Wild (2014)

Running Time: 2 Hours 10 mins
Genre: Biography/Drama
Estimated Budget: Unknown
Estimated Gross (Worldwide 30th Jan): $40,037,009
Awards (Pending): Oscar Nominations: Best Actress- Reese Witherspoon, Best Supporting Actress-Laura Dern

Director: Jean-Marc Vallee
Writers: Nick Hornby (Screenplay) Cheryl Strayed (Memoir)
Stars: Reese Witherspoon, Laura Dern, Gaby Hoffmann

My Rating: 7/10

I watched Wild the other day as part of my Oscar nominated films must sees, I was pleasantly surprised to see a return to form for Reese Witherspoon. She not only stars in the film but also produced it through her production company Pacific Standard after buying the rights to Cheryl Strayed's memoir "Wild: From Lost to Found on the Pacific Crest Trail". In three words; she's bloody good.

Witherspoon plays Cheryl Strayed the author of the gripping memoir. After losing her beloved mother Bobbie suddenly in 1991 aged only 45, the intelligent 23 year old student finds herself on a path of self-destruction through numerous marital affairs and drug abuse to hide from the agonizing grief constantly tormenting her. In 1995 after the collapse of her marriage she decided enough was enough, she needed to change her lifestyle or there would be no life to live. She needed to get away, clear her head and find herself. She decided to hike the 1100 miles of the Pacific Crest Trail from the Mojave Desert to the Oregon-Washington border. Along the way she struggles with rough terrain, the weather, her total lack of experience with hiking or camping but mostly with memories of her past that continue to haunt her throughout her solitary journey. It is painful to watch some scenes in which the novice Strayed is so out of her league in this forbidding wilderness. Desperately unprepared and untrained for such an undertaking, for example wearing the wrong boots and bringing the wrong gas leaving her gas cooker useless.

However with each passing minute as we watch her carry on in vain, despite greatly wanting to quit at every moment, we see her become more accustomed to the adversities of the path. We join her in every look of triumph as she manages something she couldn't have imagined just months before, we want her to succeed on this path. In spite of the questionable life she lead previous to this quest for self enlightenment we can relate to her character very strongly. Every one of us knows the feeling of loss in one form or another and have all experienced that feeling of needing to get away and be alone, to have a chance to clear our minds of all the troubling thoughts and stresses that accumulate. Wild is an inspiring film to watch, how many of us would actually decide to go through with our impulse of getting away for a while, not many I'm sure. In a way Cheryl is accomplishing something many of us wish we had the strength to do.

Reese Witherspoon lets not forget is a Leading Actress Oscar winner for Walk the Line (2005) and has been in a series of successful films over her 24 year career; Election (1999), Legally Blonde (2001) and Just Like Heaven (2005) being some of her best loved. However the majority of her films have been romantic comedies, with the odd surprising turn thrown in along the way. It has only been in the last 2 years that she has taken a McConaughey style career resurgence with more serious roles in Mud (2012), Devil's Knot (2013) and now Wild. And this is her film, it is her lone figure throughout most of the film. Her portrayal of Cheryl's struggle is notably award worthy; she has been nominated for Best Actress for every major award in the highly publicised awards season. It is a year full of magnetic performances from women, however the clear winner from the beginning and who has won every award so far is Julianne Moore for Still Alice (2015). It is a shame that Witherspoon had such a small chance of being honoured for her great performance but I feel that it is enough to know that she is back on track and hopefully will continue producing work that is up to the high standard she can so obviously aspire to.

Undoubtedly the strongest and most lasting scenes in Wild are those in which Cheryl remembers her mother, this is done in a series of flashbacks throughout the film. As Cheryl journeys we start to piece together her relationship with her mother and what it has come to mean to her since her death. She most obviously adored her mother, which she actually states at one point. She carries a constant grief around with her that at times overwhelms her. But it is clear as she gets closer to finishing her hike, that through reminiscing she better understands her mother and is finally able to deal with her loss.

