The Innocents (1961)
Country: GB
Technical: bw/scope 99m
Director: Jack Clayton
Cast: Deborah Kerr, Megs Jenkins, Pamela Franklin, Michael Redgrave
Synopsis:
A governess employed to look after two children begins to suspect them of being in complicity with the ghosts of the former gardener and her own predecessor.
Review:
A classic of suggestion is here transferred to the screen with great visual flair and some truly frightening moments. It is necessarily more 'committed' than James's novella, awash with sensual close-ups and Freudian symbolism in order to imply the character's fevered repression. Unfortunately the script is not so sensitive and the boy's delivery in particular grates on modern ears, but Clayton's deep-staged compositions and Freddie Francis's evocative cinematography ally well with Kerr's committed performance.
Country: GB
Technical: bw/scope 99m
Director: Jack Clayton
Cast: Deborah Kerr, Megs Jenkins, Pamela Franklin, Michael Redgrave
Synopsis:
A governess employed to look after two children begins to suspect them of being in complicity with the ghosts of the former gardener and her own predecessor.
Review:
A classic of suggestion is here transferred to the screen with great visual flair and some truly frightening moments. It is necessarily more 'committed' than James's novella, awash with sensual close-ups and Freudian symbolism in order to imply the character's fevered repression. Unfortunately the script is not so sensitive and the boy's delivery in particular grates on modern ears, but Clayton's deep-staged compositions and Freddie Francis's evocative cinematography ally well with Kerr's committed performance.
Country: GB
Technical: bw/scope 99m
Director: Jack Clayton
Cast: Deborah Kerr, Megs Jenkins, Pamela Franklin, Michael Redgrave
Synopsis:
A governess employed to look after two children begins to suspect them of being in complicity with the ghosts of the former gardener and her own predecessor.
Review:
A classic of suggestion is here transferred to the screen with great visual flair and some truly frightening moments. It is necessarily more 'committed' than James's novella, awash with sensual close-ups and Freudian symbolism in order to imply the character's fevered repression. Unfortunately the script is not so sensitive and the boy's delivery in particular grates on modern ears, but Clayton's deep-staged compositions and Freddie Francis's evocative cinematography ally well with Kerr's committed performance.