Dr. John Holden ventures to London to attend a paranormal psychology symposium with the intention to expose devil cult leader, Julian Karswell. Holden is a skeptic and does not believe in ... See full summary »
A brilliant surgeon, Dr. Génessier, helped by his assistant Louise, kidnaps nice young women. He removes their faces and tries to graft them onto the head on his beloved daughter Christiane... See full summary »
In Victorian England, the uncle of orphaned niece Flora and nephew Miles hires Miss Giddens as governess to raise the children at his estate with total independence and authority. Soon after her arrival, Miss Giddens comes to believe that the spirits of the former governess Miss Jessel and valet Peter Quint are possessing the children. Miss Giddens decides to help the children to face and exorcise the spirits. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Miss Giddens is wearing one dress when Flora bursts in to tell them to come see Miles riding the horse. When they run outside, Miss Giddens is wearing a different dress. See more »
We lay my love and I, beneath the weeping willow. But now alone I lie and weep beside the tree. Singing "Oh willow waly" by the tree that weeps with me. Singing "Oh willow waly" till my lover return to me. We lay my love and I beneath the weeping willow. A broken heart have I. Oh willow I die, oh willow I die...
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The film begins with a totally black screen and the sound of Flora singing for several seconds; then the 20th Century Fox logo fades in and out. The singing continues for a few seconds before the opening credits begin. As the credits display, we see an anguished Miss Giddens praying on the left side of the screen. Her actions are not explained until the film's climax. See more »
Horror that is the cinematic equivalent of rising damp
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.
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