Laura Dern portrays Bobbie in the film, great credit must go to her for creating this woman, we immediately understand why Wintherspoon's Cheryl could have fallen into such despair after her passing. She has been nominated for Best Supporting Actress at the Academy Awards. Her performance is very naturalistic, she could be any mother, she wants what is best for her family and will do what she can in her small way to achieve it. Whilst doing this she is also trying to better herself, and when she finds out she is sick, she questions how fast time slips by and how much she still had to accomplish. This feeling of resenting the passage of time mirrors another Oscar nominated performance this year; Patricia Arquette's single mother in Boyhood (2014). Dern's single mother who fled a violent husband is a constant enigma to her daughter who cannot understand how her mother remains so happy despite the life she has lived and is struggling to maintain. It is only through her seemingly endless journey across the desert and through her memories that she realises how strong her mother was for her children.

Director Jean-Marc Vallee is on a winning streak, after 2014's triumphant success with independent film Dallas Buyers Club, picking up nominations and wins from every major awards ceremony and finally leading Matthew McConaughey and Jared Leto to Academy Awards glory for Best Actor and Best Supporting Actor. Here he follows the same pattern, a small personal film which he has successfully transformed into a gripping story, which is being deservedly noticed by the Academy. What stuck with me while watching the film was the effective use of editing; the cuts from present day to memory and sometimes hallucination are so embedded in the story that they become natural, when the movie begins it is hard to get your head around where (or rather when) you are, is it the present Cheryl or the past, as the film goes on you become accustomed to the rhythm. Another great effect is the use of Simon & Garfunkel's song El Condor Pasa, which is clearly visible throughout the film. It is a song that Bobbie hummed constantly to the annoyance of her daughter but which is a vivid memory that Cheryl carries with her when her mother is gone, and hums to herself throughout her journey. It signifies a link between mother and daughter, and the deep bond that they shared.

At its heart this film is about forgiveness and enlightenment; finding your true self and becoming who you want to be. It took Cheryl Strayed a 1100 mile hike to become the woman her mother would have wanted her to be, and we are with her every step of that journey through rain or shine and joys and pain. It deeply explores the acceptance of loss and dealing with grief and I think successfully portrays one woman's determination to change her life. It is well worth a watch.

Academy Awards 2015 Nominations

Tomorrow, Sunday 22nd February 2015 marks the 87th Academy Awards Ceremony.
This year has been yet another in stand out performances, many of which we must remember have not even been nominated for. The Academy of Motion Picture Arts and Sciences will honour just one from each category, which will be remembered for all time in movie lists and books.
Yet again there are films nominated that push the boundaries of what cinema can achieve, what can be produced and how powerful the art of cinema can be.
Just look at some of the performances that have been nominated this year, there are not only extraordinary feats of talent involved, but they shine a light on their given subject. Whether it be civil rights, a life altering disability or the simple story of youth. Here are the nominations for the 87th annual Academy Awards 2015.


Best Picture
American Sniper
Birdman or (The Unexpected Virtue of Ignorance)
Boyhood
The Grand Budapest Hotel
The Imitation Game
Selma
The Theory of Everything
Whiplash


Actor in a Leading Role
Steve Carell - Foxcatcher
Bradley Cooper - American Sniper
Benedict Cumberbatch - The Imitation Game
Michael Keaton - Birdman or (The Unexpected Virtue of Ignorance)
Eddie Redmayne - The Theory of Everything


Actress in a Leading Role
Marion Cotillard - Two Days, One Night
Felicity Jones - The Theory of Everything
Julianne Moore - Still Alice
Rosamund Pike - Gone Girl
Reese Witherspoon - Wild


Actor in a Supporting Role
Robert Duvall - The Judge
Ethan Hawke - Boyhood
Edward Norton - Birdman or (The Unexpected Virtue of Ignorance)
Mark Ruffalo - Foxcatcher
J.K. Simmons - Whiplash


