Now
here is a horror film, the old-fashioned way. The Innocents,
made in 1961, is based on Henry James' The Turn of the Screw,
and, like the book, it brilliantly depicts the terror brought
upon a governess (played here by Deborah Kerr) by her two
seemingly innocent, mannerly charges. We are shown what seem
to be peculiar, ghostly apparitions, but which might be a
symbolic, supernatural representation of something only too
horrifyingly real, and inseparable from the two children and
their disturbing past.
The
movie begins with the children`s uncle interviewing Kerr -
the uncle bluntly portraying himself as a disinterested party
in this situation. He feels burdened with the care of the
kids after their parent`s death, and his demeanour and words
suggest clearly he`d like nothing better to do than to toss
the kids over to a seemingly nice person so he could travel
around the world doing God knows what. He suggests his attitude
is heartless, but Kerr tries to convince him (and herself,
perhaps) this is not.
Another
component in the interview is the attribute of imagination,
and whether Kerr possesses it. The uncle hopes, as most of
his type might, that Kerr possesses enough of it to successfully
distract and entertain the children from the hardships of
before. This subject seems incidental, but imagination might
be exactly what creates the eventual psychological downfall
of the governess and the children, as noone seems to be entirely
sure of what is happening, or why. Mystery can only breed
imagination, and that imagination can concoct some serious
ideas.
In
a nutshell, the issues which bring about the horror are this:
the previous governess had committed suicide. As well, the
dastardly stable keeper, who was killed in an accident at
the home, was in a relationship with her. The two continued
this relationship even though it was quite clear the stable
keeper was abusive and manipulative. It is also known that
these two people were primary influences on the children,
and it might be concluded that the reason the children act
the way they do is due to their admiration of the adults.
And
then what happens is strange: Kerr`s character starts seeing
people she doesn`t recognize. When she tells the maid of all
these strange apparitions, the horror comes out. These sightings
are of the dead, the ghosts of the two dead lovers. Kerr`s
deepening investigation soon leads her to believe the children
have full knowledge of the ghosts, but are attempting to fool
the grown-ups around them. Numerous scenes will frustrate
you, as you will not be sure whether Kerr is imagining all
of this, and merely assaulting these kids' poor minds, or
whether they really are hiding something.
No
matter what the truth is, the grim, surreal mood is never
broken at all, not even during the Fox Fanfare. Instead, we
get this bizarre and creepy tune, sung by Flora, playing over
a blank screen for two or three minutes, with the Fox logo
silently, eventually, appearing in the background. The direction
is mysterious and atmospheric, and the black and white is
shadowy, stern, and otherworldly, as it should be. This is
one of the few films where the mood stays consistent throughout,
never overboard or too mannered.
Now...those
kids.....they are so damned annoying! They sound like kids
trying way too hard to impress their elders. Flora is always
cheerful and overly imaginative. And the (for me) insufferable
Miles embraces every stereotypical British pomposity in his
seemingly tiny frame. This, I`m afraid, is not a fault of
the film, but an aspect taken right from James, who apparently
didn`t have the vision into actual children`s behaviour. But
while words on a page are one thing, the actual presentation,
where I must actually hear these people talk, makes the children
seem less likely. I will be upfront and say this is a flaw,
yet it doesn`t ruin the story itself, which is brilliantly
constructed.
I
truly got a better grasp of this story the second time around,
after having read the book a couple of years ago. I believe
I somewhat understand the symbolic undercurrents in the appearances
of the ghosts. The symbolism seems, to me, to represent the
quite natural and common phenomenon of the negative effect
of abusive elders upon the next generation. The ghosts, of
course, represent the "ghosts", the unspoken secrets of the
past. It is telling that the maid frequently bids Kerr to
stop digging up "what`s over and done with." The children
conspire with the ghosts, because they don't want to be released
from the behaviour they've been taught, behaviour which clearly
has been negative. And the final shot is a chilling conclusion
to what a less thoughtful viewer might have expected, or wanted.
Yet this ending is necessary, and gives us the natural aftermath
of Kerr`s attempts to drive the ghosts from the children`s
presence.
The
Innocents is filled with many attributes, works on many different
level, and should please those looking for a really good "classic"
to view.
David
Macdonald
David
Macdonald's Movie Reviews
|