Is there an issue? Send a MessageReason:
None
Changed line(s) 6,7 (click to see context) from:
''Funny Games'' is a 1997 Austrian satirical psychological thriller film written and directed by Creator/MichaelHaneke. The film was additionally given an [[ForeignRemake American]] ShotForShotRemake in 2007, also written and directed by Haneke and featuring an English-speaking cast led by Creator/NaomiWatts and Creator/TimRoth. Considering Haneke wanted to make a film in America but had to make the original in Austria for practical reasons, the remake is in a way closer to his true artistic vision for the film.
to:
''Funny Games'' is a 1997 Austrian satirical psychological thriller film written and directed by Creator/MichaelHaneke.Creator/MichaelHaneke and starring Susanne Lothar and Creator/UlrichMuhe. The film was additionally given an [[ForeignRemake American]] ShotForShotRemake in 2007, also written and directed by Haneke and featuring an English-speaking cast led by Creator/NaomiWatts and Creator/TimRoth. Considering Haneke wanted to make a film in America but had to make the original in Austria for practical reasons, the remake is in a way closer to his true artistic vision for the film.
Is there an issue? Send a MessageReason:
None
* AudienceWhatAudience: {{Averted}}. While Paul occasionally [[BreakingTheFourthWall speaks to the audience]] while within earshot of the other characters, no one else ever acknowledges it.
Changed line(s) 31 (click to see context) from:
** When preparing the food, Ann takes out a kitchen knife to divide the beef. [[spoiler:Paul and Peter later use said knife as part of their game "The Loving Wife".]]
to:
** When preparing At one point, Anne gets a knife from the food, Ann takes out a kitchen knife to divide the beef. cut her husband loose from his binds. [[spoiler:Paul and Peter later use said the same knife as part of for their next game "The Loving Wife".]]
* DoesThisRemindYouOfAnything:
** Given that Paul is a FourthWallObserver who is aware of the viewers and wants to amuse them, a lot of his actions parallel those of a director producing a movie.
*** In most of the games played, Paul tells the victims what he wants them to do and expresses disapproval if they ignore his instructions, which is reminiscent of a director advising the actors on how they should perform according to the director's vision.
*** Since Paul made a bet with the Farbers that they won't survive until 9 a.m., Paul periodically asks Peter for the time. [[spoiler:Notably, Paul asks for the time before deciding to kill someone, the same way that a storyteller knows they have to off a SacrificialLion to up the stakes but has to decide which characters have more potential alive than dead.]]
*** When Paul chases Georgie, he decides to play some music for no other reason other than to heighten the suspense.
*** [[spoiler:After Anne kills Peter, Paul rewinds the movie and literally gets a "take two" on filming the same scene.]]
** In addition, Paul sometimes behaves the same way [[AudienceSurrogate a spectator]] would when watching a movie. For example, during [[spoiler:Georgie's death]], Paul is rummaging through the refrigerator for something to eat and only hears the gunshot, similar to how a theater-goer may take a break from the movie and consequently miss seeing important scenes.
** Given that Paul is a FourthWallObserver who is aware of the viewers and wants to amuse them, a lot of his actions parallel those of a director producing a movie.
*** In most of the games played, Paul tells the victims what he wants them to do and expresses disapproval if they ignore his instructions, which is reminiscent of a director advising the actors on how they should perform according to the director's vision.
*** Since Paul made a bet with the Farbers that they won't survive until 9 a.m., Paul periodically asks Peter for the time. [[spoiler:Notably, Paul asks for the time before deciding to kill someone, the same way that a storyteller knows they have to off a SacrificialLion to up the stakes but has to decide which characters have more potential alive than dead.]]
*** When Paul chases Georgie, he decides to play some music for no other reason other than to heighten the suspense.
*** [[spoiler:After Anne kills Peter, Paul rewinds the movie and literally gets a "take two" on filming the same scene.]]
** In addition, Paul sometimes behaves the same way [[AudienceSurrogate a spectator]] would when watching a movie. For example, during [[spoiler:Georgie's death]], Paul is rummaging through the refrigerator for something to eat and only hears the gunshot, similar to how a theater-goer may take a break from the movie and consequently miss seeing important scenes.
* TheEndingChangesEverything: [[spoiler:Paul's remote-control rewind confirms that the protagonists had no chance of winning Paul's bet as it was a [[RiggedContest rigged game]] from the very start. On a lesser note, it also verifies that Paul's fourth-wall breaking isn't limited to speaking to the viewers and that Paul has been quietly editing the movie in the background.]]
Changed line(s) 79,80 (click to see context) from:
* LeftTheBackgroundMusicOn: Both versions begin with a helicopter shot of a car driving through a country road set to classical music. Then voice-overs of the family in the car begin discussing the music, revealing that it's playing from the car stereo.
** ZigZagged soon after, when Peter and Paul's death metal leitmotif comes on to announce the title cards, but the family continues to casually talk over it, indicating they don't hear it.
** ZigZagged soon after, when Peter and Paul's death metal leitmotif comes on to announce the title cards, but the family continues to casually talk over it, indicating they don't hear it.
to:
* LeftTheBackgroundMusicOn: Both versions Played with. The film begin with a helicopter shot of a car driving through a country road set to classical music. Then Then, voice-overs of the family in the car begin discussing the music, revealing that it's playing from the car stereo.