Actress in a Supporting Role
Patricia Arquette - Boyhood
Laura Dern - Wild
Keira Knightley - The Imitation Game
Emma Stone - Birdman or (The Unexpected Virtue of Ignorance)
Meryl Streep - Into the Woods


Animated Feature
Big Hero 6
The Boxtrolls
How to Train Your Dragon 2
Song of the Sea
The Tale of the Princess Kaguya

As you will know if you have been following the awards season, there are some clear favourites. Julianne Moore is an almost sure fire win as Lead Actress, she has swept the board so far for her performance as a language professor who loses her words due to early onset Alzheimer's Disease in Still Alice. Also one to bet on would be J.K. Simmons who has won every award for Supporting Actor for his portrayal of aggressively pushy music instructor in Whiplash. Also Patricia Arquette as the single mother in Boyhood, she is yet to lose an award for Supporting Actress. Boyhood Director Richard Linklator has been a big winner this season for his experimental film which took 12 years to complete, however ironically he did  not win at the Directors Guild, that honour went to Birdman Director Alejandro Gonzalez Inarritu. The two films have been in constant competition throughout the last few months not only in this category. Eddie Redmayne is looking like the frontrunner for Lead Actor for his portrayal of Stephen Hawking in The Theory of Everything but it could just as easily be an upset with Michael Keaton winning on the big stage tomorrow evening.

If you are as excited as I am you'll be tuning in for all the pre awards show talk including the highly anticipated red carpet. Lets wish all those with nominations good luck, (I'm rooting for Eddie!) as well as host Neil Patrick Harris who is making his Academy Awards hosting début tomorrow night. It should be a great show.

For the full list of nominations please click on the link below

Oscar Nominations 2015

Ghost (1990)

Running Time: 2 Hours 05 mins
Genre: Drama/Thriller/Romance
Estimated Budget: $22, 000,000
Estimated Gross (worldwide): $507, 600,000
Awards: Oscar - Best Supporting Actress - Whoopi Goldberg, Best Writing - Screenplay

Director: Jerry Zucker
Writer: Bruce Joel Rubin
Stars: Patrick Swayze, Demi Moore, Whoopi Goldberg

My Rating: 9/10

For as long as I can remember Ghost has been in my top 10 films. I have fond memories of watching it repeatedly, though I was drastically too young to see such a violent film, but now I can look back and laugh at the years of nightmares its antagonists gave me. Ghost is considered a chick flick; one for the girls with a glass of wine and a box of tissues - true it is that but there is so much more to it.

From the ominous blast of music introducing the title you know this is not going to be sunshine and rainbows, through the opening scenes establishing the characters there is already a sense of foreboding; whilst we watch this happy young couple starting their life together in a great New York apartment. There are definite hints of something on the horizon in the dialogue, which only adds to the build up the audience is straining under. OK so it's not hard to guess what's coming, I mean it's in the title but the hows and why's are what make up this movie and make it so much more than just a chick flick.

Sam Wheat (Swayze) and Molly Jensen (Moore) are a happy couple moving in together and getting ready to start the rest of their lives until Sam is killed in a mugging gone wrong. But unbeknownst to the grieving Molly, Sam is still hanging around, he has not crossed over to the other side due to a desire to know why he was killed. When he discovers he was murdered in a premeditated attack and Molly is in danger he enlists the help of Oda Mae Brown (Goldberg) a scamming psychic who is distressed to learn she can hear him, to communicate to Molly for him. Through sheer love and perseverance Sam is able to reaffirm his love for Molly and settle his unfinished business.

So the reason most people (mostly men, sorry) think Ghost is a soppy romance is obviously due to one scene. The famous pottery sequence precedes the film; it has taken on a life of its own in skits and re imaginings, but it is not as bad as it is made out to be. It may be slightly cringey but the reasoning behind it is fundamental, it is used to show the fun light heartedness and more importantly closeness of Sam and Molly. The song played here has also reached great heights of infamy in relation to the film; Unchained Melody performed by the Righteous Brothers was actually released 25 years before in 1965 but was re-introduced to a legion of new fans through its use in Ghost's most recognized scene.

