The Others (Spain/ France/ Italy/ USA, 2001)
Directed by Alejandro Amenabar
Starring Nicole Kidman, Alakina Mann, James Bentley, Fionnula Flanagan

In my review of The Secret Garden, I said that many films which are held up as British classics are the result of a collaboration between British and international talent - in this case, a Polish director adapting a British book from an American screenplay. It is fitting therefore that the tradition of old-fashioned English and American ghost stories should be most fittingly upheld by an international director, which brings us, (super)naturally, to The Others.At its most basic level, The Others is a stylish and evocative throwback to the classic Victorian ghost stories, which in turn formed the basis for 1960s horror classics like The Haunting and The Innocents. Like the latter of these films, The Others has its roots in Henry James' renowned novella The Turn of the Screw: both revolve around children whom, it is suggested, can interact with a world beyond our own. There are also hints of The Shining in the use of panning shots throughout the house, and in several of the music cues. Alejandro Amenabar borrows from Wendy Carlos in his use of deliberate anti-climaxes following by deep terror.The Others takes place on the Channel Island of Jersey just after the Second World War. The setting is interesting due to the cultural differences between the Islands and mainland Britain, and the fact that they were occupied by the Germans (although Nicole Kidman is keen to point out that none of them made it to the house). Amenabar exploits these differences to quickly create an unsettling, 'other-worldly' feel: we recognise all the hallmarks of 1940s fashion and architecture, but they are so precisely and readily positioned that something doesn't seem right.The film evokes the immediate post-war period very effectively. Although the majority of shooting was done in Spain, the house feels British in every detail. The ornate and elegance furniture, the empty, echoing halls, the pale but elaborate costumes - it is almost too perfect in its recreation of wartime Britain. The film has a very pale visual palette to underscore the age of the characters' environment and the sense of personal and national exhaustion. Javier Aguirresarobe, who later shot The Road, contrasts light and dark to such an extent that it almost feels like sepia, hinting at the chilling revelations lurking in the old photographs.Because of its affection for classic cinematic ghost stories, The Others does contain a fair number of familiar elements. The elderly housekeeper may be much nicer than Mrs. Danvers, but she still has ulterior motives and secrets to hide. In a further reference to Rebecca (which itself borrowed heavily from Jane Eyre), one of the key plot twists concerns the contents or inhabitants of an attic. The use of fog as a meeting point between this world and the next borrows not only from John Carpenter's The Fog but from gothic horror: Susan Hill's The Woman in Black is set in a house cut off by marshland, and the title character first appears after the fog comes in.With so many familiar elements in play, there comes a point where the film has to make its own mark on the genre. It takes a while for it to do so, but it eventually achieves this through both technical proficiency and the substance of its storyline. On a technical level, The Others is very creepy. Amenabar uses the pale cinematography and period dressing to play up all the creaks and shadows (and there are a lot of shadows), and he achieves two really big jumps: one with the door closing on Nicole Kidman's face, the other involving the old woman and the cupboard where the children are hiding.Like all great ghost stories, The Others makes you question whether or not you saw something, and what that something might have been. It shares with The Haunting and The Innocents the device of a central female protagonist who, in one interpretation, has gone completely round the twist. The film establishes Grace as the audience's guide, using her strict values and sense of conviction to unnerve us. During the opening act, her character is set up as someone completely orderly and in control, in contrast to Nell in The Haunting, who was always a little on edge. Hence when the strange noises start to occur, we experience either the act of someone going mad or Grace's genuine shock at seeing her values so deeply questioned.Whereas The Haunting explored possible scientific explanations for the strange goings-on in a dark house, The Others is primarily concerned with the role that religion plays in dealing with or understanding the world beyond this. Grace remarks early in the film that she "doesn't like fantasies": she is a staunch Catholic who takes literally both the teachings of the Bible and, even more so, the Church's views on purgatory. The film's view of religion is mixed - faith in the afterlife is rewarded, while the dogma to which Grace clings turns out not to be enough.When Grace's religious outlook interacts with those of her children, The Others drifts closer to the work of Guillermo del Toro, who directed his own ghost story in The Devil's Backbone and would later produce The Orphanage. An underlying theme of del Toro's work is that of children being able to connect with another world, with some underlying force which adults have chosen to ignore or dismiss outright. When Grace's children say that they don't believe all that they have been taught about God and the afterlife, it's not simply a reflection of a lack of faith. It is a sign that they see the truth, the horrifying magic which Grace denies or avoids; as Roald Dahl wrote in The Minpins, "those who don't believe in magic will never find it".The Others is very smart in tricking us over where the boundaries between the living and the dead lie. In light of its final twist, the reunion between Grace and her husband (Christopher Eccleston) gains an added layer of poignancy; the joy and subsequent strain of reunion becomes overladen with grief and despair. Like The Shining, the film suggests that portions of individuals' souls are imparted into a location or building which has significance in their life, and that after death their spirit returns, as if one's life were recurring in eternity with all by way of meaning plain to see.The Others is also boosted by its great performances. It finds Nicole Kidman in her prime, following up her excellent work in Moulin Rouge! the same year. She has often been criticised for being brittle, but here it is entirely appropriate that she be highly strung: her character is very close to Deborah Kerr's in The Innocents, and she delivers a performance which is almost on a par with that. There are also great performances by the two child actors: Alakina Mann is terrific as the impetuous Anne, and is matched beautifully by James Bentley, who later played Geoffrey Rush's son in The Life and Death of Peter Sellers.There are a couple of flaws with The Others. Although its ideas are interesting and thoroughly explored, it remains just a little too generic: it doesn't develop or advance the genre in the way that del Toro's efforts have done. It is a little too long, being very slow at the beginning and predictable towards the end. And in the scenes involving the medium, it treads a fine line between creepiness and Blithe Spirit, with the deadpan delivery of the medium's observers threatening to tip us over that line.The Others is a stylish and creepy retuning of a classic ghost story. In spite of its flaws it still delivers a satisfying amount of substance and shivers, which have not decreased in the decade since its twist was first revealed. Kidman and her child co-stars are on scintillating form, matched by solid support work from Eccleston and a 78-year-old Eric Sykes. Though it has since been eclipsed by The Orphanage, it still has the power to chill.