** ZigZaggedstereo. A DoubleSubversion soon after, when Peter and occurs after Paul's death metal leitmotif "Bonehead" comes on to announce the title cards, but OpeningCredits as the family continues to casually talk over it, the metal music, indicating they don't hear it. Later, it becomes a [[ZigZaggingTrope Triple Subversion]] when Paul plays said metal music on a CD player to increase the intensity of the chase sequence. Paul also [[ExploitedTrope exploits this]] to get the drop on Georgie as the diegetic music masks his footsteps.
* MagicRealism: As per Haneke's usual direction, the movie is mostly [[{{realism}} grounded in reality]], downplaying the [[RuleOfCool flashiness]] and [[RuleOfFun excitement]] of a traditional Hollywood thriller in favor of emphasizing the natural consequences of a home invasion. The only extraordinary element is Paul's fourth-wall breaking, but even then, none of the other characters ever notice or comment on it.
** ZigZagged
* MagicRealism: As per Haneke's usual direction, the movie is mostly [[{{realism}} grounded in reality]], downplaying the [[RuleOfCool flashiness]] and [[RuleOfFun excitement]] of a traditional Hollywood thriller in favor of emphasizing the natural consequences of a home invasion. The only extraordinary element is Paul's fourth-wall breaking, but even then, none of the other characters ever notice or comment on it.
Changed line(s) 87 (click to see context) from:
* NothingIsScarier: The excruciatingly suspenseful scene where Georgie is being hunted down by Paul in the neighbors' house, where everything is dark and deathly silent and you know that Georgie might be caught at any moment.
to:
* NothingIsScarier: NothingIsScarier:
** Theexcruciatingly suspenseful scene movie shares scant details about the Thompsons' ordeal under Paul and Peter, but the few things shown, such as the tent in the front yard and Fred's offhand remark that the duo arrived yesterday, imply that the Thompsons suffered for at least a day.
** When Paul catches up with Georgie during the latter's escape attempt, Georgie ducks into the neighbor's house, leading to a [[ChaseScene tense cat-and-mouse game]] where Georgieis being hunted down by has to outmaneuver Paul in a dark, silent environment while taking care not to set off the neighbors' house's motion-sensor lights that will give away his position.
** After [[spoiler:Georgie dies]], Paul and Peter unexpectedly withdraw from the house,where everything is dark and deathly silent and you know leaving the family alone. Given the killers' prior mind-games, the movie plays on the audience's fear that Georgie might be caught at any moment.the killers are still lurking around, waiting to make their return.
** The
** When Paul catches up with Georgie during the latter's escape attempt, Georgie ducks into the neighbor's house, leading to a [[ChaseScene tense cat-and-mouse game]] where Georgie
** After [[spoiler:Georgie dies]], Paul and Peter unexpectedly withdraw from the house,
Changed line(s) 89 (click to see context) from:
* TheOner: Shortly after the gun goes off, there is a ten-minute long take in which very little happens, but the full horror of the scene can be soaked in.
to:
* TheOner: Shortly after the gun goes off, there is a ten-minute long take in which very little happens, but the full horror of surviving protagonists slowly cut their binds and try to recuperate from the scene can be soaked in.physical and psychological trauma inflicted on them.
* {{Postmodernism}}: The film blurs the lines between reality and fiction. At first, the film's plot plays out like a normal [[ProtectThisHouse home invasion story]]. However, once Paul starts [[BreakingTheFourthWall speaking to the audience]], the movie shifts to a more self-referential tone and starts focusing on the meta-narrative of the audience's voyeurism. That said, the home-invasion plot is still an integral part of the story as movie switches between both narratives to display how the two plots are dependent on each other. After all, the movie doesn't exist without a target audience in mind, and the audience won't watch a movie unless they were intrigued by said movie's advertised premise. In addition, the villains discuss TheTreacheryOfImages when it come to reality and fiction.
* RewatchBonus:
** Upon rewatch, one can put two and two together on what happened to the protagonists' neighbors, the Thompsons, offscreen.
*** In their first scene, the Thompsons seem strangely passive for victims of two psychopaths since they don't even try to seek help from the Farbers. [[spoiler:However, Georgie immediately remarks that the Thompsons' daughter Jenny is missing, which suggests that Paul and Peter have Jenny locked up somewhere to discourage the Thompsons from fighting back. Indeed, Ann later finds herself [[CannotSpitItOut unable to ask her other neighbors for help]] because Peter is holding her husband and son hostage.]]
*** Likewise, when Fred arrives with Paul to help George and Georgie with the boat, he doesn't communicate to the Farbers that he needs their help. [[spoiler:Since Peter appears a short while after, it is implied that Peter stayed back with Fred's wife and daughter to keep Fred in line and to guarantee Fred's word that he will help the duo infiltrate the Farbers' home. It becomes more tragic when one realizes that Paul and Peter had no intent of keeping their promise as Fred disappears after helping the Farbers with the boat, indicating that he was KilledOffscreen by Paul, and Georgie subsequently finds Jenny's corpse in the Thompsons' house, meaning that Peter killed the other Thompsons after Paul and Fred left for the Farbers' home. As such, Paul lazily jogs after Georgie when he spots him near the Thompsons' house because he knows that there is no one there that can help Georgie.]]