The score notably the love theme is introduced very early on in the movie and establishes a great tone for the relationship of Sam and Molly and its great depth. Created by Maurice Jarre it is one of the most beautiful and sentimental pieces of film music, full of longing and passion it is an unforgettable element of the picture and undeniably one of the main reasons you require a box of tissues close by. Saying that his more sinister pieces are menacing; summing up entirely the danger and threatening situations on screen and may I say for a 9 year old are truly frightening.

However I think people forget that this is not just a great love story but a tense and rather frightening drama, Swayze's performance as Sam is one of the greatest he delivered. Director Jerry Zucker has said that Patrick did not require dialogue in a scene to portray the message he could say it all with his eyes. His death scene is very underrated he portrays a convincing confusion and panic at being ripped so suddenly and violently from his body as can only be imagined. The strange dream sequence which I have always found perplexing is a manifestation of that confusion, integrating a collage of images and fantasy until Sam realises he has died.

This all happens so quickly that we are as unsettled as Sam in his new situation, we see this new existence through Sam's eyes; we learn to adapt as he does to all the bewildering things that come from being a ghost that has remained with the living. For instance a memorable scene involves someone walking through Sam, we see what is supposed to be the inside of a body, this is perhaps unnecessary to the plot but successfully portrays the repellent feeling that it gives to Sam who is wholly unused to his less than solid form. Demi Moore often forgotten amongst Swayze and Goldberg gives a solid performance, realistic in its approach of a woman not only grieving but thrown into circumstances she cannot begin to understand or wholly believe. Her Molly is the every woman if you will, the most relate-able character in the film and going through something we all have, or will go through; the loss of a loved one.

At the other end of the scale was the casting of Whoopie Goldberg as Oda Mae Brown, the fraud medium. This was genius casting and all down to Patrick Swayze who recommended and fought for her to get the role, they remained friends until his death in 2009. Goldberg displays her best comedic talents in Ghost and has impeccable timing. She is making money scamming grieving families pretending she can contact the deceased, as a fake it comes as a big shock to learn she can hear Sam. Goldberg gives the film something it needed to be as successful as it has managed to be, she gives the seriousness of the drama a light edge, a humour that relieves the tension. After all in all the worst situations there is usually both tears and laughter, the mix is what I believe makes the film stand up today. She steals every scene (watch out for the visit to the bank) and well deserved her Academy Award for Best Supporting Actress.

The supporting cast in the movie are also very memorable especially for me personally, Vincent Schiavelli's subway ghost. The set pieces are what keeps the film interesting and his fascinating character is one of the most entertaining. He teaches Sam how to control what little impact he can make in the living world. His own limited back story shrouds him in mystery but what is hinted at is very troubling and begins to explain his temperament. I Personally think his last jump back to his train mirrors what he probably did to end his life. Tony Goldwyn as Sam's friend Carl is also very affecting in the role, his character is very complex and required a multitude of feelings and actions to be explored throughout, Goldwyn is perfect in the part.

The effects used in the film now seem rather rough, but they are nevertheless still effective, the angles Zucker uses when Sam is in the presence of another person is very clever, it almost looks like he is not quite in the same place as if the living are divided from him. Light is very important to the film, good and evil is represented in the basic forms of light and shadows. The light that represents heaven/the something after  is very subtle, not corny just enough that we know what it is. On the other end of the spectrum are the creepy shadows that represent Hell, that and the sound effect used create such an effective response in audiences. One of the things I love about movies comes from repeated viewings; things only noticeable through watching the film multiple times. Ghost is littered with subtle but meaningful details. For instance how Molly wears only Sam's clothes and his ring throughout the film from the time of his death, another emphasis on the theme of not letting go.

