Rent The Innocents (1961)

Classic British Ghost Story - The Innocents review by GI

Jack Clayton is one of the most underrated British directors. This adaptation of Henry James' The Turn of The Screw is one of the last of the great ghost films from the 50s & 60s. Deborah Kerr considered this her best performance as the timid Miss Giddens who accepts her first job as governess to two orphaned children, Miles and Flora, who live in a remote but beautiful country house with a housekeeper and a few staff. Miss Giddens begins to see a strange man and woman in the grounds and becomes convinced they are the ghosts of the former governess and her depraved lover. Her fears become uncontrollable as she begins to believe the children are in danger. This film is a masterclass in editing, camera position and cinematography including the use of shadow to drive the narrative and it's a genuinely unsettling film. There's a wonderful scene by a foggy lake where the viewer peers in trepidation alongside Deborah Kerr as we think we spot something watching! This is a masterpiece, a fantastic horror film, spooky, disquieting and very scary. A must see for all film fans.

Period Horror. - The Innocents review by Steve

Critically adored Victorian ghost story adapted from Henry James' The Turn of the Screw. Deborah Kerr is the repressed, unworldly governess responsible for two children in a majestic, isolated country home. The film poses the classic supernatural dilemma: is the newly appointed tutor insane, or is the elaborate mansion really possessed by malevolent spirits.

Though the themes run much darker, including a psycho-sexual angle which implies abuse. No surprise that this film is so loved by film makers, because the direction by Jack Clayton is extraordinary. Every instrument of screen craft is employed to make this the most eerie experience imaginable; especially the sound, music, costumes and set decoration.

And credit is due to cinematographer Freddie Francis for his creative use of CinemaScope. But there is little narrative. The same static situation is repeated from a number of perspectives while the audience decides whether the tutor is crazy. Which is interesting, but it occasionally gets stuck, at least until the exquisitely chilling climax.

Deborah Kerr thought this her best performance, with good reason. Martin Stephens and Pamela Franklin, both 11 years old, are impeccable support. Many horror directors have ripped this off. There are no jump scares or big musical cues. This is a sensual, immersive experience. And a subtle, haunting work of cinematic art.

A little disappointed - The Innocents review by CD

I much preferred the 2009 film “Turn of the Screw”.  While the acting in this is very strong and the location beautifully filmed, it lacks the interesting finale of the 2009 film that ties up some loose ends.  If you want a classic British 1960s old style psychological horror film you may like this, but if you are more used to more modern direction and acting then the 2009 film may appeal to you more.  Still, well worth a watch and Deborah Kerr is great.

Genteel horror. - The Innocents review by NP

The nasty blood-red delights of Hammer films a few years before had instantly rendered horror adaptions like this somewhat genteel (which is one alleged reason why Hammer themselves slid out of favour about a decade later). Indeed, one of the joys of this 20th Century Fox production is the glimpse it shares of another, softer world - a world of crisp manners, phrases like 'stuff and nonsense', elegant houses and rolling summer gardens. Not a tracksuit or a gold chain in sight.

Away from this fond reminiscing, 'The Innocents' is a terrific and beautifully acted horror story about two demonic children. And yet the youngsters, so well-played by Martin Stephens (as Miles) and Pamela Franklin (as Flora), may be somewhat mannered, but never brattish as young performances can be (relentlessly chirpy, if anything). Deborah Kerr (as naïve Miss Giddens) and Megs Jenkins (Mrs Grose) are wonderful as the two extremely well-meaning women placed in charge of the juveniles, who gradually, are revealed to possess extraordinary perceptive powers. Peter Wyngarde, the unofficial face of the late 1960s, is unnerving as the sombre Peter Quint.

Director Jack Clayton and cinematographer Freddie Francis extol the virtues of the black-and-white world and pack each scene with detail of comfort and splendour, only to offshoot them with moments of increasing unease.