** TheReveal that [[spoiler:Paul is a RealityWarper]] changes the context of certain scenes.
*** Paul starts [[AsideGlance making eye-contact with the audience]] during the "Hot and Cold" game, but this isn't the earliest time he breaks the fourth wall as Paul afterwards demonstrates that he can change the soundtrack to Music/JohnZorn's "Bonehead" and "Hellraiser" any time he wishes. Thus, the first fourth-wall break occurs during the intro when Paul plays the song "Bonehead" and mutes the protagonists' classical music.
*** Paul's conversations with the audience appear to be AcceptableBreaksFromReality at first because while immersion-breaking, they don't affect the plot, and none of the other characters acknowledge the conversations, which makes it easy to ignore the aforementioned fourth-wall breaks. However, in hindsight, [[spoiler:they are reminiscent of Paul's time-rewind at the climax as Paul basically pauses the movie every moment he talks to the watchers]].
*** After Georgie escapes the house, he gets a good head start mainly because Paul wastes time looking for him upstairs, yet when Georgie reaches the Thompsons' home, it turns out that Paul isn't too far away. [[spoiler:On a first watch, this may just be a ContrivedCoincidence to set up the chase scene in the house, but on repeat viewings, it is justified by the fact that Paul controls the movie, which includes the camera that he acknowledges and positions to better [[BreakingTheFourthWall address the audience]], so Paul already knows to where exactly Georgie is running. Same goes for the part where Paul gets a rifle pointed at him. Paul didn't merely guess that Georgie's gun was empty, he ''knew'' that Georgie didn't load the gun.]]
*** Like most movies, ''Funny Games'' relies on [[JumpCut jump cuts]] to skip trivial events, but Paul's line about the movie's running time indicates that he is the one fast-forwarding through the movie.
** Upon rewatch, one can put two and two together on what happened to the protagonists' neighbors, the Thompsons, offscreen.
*** In their first scene, the Thompsons seem strangely passive for victims of two psychopaths since they don't even try to seek help from the Farbers. [[spoiler:However, Georgie immediately remarks that the Thompsons' daughter Jenny is missing, which suggests that Paul and Peter have Jenny locked up somewhere to discourage the Thompsons from fighting back. Indeed, Ann later finds herself [[CannotSpitItOut unable to ask her other neighbors for help]] because Peter is holding her husband and son hostage.]]
*** Likewise, when Fred arrives with Paul to help George and Georgie with the boat, he doesn't communicate to the Farbers that he needs their help. [[spoiler:Since Peter appears a short while after, it is implied that Peter stayed back with Fred's wife and daughter to keep Fred in line and to guarantee Fred's word that he will help the duo infiltrate the Farbers' home. It becomes more tragic when one realizes that Paul and Peter had no intent of keeping their promise as Fred disappears after helping the Farbers with the boat, indicating that he was KilledOffscreen by Paul, and Georgie subsequently finds Jenny's corpse in the Thompsons' house, meaning that Peter killed the other Thompsons after Paul and Fred left for the Farbers' home. As such, Paul lazily jogs after Georgie when he spots him near the Thompsons' house because he knows that there is no one there that can help Georgie.]]
** TheReveal that [[spoiler:Paul is a RealityWarper]] changes the context of certain scenes.
*** Paul starts [[AsideGlance making eye-contact with the audience]] during the "Hot and Cold" game, but this isn't the earliest time he breaks the fourth wall as Paul afterwards demonstrates that he can change the soundtrack to Music/JohnZorn's "Bonehead" and "Hellraiser" any time he wishes. Thus, the first fourth-wall break occurs during the intro when Paul plays the song "Bonehead" and mutes the protagonists' classical music.
*** Paul's conversations with the audience appear to be AcceptableBreaksFromReality at first because while immersion-breaking, they don't affect the plot, and none of the other characters acknowledge the conversations, which makes it easy to ignore the aforementioned fourth-wall breaks. However, in hindsight, [[spoiler:they are reminiscent of Paul's time-rewind at the climax as Paul basically pauses the movie every moment he talks to the watchers]].
*** After Georgie escapes the house, he gets a good head start mainly because Paul wastes time looking for him upstairs, yet when Georgie reaches the Thompsons' home, it turns out that Paul isn't too far away. [[spoiler:On a first watch, this may just be a ContrivedCoincidence to set up the chase scene in the house, but on repeat viewings, it is justified by the fact that Paul controls the movie, which includes the camera that he acknowledges and positions to better [[BreakingTheFourthWall address the audience]], so Paul already knows to where exactly Georgie is running. Same goes for the part where Paul gets a rifle pointed at him. Paul didn't merely guess that Georgie's gun was empty, he ''knew'' that Georgie didn't load the gun.]]
*** Like most movies, ''Funny Games'' relies on [[JumpCut jump cuts]] to skip trivial events, but Paul's line about the movie's running time indicates that he is the one fast-forwarding through the movie.
