In a Dark Place

"in a Dark Place" with Leelee Sobieski and Tara Fitzgerald is a retelling of the classic Henry James story, "the Turn of the Screw" There have been many incarnations, "The Innocents" with Deborah Kerr being the best. This is very good though.

Leelee plays young Anna Veigh, a nanny assigned to look after two young children, a boy Miles and a girl, Flora, on a remote country estate. It soon becomes apparent that they were abused, as was Anna herself, Mrs. Grose the caretaker, is distant and remote, adding to Anna's misgivings.

The film is stark and sensual. Leelee gives probably her best performance to date, possibly because, as Leelee herself tells us, there is little of her in Anna. Tara Fitzgerald is also a fine actress and really seems to bring everyone's level up in whatever she appears. There is increasing dread to the proceedings that are more psychological than supernatural and the film never loses its edge or its air of creepy self-pleasure.

There is a lesbian subtext that was missing in earlier versions and a good twist as to who the children are really afraid of. The film is moody and subversive but not so obtuse that the viewer is left in the dark too. Due to its subject and certain scenes this isn't really the most comfortable film, but for those who care, both Leelee and Tara give the devil his due with flashes of nudity. All in all I wasn't expecting much from this and so was pleasantly surprised and entertained.

This is a very slow moving film, open to all sorts of interpretations. It has atmosphere, some tension and decent performances, and is very well shot, but something is definitely missing.

In the documentary included as an added feature on the DVD, director Donato Rotunno proudly tells us that he made this movie without having read the source material on which it is based, Henry James classic novella "The Turn Of The Screw." Perhaps Rotunno should have read it first. His vision for the project might have been clearer.

Big plus: Leelee Sobiesky is a beautiful woman, and her assets are amply displayed throughout the film.

Yes, the storyline is something we've all seen before. But what makes the film worth watching is Tara Fitzgerald's performance as the cold, domineering headmistress of the house. Fitzgerald chews through every piece of scenery she's in, and creates a very believable three-dimensional character. Unfortunately her role is wasted on being paired with Leelee Sobieski, who just doesn't seem to grasp what's going on. Fitzgerald, on the other hand, seems to know just the right moves to make Miss Grose unlikable, while at the same time making us care for her. Sadly, there are very few actress today who can do this. I hope to see more of her!

Stay far far away from this movie unless for the nude scene and then all she really shows is her butt ..... bad bad bad movie with terrible terrible terrible script and even worse direction. This movie might appeal to you if you enjoy films that try very hard to be intelligent but just can't make it past mediocrity. Leelee gives a decent portrayal of the character but she had nothing to work with. If you look up 1-deminsional in the dictionary you will see a picture of the character of Anna Vey. The lesbian scenes in this movie were added only for the sake having lesbian scenes in a sad attempt to make the film cutting edge. Everything failed miserably.

Hollywood is fond of updating classic tales: Shakespeare is the author most often reconfigured, at times with great success, at times not. The intellectually stimulating works of Henry James have been brought to the screen and making visual the inherently cerebral stories come to life. Such, sadly, is not the case for IN A DARK PLACE, a warping and distorted 'update' of one of the finest ghost stories ever written - James' 1898 TURN OF THE SCREW. Screenwriter Peter Waddington adapted the story to place in our faces fully realized interpretations of what James used as suggestion: James realized that the reader's mind could infuse his story with personal demons that would replace the need for detailed description.

Cases in point: the Governess is here an art teacher given a name, Anna Veigh; the occult sexual overtones of the story are played out in full view leaving little to the frightening aspects of James' intentions; the concentration of the story on the governess' mental fragility is forced into clichés and placed in the hands of an actress unable to be subtle; the 'interiority' of the mansion is replaced by equal time outside on the snowy grounds (opening up the story, so they say), etc.

The story is well known, having been adapted successfully before by television, movies, and opera (Benjamin Britten's immensely well written opera TURN OF THE SCREW). Anna Veigh (Leelee Sobieski) is the art therapist turned governess who upon losing her job is hired to care for the children Flora (Gabrielle Adam) and Miles (Christian Olson) in a now deserted mansion whose only other occupant is the secretary/estate manager Ms. Grose (Tara Fitzgerald). Soon enough Anna discovers that the previous governess Miss Jessel (another art therapist who was three months pregnant) was found dead in the lake, and that the prior male butler Peter Quint hanged himself. Anna alone begins to see the ghosts of these newly departed servants, and when she explores the reasons with Ms. Grose we discover the Ms. Grose was in love with Miss Jessel and hated Peter Quint. Anna is frequently visited by nightmares of her own sexual abuse as a young girl and transfers these fears onto Flora and Miles, feeling that they were similarly abused - an explanation for their bizarre behavior patterns. Ms. Grose acts out her sexuality with Anna, confusing Anna even more, and stressing her vulnerable psyche into thinking she can exorcise the demons of the house. And the ending will surprise us all! Director Donato Rotunno needs to re-read the James novella and rely on the audience's intelligence more than to alter the story to become faddist and frank instead of subtle and suspenseful. A major problem with the casting is the far too frequently physically exposed Leelee Sobieski: it feels as though she is reading her rather pedestrian lines from a cue card off camera. It is a sad imitation of the governess. Tara Fitzgerald's Ms. Grose is not the obese, matronly of the original, but instead a very svelte and seductive woman: she succeeds in creating a credible alternative figure very well. The setting and photography are fine, but the musical score by Adam Pendse is a pedestrian mix of incongruous styles. In short, if you are a fan of Henry James, avoid this sloppy work. But then, if Leelee Sobieski is a favorite, then you see more of her as a grown woman than you probably will ever see again! Not Recommended. Grady Harp