The Call (2013)
Emergency call centres perform a valuable public service. When there’s a problem, this is the interface between police, fire, ambulance, animal control or whatever other service is relevant to deal with the crisis. Manning the telephones of this LAPD 9-1-1 operation centre is a dedicated crew of individuals. They call it the Hive and these busy-bees must be able to deal with a whole range of different callers. Some will be calm, others in the full flow of panic. Some will be homicidal, others suicidal. So significant verbal skills are required to elicit relevant information and get the right response to the site of the call in the optimum time. I’m not sure to what extent the call centre room as shown in this film is realistic. It’s all very high tech with everyone supported by an active IT system. Because we’re to be reassured and entertained, the staff must be shown as caring and highly competent. It would not be good for public morale if this vital interface was shown as staffed by people who couldn’t give a shit what happened to the callers or those who are the subject of the call. The fact that, after a few hours of listening to hysterical people, any sane person would suffer burnout and just wish it would all go away is neither here nor there. No matter where these people are in the shift, they must be shown as bright-eyed and bushy-tailed, naturally following on from one call to the next with the same sunny smile and burning desire to help.
In the midst of all this extravagant altruism and caring shown in The Call (2013) sits Jordan Turner (Halle Berry) who gets to take a break when her boyfriend Officer Paul Phillips (Morris Chestnut) drops in — such are the perks when you’re the superstar. Then Lea Templeton (Evie Thompson) calls. A man is breaking into her house. This should be fairly routine. The girl should hide until the police can arrive. But Jordan Turner makes a mistake. When the girl disconnects, Jordan calls back and the sound of the call brings the man directly to his target. A few hours later, the girl is found dead. As is required in all films of this type, this mistake blights her perky attitude. She feels she cannot continue to field calls. What if she makes another mistake?
Six months later, she’s working as a trainer. This relieves her of the stress of answering live calls. In a mall, the second kidnap victim, Casey Welson (Abigail Breslin), is taken from a carpark. This recreates the basic situation with Michael Foster (Michael Eklund) the man who finds things not quite going his way and struggles to get things back on his track. So now we’re into a chase sequence as our heroine tries to keep the girl in one piece emotionally while eliciting enough information from the girl to track the car. Naturally the girl only has a disposable cellphone and the GPS can’t instantly give a location. This section of the film is actually quite interesting. Jordan has the difficult task of dealing with the hysterical girl and holding herself together. It’s her first time back behind the telephone after the disaster.
Now I’m not going to say flat-out that this is a really bad plot idea. Yes it’s a hoary cliché to have the protagonist suffer a traumatic incident and then have to get back on to the bicycle again. But there have been some pleasingly dramatic films where the result has been a tense and exciting battle for control of self in difficult circumstances that replicate the original tragedy. It’s a chance for redemption. Here we have a gap of six months with no calls and then she just happens to be standing next to an inexperienced operator when the call comes in. That’s not unreasonable. She’s a trainer and regularly gives her trainees a tour through the centre. That would have been enough if the rest of the film had been made with any intelligence. The difficulty is the essentially static nature of the set-up. The emotionally taut Jordan is talking on the phone, the whimpering, submissive kidnappee is in the trunk of the car, the panic-stricken kidnapper is driving around, and the police are in their cars and helicopters but do not touch base with the kidnapper. Something could have been made of this, I suppose. But the scriptwriter then gilds the lilly. He asks the question: what are the odds it’s the same guy from the first kidnapping. Life’s really strange how it works out.
Then, of course, Jordan realises it’s the same man!
I’m sure in the real world, dedicated people who work in these central facilities must occasionally draw the short straw twice. Statistics work out that way over thousands of calls. But this is one humungous coincidence and wrecks what might otherwise have been a good film if it had had a good script and a director prepared to be creative. Unfortunately, the script devolves into a blatantly silly sequence of events as our heroine decides to take action personally. On the off chance you go to see this film, I won’t spoil the ending for you. All I will say is that, to me, it’s embarrassingly long-drawn out and bad. In part, it seems to be pandering to an audience that’s presumed to want to watch the torture of a partially undressed young girl by a serial killer whack job. A lot of the ending also seems to have been filmed in darkness with tense music designed to make us think it’s exciting. In fact they couldn’t think of a way to make the action look realistic so kept the lights off. And finally we have the last two minutes of the ending which, not to put too fine a point on it, are hardly the most moral we’ve seen in the last few years. We’ve come a long way since the Hays Code but this just seems to be back to scraping the bottom of the ethical barrel.
So, in the stakes for identifying the worst films of 2013, this leaps into the lead. Having started with a reasonable premise, The Call ends up really bad.