* RuleOfSymbolism: [[spoiler:It's hinted that Paul didn't need to use the remote control to rewind time since the remote control in question is completely normal and doesn't even belong to him in the first place (it belongs to the Farbers in fact). However, the use of the remote to manipulate the movie is appropriate as it accentuates the movie's artificiality and [[{{postmodernism}} postmodern themes]], i.e., it is a work of fiction designed by the storytellers to exploit the audience's expectations and emotions.]]
Changed line(s) 114 (click to see context) from:
* TitleDrop: By Peter, early on...only in the singular form.
to:
* TitleDrop: By In the Austrian original, when Anne apologizes for the dog's actions, she says the dog just wants to play a game, to which Peter dryly responds "Funny game."
* TheTreacheryOfImages: This is {{discussed}} by Paul and Peter before Paul deconstructs the concept. At one point, Peter talks about [[FilmWithinAFilm a movie]] in which a man is trapped in a fictional universe and needs to communicate with the real universe to warn his family of an incoming danger. Paul then questions this plot point as Peter's movie is ultimately fiction, so logically, the "real" universe is not any more genuine than the "fictional" universe. To persuade Peter,early on...only Paul then proceeds to argue that fiction is real because it can be observed just like any real object.
-->'''Peter:''' And when he overcomes the gravitational forces, it turns out that [[LeaningOnTheFourthWall one universe is real and the other one is fiction]].
-->'''Paul:''' How?
-->'''Peter:''' How do I know? It's a kind of model projection in cyberspace.
-->'''Paul:''' Okay, so where's your hero now? Is he in in reality or is he in fiction?
-->'''Peter:''' His family's in reality, and he's in fiction.
-->'''Paul:''' But isn't fiction real?
-->'''Peter:''' Why?
-->'''Paul:''' Well, you can see it in thesingular form.movie, right?
-->'''Peter:''' Of course.
-->'''Paul:''' Well, then it's just as real as reality because you can see it too, right?
-->'''Peter:''' Bullshit.
-->'''Paul:''' [[ArmorPiercingQuestion Why?]]
* TheTreacheryOfImages: This is {{discussed}} by Paul and Peter before Paul deconstructs the concept. At one point, Peter talks about [[FilmWithinAFilm a movie]] in which a man is trapped in a fictional universe and needs to communicate with the real universe to warn his family of an incoming danger. Paul then questions this plot point as Peter's movie is ultimately fiction, so logically, the "real" universe is not any more genuine than the "fictional" universe. To persuade Peter,
-->'''Peter:''' And when he overcomes the gravitational forces, it turns out that [[LeaningOnTheFourthWall one universe is real and the other one is fiction]].
-->'''Paul:''' How?
-->'''Peter:''' How do I know? It's a kind of model projection in cyberspace.
-->'''Paul:''' Okay, so where's your hero now? Is he in in reality or is he in fiction?
-->'''Peter:''' His family's in reality, and he's in fiction.
-->'''Paul:''' But isn't fiction real?
-->'''Peter:''' Why?
-->'''Paul:''' Well, you can see it in the
-->'''Peter:''' Of course.
-->'''Paul:''' Well, then it's just as real as reality because you can see it too, right?
-->'''Peter:''' Bullshit.
-->'''Paul:''' [[ArmorPiercingQuestion Why?]]
Changed line(s) 118,119 (click to see context) from:
* WhyDontYouJustShootHim: When Ann asks Peter why he and Paul don't just kill the Farbers, Peter simply answers that it is more fun for the two of them to torture the family. Of course, [[FourthWallObserver Paul]] is well aware of the {{Doylist}} reason for keeping the family alive.
* YouBastard: Played with, Paul never condemns the audience for watching the film, but he does acknowledge that everything he does is for the viewers' entertainment.
* YouBastard: Played with, Paul never condemns the audience for watching the film, but he does acknowledge that everything he does is for the viewers' entertainment.
to:
* WhamLine: [[spoiler:Paul's line "Where's the remote control?" is the point when the movie fully shows its hand. This is followed up by a WhamShot of Paul rewinding the movie to undo the death of Peter and to win the bet.]]
* WhyDontYouJustShootHim: When Ann asks Peter why he and Paul don't just kill the Farbers, Peter simply answers that it is more fun for the two of them to torture the family.Of course, [[FourthWallObserver Paul]] As for Paul, he is well aware of the {{Doylist}} reason for keeping the family alive.
alive: to maintain the audience's investment in the story.
* YearInsideHourOutside: There is a meta variant in regards to PlotTime. The story spans at least twelve hours in-universe, but for the spectators and [[FourthWallObserver Paul]], the movie is about two hours long.
-->'''Paul:''' We haven't reached feature-film length yet.
* YouBastard: Played with, Paul never condemns the audience for watching the film, but he does acknowledge that everything he does is for the viewers' entertainment. In particular, the Farbers beg for a quick death rather than a slow, drawn-out torture, but Paul continues to torment them because he knows that killing the protagonists immediately will result in an AntiClimax, displeasing the audience in the process.
* WhyDontYouJustShootHim: When Ann asks Peter why he and Paul don't just kill the Farbers, Peter simply answers that it is more fun for the two of them to torture the family.
* YearInsideHourOutside: There is a meta variant in regards to PlotTime. The story spans at least twelve hours in-universe, but for the spectators and [[FourthWallObserver Paul]], the movie is about two hours long.
