Os Inocentes

"The Innocents" is one of those films that prove subtlety and imagination can be ten times more terrifying than loud noises or things that go bump in the night. There are no raging spirits or escaped madmen here. Nor will you find that stock of today's second rate horror films -- the creature that embodies evil and finds amazingly obscure ways in which to slaughter naughty teenagers. No, this movie scars one's psyche with darkness and silence and possibility, all mingled with its refusal to give the audience an easy answer at the end.

Based on Henry James' novella, "The Turn Of The Screw," the story is deceptively simple. An inexperienced governess is hired to care for two orphaned children in an isolated British manor and slowly comes to believe the ghosts of the previous governess and her brutish lover are trying to possess the children's souls. Being a decent woman "who loves children," she fights back the only way she can -- by confronting the evil head on. But the question is, does the evil truly exist...or is it all in her own mind?

As told by James, the novella is a startling ghost story, without question. He adds his usual psychological insights to the characters, but never do you doubt the ghosts exist. The defining moment comes when Miss Giddens sees Quint's face in a dark window then later finds a locket bearing his portrait and comes to her realization, "Oh, he's a ghost!" But in the movie, Truman Capote and William Archibald reverse this sequence -- she finds the locket first and THEN sees the man's face in the window -- and all simple explanations go out the door.

Is Miss Giddens imagining things? Has she become overwhelmed by the responsibility of raising two precocious children without any sort of support from their selfish uncle? Is she merely sexually repressed and immature enough to transfer her crush on the uncle to a boy not even into puberty yet? And what of Flora, Miles' sister? If this is merely sexual repression on Miss Giddens' part, then why does she drag a little girl into the morass? Throughout the film, Miss Giddens offers evidence of her concerns -- a letter received from Miles' schoolmaster that she cannot fully share with Mrs. Grose because the woman cannot read; her awareness that the two innocents in her charge have a far more advanced knowledge of life than children that age normally would; stories told by Mrs. Grose about Miss Jessel and Quint and how they treated the children. So could it be the spirits of two miserable adults have come back to reclaim life in the persons of Miles and Flora? It could go either way.

There is not one wrong moment in this movie. Not one. The first time I saw it was in New York City on a double bill with "The Haunting" (1963), a "things that go bump in the night" kind of movie. The audience and I howled through that one, it was so much silly fun. And we chuckled through the first ten minutes of "The Innocents" (especially when Mrs. Grose tells Miss Giddens, "I'm SO glad you're here," with a little quiver in her voice), but by the end of that film (and I use the word "film" deliberately), the entire theater was dead silent. Any film that can shut up a room full of rowdy New Yorkers has got to be damned good.

So...is "The Innocents" a ghost story or psychological study? Who can say? And to be honest, who cares? It is, at the very least, a damned good movie...and at the very best, a horror story that makes "The Shining," "Rosemary's Baby," "The Others" and even "Psycho" (a movie I love) look like the works of children. That this film is not available on DVD is a travesty.

The Innocents (1961)

The title loads this gun a little differently than the original from the long short story (or novella) by Henry James--The Turn of the Screw. But Jack Clayton's version of the story gets at the point with great ambiguity--uncertainty is key, and the suspense is partly under pressure because we don't quite know which side to take.

I can't say more, of course, because even a hint of a hint will start a viewer off on the wrong foot. But know that The Innocents is vigorously filmed in widescreen black and white, that Deborah Kerr, always a cool actress, is perfectly cool here (some might just say British, but she has no Julie Andrews in her governessing, and no Elizabeth Taylor in her at all). The two kids are both rather poised and charming as well as chilling, the boy especially intriguing for his precociousness (and preciousness). We empathize with all three equally, and yet, as you see, you can't quite see the events from their three pairs of eyes equally. Something is wrong, and you wait to see what, and how it will be revealed.

If it ever is. One of the brilliant things about Henry James is how you finish one of his books (the novels are better than the stories for this, I think) knowing what has happened but not knowing completely why. I mean, it all makes sense and feels right, but it feels suspended with an air of lingering needs. So you end up thinking about it later. As you will with this film.

