The Turn of the Screw

The most important thing in here it's that The turn of the screw works as an adaptation rather than anything else. That's why I think the comparison between this TV movie with The innocents (Jack Clayton; 1961) is unfair. Although both films comes from the Henry James novella, Clayton's emphasizes in the ghosts story while one this focus on corruption and evil and character development; it´s a straightforward story but doesn't looses the strength included in the written words. It´s based on a slow pace, but never falls into boredom. And my guess is that, for a proper enjoy of this film, it's a basic thing is to have read the novel first.

This TV production doesn't break any new ground in it's retelling of Henry James ghost story, but it's a nicely handled version all the same.

The relatively unknown cast give good performances. Johdi May as the governess has just the right mix of shyness and repression and is attractive without being overly glamorous. The freudian aspects of the story are hinted at but are not overdone.

As usual with a Masterpiece Theater production the production is superb and the English country house setting is beautiful.

With all due respect to flinty-but-dear Megs Jenkins (Mrs. Grose in both the 1961 "The Innocents" and the Lynn Redgrave made-for-TV Ben Bolt-directed rendering), Pam Ferris' housekeeper seems closest to the illiterate, fierce, none-too-genteel woman of James' story. Maybe it's her sheer size, but she grounds the story completely and serves as splendid contrast to the slim, neurasthenic Jodhi May as the Governess. No "The Innocents" (the only dramatization with a point of view), still, this "Turn" works pretty well and may have the best ever staging of Miles' death.

Henry James wrote, perhaps the most famous ghost story in the world: The Turn of the Screw.

The suggestion in the book is that the governess might be having hallucinations brought on by sexual hysteria, OR she might, indeed be caught between the living children under her care, and the dead lovers who communicate with each other through the children.

Benjamin Britten wrote an opera that is absolutely bone-chilling called The Turn of the Screw. Many films have also been made either called The Turn of the Screw or, in a brilliant adaptation, The Innocence.

In The Innocence, Sir Michael Redgrave is the owner of Blye and the person who hires Deborah Kerr to be in complete charge of his niece and nephew.

In this new Masterpiece Theater adaptation, called The Turn of the Screw, Colin Firth plays The Master of Blye who hires Jodi May as governess.

Redgrave is older, detached and uninterested in the workings and daily problems of Blye and simply wants someone to run things for him.

Firth is young and VERY sexy. So much so, that he uses his sexuality to convince a naive and hesitant May to take the position.

This sexual attraction, on May's part, is underlined with a scene where she enters The Master's bedroom at Blye, and touches his clothes.

But the haunting of Peter Quint and Miss Jessel are presented as VERY real, and very threatening.

What is merely suggested in the older Kerr version, is played out with more emphasis in this Masterpiece Theater version.

The sets are lush. The setting beautiful. The children too perfect. Flora is smug and deceptive. Niles is heart-breaking in his corruption.

The question remains. Was the governess mad or was she overwhelmed by the evil of Peter Quint? Were the children possessed or was the governess?

An excellent version, although there are scenes in the Kerr version that are truly jolting.

The most daring thing about this adaptation of Henry James' classic tale is the way that stunning newcomer Jodhi May plays the ghost haunted governess as a living, breathing girl with flaws rather than a lifeless model of prim perfection. Deborah Kerr's interpretation in the earlier film version (titled THE INNOCENTS) was so cool and crisp that there was never any doubt that the governess would overcome the evil ghosts (and save the rotten children who serve them)through sheer icy self-control, pure virginity and stubborn virtue.

Jodhi May's performance shows more psychological depth, depicting a governess who is menaced not only by the ghosts themselves but by her own voluptuous desires. Temptation surrounds the governess in this version, not only in the attentions of her devastatingly handsome employer (a stunning and very youthful Colin Firth) but also in the very comforts and luxuries of her position on the secluded estate.

Watch the way she succumbs to the charms of Miles' piano playing in the film's climactic scene, not only losing track of the time but falling little by little into a deep, drugged sleep. The two children are both shown as being more alert, more aware, than the lovely governess, whose nights have been quite sleepless owing to both ghostly terrors and erotic dreams of her employer. During the piano scene, Jodhi May's shifting expression is worth watching closely, as her bewitching gray eyes sink from stern watchfulness to drooping weariness, an unwilling surrender every bit as haunted and erotic as her dreams. Note how the camera very knowingly cuts back and forth from the heavy eyes of the governess to the light fingers of Miles at the piano, his skill meant to suggest the feather-soft touch of a lover. There can be little doubt that this image suggests a woman who bears her crystal pure virginity not as a shining shield but as an exhausting burden. She wants to have her employer's hands touching her lightly and knowingly, drawing forth her full desires the way Miles draws exquisite melody from the piano. Her deep sleep leaves her at the mercy of the children, but it results from the adult strain of holding her own sensual desires at bay. What a rich, haunting story, and what an authentic, womanly performance from the beautiful Jodhi May!