The Turn of the Screw

Henry James' supernatural (and ambiguous) period novella is among a handful of genuine horror classics; consequently, it has been relentlessly plundered over the years and from myriad countries in both the cinema and TV formats. Jack Clayton's black-and-white take, THE INNOCENTS (1961), is universally recognized as the source's finest rendition; personally, up till now, I was only familiar with it, Dan Curtis' serviceable 1974 TV adaptation and also Michael Winner's intriguing prequel/offshoot THE NIGHTCOMERS (1972). One of the wonders of the Internet is that, through this medium, several renowned productions from TV's golden age (intended for immediate consumption, they were even shot live!) – often boasting the participation of up-and-coming talent behind the camera (here including Sydney Pollack as dialogue director) and established stars in front of it – which would otherwise have been lost to the ages are seeing the light of day, garnering new admirers in the process and sometimes, amazingly, going so far as to rewrite history (or, at least, redress the balance somewhat)! Anyway, this version is certainly no slouch in comparison to the afore-mentioned THE INNOCENTS: apart from the necessary streamlining (in fact, the character of the children's uncle, with whom the governess is enamored, does not appear in the flesh), what it loses in meticulously-crafted artistry and expansive location shooting is gained in editorial dexterity (Frankenheimer never puts a foot wrong in orchestrating the most judicious counterpoint to any given scene or emotion, creating a palpable tension throughout) and, for lack of a better word, the sense of continuity within the performances (obviously akin to stage acting) – with Ingrid Bergman in her small-screen debut, channeling her earlier Gothic success in GASLIGHT (1944), fitting the central part like a glove. The malevolent forces at work, too, are adequately deployed – the little girl being especially creepy but, then, the features of the ghostly woman are never properly seen (though I fear the fault in this case lies with the fuzzy nature of the, presumably, only available print rather than the film itself!). For the record, Eloy de la Iglesia's 1985 Spanish movie remake and the 1989 "Nightmare Classics" entry will follow presently in my ongoing Halloween Challenge

I saw a theatrical screening of this last year - always a treat with live TV productions, because the seams show so amusingly. But well worth seeing on the small screen, too. Bergman's first dramatic TV appearance, and she gives one of her best performances. Her incredibly expressive face and body language make the suspense and mystery really palpable. Supporting cast good, although not quite in the same category. Production is simple (only a couple of sets) but effectively atmospheric. Frankenheimer really knew how to make these shows work.

The book "Turn of the Screw" is quite a masterpiece. It employs a technique quite common at the time of putting a story within a story. It goes like this-

"OK, I'm going to tell you what She told me happened and then you can tell me what you think REALLY happened!"

The story involves a young woman who is hired by a gentleman as a governess for two children who live at a country house. The circumstances are all very strange. There are overtones of Jane Eyre .... but the story takes a very different turn. This is a ghost story .... or is it a ghost story? The reader is left to decide.

On reading the book, my family and neighbours all argued vehemently about how the story was to be interpreted. It created nearly as much speculation and discord as Picnic at Hanging Rock was to do a generation later.

Then we saw the movie and it started all over again. "There you are!" says Al "it's there in black and white! The director agreed with MY interpretation!" "No!" says Vi, "It's perfectly obvious, that it proves my opinion!" Nell said "Can't you see now that I'm correct?!" and Dot said "Your all mad... it WAS a ghost story!" "No" said the baby, putting in its tuppence worth, "She done it!"

The thing that is so impressive about this movie is that it miraculously retains the ambiguity that makes the book so fascinating.