There are some moments of special effects that are very well done even if a kind of 1950s/60s style of overlapping images and dreamer/dreamed simultaneousness. And the ghosts, not to give anything away, are pretty matter of fact. This is more an appreciation than a complaint, because the lack of gore, of cheap surprise, or of obvious scare tactics makes the movie a relief, and a bit of cinematic magic.

Amid the releases of numerous Hammer films, Jack Clayton directed a different kind of horror film, more of a psychological thriller. "The Innocents" casts Deborah Kerr as Miss Giddens, a woman hired to be a governess for two children in a manor in the English countryside. At first, the children are happy to have Miss Giddens around. But as time passes, Miss Giddens begins to suspect that something is not quite right...or is it all in her mind? The movie, based on a short story by Henry James, has a lot going for it. The black and white cinematography alone creates a significant Gothic feeling. The setting certainly adds to that: an antiquated mansion in which just about anything could be hiding; the house could easily be the star of the movie. But Deborah Kerr's facial expressions are as creepy as anything that happens in or around the house. Her expressions truly serve to make the audience wonder how much of the terror is real or in her mind. And of course the girl's song is also pretty sinister.

Watching the movie, I could see some similarities to "The Shining" and "The Others". It just goes to show that real horror comes not from blood and guts, but from what the viewer doesn't know. There were a few scenes in this movie that made my blood freeze a little bit. Without a doubt it was a solid achievement for Clayton, Kerr, and also Truman Capote (who co-wrote the screenplay). Definitely one that I recommend.

Miss Giddens (Deborah Kerr) is hired to be the governess to two children on a country estate. She comes to believe the place and the children are haunted by the spirits of their previous governess and her brutish lover. No one else believes her so she tries to get rid of the ghosts herself.

The first screen adaptation of Henry James's "The Turn of the Screw, " a psychological ghost story that leaves unanswered the question of whether the ghosts are real or imagined. This sort of story is pretty common in movies of the last 20 years but was much less so in 1898 or even 1961. Don't let the ambiguity put you off that there are no scares here. This is a movie full of spooky moments, shadowy figures, startling reflections, eerie voices. It's beautifully photographed by Freddie Francis. The music and sound effects add to the feeling of unease. Deborah Kerr gives a nail-biting performance as the neurotic, repressed Miss Giddens. The child actors, Pamela Franklin and Martin Stephens, are sufficiently precocious and weird to keep you off balance as to the truth behind their possession. Stephens was the leader of the kids in Village of the Damned. Franklin would go on to appear in such '70s greats as And Soon the Darkness and The Legend of Hell House. Megs Jenkins is good as the kindly housekeeper. Peter Wyngarde is creepy as the menacing Quint.

The pace is slow, which will turn off impatient viewers, and the scares are subtle and not as visceral as most modern horror fans seem to enjoy. But if you like thoughtful horror films then this is one you'll want to see. Fans of the suggestive classics Val Lewton produced in the '40s should also check this out.

What makes a good chiller? Gore, special effects? No, as director Jack Clayton proves here, it's atmosphere, combined with the sounds of horror, that makes the difference. Granted, I've seen just about every Elm Street and Friday the 13th instalment, but "The Innocents" proves that what you don't see can scare you the most. Deborah Kerr is in fine form as an English governess who is sent to a remote mansion in the country to look after two young orphans. Their "uncle" in London doesn't have time for them. Kerr slowly begins to realize there's something not quite right with the young boy and girl. Their thoughts and actions are not consistent with the behavior of pre-teens. There's a dark secret, and Kerr sets out to discover it. We do see the ghosts, but it's when Kerr searches the house for the sources of strange noises and voices that we really feel a chill. "The Innocents" also makes great use of its black and white photography. I can't imagine it working as well in color (are you listening, Gus Van Sant?). Shadows just seem creepier in black and white. The children are well played by Martin Stephens and Pamela Franklin. Franklin was 11 when she made this film, and as an adult she would go on to star in another excellent haunted house movie, "The Legend of Hell House." It's a shame that Hollywood has stopped making movies like "The Innocents." Perhaps audiences used to Halloween-style slashers, "Scream" and "I Know What You Did Last Summer" would be demanding blood and guts. Yes, "Scream" was, pardon the pun, a cut above. It raised the slumping horror bar to new heights, and then "I Know..." ran under that bar, but that's another story. If you want genuine chills rather than cheap thrills, you can't do much better than "The Innocents."