There are hardly words enough to gush about The Innocents, the finest "horror" filmed, but one must try.
I suppose the singular aspect which make The Innocents so uniquely masterful its direction: Jack Clayton demonstrates complete genius as he weaves a gothic tail with spectacular (in the greatest essence of the word) imagery, and amazing movement and language. It is a film of utter craftsmanship, readily in charge of its primary goal: to scare. And that it does. It is not usual for a horror film made in 1961, of all years (a year that would include, and follow, and present many overmade terror films of a similair target) to actually SCARE a modern viewer. Especially if that viewer has indulged himself in his most painful guilty pleasure (horror films) regularly, and has become a master of scares and suspence. The film manages to create something of an amazing pheate, of leading up to and then executing divinely gothic frights, that amaze and tantelize the darker part of the human spirit.
The story itself can be presented as a gothic wonder of sorts: it is an intriquette array of pasts that meet with the future, focusing on Mrs. Giddens, a governess (played superbly by the plainly superb Deborah Kerr) in an immensely gothic and classic manor in Edwardian England, nursing for and to two children, seemingly possesed.
The viewing pleasure of The Innocents can not be fully shown unless describing and depicting every beautiful moment (mainly due to Clayton's direction), which all add up to an explosive, amazing, thrillingly legendary conclusion.
The Innocents is a film not only well made and executed with perfect professionalism and craft, but a beautiful horror. A 10 out of 10, an A+
I suppose the singular aspect which make The Innocents so uniquely masterful its direction: Jack Clayton demonstrates complete genius as he weaves a gothic tail with spectacular (in the greatest essence of the word) imagery, and amazing movement and language. It is a film of utter craftsmanship, readily in charge of its primary goal: to scare. And that it does. It is not usual for a horror film made in 1961, of all years (a year that would include, and follow, and present many overmade terror films of a similair target) to actually SCARE a modern viewer. Especially if that viewer has indulged himself in his most painful guilty pleasure (horror films) regularly, and has become a master of scares and suspence. The film manages to create something of an amazing pheate, of leading up to and then executing divinely gothic frights, that amaze and tantelize the darker part of the human spirit.
The story itself can be presented as a gothic wonder of sorts: it is an intriquette array of pasts that meet with the future, focusing on Mrs. Giddens, a governess (played superbly by the plainly superb Deborah Kerr) in an immensely gothic and classic manor in Edwardian England, nursing for and to two children, seemingly possesed.
The viewing pleasure of The Innocents can not be fully shown unless describing and depicting every beautiful moment (mainly due to Clayton's direction), which all add up to an explosive, amazing, thrillingly legendary conclusion.
The Innocents is a film not only well made and executed with perfect professionalism and craft, but a beautiful horror. A 10 out of 10, an A+