Customer Reviews

Henry James's The Turn of the Screw (Masterpiece Theatre) [VHS]

5 star:		(4)
4 star:		(5)
3 star:		(0)
2 star:		(3)
1 star:		(2)

 

 

When a young woman (played by Jodhi May) begins her job as governess, everything seems to be perfect. However, there are secrets in her new house, and when she begins to see the ghosts of recently deceased servants, it becomes clear that there is evil afoot. However, no one else can see the ghosts, and her actions begin to seem more and more deranged. How can she protect her two charges, and what must she do? [Color, released in 1999, with a running time of 1:40 (2 hours with the Masterpiece Theatre introduction and so forth).]

Overall, I found this to be a disturbing and rather chilling movie. The original Henry James' story is considered a classic ghost story, but in this movie, things are much less clear. Is the governess a sensitive young woman, who is struggling to overcome the machinations of a pair of evil ghosts who are establishing a grip on the previously angelic children? Or, is she a sexually repressed young woman whose psyche is moving her towards madness? It's up to you to decide...if you can!

Yes, this is an excellent movie, one that is certain to scare and disquiet you. I enjoyed this movie, and highly recommend it to you.

Any adaptation of a literary work to the screen runs the risk of coming across as too shallow. Such is not the case in Mobile Masterpiece Theatre's presentation of "The Turn of the Screw". You are immediately drawn into the psychological horror with its varied twists and turns that leads to who knows where?

Identify with the naive character who is given the responsibility to manage the family affairs of a young bachelor who refuses to be bothered with his niece and nephew. Beguiled by his sexually powerful aura, our herione takes on the task. She meets perfectly sweet children in Flora and Miles. Miles in particular is precocious. He is also very adept at playing power games that go beyond that of a child having his or her way. She has the perfect job but there is an unsettling sense of evil in the manor. Ghosts of the former governess and valet haunt the scene and "Miss" becomes unglued but ever ready to "save" her charges.

The psychological changes she goes through hits home. Is she mad? Have these ghost pocessed this children? How is it that a ten year old boy sounds and acts like a mature man making a pass at her? How "Miss" solves this mystery yet managing to keep her mind intact is the great challenge. Jodhi May does a splendid job in her performance as she battles evil that has enveloped the children. Truly this is a psychological drama befitting our attention. Its horror as to what has been done to the children is horrifying. Journey with the character through this dilema. At the beginning of this drama we are given an introduction as to the background of this story by James. Setting it in its context makes it all the more chilling for is it indeed fact or fiction? You decide.

This is the best adaptation of this James' work with the possible exception of "The Innocents" with Deborah Kerr, whose emphasis is strictly on the ghost story. This film however, is a must for those who love great story telling and want to be titillated by the twists and turns of not only the main plot but the very subtly intricate sub-plot that is raging underneath

For a long time this 19th century fireside ghost tale has entertained audiences for its thrilling and supernatural side. Those fans of the psychological bent that are more interested in its dally with a supposed "sexual hysteria" undercurrent, will be entertained as well. Some type of emotional regression takes place and that drives the main character, Miss, (Jodhi May) from careful dominance and maintenance of a fine household and her two beautiful charges, nicely turned by Joe Sowerbutts (Miles) and Little Grace Robinson (Flora) to a final and terribly complete conclusion.

Miss replaces a former governess who has died under questionable circumstances. That her employer, The Master, (Colin Firth) has frankly 'seduced' her into hurridly engaging as governess is only the tip of an iceberg of innuendo, symbolism and complicity. Having read the short story and seen this film, I am not totally convinced of the sexual hysteria theory although actress May, an Oxford English Literature graduate, has alluded to that very concept when questioned about this role. And that mystery and those questions are what make this tale so darned intriguing.

As Miss, May is complete. The very proper parson's daughter, well educated, mannered in all ways, pretty, and quite mindful of the impossible demands of her position: "Never trouble him, but never, never, neither appeal nor complain nor write about anything; only meet all questions herself, receive all moneys from his solicitor, take the whole thing over and let him alone"; as written by Henry James, places her in a position of power with no room for self-doubt or escape from failure.

As the story approaches its end Miss asks her God: "Victory requires only another turn of the screw of ordinary human virtue". And turn the screw she does with tragic and unforgivable results. May captures both the subtleties of confidence and passion while allowing this wonderful governess to slowly and completely unravel. The only thing better than watching this performance would have been to hear this story told on a dark, cold night by the fireplace 100 years ago.

"The Turn of the Screw" is as much a psychological thriller as it is a ghost story. This Masterpiece Theatre adaptation is, for the most part, very faithful to Henry James' text, although it does add some interesting interpretive touches. "Miss" (portrayed by the wonderful Jodhi May, with just the right mix of toughness and vulnerability) is a young governess discovering her identity and her way in the world for the first time. Her interview with Bly's owner, which is mentioned only in passing by James, is portrayed at length here, with a powerful sense of sexual tension between the youthful "Miss" and the sophisicated lord of the estate. Indeed, there is a palpable sense of sexual tension and repression throughout this version, although it is very discreetly and tastefully handled. The appearances of "the ghosts" are unsettling without being melodramatic or corny. I recommend this version to any fan of James' text, and it would make an excellent addition to the video libraries of high schools and universities.