Rating:
Verdict: Chilling if a tad generic

The Orphanage (Spain/ Mexico, 2007)
Directed by Juan Antonio Bayona
Starring Belen Rueda, Fernando Cayo, Roger Princep, Geraldine Chaplin

Mainstream horror in the early-21st century has become defined by inept remakes, unnecessary reboots, and an uncreative obsession with physical mutilation embodied by so-called 'torture porn'. But even as the genre was taken to new lows with Roland Joffé's utterly vile Captivity, there were a couple of reasons to be cheerful about being a horror fan. The first was Pan's Labyrinth, and the second is The Orphanage.The Orphanage is the latest chapter in the reinvention of horror and fantasy cinema spearheaded by Guillermo Del Toro and his counterparts. Although ostensibly directed by Juan Antonio Bayona, Del Toro's fingerprints are all over this stylish and chilling ghost story which breathes new life into the haunted house sub-genre and the lost child motif. While not on a par with Pan's Labyrinth, it is a worthy companion to both Del Toro's own ghost story The Devil's Backbone and to the classic cinematic ghost stories of the early-1960s.Because of its ghost story heritage, The Orphanage is immediately comparable to The Innocents, The Haunting and most recently The Others, in its emphasis on the unknown and its use of suggestion and paranoia rather than shock and gore to bring out true terror in an audience. There are also connections with Don't Look Now and Dark Water in the central thread of a family attempting to cope with the loss of their child, and in the resulting encounters with the spirit world where the intentions of the spirits are decidedly ambiguous.Like these great ghost stories, The Orphanage is on one level about dealing with grief - or more specifically, the idea that being able to make contact with the world beyond this would be in some way cathartic. Just as Julie Christie feels at ease after the psychic sister tells her that her daughter is safe and happy, so Belen Rueda allows the medium into her home on the grounds that she might be able to make contact with Simon. And as with Don't Look Now, direct communication with the supernatural lifts the lid off Pandora's Box, compelling Rueda's character to pursue her son even at the cost of her own life.If you want proof of the strength of the production, both in its direction and its script, you need look no further than the sequence involving the medium, played in a good performance by Geraldine Chaplin. Utilising the same hand-held, infrared aesthetic of The Blair Witch Project or [Rec], this is the point where the film could fall apart and descend into nothing than scared faces intercut with loud bangs. But though the content of these scenes are naturally creepy, Bayona never allows the tone to get too hysterical. He keeps cutting back to the crew observing and recording the medium, keeping our focus on the reasons behind the set-piece rather than simply expecting us to be scared.The Orphanage utilises a number of different techniques which combine seamlessly to keep the shivers flowing down our spine. The most prominent technique is the use of suggestion, with the long shadowy corridors and creaky floorboards of the orphanage leading us to imagine we are seeing something we are not. The masks worn by the children at the welcome party also have a macabre, creepy quality, being reminiscent of the Venetian masks worn in the mansion scenes of Eyes Wide Shut. But there are also one or two scenes of physicalized horror to provide variety, including a shattered and disproportioned face worthy of Rob Bottin.But beyond scaring us purely as a technical exercise, The Orphanage uses its chilling atmosphere to explore other issues beyond that of grief and catharsis. On a broader level it explores the way in which life and death intertwine, merge and even co-exist within a given place. The orphanage is presented as both a physical entity rooted in the present and as a portal into the past - a vessel, if you like, for the souls of the children who lived there. The crime that was committed