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Based on the novella "The Turn of the Screw" by Henry James, a young governess (Deborah Kerr) for two children becomes convinced that the house and grounds are haunted.

As outsiders looking in as voyeurs, we are left wondering about what the governess sees: are the children possessed? Or perhaps they have become friends with ghosts? Or is the governess simply paranoid? The film keeps us guessing, which only adds to its creepiness.

This title has the distinction of featuring the debut of Pamela Franklin, here playing the child Flora, who would later be memorable in "The Legend of Hell House". She expertly presents herself as innocent (hence the title) while saying creepy lines such as, "Oh, look, a lovely spider! And it's eating a butterfly." Did this inspire Jack Hill's "Spider Baby"?

The film has received wide critical acclaim for its psychological thrills and also its technological achievements (cinematographer Freddie Francis made the lightning his number one focus, and also shot the film in layers, giving it a deeper look than most movies). No less than Martin Scorsese has listed it among the greatest horror films ever made.

Freddie Francis is in top form here, coming off his Oscar win for "Sons and Lovers" (1960). His mark on the horror genre would only increase in the following years, as he took the director's chair for Amicus and Hammer numerous times in the 60s and 70s.

The Innocents (1961)

The title loads this gun a little differently than the original from the long short story (or novella) by Henry James--The Turn of the Screw. But Jack Clayton's version of the story gets at the point with great ambiguity--uncertainty is key, and the suspense is partly under pressure because we don't quite know which side to take.

I can't say more, of course, because even a hint of a hint will start a viewer off on the wrong foot. But know that The Innocents is vigorously filmed in widescreen black and white, that Deborah Kerr, always a cool actress, is perfectly cool here (some might just say British, but she has no Julie Andrews in her governessing, and no Elizabeth Taylor in her at all). The two kids are both rather poised and charming as well as chilling, the boy especially intriguing for his precociousness (and preciousness). We empathize with all three equally, and yet, as you see, you can't quite see the events from their three pairs of eyes equally. Something is wrong, and you wait to see what, and how it will be revealed.

If it ever is. One of the brilliant things about Henry James is how you finish one of his books (the novels are better than the stories for this, I think) knowing what has happened but not knowing completely why. I mean, it all makes sense and feels right, but it feels suspended with an air of lingering needs. So you end up thinking about it later. As you will with this film.

There are some moments of special effects that are very well done even if a kind of 1950s/60s style of overlapping images and dreamer/dreamed simultaneousness. And the ghosts, not to give anything away, are pretty matter of fact. This is more an appreciation than a complaint, because the lack of gore, of cheap surprise, or of obvious scare tactics makes the movie a relief, and a bit of cinematic magic.

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.

"The Innocents" is one of those films that prove subtlety and imagination can be ten times more terrifying than loud noises or things that go bump in the night. There are no raging spirits or escaped madmen here. Nor will you find that stock of today's second rate horror films -- the creature that embodies evil and finds amazingly obscure ways in which to slaughter naughty teenagers. No, this movie scars one's psyche with darkness and silence and possibility, all mingled with its refusal to give the audience an easy answer at the end.

Based on Henry James' novella, "The Turn Of The Screw," the story is deceptively simple. An inexperienced governess is hired to care for two orphaned children in an isolated British manor and slowly comes to believe the ghosts of the previous governess and her brutish lover are trying to possess the children's souls. Being a decent woman "who loves children," she fights back the only way she can -- by confronting the evil head on. But the question is, does the evil truly exist...or is it all in her own mind?

As told by James, the novella is a startling ghost story, without question. He adds his usual psychological insights to the characters, but never do you doubt the ghosts exist. The defining moment comes when Miss Giddens sees Quint's face in a dark window then later finds a locket bearing his portrait and comes to her realization, "Oh, he's a ghost!" But in the movie, Truman Capote and William Archibald reverse this sequence -- she finds the locket first and THEN sees the man's face in the window -- and all simple explanations go out the door.

Is Miss Giddens imagining things? Has she become overwhelmed by the responsibility of raising two precocious children without any sort of support from their selfish uncle? Is she merely sexually repressed and immature enough to transfer her crush on the uncle to a boy not even into puberty yet? And what of Flora, Miles' sister? If this is merely sexual repression on Miss Giddens' part, then why does she drag a little girl into the morass? Throughout the film, Miss Giddens offers evidence of her concerns -- a letter received from Miles' schoolmaster that she cannot fully share with Mrs. Grose because the woman cannot read; her awareness that the two innocents in her charge have a far more advanced knowledge of life than children that age normally would; stories told by Mrs. Grose about Miss Jessel and Quint and how they treated the children. So could it be the spirits of two miserable adults have come back to reclaim life in the persons of Miles and Flora? It could go either way.