-->'''Paul:''' We haven't reached feature-film length yet.
* YouBastard: Played with, Paul never condemns the audience for watching the film, but he does acknowledge that everything he does is for the viewers' entertainment. In particular, the Farbers beg for a quick death rather than a slow, drawn-out torture, but Paul continues to torment them because he knows that killing the protagonists immediately will result in an AntiClimax, displeasing the audience in the process.
Is there an issue? Send a MessageReason:
Peter calls Eve "Mrs. Thompson" as seen in this clip
; thus, the first family Paul and Peter attack is the Thompson family.
; thus, the first family Paul and Peter attack is the Thompson family.Deleted line(s) 50 (click to see context) :
** After noting their neighbours Fred and Eve playing a game of golf with Paul and Peter, Georgie comments that Jenny, their daughter, is missing, while George and Anne comment that Fred and Eve seemed unusually curt. [[spoiler:Here, it is implied that Jenny was the first member of their family to die, and likewise, Georgie will die first too; Anne is similarly curt to the Thompsons when they visit, as Paul and Peter have intimidated her into keeping quiet about who they are.]]
Is there an issue? Send a MessageReason:
The Thompsons are the third family to be targeted by Paul and Peter in the American version, not the first.
Changed line(s) 50 (click to see context) from:
** After noting the Thompsons playing a game of golf with Paul and Peter, Georgie comments that Jenny, the Thompsons' daughter, is missing. [[spoiler:Here, it is implied that Jenny was the first member of the Thompsons to die, and likewise, Georgie will die first too.]]
to:
** After noting the Thompsons their neighbours Fred and Eve playing a game of golf with Paul and Peter, Georgie comments that Jenny, the Thompsons' their daughter, is missing. missing, while George and Anne comment that Fred and Eve seemed unusually curt. [[spoiler:Here, it is implied that Jenny was the first member of the Thompsons their family to die, and likewise, Georgie will die first too.too; Anne is similarly curt to the Thompsons when they visit, as Paul and Peter have intimidated her into keeping quiet about who they are.]]
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* ParentalIncest: Paul mentions that Peter sleeps with his own mother. Subverted as it's revealed to be a lie as the two killers are simply messing with the protagonists' mind.
Is there an issue? Send a MessageReason:
Moved to characters page.
Deleted line(s) 19 (click to see context) :
* AdaptationalAttractiveness: Compare [[http://www.filmtipps.at/kritiken/Funny_Games/gallery/Funny_Games_1.jpg Susanne Lothar]], who plays Ann in the original, with Creator/NaomiWatts in the remake.
Deleted line(s) 21,22 (click to see context) :
* AMFMCharacterization: The family listens to opera music in their car which establishes them as cultured and upper class as they drive to their lakeside vacation home. Meanwhile, Peter and Paul listen to ''death'' metal.
* AnguishedDeclarationOfLove: By the mother to the father before climbing out of the window to look for help.
* AnguishedDeclarationOfLove: By the mother to the father before climbing out of the window to look for help.
Deleted line(s) 28,31 (click to see context) :
* BanteringBaddieBuddies: The central antagonists seem to function between themselves as a slightly more real, less comical version of this trope.
* BeautyIsNeverTarnished: Averted. In both versions, Ann gets visibly more worn-out-looking over the course of the film as a result of the abuse.
* BigBadDuumvirate: Peter and Paul although Paul is the one in charge.
* BitchInSheepsClothing: Peter and Paul start off cordial and polite when they finally meet with the Farbers, but they eventually become more and more demanding until George slaps Paul, which leads to Peter kneecapping him.
* BeautyIsNeverTarnished: Averted. In both versions, Ann gets visibly more worn-out-looking over the course of the film as a result of the abuse.
* BigBadDuumvirate: Peter and Paul although Paul is the one in charge.
* BitchInSheepsClothing: Peter and Paul start off cordial and polite when they finally meet with the Farbers, but they eventually become more and more demanding until George slaps Paul, which leads to Peter kneecapping him.
Deleted line(s) 34,39 (click to see context) :
* BoundAndGagged: This happens to the mother after she is picked up by the villains on the street and also during [[spoiler:the boat ride from which she never returns ]].
* BringMyBrownPants: Poor Georgie couldn't hold it during the "Cat in the Bag" game and ended up peeing his pants.
* CardCarryingVillain: Paul and Peter acknowledge that they are just torturing the family for fun.
* CastingGag:
** Arno Frisch, who plays Paul in the Austrian version, previously starred as a young psychopath named Benny in ''Film/BennysVideo'', an earlier Haneke film.
** Ulrich Mühe, who plays the father in the Austrian version, also starred in ''Benny's Video'' as the father of the titular character.
* BringMyBrownPants: Poor Georgie couldn't hold it during the "Cat in the Bag" game and ended up peeing his pants.
* CardCarryingVillain: Paul and Peter acknowledge that they are just torturing the family for fun.
* CastingGag:
** Arno Frisch, who plays Paul in the Austrian version, previously starred as a young psychopath named Benny in ''Film/BennysVideo'', an earlier Haneke film.
** Ulrich Mühe, who plays the father in the Austrian version, also starred in ''Benny's Video'' as the father of the titular character.
