After another cardiac arrest, Armand knows he doesn't have long to live. But after more than 70 years in the same house, he doesn't want to die anywhere else. His wife, Rose, has secretly ... See full summary »
Jean Pierre Lefebvre
J. Léo Gagnon,
Marcel, recently released from prison, attempt to rebuild his relationship with his girlfriend Julie (now a prostitute) and especially his father Albert (who thinks he's been away on a long... See full summary »
A woman imbued with naturalistic and libertarian theories leaves her city home to live in the countryside with her young son. There she meets a litigious farmer who fights against the banks... See full summary »
An ex-convict struggles to survive by brute force alone in a turn-of-the-century slum in Braila. Codine (Alexandre Virgil Platon) is the thug who served 10 years for murdering a friend. He ... See full summary »
Alexandru Virgil Platon,
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
Two of Michael Redgrave's children eventually appeared in different adaptations of the same story. Lynn Redgrave appeared in the 1974 version of The Turn of the Screw, and Corin Redgrave appeared in the 2009 version. See more »
In the scene where Miles is on the horse, he rides with and without a saddle in various shots. See more »
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 »
What makes a good chiller? Gore, special effects? No, as director Jack Clayton proves here, it's atmosphere, combined with the sounds of horror, that makes the difference. Granted, I've seen just about every Elm Street and Friday the 13th instalment, but "The Innocents" proves that what you don't see can scare you the most. Deborah Kerr is in fine form as an English governess who is sent to a remote mansion in the country to look after two young orphans. Their "uncle" in London doesn't have time for them. Kerr slowly begins to realize there's something not quite right with the young boy and girl. Their thoughts and actions are not consistent with the behavior of pre-teens. There's a dark secret, and Kerr sets out to discover it. We do see the ghosts, but it's when Kerr searches the house for the sources of strange noises and voices that we really feel a chill. "The Innocents" also makes great use of its black and white photography. I can't imagine it working as well in color (are you listening, Gus Van Sant?). Shadows just seem creepier in black and white. The children are well played by Martin Stephens and Pamela Franklin. Franklin was 11 when she made this film, and as an adult she would go on to star in another excellent haunted house movie, "The Legend of Hell House." It's a shame that Hollywood has stopped making movies like "The Innocents." Perhaps audiences used to Halloween-style slashers, "Scream" and "I Know What You Did Last Summer" would be demanding blood and guts. Yes, "Scream" was, pardon the pun, a cut above. It raised the slumping horror bar to new heights, and then "I Know..." ran under that bar, but that's another story. If you want genuine chills rather than cheap thrills, you can't do much better than "The Innocents."
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