There is not one wrong moment in this movie. Not one. The first time I saw it was in New York City on a double bill with "The Haunting" (1963), a "things that go bump in the night" kind of movie. The audience and I howled through that one, it was so much silly fun. And we chuckled through the first ten minutes of "The Innocents" (especially when Mrs. Grose tells Miss Giddens, "I'm SO glad you're here," with a little quiver in her voice), but by the end of that film (and I use the word "film" deliberately), the entire theater was dead silent. Any film that can shut up a room full of rowdy New Yorkers has got to be damned good.

So...is "The Innocents" a ghost story or psychological study? Who can say? And to be honest, who cares? It is, at the very least, a damned good movie...and at the very best, a horror story that makes "The Shining," "Rosemary's Baby," "The Others" and even "Psycho" (a movie I love) look like the works of children. That this film is not available on DVD is a travesty.

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."

Miss Giddens (Deborah Kerr), a nineteenth century British governess, is appointed to take care of two children, Flora (Pamela Franklin) and Miles (Martin Stephens). Upon arriving at the bleak mansion she meets the housekeeper (Megs Jenkins) and also Flora. Miles arrives a few days later from school. The children seem like little angels but, following a series of bizarre events and examples of the children's wicked impulses, Miss Giddens begins to suspect that all is not what it seems.

This dark and atmospheric tale is a wonderful example of how to create an admirable horror movie that, although has violent undertones, features very little violence when all is said and done. ‘The Innocents' is certainly a psychological horror movie which leaves in doubt how much of the inexplicable happenings are supernatural, and how much is in the mind of the protagonist, Miss Giddens. Director Jack Clayton uses some astonishing visual trickery and ghostly effects to create and maintain a very unsettling atmosphere, almost from the very beginning. A number of effective ghostly apparitions are displayed on screen during the movie from varying distances which gives ‘The Innocents' a constant, foreboding atmosphere. The way some scene changes blend with the end of the previous scene are rather disconcerting and almost dream like as there are long lingering images, once again, wholly adding to the effect. Some of the dialogue may seem a little unrealistic, but in general the movie is well scripted and features a few very dramatic scenes thanks to some delightfully written dialogue and strong acting performances. William Archibald and Truman Capote both won awards for their script writing.

The only real fault with ‘The Innocents' is how fast the film moves along. Miss Giddens seems to realise the truth of what is happening all too quickly. This does not make ‘The Innocents' less enjoyable, but it would have been nice to have had an extra ten minutes or so explaining the story to us a bit more. ‘The Innocents' has a sustained tone of dread throughout the movie. It seems that Miss Giddens is unable to move without being confronted by some spectre or seeing some rather peculiar behaviour exhibited from the children. I'd compare the dark atmosphere with that of ‘The Haunting' (1963), both movies are comparable in the way they are presented and are both aesthetically pleasing. The acting was of a high standard, though one must forgive the two young performers if they occasionally seemed to overact. Martin Stephens was very good as Miles, playing his sinister part with an awful power, even though the character's superciliousness became somewhat of an annoyance. Megs Jenkins was also delightful as the anxious housekeeper Mrs. Grose. From the moment Mrs. Grose is first introduced the viewer can begin to suspect something. Jenkins came across as a friendly, but scared, woman who is desperate to maintain decorum in the house. A fine performance suited her character marvellously. One must also mention Deborah Kerr's fine performance as Miss Giddens as she played it with the right balance of inquisitiveness and fear. Deborah's dramatic performance certainly helped make this movie fantastic and one sympathises with her deeply as the film ends on the sombre and heartbreaking note that it does.

‘The Innocents' is an elegant and stylish movie that is certainly worth watching. Fans of ‘The Omen' and ‘Village of the Damned' should enjoy this as well as any fan of dark, atmospheric horror. A strong screenplay, fine performances and breathtaking visual trickery make this movie a very pleasing addition to the horror genre and I highly recommend it to all. ‘The Innocents' was able to scoop a BAFTA Award (British Academy of Film and Television Awards) for Best British Film as well as a BAFTA nomination for Jack Clayton which he thoroughly deserved. My rating for ‘The Innocents' - 8/10.

