fact that there was no Conjuring Universe right off the bat. While the plans for The Conjuring 2 (2016) met before the release of the first film, after positive screenings, New Line did not highlight a massive franchise at first. same Annabelle (2013), which was precipitated in production in response to the success of Conspiracy – something that puts the final product in comparison with the other entries of the franchise, was not sold to the public as an entry into the world of cinema, but rather as a derivative film. Even the notion of spin-off has a quality of return that does not make the film rise as an integral entry, but places rather modest expectations directed towards a consenting fan base. Despite John R. Leonetti Annabelle to be considered a successor inferior to Conspiracy (Although it brought in $ 257 million out of a $ 6.5 million budget), it did not hurt the brand. And regardless of the critical reaction, he has laid down some principles for New Line to use in approaching his Conjuring franchise: greenlight movies depending on the reaction of the audience and its speed.
The approach of The Conjuring Universe is similar to the one that gave New Line its nickname in the 80s and 90s, "the house that Freddy built". Nightmare on Elm Street Freddy Krueger, The Conjuring Universe, thanks to James Wan, created a host of scary characters with the potential to become icons of modern horror: Annabelle, Nun and Crooked Man. Even if Annabelle was not a critical winner, the design of the doll itself and the basic concept was too strong for the public not to be attracted by the largely superior prequel, Annabelle: Creation (2017). Coupled with the fact that The Conjuring 2 did not let the entity fall on the side of the road, Annabelle remained part of the horror conversation. New Line seems to have found the right point with the timing of their properties by avoiding annual releases ala Viewed and Paranormal activity which cause a depletion of the audience after entering three, but do not wait so long that the characters lose their place in the zeitgeist of the horror film as do so many times. horror icons. The Conjuring Universe has achieved what few cinematic universes have done: settle for the long haul.
Even before the movies adjacent to the main Conjuring Entries are released, there is a legend built around their featured characters. From the continual presence of Annabelle at the introduction of Nun in The Conjuring 2 and allusions to her in Annabelle: CreationThe Conjuring Universe has managed to create an eagerness to see these characters on screen and in our nightmares. Ed and Lorraine Warren may be the cement of the series, and Patrick Wilson and Vera Farmiga are easily the most recognizable actors in the series, but the franchise does not depend on its star characters. This in itself is something amazing. When a new spider-man has to be sold to the public through the appearance of Iron Man or Dark Universe sold (or not sold) through the 90s rather than the monsters themselves is a significant statement on cinematic universes can attract audiences with demonic presences that previously had a little more than five minutes of screen time.
Part of what made Conjuring's universe and its central threats so attractive was the ability of the series to largely avoid having a style of home that creates a sense of similarity and boring uniformity. Wan's two Conjuring the films are radically different from each other, while echoing Spielberg and Stuart Rosenberg. Although Annabelle tried to mimic Wan, the only incident of a house-style attempt, David Sandberg Annabelle: Creation took pages from Tobe Hooper and Stuart Gordon. Corin Hardy departs from any sense of aesthetics established for the franchise by presenting a style born of Terence Fisher, and a sense of black humor initiated by Sam Raimi, in The nun. What we propose here is truly universal, both as a cinematic universe, but also by exploiting what made the success of these classic Universal Monster films. The Conjuring Universe succeeds not only through a multitude of characters, but also through styles and tones large enough to populate their own worlds and create a varied sense of horror.
The Conjuring universe has managed to be interconnected without directly indicating where the franchise will go next. Although the Marvel Cinema universe is a hit and a beloved one, we often feel that, overall, we know where we are going. For six years, we knew that a confrontation with Thanos was inevitable. And we know, because of the greenlit suites, that some characters will survive the events of Avengers 4. Movies like Captain Marvel or Black Widow, for which fans have been yearning for years, have been delayed, not for the benefit of viewers, but for the benefit of a seemingly rigid plan. But with The Conjuring Universe, which certainly has the advantage of having much lower budgets than the offers of the MCU, it is able to react almost instantly to the buzz of fans. This is New Line's ability to react quickly, allowing The nun happen now rather than years later, or for Annabelle receive a third entry next year. In addition, while the films contain bookends that relate to a larger narrative, each entry in The Conjuring Universe seems self-contained to the point that viewers can start anywhere without missing any necessary setup.
Every film in The Conjuring Universe is special in terms of what it is, rather than a stepping stone to a showdown or crossover. Conspiracy, Annabelle, and The nun collectively create a portrait of the world horror in the mid-20se century, but as individual franchises, they have room to go in their own direction, send characters and offer different styles and tones in their efforts to create remixes of horror. As entertaining as Annabelle / Nun's potential crossover film may be, there is something deserving about each entry's ability to offer no threat or point of seduction greater than its own namesake. The films that make up The Conjuring Universe are nesting dolls, small stories hidden in each other that allow for a great experience, but that can still exist and be admired for their own functionality and their own coat of paint. And just when we think we have all the stories in front of us, we find another buried in the previous one waiting for a new fascination.
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