6.1/10
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The Nightcomers (1971)

R | | Drama, Horror, Thriller | July 1972 (UK)
Prequel to Henry James' "The Turn of the Screw", focusing on groundskeeper Peter Quint's slow corruption of the virtuous governess Miss Jessel and the children she looks after.

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Nominated for 1 BAFTA Film Award. See more awards »
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Cast

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Storyline

Prequel to the Henry James classic "Turn of the Screw" about the events leading up to the deaths of Peter Quint and Ms. Jessel, and the the slow corruption of the children in their care. Written by Humberto Amador

Plot Summary | Add Synopsis

Taglines:

Two Children. Two Adults. One Unspeakable Crime.

Genres:

Drama | Horror | Thriller

Certificate:

R | See all certifications »

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Details

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Release Date:

July 1972 (UK)  »

Also Known As:

Das Loch in der Tür  »

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Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Director Michael Winner originally offered the role of Miss Jessel to Vanessa Redgrave, but she was filming in Italy and had to decline. Jennie Linden also refused the role. See more »

Connections

Follows The Innocents (1961) See more »

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User Reviews

 
A sadly underrated movie. Pure genius.
18 April 2015 | by (Canada) – See all my reviews

To my mind, one of the most underrated films of all time, due entirely to the fact that reviewers, amateur and professional, just cannot face reality squarely. It is an unqualified masterpiece, written by Michael Hastings, that speaks of, among other things, the impressionability of children, the necessity of intimacy over artificiality, of direct education rather than only book learning, the brutal reality of sex over the dreaminess of what we merely wish for, the question of death and what it is and many other issues including class questions. This prequel to The Innocents (the film version of the Gothic Henry James novel, "The Turn of the Screw") brilliantly answers the question of how Flora and Miles came to be possessed by the spirits of the gardener and governess and it does so in a non-mystical way that sits side by side with the mystical notions of it, which it cleverly dismisses. This act explains the underlying nature of Henry James's sideways attack on the conventions of his day and strips "The Innocents" of its reality-substitute. Such substitutes will never be enough for us to live life in reality. "Last Tango In Paris" was a kind of bookend to this but Tango was far too literal. This metaphoric telling of life and death as it really is should have been celebrated. It would have and will continue to be but not by cowardly crybabies who can't or won't face life.


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