John Chard
Nov 2, 2013
The Innocents (1961) Oh willow I die, oh willow I die... Based on Henry James' novel, The Turn Of The Screw, The Innocents is a thoroughly absorbing chiller that pot boils with almost unbearably knowing glee as to what it's doing to the viewer. Deborah Kerr stars as Miss Giddens, the lady hired by Michael Redgrave to act as governess to his young niece and nephew. We find ourselves in Victorian England, out on some country estate at Bly Mansion, where the children are angelic and enchanting in equal measure. Yet there’s an eeriness hanging over this place and it starts to seemingly play tricks on Miss Giddens' mind, she thinks she sees and hears things. It's only when she talks to housekeeper Mrs Grose (Megs Jenkins), that she starts to piece things together, but worryingly it's the children that appear to be at the root of the problems. Aren’t they? Kerr is fabulous here, carrying an elegant gait around with her, she does a fine line in borderline hysteria caused by something unknown bubbling away under the surface. Filmed on location at Sheffield Park and Gardens, and the Bluebell Railway in East Sussex, this lovely Gothic chiller does justice to its literate source. Being co-scripted by Truman Capote, William Archibald and John Mortimer, that's really not much of a surprise in truth though is it?! Choosing to play on the viewers imagination more than pandering to shocks, director Jack Clayton superbly creates a sort of itchy like sense of dread. He’s fully aware that here in and around the Gothic abode, it’s more often than not what you don’t see – or think you see - that is more frightening. Ace cinematographer Freddie Francis does a marvellous job with the photography, with deep focus and shadows the order of the day, and with Clayton sharp cutting and dallying with angles; and Georges Auric’s sinister music floating around the estate like some spectral peeping tom, the atmosphere created is akin to claustrophobic foreboding. In many ways it's actually an uncomfortable watch, but for all the right reasons, the themes that rumble away are grim in texture, the question of malevolent evil or otherwise is a constant, and fittingly the finale offers up a shocking denouement that is nigh on impossible to shake off. With great performances from the child actors (Pamela Franklin/Martin Stephens) sealing the deal, The Innocents is one of the smartest and most effective chillers to ever have come out of Britain. 9/10