Ghost is a film that reminds you how important relationships are, not only that but communication in those relationships, making it count while you can is a big theme. Also that despite the physical loss of a loved one they are never really gone. It was the highest grossing film of 1990 so it can't be that bad, take my advice give it a try and leave your cynicism at the door, you never know you might view it with a whole new perspective.

The Woman in Black (2012)

Running Time: 1 Hour 35 mins
Genre: Horror/Thriller
Estimated Budget: $17, 000,000
Estimated Gross: $127, 730,736 

Director: James Watkins
Writer: Susan Hill (Novel) Jane Goldman (Screenplay)
Stars: Daniel Radcliffe, Ciaran Hinds, Janet McTeer

My Rating: 8/10

Hammer, the studio synonymous with Horror in the 1950's and 60's with classics like The Curse of Frankenstein (1957), Horror of Dracula (1958) and countless more opened its doors again to terrify a whole new generation of audiences. It's chosen subject; The Woman in Black a novella written by author Susan Hill in 1983 well known for scaring multitudes of readers with its ghostly subject matter. If that wasn't enough for curious cinema-goers already intrigued, it happened to be the first post-Potter film for Daniel Radcliffe and this had people turning out in droves to see if the film would triumph or sink.

The Woman in Black novella is a chilling read, I recommend no solitary reading and daylight is essential, read after dark at your own risk. It has been written in the style of a traditional Gothic Horror piece and certainly delivers. The movie has been adapted by Jane Goldman who has previous success with screenplays for Starust (2007), Kick Ass (2010) and  X-Men: First Class (2011). There are small changes made but the premise remains the same. A young father and widower Arthur Kipps (Radcliffe) is sent by his London firm to order the affairs and paperwork for the selling of Eel Marsh House an estate in a small country village. On the train he befriends a native of the village Sam Daily, but on his arrival at the inn he is staying at he receives a very cold reception. Everyone he meets in the town is hostile and weary of his presence there is obviously more going on here than meets the eye; a town secret they intend to keep. Nobody seems keen on Kipps getting to Eel Marsh house, but determined he pays to be taken across the remote causeway that cuts the estate off from the rest of the world by a changing tide and dangerous marsh land.

The house itself is in a state of disrepair, depressing and haunting it's isolation makes it an ominous place to be left alone. Once inside Arthur starts his work only to be stopped by noises around the house, looking out of the window he sees the figure of a woman completely in black in the grounds, when he looks back she has disappeared. He goes outside and hears voices in distress out in the mist of the causeway, searching he sees nothing until suddenly his driver appears through the fog. The longer Arthur stays in the town the more distressed the villagers become and tragic things begin to occur. The death of a child seems to confirm everyone's worst fears but Kipps is still fairly in the dark about the house and it's inhabitant.

He finally learns about the woman in black, Jennet, a mother mentally unstable and unable to take care of her son, when her relatives take the boy and he suddenly dies in the marsh she kills herself and vows to seek vengeance. Her victims; the children of the residents, whenever she is seen. Her child was taken from her so she will take the children of others. It is now clear why the town were so adamant against Arthur's coming, they knew that he would glimpse the ghostly vision and one of their children would die a violent death. Through a spiritual drawing Arthur is given a haunting message; the woman is after his son. Arthur tries to send a message to his son's nanny who is bringing him on the train reuniting him with his father for a weekend holiday. However the telegram office has been destroyed in a fire, Arthur has only one choice; try and rid Eel Marsh house of the woman haunting it. With the help of Sam he discovers Jennet's son's body and reunites him with his mother. He thinks this will give her closure and she will rest in peace, he is however, mistaken. She never forgives and she will never forget.

