Director Jack Clayton's masterpiece is a study of deepest dread. Its horror is the cinematic equivalent of rising damp.
Deborah Kerr accepts a job as the governess of two strange children (Martin Stephens and Pamela Franklin) and becomes convinced that they occupy a world haunted by repressed memories and the restless dead.
Martin Stephens' performance as the unfathomable Miles is extraordinary. The child projects a physical authority rare for his years. His dialog exchanges with Kerr run the gamut from highly amusing to deeply disturbing.
Clayton's greatest achievement is the way he subverts common household settings to the point where they become arenas of fear.
The sound design is chilling, conjuring sudden terror and thrusting us into the complex mechanics of the Kerr character's growing paranoia.
Strikingly shot and lit, the film is a textbook example of grave cinematic suggestion.
Deborah Kerr accepts a job as the governess of two strange children (Martin Stephens and Pamela Franklin) and becomes convinced that they occupy a world haunted by repressed memories and the restless dead.
Martin Stephens' performance as the unfathomable Miles is extraordinary. The child projects a physical authority rare for his years. His dialog exchanges with Kerr run the gamut from highly amusing to deeply disturbing.
Clayton's greatest achievement is the way he subverts common household settings to the point where they become arenas of fear.
The sound design is chilling, conjuring sudden terror and thrusting us into the complex mechanics of the Kerr character's growing paranoia.
Strikingly shot and lit, the film is a textbook example of grave cinematic suggestion.