Miss Giddens (Deborah Kerr) is hired to be the governess to two children on a country estate. She comes to believe the place and the children are haunted by the spirits of their previous governess and her brutish lover. No one else believes her so she tries to get rid of the ghosts herself.

The first screen adaptation of Henry James's "The Turn of the Screw, " a psychological ghost story that leaves unanswered the question of whether the ghosts are real or imagined. This sort of story is pretty common in movies of the last 20 years but was much less so in 1898 or even 1961. Don't let the ambiguity put you off that there are no scares here. This is a movie full of spooky moments, shadowy figures, startling reflections, eerie voices. It's beautifully photographed by Freddie Francis. The music and sound effects add to the feeling of unease. Deborah Kerr gives a nail-biting performance as the neurotic, repressed Miss Giddens. The child actors, Pamela Franklin and Martin Stephens, are sufficiently precocious and weird to keep you off balance as to the truth behind their possession. Stephens was the leader of the kids in Village of the Damned. Franklin would go on to appear in such '70s greats as And Soon the Darkness and The Legend of Hell House. Megs Jenkins is good as the kindly housekeeper. Peter Wyngarde is creepy as the menacing Quint.

The pace is slow, which will turn off impatient viewers, and the scares are subtle and not as visceral as most modern horror fans seem to enjoy. But if you like thoughtful horror films then this is one you'll want to see. Fans of the suggestive classics Val Lewton produced in the '40s should also check this out.

This one was slow going for awhile, but in the end I just had to admire its creepiness and much of its sinister ambiance and attention to detail. It's a British film based on the 1898 American novella "The Turn of the Screw", about a young woman (Deborah Kerr) who accepts a job as governess for two small children somewhere off in the English countryside. Neglected by their distant uncle (Michael Redgrave), little orphans Miles and Flora are of special interest to Miss Giddens (Kerr), as she adores children and cares about their well being. But very soon she begins hearing voices and seeing vivid apparitions of the deceased former governess and her dead lover, an evil valet who used to work on the Estate. Are they ghosts? Have the two children become possessed and corrupted by the spirits of the dead? Deborah Kerr's paranoid performance is very good here, and I appreciated the ambiguous nature of the proceedings; not everything is spelled out, and much is left to the viewer's imagination, including the ending -- which is not completely resolved, but is very powerful. *** out of ****

"The Innocents" is a beautifully shot film. Freddie Francis' work on this film is great throughout. As much as I enjoyed the film I must admit I had a few major problems, which I will go into later. Firstly the good points. Alongside the cinematography, the acting is very good. Deborah Kerr is excellent as you would expect, showing extreme paranoia and unease throughout. The two children (one of which, Pamela Franklin, would go on some years later to star in The Legend of Hell House) are fine, they are both very believable and do a great job. There are also loads of subtle references throughout the film, which are mentioned in other reviews. There are some "scares", mostly the two "ghosts", but as in most of these films it is the constant atmosphere of unease that should make it work. Now comes the hard part. To begin with I could not see beyond Deborah Kerrs' character as anything but crazy. She seems to add all the clues together far too easily regarding the link between the two dead servants and the children. Also, unless she had experience in such matters how she comes to the conclusion that if the children say the names of the "ghosts" they will be OK is very strange and a little abrupt. She is a ministers' daughter, but unless he was an exorcist I can't see it helping. This isn't a major problem but one sequence with a tear (or water droplet) later on seems to change the whole plot. Ambiguous plots and red herrings are great, but I found this a little hard to digest. The film seemed at times more of a melodrama than a spine tingler, and having watched it a second time I must admit I enjoyed it less. Excellent direction and cinematography are not enough I'm afraid. Once my mind was made up on the insane plot angle, the ghostly apparitions had little effect, and I felt anyway these were done without too much subtlety. In these films personally I feel that once the ghosts are shown I find much of the mystery is lost. A good film and recommended, but in my eyes nowhere near as sharp as "The Haunting" (1963), "The Changeling" or even "The Legend of Hell House".

They sure don't make movies like this one anymore. This is one of the few horror movies that does not have gory or graphic images in it. Instead, the spooks in this movie are presented in a subtle way....yet, the movie is quite scary. This is the type of horror movie that I like, one in which every now and then you see a frightening image or a startling scene, and that image or scene lingers in your mind.

Everything about this movie is haunting. First, there's the song at the beginning: you hear a young girl's voice singing a beautiful yet somber song. Later you hear that song in several scenes in the movie.

Second, there's the setting: this movie takes place in a large Victorian mansion with many rooms and passages, while only about eight people live in it....what could be more eerie than that?