Deleted line(s) 47 (click to see context) :
* ConspicuousGloves: Two clean-cut young men wear white gloves, making them look a little like golfers. One of their next prospective victims asks about them because they didn't take them off inside the house; Paul then claims he has eczema. Of course, they really wear them to hide their own fingerprints.
Deleted line(s) 52 (click to see context) :
* DeadpanSnarker: Paul is the most sarcastic one of the duo often displaying some very dark humor.
Deleted line(s) 57,59 (click to see context) :
* DeconstructedCharacterArchetype:
** Paul is seemingly a FairPlayVillain as he decides to give the Farbers a chance to win against Peter and him. However, Paul then demonstrates his MediumAwareness by speaking with the audience, acknowledging that his "fair play" is actually for the audience's sake as killing the Farbers immediately will result in a short movie. [[spoiler:This is proven to be the case in the film's climax when Paul pulls out his StoryBreakerPower to win as the film is nearly over and Paul consequently feels no need to maintain the pretense of fairness.]]
** Georgie's rage against the killers and escape from the house seemingly establishes him as a potential KidHero, but the fact that he is an inexperienced child going up against two psychopathic adults means that he is unable to meaningfully fight back.
** Paul is seemingly a FairPlayVillain as he decides to give the Farbers a chance to win against Peter and him. However, Paul then demonstrates his MediumAwareness by speaking with the audience, acknowledging that his "fair play" is actually for the audience's sake as killing the Farbers immediately will result in a short movie. [[spoiler:This is proven to be the case in the film's climax when Paul pulls out his StoryBreakerPower to win as the film is nearly over and Paul consequently feels no need to maintain the pretense of fairness.]]
** Georgie's rage against the killers and escape from the house seemingly establishes him as a potential KidHero, but the fact that he is an inexperienced child going up against two psychopathic adults means that he is unable to meaningfully fight back.
Deleted line(s) 61 (click to see context) :
* DiabolusExNihilo: The duo gives various conflicting accounts of who they are and where they came from, but they're obviously all lies. They have no backstory and no reason to exist except to serve as villains for the movie [[YouBastard you're so sadistically viewing]].
Deleted line(s) 66,68 (click to see context) :
* EvenEvilHasLovedOnes: Despite bickering and insulting each other Peter and Paul seem to care for each other in some way.[[Spoiler: Paul looks genuine distraught when Peter is shot (albeit temporarily).]]
* EvilDetectingDog: The family's German Shepherd (Golden Retriever in the remake) barks wholeheartedly at the villains. The clue remains unnoticed.
* FaceOfAnAngelMindOfADemon: The two killers are young and handsome boys in their 20s who don't even look menacing at first.
* EvilDetectingDog: The family's German Shepherd (Golden Retriever in the remake) barks wholeheartedly at the villains. The clue remains unnoticed.
* FaceOfAnAngelMindOfADemon: The two killers are young and handsome boys in their 20s who don't even look menacing at first.
Deleted line(s) 70,71 (click to see context) :
* FatAndSkinny: Peter and Paul respectively in the original, though Peter is more along the lines of HollywoodPudgy. It is averted in the remake although Paul still calls Peter [[InformedDeformity "Tubby"]] as an insult.
* FauxAffablyEvil: Both Peter and Paul make a big show of being very polite and considerate, which is all a part of their sadistic game.
* FauxAffablyEvil: Both Peter and Paul make a big show of being very polite and considerate, which is all a part of their sadistic game.
Deleted line(s) 73 (click to see context) :
* ForTheEvulz: The killers give conflicting {{Freudian Excuse}}s for their deeds, reducing it to simple, pointless evil.
Deleted line(s) 78,79 (click to see context) :
* FourthWallObserver: Paul addresses the audience regularly and near the climax even [[spoiler:rewinds part of the film itself.]]
* FreudianExcuse: Subverted when the father asks his two tormentors why they are hurting his family. The villains poke fun at him, coming up with various reasons such as Peter becoming [[DepravedHomosexual a queer and a criminal]] after his mother divorced his father or him having a poor upbringing due to coming from a family of drug addicts with his father as TheAlcoholic. None of this was true as they immediately point out.
* FreudianExcuse: Subverted when the father asks his two tormentors why they are hurting his family. The villains poke fun at him, coming up with various reasons such as Peter becoming [[DepravedHomosexual a queer and a criminal]] after his mother divorced his father or him having a poor upbringing due to coming from a family of drug addicts with his father as TheAlcoholic. None of this was true as they immediately point out.
Deleted line(s) 88 (click to see context) :
* GenreSavvy: Paul knows that he's in a film and tracks his deeds based on a common plot structure.
Deleted line(s) 100,101 (click to see context) :
* ImprovisedWeapon: The villains arrive unarmed but find a golf club to be of great use against the father.
* IronicName: Paul and Peter are named after [[Literature/TheBible two Christian saints]]. They are anything but saintly and at one point, Paul forces Ann to pray to God as part of a cruel game.
* IronicName: Paul and Peter are named after [[Literature/TheBible two Christian saints]]. They are anything but saintly and at one point, Paul forces Ann to pray to God as part of a cruel game.