there all those years ago has caused their souls to remain there, like a dark mark on history, and they now seek company in the form of Laura to comfort them and explain their fate.There are big overtones of Peter Pan in The Orphanage which influence its view of the afterlife and the role of the central character. The children at the orphanage are like the Lost Boys, both in their status as orphans and the fact that they will never age. Simon's fondness for the book, games and his 'imaginary friends' stems from a desire to remain young forever; when teamed with the knowledge that he is dying, his insolent rejection of his parents becomes a yearning for something or somewhere where death is no longer feared.If the ghost children are the Lost Boys and Simon is one of the Darling children, Laura begins as the sceptical parent but ends up rediscovering her childhood self and taking on the role of Wendy. There is a through-line with Pan's Labyrinth here in the idea of a central female protagonist who has forgotten her true identity, and who must find her true self through a series of challenges. But The Orphanage puts its own spin on it, characterising Neverland as the afterlife and the physical act of death as the gateway to staying young forever.This emphasis on childhood and childlikeness slips over into the behaviour of the ghosts with regard to their human companions. In the earlier sections of the film, The Orphanage seems to side with The Haunting in portraying the supernatural as something inherently and inexplicably malevolent, as shown by Tomas slamming Laura's finger in the bathroom door and then locking her in. But as things move on the ghosts' nature becomes more clearly playful; like children, they do as they please because they do not know the consequences of their actions. Any perception of threat is less down to their intentions as our preconceptions about death and the afterlife.There is a further comparison with The Haunting in the question of whether the events which transpire at the orphanage have any form of rational explanation. In the final scene, where the source of the scraping sounds is revealed, we gain some kind of understanding as to where the boundary between the explicable and the inexplicable lies. But up until then The Orphanage is great at keeping us guessing, generating real suspense during the night sequences which build to a heart-breaking last ten minutes.The Orphanage is also visually beautiful. Oscar Faura, who most recently shot Julia's Eyes, captures the haunting quality of the orphanage through a careful selection of pale blues, faded browns and a meticulous choice of shadows. The film has a sumptuous quality to it which makes its harsher moments all the more frightening. The performances are also of a high quality, with Belen Rueda anchoring the film in a portrayal which combines panic, dignity, sorrow and despair while never seeming anything less than human.The Orphanage is a first-class ghost story which confirms horror's ability, in the right hands, to address profound and insightful issues in a manner which is not only immersive, but sensitive, touching and intensely memorable. Because of its strong resemblance to Del Toro's work, it's hard to say how much of its success lies with Bayona, or whether he will be able to achieve this level of results under his own steam. But in the meantime it should be celebrated for what it is, namely an intelligent, heart-breaking chiller which will stay with you for a very long time.

Rating:
Verdict: A creepy and heart-breaking chiller

The Haunting (USA, 1963)
Directed by Robert Wise
Starring Julie Harris, Claire Bloom, Richard Johnson, Russ Tamblyn

One of the longest arguments in horror fiction and filmmaking is over a very simple question: to show, or not to show? The novelist and director Clive Barker one said of monster movies: "I hate that school of filmmaking where for the first hour you see a foot, for the second hour you see a hand, and then you finally see the monster for five seconds before it gets blown up by an atom bomb."

