The Innocents

A new governess (Deborah Kerr) comes to believe the two children she cares for are possessed by the sprits of an evil couple.

The Innocents is a great gothic, atmospheric horror film. Despite being nearly fifty years old, it can still inspire a descent feeling of dread; thanks in large part to some fantastic sound editing that deserves a modern, surround re-mix.

The whispering voices, noises, echoes and deafening silence all serve to heighten the tension, as does the great black and white photography from future Hammer Films alum Freddie Francis. This is a movie that envelops you. You’re alone in that big, dark, lonely house, hearing those voices, seeing those figures, feeling that helpless.

Indeed, if the film has a fault it’s that Deborah Kerr goes a little overboard from time to time. She’s just a bit too manic, although depending on how you interpret the film, this could be intentional. Indeed, it’s that ambiguity in John Mortimer’s script, adapted from Henry James’ novel, which really puts the film over the top, as it almost forces you to reconsider the entire film once it’s over.

Ultimately, The Innocents is a must see for horror fans, as it ranks as one of the best ghost stories on film, and one whose effects are still being felt today.