Deleted line(s) 104 (click to see context) :
* KarmaHoudini: [[spoiler:The two killers receive no comeuppance. In the end, the dominant killer even smirks triumphantly at the camera as he prepares to kill again.]]
Deleted line(s) 110 (click to see context) :
* LeanAndMean: In the original movie Paul is quite skinny and is the dominant one of the murderous duo.
Deleted line(s) 114 (click to see context) :
* LightIsNotGood: The villains are dressed all in white.
Deleted line(s) 118 (click to see context) :
* MultipleChoicePast: Paul tells a few different stories about his and Peter's background and motivations, none of which are likely to be true.
Deleted line(s) 125 (click to see context) :
* OohMeAccentsSlipping: Creator/TimRoth slides between his natural English accent (as in ''Film/PulpFiction'') and his much more nasal, higher-pitched American accent (as in ''Film/ReservoirDogs'').
Deleted line(s) 143 (click to see context) :
* TheSociopath: The two boys decide to torture families as a pastime.
Deleted line(s) 149,153 (click to see context) :
* TheSpook: The origins (and real names) of Peter and Paul remain unknown throughout the film, and they are complete strangers to all of their victims.
* StoryBreakerPower: Not only can Paul BreakTheFourthWall to speak to the audience, he also can [[spoiler:SaveScum when things don't go in his favor, meaning that the Farbers never had a chance of winning. Paul is aware that it ruins the story for the audience, which is why he only uses it near the end of the movie.]]
* StressVomit: The mother vomits after [[spoiler:looking back in on the room where her son's corpse is lying. This happens several minutes after TheOner where she struggles to get on her feet while it lies next to her.]].
* StunnedSilence: After [[spoiler:Georgie is killed]], the parents sit motionlessly and in silence for over a minute.
* SubterfugeJudo: Paul and Peter first begin their games by exploiting their victims' etiquette and trying their victims' patience. Peter knocks Ann's phone into the water and continually asks Ann for more eggs after "accidentally" dropping them multiple times while Paul borrows the family's golf clubs to test out their quality. Ann at first complies with their requests in hopes that they will immediately leave afterwards, but she eventually realizes that they have some ulterior motive and quickly drops the politeness as she firmly tells them to leave.
* StoryBreakerPower: Not only can Paul BreakTheFourthWall to speak to the audience, he also can [[spoiler:SaveScum when things don't go in his favor, meaning that the Farbers never had a chance of winning. Paul is aware that it ruins the story for the audience, which is why he only uses it near the end of the movie.]]
* StressVomit: The mother vomits after [[spoiler:looking back in on the room where her son's corpse is lying. This happens several minutes after TheOner where she struggles to get on her feet while it lies next to her.]].
* StunnedSilence: After [[spoiler:Georgie is killed]], the parents sit motionlessly and in silence for over a minute.
* SubterfugeJudo: Paul and Peter first begin their games by exploiting their victims' etiquette and trying their victims' patience. Peter knocks Ann's phone into the water and continually asks Ann for more eggs after "accidentally" dropping them multiple times while Paul borrows the family's golf clubs to test out their quality. Ann at first complies with their requests in hopes that they will immediately leave afterwards, but she eventually realizes that they have some ulterior motive and quickly drops the politeness as she firmly tells them to leave.
Deleted line(s) 155,156 (click to see context) :
* TheseGlovesAreMadeForKillin: Peter and Paul wear [[ConspicuousGloves white gloves]] as they torture and kill at least two families.
* TheyLookJustLikeEveryoneElse: Paul and Peter look like perfectly normal and innocent young men. No one could imagine what kind of vicious, twisted killers they are.
* TheyLookJustLikeEveryoneElse: Paul and Peter look like perfectly normal and innocent young men. No one could imagine what kind of vicious, twisted killers they are.
Deleted line(s) 161,162 (click to see context) :
* VillainInAWhiteSuit: A variation. In both versions, Peter and Paul wear preppy [[LightIsNotGood all-white sportswear]], with polo shirts and shorts.
* VitriolicBestBuds: Paul insults Peter every chance he gets but is clearly devastated [[spoiler: when Peter is blown away, which, sadly, doesn't last very long]].
* VitriolicBestBuds: Paul insults Peter every chance he gets but is clearly devastated [[spoiler: when Peter is blown away, which, sadly, doesn't last very long]].
Deleted line(s) 164,167 (click to see context) :
* TheWorfEffect: Georg(e) - the father in both versions - gets kneecapped by a golf club first, which means that he's in excruciating pain and barely mobile for the rest of the movie.
* WouldHitAGirl: Both Peter and Paul are willing to manhandle the mother if necessary.
* WouldHurtAChild: The killers don't mind murdering entire families, children included.
* WrongGenreSavvy: Paul is under the impression that he is in a traditional {{thriller}}, but given that he BreaksTheFourthWall to address the audience and even [[spoiler:subverts the rules to win]], his presence makes the entire movie incredibly unconventional. Unlike most examples of this trope, this does not make him any less competent as a villain.
* WouldHitAGirl: Both Peter and Paul are willing to manhandle the mother if necessary.
* WouldHurtAChild: The killers don't mind murdering entire families, children included.
