The Treasure of Abbot Thomas is the first of two episodes of the original series of A Ghost Story for Christmas written by John Bowen, in this case based on another story by M. R. James. In adapting the story for the screen, Bowen takes certain liberties with the source material which turn out to serve the episode rather well.
M. R. James's original story is told in flashback: Bowen dispenses with this, and also creates the character of Lord Peter Dattering to aid exposition. The plot sees the Reverend Somerton - a typical James' Victorian scholar - searching for the lost treasure of the deceased eponymous abbot, which requires him to solve a puzzle left in a stained glass window: Peter's presence makes the explanation of the clues easier, as well as allowing them to discuss the plot. Moreover, it allows Somerton somebody to share his rational philosophies with; similarly, Bowen adds a scene in which Somerton exposes fake mediums the Tysens as frauds, establishing his rational credentials.
Rational men do not tend to do well in M. R. James' stories, and thus it is here. Bowen retains the essence of the source material, as Somerton eagerly discovers the location of Thomas' treasure, only to unleash a torrent of black slime that represents the terrifying supernatural guardian left to guard the treasure. Terrified out of his wits, Somerton entreats Peter to return the treasure, his rationality frayed beyond repair, but it is too late to stop the now frail and wheelchair bound Reverend from receiving one final visitation from the Abbot's guardian.
Bowen's script thus provides a suitably chilling screenplay for The Treasure of Abbot Thomas, but once again it is Lawrence Gordon Clark's direction that realises its creepy atmosphere effectively. Shot on location at Wells Cathedral, it is as visually impressive as its predecessors, and the usual 16 mm film allows cameraman John McGlashan to exploit its dark corners. Clark uses tracking shots and close-ups to create an intimacy between the audience and the characters of Somerton and Peter, with the giddying tracking shots of them climbing a spiral staircase a particularly nice example. The monochrome point of view shots of something approaching Somerton are very sinister, and culminate in the striking scene of the Reverend pulling the treasure free and unleashing the slime. The shattered model of the human brain on Somerton's carpet neatly reflects his fractured sanity after his experience in the culvert. The very last shot of the robed guardian moving speedily towards the helpless Somerton as the camera cuts once again sees Clark anticipating horror films yet to come. The soundtrack by Geoffrey Burgon - of which sound effects form a large part - also contributes significantly to the atmosphere.
Michael Bryant is well cast as Reverend Somerton, giving a believable performance throughout, and he gets good support from Paul Lavers as Peter, who goes from protégé to carer when Somerton's confidence in reason gets terminally punctured. The Treasure of Abbot Thomas is perhaps not as spine-tingling as either A Warning to the Curious or Lost Hearts, but it is certainly atmospheric and thanks to Bowen's screenplay it boasts one of the most interesting protagonists of the all of the James' adaptations.
M. R. James's original story is told in flashback: Bowen dispenses with this, and also creates the character of Lord Peter Dattering to aid exposition. The plot sees the Reverend Somerton - a typical James' Victorian scholar - searching for the lost treasure of the deceased eponymous abbot, which requires him to solve a puzzle left in a stained glass window: Peter's presence makes the explanation of the clues easier, as well as allowing them to discuss the plot. Moreover, it allows Somerton somebody to share his rational philosophies with; similarly, Bowen adds a scene in which Somerton exposes fake mediums the Tysens as frauds, establishing his rational credentials.
Rational men do not tend to do well in M. R. James' stories, and thus it is here. Bowen retains the essence of the source material, as Somerton eagerly discovers the location of Thomas' treasure, only to unleash a torrent of black slime that represents the terrifying supernatural guardian left to guard the treasure. Terrified out of his wits, Somerton entreats Peter to return the treasure, his rationality frayed beyond repair, but it is too late to stop the now frail and wheelchair bound Reverend from receiving one final visitation from the Abbot's guardian.
Bowen's script thus provides a suitably chilling screenplay for The Treasure of Abbot Thomas, but once again it is Lawrence Gordon Clark's direction that realises its creepy atmosphere effectively. Shot on location at Wells Cathedral, it is as visually impressive as its predecessors, and the usual 16 mm film allows cameraman John McGlashan to exploit its dark corners. Clark uses tracking shots and close-ups to create an intimacy between the audience and the characters of Somerton and Peter, with the giddying tracking shots of them climbing a spiral staircase a particularly nice example. The monochrome point of view shots of something approaching Somerton are very sinister, and culminate in the striking scene of the Reverend pulling the treasure free and unleashing the slime. The shattered model of the human brain on Somerton's carpet neatly reflects his fractured sanity after his experience in the culvert. The very last shot of the robed guardian moving speedily towards the helpless Somerton as the camera cuts once again sees Clark anticipating horror films yet to come. The soundtrack by Geoffrey Burgon - of which sound effects form a large part - also contributes significantly to the atmosphere.
Michael Bryant is well cast as Reverend Somerton, giving a believable performance throughout, and he gets good support from Paul Lavers as Peter, who goes from protégé to carer when Somerton's confidence in reason gets terminally punctured. The Treasure of Abbot Thomas is perhaps not as spine-tingling as either A Warning to the Curious or Lost Hearts, but it is certainly atmospheric and thanks to Bowen's screenplay it boasts one of the most interesting protagonists of the all of the James' adaptations.