The psychological trembling of the survivor sets a tone for disaster for the viewer. Eikjord is a geologist and a scientist who has witnessed horrific distressing tragedies in his line of work. Moreover, in the novel, Eikjord faces the world after refusing any and all contact with his daughter after the immense trauma of losing your loved ones. In all likelihood, his young daughter is struggling to grasp the fact that Krisoff literally does not want and needs to be helped. Instead, he subtly guides her back to the door and tells her to go back to her mother. Why is she to blame? Why does her own father not have the guts to come face-to-face with me? It is rather funny but deeply saddening how empty people make others feel all around the globe.
The academic is now heralded as a hero, and on a global level people read about how brave scientist and his daughter survived the tragedy. Consequently, survivors of these types of calamities refuse to indulge into love for the fear of being heartbroken once again. However, the beautiful newscaster Isabelle emphasizes on hope and gives someone whom wishes for more love a few sentences which help them. Nonetheless, I do agree with the latter half of the political scientist.
The murder of yet another scientist gives him clues that a dire earthquake might just hit Oslo. Kristians daughter Marit, played by Kathrine Thorborg Johansen, is planning on shredding all of his documents. He then rushes to the house of the scientist.
The scientist possesses a room identical to the one Kristian owns, silenced and masked with paper clippings and filled with maps on the floor, and, just like in every disaster movie we’ve seen, we can only hope that what he has to offer is correct. He also possesses the right amount of bravery to remove himself from the screens, purely waiting for the professionals to declare “Our instruments have never been more precise”. But we must be getting some valuable content when our hero figures that taking some care of that torn-up beard is some important business.
A bit over two-thirds of the movie passes by until the catastrophic event occurs. This, however, gives viewers a chance to reacquaint themselves with the sympathetic but estranged wife of Kristian, Indun (Ane Dahl Torp), or his son studying in college (Jonas Hoff Oftebro). This serves as the perfect setup for some stellar effects and stunts alongside some family bonding.
And this “Quake” really shook things up! The feel of dreadful anticipation before the disaster is excitingly building up, and some of the subtle early effects are particularly impressive. What I’m going to tell you is going to sound completely insane, Kristian tells Indun. I don’t want to scare you. Then there’s an almost artistic beauty when the lights cut out, which are powered off in the building, as they will later throughout the city when Julia is about to perform in a dance recital.
Almost knowing that something is about to happen, Kristian leaves Marit with the baby Julia in the car and goes to look for Indun in her office on the 34th floor of the skyscraper. Marit chases Julia as the little girl jumps out of the vehicle, and so all four of them end up inside the building when the quake strikes. Kristian and Indun are in an elevator, and Marit and Julia are in an office that is now at a strange angle, almost vertical.
As this movie is about the very feeling of dissolution, so equally as powerful are the stunning images with the highly innovative sound design parallel.
From the sound of a window being about to break and a cable snapping, to the deafening boom of an explosion, John Andreas Andersen is in tune with both sounds along with being the director. Andersen has a strong visual storytelling skill set as well, as exhibited with multiple distinct images the red elevator shaft, the lightbulb in the tunnel, and the broad piano (which was shown in an office) being ungracefully tossed due to the floor suddenly changing angles. In comparison to the American version, the special effects shots are remarkably fewer but their placement is immensely unnerving and tactical.
This film, alongside many other disaster movies, suggests that the primary purpose of the catastrophe is family reconciliation with the side note of “I told you so.” An earth-shattering disaster is brought forth and boils down to a father saving his girl. He, however, suffers from severe PTSD. The focus-splitting story makes it difficult to enjoy the film as pure special effects or appreciate it as a moralistic fable. There I agree with the newscaster we are drawn to hear tales of destruction and chaos framed with courage and compassion. However, if that remains only within the hero’s family, then even flawless effects are merely images.
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