Daniel Radcliffe is surprisingly good as Arthur Kipps, there is no hint of the bespectacled boy wizard and he is thoroughly believable as a young dad. More impressive though was his portrayal of loss and dealing with that pain. He is a man not dealing with his grief but drowning in it, he is not with the living but stuck in a past that he cannot get back to, this is painfully apparent to his young four year old son, who can see quite clearly his father's distance and unhappiness. This link to death already for the young father is I feel what keeps him in the house despite what he knows and sees of the violent occupant; a morbid curiosity about life after death. The supporting cast; mainly Ciaran Hinds and Janet McTeer as the Daily's; a couple in a state of grief and denial over the loss of their own child years before and dealing with Mrs Daily's fragile state of mind, are vital to the realism and believability of the film. They are fundamental to creating the world that the audience are visiting, with horror especially it is important to believe the characters are real and down to earth. Without that you cannot invest in them, and if you don't care about the characters the scares lose their edge.

The cinematography, lighting and set design in particular remind me very much of another great British horror film; The Innocents (1961)  Like that film the look of this feature is so important to the atmosphere which is being created, it is obvious the film-makers were incredibly thorough and detailed in this department. The sets where so gothic and period dressed that you immediately feel you have been transported to that Victorian era. The lighting here is critical to creating the best scares, however they are not that obvious in design. Like The Innocents a lot of the structure of the film is the build of tension and suspence in the audience; administering the thrills only when least expected. There are numerous dark over the shoulder shots, where you assume something is going to appear, but cleverly director Watkins chooses these moments to simply build the suspense, leaving the audience to simmer over a scare that is overdrawn in its appearance. Suddenly when you least expect it, the scare is delivered. This technique is used to great success throughout.

An integral part of any horror picture is the music and with The Woman in Black there is no exception, the tone is chilling, ghostly children's music boxes added to an eerie score. This sets the mood for the entire film, this is so important for horror films especially. You can experiment with any horror film; watch a normally terrifying scene without the sound and see the difference it has on you. It falls flat, proving that the image is nothing without the sound that accompanies it. Even in the silent era it was never truly silent; there was always a small orchestra or piano accompanying the film.

There is a bitter-sweet ending to The Woman in Black without giving anything away, it is a shock for those expecting a resolved ending. However I think the final scene is acceptable due the protagonists disposition from the beginning. On the other hand in today's modern, franchise world the studio was naturally hoping for a hit so they could expand the story, there are many places to go with this supernatural tale. As proved by The Woman in Black: Angel of Death the anticipated sequel due in theatres February 2015. Set 40 years later during world war 2 Eel Marsh house sees a collection of evacuated children take up residence and unfortunately wake up the spectre who never left.

Whatever you may have heard, The Woman in Black is a very effective horror film, creating an entertaining and thrilling atmosphere. If this is what we can expect from a revitalised Hammer Studios then we are in for some exciting treats.

The Innocents (1961)

Running Time: 1 Hour 40 mins

Genre: Horror

Awards: Nominated for a BAFTA for Best British Film

Director: Jack Clayton

Writer: Henry James (Novel) William Archibald, Truman Capote (Screenplay)

Stars: Deborah Kerr, Peter Wyngarde, Megs Jenkins

My Rating: 9/10

I have been a fan of Deborah Kerr for many years, I greatly admire her work and The Innocents has long been one of my favourite in her catalogue of stunning performances (Kerr also regarded it as her finest performance). I had the pleasure to re-watch this film and enjoy again the superb acting, lighting, sound and dialogue that, put together, makes this film a classic.

The Innocents is loosely based on The Turn of the Screw by Henry James and was directed by Jack Clayton. It stars Deborah Kerr as Miss Giddens who takes up the post of governess to two children in the country. All is not right in the house and she soon begins to suspect that both the grounds and the children themselves are being haunted by previous staff members who have died at the house.  The Innocents has an unusual start, there is a black screen that holds for several seconds and a child’s voice begins to sing an eerie tune, this becomes a theme throughout the picture. This then passes and the Twentieth Century Fox Sign fades on and off the screen. People running the projection actually thought this was a mistake left on the film and often cut the song from the beginning of the picture. The credits begin in front of a black background along the right side of the screen and we see a pair of hands in prayer and begging alongside on the left amid sobs and moans. The camera then pulls back to reveal Kerr’s face; eyes closed, head facing the sky. An atmosphere has been created without a single word being uttered. There is a disturbing mood in place and the audience is pulled in immediately.