Then there's the exceptional cinematography. The black-and-white photography is perfect for this movie. This movie would not have been too creepy if it had been done in color. Further, many of the shots were innovative and the lighting was used ingeniously in some of the scenes.

Additionally, I liked the way that the director chose to play around with the sound, which brought more of an element of mystery to the movie. In one particular scene, there was a lot of noise initially....and in a split second there was dead silence....then several seconds later, it was noisy all over again (all in the same scene).

But what I think is the most interesting thing about this movie is the fantastic performance by Deborah Kerr. It's fascinating to watch her facial expressions in this movie. She demonstrates her character's fear quite well.

I also think that the actor who plays Quint is very scary-looking! He has a very sinister look, and it adds to the spookiness of this movie. If you really want to be spooked by this movie, watch it late at night with all of the lights off....dare to watch it by yourself.

All great films engage us to lesser or greater degree: some emotionally, some intellectually -- a few, equally.

No film in history, to my memory, seduces the viewer into actively co-creating the piece as it unreels, as does "The Innocents." Immediately, vividly, and subtly, it arrests then implicates the viewer in every frame.

Its first "image," in fact, is a blank (black) screen -- and the haunting sound of a child's song. Instantly, viewers unconsciously react, emotionally (as to all music), to the beguiling yet off-putting song and the voice. Emotional tension, established immediately.

Yet, one's mind never stops producing thoughts and images. So, without any visual cues from the screen, the haunting song produces images in viewers' own minds -- each no doubt different. Already, then, viewers are seduced into supplying their own mental images and, whether they know it yet or not, have been brilliantly and subliminally placed in the Deborah Kerr role. This, before a single production credit has appeared. We are watching a shadow: a nothing. And our minds demand we fill it with something.

Thus does Jack Clayton's astonishing "The Innocents" begin. Certainly, other films have used the same opening device. But none with "The Innocents'" payoff.

For, as it develops (based on Henry James', "The Turn of the Screw"), "The Innocents'" themes are, "What do you see? What do you believe is true? Is it? Who is 'innocent?' The children? The nanny? You?" The emotional undertow is inescapable, perhaps more so because two-thirds of the trio of protagonists are "children in peril," always a surefire hook.

But "in peril" from what, exactly? Deborah Kerr's possible paranoia / schizophrenia? Ghosts? Or our own powerful, perhaps lurid, imaginings of what may or may not have happened to these children from their deceased and perhaps sexually perverse tutors? The children's memories or imaginings of what did or didn't happen? The film unfolds with some of the most beautiful cinematography in history (Freddie Francis). "The Innocents" requires full-size screening, or at least letterboxing to fully appreciate the visual poetry supporting the suspense.

Jack Clayton's production and direction rank among the finest in screen history.

The miraculous work he pulls from his cast is uniformly jaw-dropping.

Despite Deborah Kerr's ravishing natural beauty, one never recalls even a single performance in which she was "Deobrah Kerr": she was always the character -- whether a nun ("Heaven Knows, Mr. Allison"), an adulterous sexpot ("From Here to Eternity"), a Tennessee Williams underdog ("Night of the Iguana"), a strong-willed soprano-singing teacher ("The King and I") or a romantic comedienne ("An Affair to Remember").

Contrast Kerr's beauty, talent and career with Elizabeth Taylor, say. Equally ravishing, one was always aware of watching Miss Taylor "act." Even in stunt casting, like her Martha in "Who's Afraid of Virginia Woolf?" or the debacle of "Cleopatra." Miss Kerr is the real thing. So are Megs Jenkins (Mrs. Grose), Martin Stephens (Miles) and Pamela Franklin (Flora).

The story and filming progressively grow more audacious, until the last heartbreaking sequence between Kerr and young Stephens.

By then, of course, our hearts and minds are so thoroughly complicit in the goings on that the final cry heard on the soundtrack, before we are left again in the blank, black void of our own hearts and imaginings at all we've just lived through, before credits begin to roll, leaves us with perhaps the most haunting of all cinematic experiences.

Why? Because we have made the film as it went along, as fully involved as any character in it -- our own minds contributing all that's unspoken and unseen.

"The Innocents" is the "Citizen Kane" of its genre. And like "Citizen Kane," it transcends genres.

This is an immortal achievement by a team of filmic artists at their peaks. A revelation of what film can be.

The Innocents is a masterpiece of atmospheric horror cinema. The obvious influence for 2001's 'The Others', The Innocents portrays themes of paranoia, death and madness; superbly wrapped around a plethora of great performances from the four main leads.