This is the best version of "Turn of the Screw" that I've seen (so far I've seen four versions). You may remember Jodhi May from her quiet role in "Last of the Mohicans". Again she has delivered a very subtle and beautiful performance. If you're even thinking of getting this video, I guarantee you won't be disappointed. I was hanging on the edge of my seat and I've already read and seen other versions of this story. Well done!

Ben Bolt is a capable director, and the here he does a good job - with everything but his lead actor. The music is wonderful, just enough to make your spine tingle. The problem here is Jodhi May. She turns in a endlessly one-note performance. She seems to be focussing so hard on not ever blinking, while her mouth is perpetually agape. Mr Bolt must be to blame for this, because she certainly seems a decent actor. Nonetheless, her performance drags this interesting production down into the realm of a cartoon. Unfortunate, for the children and housekeeper - and ghosts - are solid supporting cast. The script also is awkward and at times clumsy. I suspect the other reviewer is correct in ideally wanting to hear this story read by firelight - either 100 years ago, or perhaps tonight.

In this new Masterpiece Theatre spin on James'classic bone-chiller Ben Bolt depicts an elegent but updated reinterpretation of the book . Unlike versions before it, we have a choice of interpretaion of events.
Other versions have underlined the analogy of the single metallic turn of the screw within resisting but eventually accepting softer material(analogous of the outward relationship between a young governess and her charges).
You eventually realise that Bolt might be presenting another dimension for us to unravel this evidently infamous mystery. The story is presented thus: just whom has taken charge of the care of two upper-middle class orphans; their very material new governess the attractively humane and proper "Miss" or possibly more ethereal antagonists from the recent past? Do we really have a choice in this matter? And if we do should we vote for the obvious?
In Mr Bolt's production the answer to the mystery may be more shocking even than the evil desires of malevolent phantoms. We may enevitably ask ourselves,what side of Miss's bodice, within or without, so to speak, is propelling the awful inevitability of what happens?
Does Miss really see phantoms of the recently fallen and self destroyed evil, local protagonists or are they merely a product of her own semi-repressed sexual infatuation with her employer or someone in her past? Here you may note the young Governess' slight fetish with her employer's wardrobe cupboard.
Is the large, chatty housekeeper's growing fear for the children developed from her agreement with the young carer's constantly expressed misgivings or is she becoming terrified of the young lady's own obsessions and their effect on her charges?
Is Miles, the dapper little boy under her care, a roguish but vulnerable young charmer recently and tragically orphaned of both parents or a manipulative future monster-in-the-making presently apprenticed to an evil phantom?
Finally, Bolt's tribute to the author is made clear by his even handed approach. For me he seems to find it difficult to discount either understanding except to realise that such a genuine genius as James is somewhat more a pioneer of the then new psychological side of the literary than a recreator of the literary methods and archetypes from his own cultural past. Inevitably a fiercely partisan view of either take on the story is, I think, useless. This production is both humble and majestic and is a signature effort by the director and all listed in the credits. The best "Turn of the Screw" I have seen.

I understand every generation's desire to remake or reinterpret classic dramas, plays and literature, in this case, Henry James psychological ghost story, "The Turn of the Screw." However, as 21st century filmmakers should know by now: modern and newer is not necessarily better. And less is more as the producers should have realized when they considered this remake. In the outstanding and remarkable 1961 adaptation "The Innocents" the ghosts or apparitions are for the most part seen briefly and at a distance. Music, sound effects, and stunning cinematography made the apparitions and children's precocious behavior even more chilling and disconcerting. This drama doesn't work for the following reasons: the ghosts are revealed close-up, in realistic and lingering shots. They are neither mysterious nor frightening. The children are unappealing and not terribly convincing; in other words very badly cast. And most surprisingly, the very talented Jodhi May who should have been perfect for this role is somehow simultaneously grim and blank from the beginning; she gives us little insight into her character. Overall, this is a disappointing adaptation

This version of Henry James's famous ghost story is well rendered and keeps the storyline while adding some subtle (or not so subtle) insight in to the mind of the unnamed governess. Knowing the plot quite well I did not find the movie particularly scary but for someone unfamiliar or who hasn't read the book in awhile there could be some real chills. And as is so often true in ghost stories the more the movie shows of the spirits the less frightening they become and the viewer gets some real good looks at both Peter Quint and Miss Jessel. Just like in James's novel the transformation of the children and the ambiguity of the whole thing causes the most spine tingles.

Inevitably, I suppose, any stage or screen adaptation of James's novella must finally make a firm decision regarding what James himself is able to leave satisfyingly ambiguous on the printed page: namely, the emotional and mental stability of the governess, played here with great zest and skill by Jodhi May. Director Bolt's choice is clear enough; for him, the governess is (or becomes) an obsessed, sex-starved Freudian case study--a well-intended young woman who nonetheless ends up posing an infinitely greater peril to her charges--Miles and Flora--than do any of those ghosts she (mistakenly) thinks she sees.
I myself miss the ambiguity of James's text here, but the production itself is first-rate: terrific acting, cinematography, and casting. However, if, as a reader of James, you are convinced that the governess is an eminently reliable narrator concerning the disturbing events at Bly, this directorial interpretation is likely to rankle.