For those too squeamish to throw in their lot with Barker, or his partners-in-slime David Cronenberg and John Carpenter, The Haunting is Exhibit One in the case of withholding the monster to produce terror. Along with close counterpart The Innocents, it has become the Bible of the modern cinematic ghost story, whose influence can be seen in everything from Alien to The Others. Though not a masterpiece by any standards, it remains essential viewing for any horror fan.In both its story and its production, The Haunting comes from very deep-rooted stock. The haunted house movie had been around in some form for over 40 years, and in the 1940s the genre produced such classics as The Uninvited and The Canterville Ghost, one of the big influences on Tim Burton's Beetlejuice. Robert Wise, the film's director, came from a background in low-budget horror, having helmed such titles as The Body-Snatcher and The Curse of the Cat-People.But the first success of The Haunting is its departure from both the increasingly comedic tone of the haunted house movie and the ultra-low budget look pioneered by Wise's benefactor Val Lewton. Whereas the spooks in The Canterville Ghost were included primarily for comedy, the ghostly forces present in The Haunting are inherently malevolent towards the inhabitants of Hill House. The impressive exterior shots (of Ettington Hall in Stratford-upon-Avon) situate the story in the serious end of gothic fiction, being reminiscent of the wide shots in Alfred Hitchcock's Rebecca.The visuals of The Haunting are very restrained, and are well-complimented by the score by classical composer Humphrey Searle. Wise shot the exterior scenes of Hill House on infra-red film to create a grainy, amorphous look for the stones and give the impression of an ancient monster lurking within. His composition is very good, choosing his angles and edits very carefully to wring the most tension you could out of a door slamming or heavy footsteps on a wooden landing.Like most great ghost stories, the central dilemma of The Haunting surrounds whether what we are seeing is reality or a particular kind of insanity: in other words, are there ghosts, or is it all in the mind of Nell? The lengthy voiceover in the early section of the film makes the character naturally unsettling, not simply because she is sensitive but because the tone of our thoughts gives the impression of her being at least partially mentally unhinged.Though it seems obvious to point out, The Haunting was a huge influence on The Shining. But beyond Stanley Kubrick's general intention to put his own stamp on the classic ghost story, there are whole scenes in The Shining which either pastiche The Haunting or lift directly from it. Compare the sequence of Jack Nicholson driving his family to the Overlook Hotel with Nell's long drive to Hill House. Both Nell and Jack Torrance have a frenzied quality behind the wheel, as if both know that they are leading themselves, their loved ones and the audience to certain doom - and though Torrance shows it more, both are somehow excited by it.On a thematic level, The Haunting is about humans' attempts to rationalise the supernatural - to paraphrase Dr. Markway, to give a name to what we don't understand, even if the name is meaningless. The desire to prove the existence of the supernatural through science is found throughout mediaeval and early modern philosophy, with thinkers as varied as Thomas Aquinas and Rene Descartes believing that the scientific method could reveal the essence or nature of God. The Haunting is the latest chapter in this long line of inquiry, and as with Aquinas and Descartes, its findings are decidedly ambiguous and inconclusive.Subsequent ghost stories like The Orphanage have explored the link between science and the supernatural from a technical point of view - for instance, by showing the movements of a medium on infra-red cameras. But despite the scientific intentions of Dr. Markway, there is precious little cold science in The Haunting. Markway enters the house with purely rational intentions, seeking to objectively study, record and observe rather than pass judgement or live in fear. But as the nights wear on, the house rebels against his attempts to impose order, until he concludes that the only sensible thing to do is to burn Hill House to the ground.

Much of the success of The Haunting lies in its ability to make us see things which aren't necessarily there. There is a comparison with Repulsion in the way that the architecture of Hill House seems to embody some sinister force, ever-present and ever-threatening. Wise is no Roman Polanski, but he does manage a couple of good tricks, making us see faces in the wallpaper, eyes in the window of the tower, and something deeply sinister in the blank expression of the marble statues.As with The Shining, the terror of The Haunting comes from the fact that so little is explained. There's nothing on the level of the man in the bear suit or Jack Torrance's appearance in the photograph, but we are still left with uncertainty as to whether or not Hill House was haunted, or whether we have just spent two hours in the midst of a deranged mind. Julie Harris gives a really great performance which is convincing and engaging even in the moments where she is bouncing off the walls.The flaws with The Haunting lie in aspects of it which are too close to the riper end of studio horror. In the midst of several really good scares, there are numerous shots of characters running into mirrors or being scared by their reflections, things which feel silly or cheesy within the context of the story. Some of the special effects are creaky even for the day; we can see the wires pulling down the mirror on the mantelpiece, and when one character falls down the stairs in the prologue, it looks stunted and over-choreographed.Elsewhere the film resorts in certain small ways to cliché, deriving a couple of jumps or scared from devices which just don't cut the mustard. The introduction of Markway's wife, played by Lois 'Moneypenny' Maxwell, is largely unnecessary - especially when she randomly appears in the attic like the mad first wife of Lord Rochester in Jane Eyre (which in turn inspired Rebecca). The opening prologue, whilst being deliberately hackneyed, almost overcooks things from the off, and it's only through a speedy introduction to Markway's plan that we choose to overlook it.The Haunting remains a scary and significant horror movie which still holds up to some degree even after nearly 50 years. Its inventive take on the haunted house motif is complemented by Wise's solid direction and a series of good performances (including an unrecognisable Valentine Dyall as Mr. Dudley). It's dated and cheesy in places, and has long been surpassed by The Shining and its successors. But as a yardstick against which ghostly movies should be measured, it still has the power to spook.

Rating:
Verdict: A creepy classic