The story revolves around an uncle who doesn't have time for the children he has inherited, and therefore hires Miss Giddens (Deborah Kerr) to look after them. When Miss Giddens arrives at the mansion, she first meets Flora, the young girl and is 'enchanted' by the child. A few days later the boy, Miles, arrives at the house after being expelled from school. The fourth lead is made up by the housekeeper, Mrs Grose; played by Meg Jenkins. From the housekeeper, Miss Giddens eventually learns of what happened to the previous occupants of the house, and that's where the fun starts...

Martin Stephens (Miles) and Pamela Franklin (Flora) do surprisingly good jobs as the two adorable young children that are the centre of the story. Their characters are portrayed as nice young children, but at the same time there is something sinister about them, and that is where the tale draws a lot of it's suspense and mystery from. Deborah Kerr also shines as the watcher of the children. We know from the outset that her character loves children, which makes her plight believable to the audience when she does all she can to save the children from the evil she believes is haunting them. We never really know what is happening in the movie; the children's viewpoints contradict that of Miss Giddens, and as there is evidence to support what both sides say, along with evidence to support that of the contrary, the mystery is able to build itself through this and that, therefore, along with the empathy we are able to feel for Mrs Giddens due to the nature of her character; the film is able to remain interesting and suspenseful for it's running time.

The thing that this film does best is in capturing a dark and foreboding atmosphere. Through the way the story is portrayed and the beautiful cinematography, Jack Clayton is able to create scenes and sequences that are genuinely frightening and suspenseful; less is more rarely works to a great effect, but here it does. The 'ghosts' have very little screen time, but the time they do have is powerful and memorable enough to make it seem like much more. The film's creepy and menacing atmosphere never delves into violence or gore and relies solely on the story itself and the Gothic, atmospheric setting; and that is much to the film's credit.

If you liked the slightly later 60's paranoid horror films, such as Carnival of Souls or The Haunting, then this film is definitely one to check out.

The Innocents is a film that has haunted me ever since I first saw it. Staggering, brilliant, masterful, The Innocents is the Rolls Royce of ghost stories. From the unforgettable camerawork by Freddie Francis to the incisive, beautiful direction by Jack Clayton to the brilliant performance by Deborah Kerr, The Innocents works on a thousand levels. This is a film for anyone who truly wants to see brilliance in its purest form. Any director who wants to make a suspense/horror piece that counts, see this film now. If you can, don't see the pan and scan version -- it was shot in black and white Cinemascope and should be viewed that way -- Letterboxed. Let's hope 20th Century Fox put it out on DVD. It is available on Laser Disc is a beautiful letterbox transfer. But if you get the opportunity to see it on a screen -- RUN. A film that lingers in the mind for decades to come. What more could you ask from a film?..............................

Amid the releases of numerous Hammer films, Jack Clayton directed a different kind of horror film, more of a psychological thriller. "The Innocents" casts Deborah Kerr as Miss Giddens, a woman hired to be a governess for two children in a manor in the English countryside. At first, the children are happy to have Miss Giddens around. But as time passes, Miss Giddens begins to suspect that something is not quite right...or is it all in her mind? The movie, based on a short story by Henry James, has a lot going for it. The black and white cinematography alone creates a significant Gothic feeling. The setting certainly adds to that: an antiquated mansion in which just about anything could be hiding; the house could easily be the star of the movie. But Deborah Kerr's facial expressions are as creepy as anything that happens in or around the house. Her expressions truly serve to make the audience wonder how much of the terror is real or in her mind. And of course the girl's song is also pretty sinister.

Watching the movie, I could see some similarities to "The Shining" and "The Others". It just goes to show that real horror comes not from blood and guts, but from what the viewer doesn't know. There were a few scenes in this movie that made my blood freeze a little bit. Without a doubt it was a solid achievement for Clayton, Kerr, and also Truman Capote (who co-wrote the screenplay). Definitely one that I recommend.

One of the original haunted house and its haunted history movies, Innocents, does an interesting difference to the later haunted house adoptions. Although the plot has become nearby a cliché in the later horror movies and it is not too hard to guess how the events turn out, the movie still feels refreshing. One of the main reasons for that is the clever use of the camera and not to rely on silly shock effects like in today's horror movies. Also Deborah Kerr was a joy to watch and when she gets in the middle of the things, I actually felt sorry for her. That is something that doesn't happen with today's silly horror movie babysitters. Innocents is from the beginning to the end an interesting, clever and amusing movie to watch.