* WrongGenreSavvy: Paul is under the impression that he is in a traditional {{thriller}}, but given that he BreaksTheFourthWall to address the audience and even [[spoiler:subverts the rules to win]], his presence makes the entire movie incredibly unconventional. Unlike most examples of this trope, this does not make him any less competent as a villain.
Is there an issue? Send a MessageReason:
grammar corrections
Changed line(s) 20 (click to see context) from:
* AloneWithThePsycho: The family is terrorized by two psychopaths that invade their home.
to:
* AloneWithThePsycho: The family is terrorized by two psychopaths that who invade their home.
Changed line(s) 24 (click to see context) from:
** Paul gives one of these to the camera just before Ann discovers where he's hidden the dog. It's the first time he breaks the fourth wall. He adds a wink in the original, but just stares in the remake.
to:
** Paul gives one of these to the camera just before Ann discovers where he's hidden the dog. It's the first time he breaks the fourth wall. He adds a wink in the original, original but just stares in the remake.
Changed line(s) 47 (click to see context) from:
* ConspicuousGloves: Two clean-cut young men wear white gloves, making them look a little like golfers. One of their next prospective victims asks about them, because they didn't take them off inside the house; Paul then claims he has eczema. Of course, they really wear them to hide their own fingerprints.
to:
* ConspicuousGloves: Two clean-cut young men wear white gloves, making them look a little like golfers. One of their next prospective victims asks about them, them because they didn't take them off inside the house; Paul then claims he has eczema. Of course, they really wear them to hide their own fingerprints.
Changed line(s) 66 (click to see context) from:
* EvenEvilHasLovedOnes: Despite bickering and insulting each other Peter and Paul seem to care for each other some way.[[Spoiler: Paul looks genuine distraught when Peter is shot (albeit temporally).]]
to:
* EvenEvilHasLovedOnes: Despite bickering and insulting each other Peter and Paul seem to care for each other in some way.[[Spoiler: Paul looks genuine distraught when Peter is shot (albeit temporally).temporarily).]]
Changed line(s) 68 (click to see context) from:
* FaceOfAnAngelMindOfADemon: The two killer are young and handsome boys in their 20s who don't even look menacing at first.
to:
* FaceOfAnAngelMindOfADemon: The two killer killers are young and handsome boys in their 20s who don't even look menacing at first.
Changed line(s) 84 (click to see context) from:
*** For one, the invaders get into the home through [[SubterfugeJudo social engineering]] rather than brute force. The Farbers initially fall for the deception because Paul and Peter follow social norms at first and apologize for their more questionable behavior. By the time the Farbers figure Paul and Peter's true intentions, it's too late.
to:
*** For one, the invaders get into the home through [[SubterfugeJudo social engineering]] rather than brute force. The Farbers initially fall for the deception because Paul and Peter follow social norms at first and apologize for their more questionable behavior. By the time the Farbers figure out Paul and Peter's true intentions, it's too late.
Changed line(s) 87,88 (click to see context) from:
** The whole point of subverting the FinalGirl was to trick the audience to fall for an old horror cliché: "the final female survivor kills the villains." [[spoiler:The movie initially sets up the knife dropped by George and Georgie Jr. as a convenient ChekhovsGun for Ann, only to disregard it as a useless RedHerring by the end. The knife's real purpose was to keep the viewers hopeful for a SurprisinglyHappyEnding even though Paul just demonstrated that the Farbers have no shot at winning.]]
* GenreSavvy: Paul knows that he's in a film and tracks his deeds based on common plot structure.
* GenreSavvy: Paul knows that he's in a film and tracks his deeds based on common plot structure.
to:
** The whole point of subverting the FinalGirl was to trick the audience to fall into falling for an old horror cliché: "the final female survivor kills the villains." [[spoiler:The movie initially sets up the knife dropped by George and Georgie Jr. as a convenient ChekhovsGun for Ann, only to disregard it as a useless RedHerring by the end. The knife's real purpose was to keep the viewers hopeful for a SurprisinglyHappyEnding even though Paul just demonstrated that the Farbers have no shot at winning.]]
* GenreSavvy: Paul knows that he's in a film and tracks his deeds based on a common plot structure.
* GenreSavvy: Paul knows that he's in a film and tracks his deeds based on a common plot structure.
Changed line(s) 138 (click to see context) from:
* ShotForShotRemake: The American remake, by the same director, is almost exactly the same, but English speaking actors are used instead of German and Austrian actors.
to:
* ShotForShotRemake: The American remake, by the same director, is almost exactly the same, but English speaking English-speaking actors are used instead of German and Austrian actors.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* DeadpanSnarker: Paul is the most sarcastic one of the duo often displaying some very dark humor.
Added DiffLines:
* EvenEvilHasLovedOnes: Despite bickering and insulting each other Peter and Paul seem to care for each other some way.[[Spoiler: Paul looks genuine distraught when Peter is shot (albeit temporally).]]
Added DiffLines:
* LeanAndMean: In the original movie Paul is quite skinny and is the dominant one of the murderous duo.
Is there an issue? Send a MessageReason:
aversions of this trope are not noteworthy
Deleted line(s) 152 (click to see context) :
* TheFourthWallWillNotProtectYou: Averted. while Paul is aware of being in a horror movie, he never tries to threaten or attack the audience.
