The Innocents (1961)
Review by Theron Neel
The 1961 film The Innocents is perhaps the archetypal gothic horror story. It has all the necessary ingredients for a big pot of psychological terror: a large, empty mansion in the middle of the British countryside; a self-obsessed, ever-absent master of the house; an unstable, needy spinster (well, a woman of a certain age, let’s say) as governess; and two cute, precocious, possibly sociopathic and telepathic, young children. Add to that stew a thick dollop of Freudian sexual obsession and repression and let simmer and wait to explode.
Based on the classic 1898 novella “The Turn of the Screw” by Henry James, this tale has been interpreted several times into many different media—opera, ballet, films, and various television adaptations. The Innocents is perhaps the best and most well regarded version of this classic story.
Miss Giddens (a wonderful Deborah Kerr) interviews with a solipsistic English gentleman for a position as governess for his young niece and nephew. She will have complete control and responsibility for both children and every aspect of their lives. They will live, almost totally alone, on his massive estate in the British countryside…a location with dark secrets of its own. Though this is her first position and it seems a bit overwhelming, Miss Giddens is persuaded by the children’s pushy, yet charming uncle. From this first meeting, it’s clear to see that Miss Giddens isn’t quite right, but no matter. The uncle decides he wants her and, well, that’s that. And, oh, and one more thing: she must never speak of Miss Jessel, the children’s previous governess who died mysteriously. Never.
All seems wonderful as Miss Giddens arrives at the estate. She meets the niece, Flora (Pamela Franklin), an excitable, seemingly charming young girl. But as normal as Flora seems, she insists she knows that her brother, Miles (Martin Stephens), will be returning home from school soon. Sure enough, a letter does arrive stating that Miles will be arriving soon, even though a school break is not upcoming. It seems Miles has been dismissed from school for vague accusations of cruelty and harming things. Again, no matter, Miles is even more charming than his sister. Constantly referring to Miss Giddens as “My dear,” Miles is an ingratiatingly precocious young British gentleman. But he’s also kind of creepy. He says suggestive things and plays very rough. And sometimes it seems like he and his sister can read each other’s thoughts…but no matter. Miss Giddens will have these two back on track soon enough.
Soon, stories are flying around the manner house concerning possible murder, suicide, physical and sexual abuse, dominant/submissive relationships, and ghosts from the past. As Miss Giddens’ hysteria and repression grow, the screw turns tighter (as Mr. James might’ve written). And it all ends in death.
The film is pretty much a wonderful tale well told. All the actors are very good, with the children especially so. This film’s script is quite dense and the kids have a lot of words to recite, as well as several feelings to convey. Deborah Kerr, here, is far away from her famous role in The King and I. She is the very picture of a repressed, virginal, hysterical spinster. She modulates her characterization expertly. We never know exactly which emotion is leading her personality until we need to. Although the film’s pacing is slow compared to today’s storytelling styles, it is still effective. For the time period, director Jack Clayton moves the camera quite a bit. But he also knows how to compose a static shot as if it’s a painting. Also, the black and white cinematography is very sharp and quite attractive.
The Innocents is one of the best gothic horror films ever made. It’s clear that another of my favorite supernatural thrillers, The Haunting, which along came a few years later, owes quite a bit to The Innocents. But no matter, The Innocents is one of a kind.
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