 Deborah Kerr’s Miss Giddens basically adopts the two children Miles (Martin Stephens) and Flora (Pamela Franklin) when their bachelor uncle hires her. She immediately feels a sense of duty and is bound to the children and this is only strengthened with time. Fairly early into her employment Miss Giddens begins to see things, unsure if it is her imagination she brushes it off at first, but the audience is convinced and are waiting for her to join us in our realization that something is very wrong in this house.

                           

The performances given by Stephens and Franklin are beyond what could be expected of children so young, there is so much meaning and subtlety to their performances. We truly believe along with Kerr’s character that there is something unwholesome about them. At first she is nothing short of thrilled at their charm and amiability but we are told of Miles expulsion from school before he arrives and this fact alone is very strange. There is something sinister about Miles and there is always a look of doubt in Giddens eyes when they are together. He is old before his time, he calls her my dear but it is no term of endearment, it comes across as patronizing, as if he were the one talking to a child. There is an extremely controversial kiss on the lips, but this is no child’s kiss it is mature and sexual; there were thoughts of cutting it from the film. This thankfully was decided against, it is a shocking moment, uncomfortable and indecent; it only adds to the awareness that the governess has about the corruption surrounding and enveloping her charges. She can’t know exactly what is really going on behind those old eyes but she is not convinced with his act and neither are we.

It is not long after Kerr begins to see apparitions in the grounds and house, the housekeeper simple and kind and with a continuous look of holding something back, reveals that the masters old valet died on the steps of the house and the previous governess who was in love with him killed herself in the lake. Miss Giddens was growing weary already and with this revelation her attitude to both the house and the children shifts; she becomes distracted by the thought of these malevolent spirits wondering around. She becomes convinced that they are linked to the children, after hearing worrying stories about the connection between the valet and Miles and the governess and Flora. There are hints throughout the film that the children are not as innocent as they seem and they appear to be linked not just in body but in mind; Flora has a premonition that Miles is coming home before the letter even arrives confirming it. The audience is almost in certain agreement with Miss Giddens that these children are communicating with the dead and are perhaps even as far as being possessed by them so they can be together again.                   

                        

What is clever about this film, is the more the past is revealed and the more Kerr comes to understand what is happening in the house, the more she seems to be the one becoming unhinged. It is such an ingenious performance, we have distrusted the children from the beginning but suddenly for a split second we doubt ourselves. These children are playing mindless games with the dead lovers against the governess and it is only her love of the children that powers her determination to save them and keep her horror at bay. This is a film shrouded in suspicion and doubt, the scares are very subtle no big shocks needed here, the acting is enough to unsettle anyone; incredibly ominous there is a definite macabre created for this film with its Victorian setting very important to the atmosphere. The tone is really created not with any conventional horror tricks and jumps but with dialogue. There are double meanings to many of the conversations and predicting what is really being said is what makes the film so intriguing. The film benefits completely from being in black and white, there are so many beautiful shots in the picture; the effort that has gone into the lighting alone is mind-blowing.

The film would not have been the same without the black and white format used; cinematographer Freddie Francis used so many lights on the set, Deborah Kerr reportedly wore sunglasses in-between takes and he was jokingly accused of trying to burn down Shepperton Studios. But without this lighting The Innocents would be entirely different film, it creates a mood so ghoulish that there is no need to shock the audience into being horrified, it is a feeling they keep with them from the moment the theme starts until they leave their seats at the end of the movie.

The horror is created with sound effects as well as lighting, these effects become clearer and louder the further into the film we get they build into a crescendo as the threat grows larger. The elements themselves (wind and rain) seem to be in on it and help to create one of the greatest psychological thrillers Britain ever produced. For any film fan this is a must-see, if your a fan of Horror, British Film-making, Deborah Kerr or simply a classic from a great period of cinema this is one for your collection.