The Innocents Reviews

"But above anything else, I love the children."

Bestowing 1961's The Innocents with the label of "haunted house horror" is too simplistic, and the accuracy of such a description is debatable. An adaptation of Henry James' 1898 novella The Turn of the Shrew, this is a chilling horror feature that is notable for its brilliant ambiguity. When first released, Twentieth Century Fox billed The Innocents as a horror film for the adult moviegoer since it is a serious and intellectual piece of work rather than anything salacious, profane or cheap. Like 1963's The Haunting and 2001's The Others, this is a film that methodically develops tension and atmosphere, relying on what is unseen instead of rubber monsters or special effects. Although there is undoubtedly a place for more simplistic mainstream horror movies, The Innocents looks unique and refreshing in comparison.

After accepting a position as a household governess, Miss Giddens (Deborah Kerr) is charged with taking care of cute orphans Flora (Pamela Franklin) and Miles (Martin Stephens) at their uncle's luxurious mansion in the English countryside. It's a beautiful estate surrounded by luscious gardens and ponds, and a live-in housekeeper, Mrs. Grose (Megs Jenkins), oversees the vast house. Although everything seems innocuous at first, Miss Giddens is disturbed to learn that the family's previous governess, Miss Jessel (Clytie Jessop), died under unusual circumstances. Before long, Miss Giddens begins to see and hear strange things around the estate, leading her to believe that the property is haunted by the ghost of Miss Jessel and her late lover, Quint (Peter Wyngarde). As the normally innocent behavioural patterns of the children begin to change and grow more devious, Miss Giddens begins to suspect that the spirits of the dead may be possessing them.

The Innocents presents a haunting in the truest sense. Forget your contemporary perception of horror and forget about digital effects to illustrate implausibly over-the-top ghosts, as director Jack Clayton's horror opus is all about mood, atmosphere and eerie sounds. The Innocents benefits from its impressive gothic art direction, while the black-and-white cinematography by the masterful Freddie Francis (The Elephant Man) is extraordinary. Francis's composition and use of controlled lighting and shadows impress the most, turning what could have been just another forgettable horror film into a genuinely artistic piece of work. Director Clayton maintains the pervasively creepy atmosphere throughout the film, which is also a credit to the chilling original score by French composer George Auric (The Wages of Fear, Rififi).

The screenplay by Truman Capote and William Archibald is marvellous, as the film is deliberately unhurried and rich in engaging chatter. The Innocents is a small-scale picture that feels more like a stage play than a theatrical feature film, and this may leave impatient contemporary horror fans twitching in their seats. However, those with the appropriate attention span will find themselves engrossed in this scary picture as Clayton guides the narrative with a steady hand. Another notable aspect is the use of silence and eerie music to set the mood. The main tune is haunting, playing as an overture at the beginning to establish the tone. Additionally, The Innocents closes on a commendably uncertain note, with Clayton leaving us to decide whether the house is haunted or whether the sheltered, sexually repressed Miss Giddens is, in fact, going insane. Scholars will probably continue to debate the film for years, a true credit to the filmmakers who provide enough evidence to support conflicting theories.

Deborah Kerr was forty here, and she looks too old for the part of the twenty-year-old Miss Giddens. Nevertheless, she is a beautiful woman, and she is effective in the role thanks to her masterful acting prowess. Kerr is attention-grabbing from start to end, and she's extremely good at conveying mental deterioration, frustration and isolation. Fortunately, a terrific cast surrounds Kerr. Talented child actors are hard to come by, yet Franklin and Stephens are excellent as the characters of Flora and Miles, who are part angel and part devil. Stephens is the standout; he's a powerful child star, calling upon an astonishingly broad range of emotions and selling the various aspects of his character. Meanwhile, Megs Jenkins is also great as the housekeeper.

The Innocents admittedly looks dated to a certain degree in 2013, with a few patches of strictly ordinary filmmaking and an opening credits sequence that is a bit on the weak side. Nevertheless, this is required viewing for horror enthusiasts and budding filmmakers, as it is a masterclass on how to generate hair-raising thrills and chills without resorting to gore or excessive special effects. Sure, those things have their uses, and numerous successful horror films employ such techniques to terrifying effect. But not many linger on the mind or deliver the same staying power as The Innocents, which stimulates your intellect on top of raising the hairs on the back of your spine.

8.2/10