A young woman is hired by a wealthy but sinister man to tutor his two children at the family's isolated estate. When the woman gets there, she finds that the two children are not quite what... See full summary »
After finishing a strict and traumatizing education at a Jesuit seminary, young Roberto is offered a post by the priest of his village: The local count is looking for a new teacher for his ... See full summary »
Eloy de la Iglesia
Pedro Mari Sánchez,
The disturbed arts teacher, Anna Veigh, is hired by Mr. Laing as a governess to raise Flora and her brother Miles. Anna believes that the ghosts of the former governess, Miss Jessel, and ... See full summary »
Henry James' classic tale of terror The Turn of the Screw receives yet another screen adaptation in this thriller shot in Spain. A young woman (Sadie Frost) is hired to serve as a governess... See full summary »
The better of Petr Weigl's filmed versions of Britten's operas...
The other was 1996's Let's Make An Opera, which I did love overall, but found this even more impressive. Of the four or so Weigl opera films seen so far, 1982's The Turn of the Screw is the second best for me, the best being 1988's Eugene Onegin. 1994's Winterreisse was interesting but not particularly ideal for those who know the true meaning of the songs, despite the beauty of the visuals, the music and how it was performed. This Turn of the Screw may not be absolutely perfect, Lillian Watson sings beautifully but too mature for Flora I feel. Luckily the rest of the singers fare much better, Michael Quinn sounds wonderful though you may feel you prefer somebody older. Robert Tear is appropriately intense and relishes Quint's sense of mockery, Ava June is amusing and benevolent and Helen Donath has the right amount of naivety for the governess. The actors look great and act naturally enough. The music is wonderful, and beautifully performed by the orchestra and conducted with enough buoyancy. The simple story is both creepy and fun, though one thing I do prefer in the original story is the sense of ambiguity with the ghosts which the opera's libretto doesn't have in comparison. I also loved how the film looked, the settings are both beautiful and evocative, and there is nothing fake about them. The photography is very good. All in all, I loved it on the whole, maybe it is not the best performances of Britten's work I've seen(either 1981's A Midsummer Night's Dream, 1985's Albert Herring or 1987's Rape of Lucretia, the Barstow performance of Gloriana is also highly impressive), but there is much to make it worth seeing. 9/10 Bethany Cox
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