Our Mother’s House (1967)
“Don’t worry… We’ll manage. We managed all the time mother was ill, and we’ll manage now. We’ve got to have faith!”
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Review: The story (based on a novel by Julian Gloag) is a compelling mixture of horror, humor, and intrigue. The film is basically split into two distinct parts: in the first half, we see the children coping in the best way they can with the death of their mother; they truly believe that she’s “still here”, and hold spooky seances to try to converse with her. The scene in which Diana (Franklin) acts as a medium and is “told” that Gerty (Nicholls) must be punished for accepting a ride on a scooter is truly scary, and reminds one immediately of Lord of the Flies. Yet Clayton also shows us the ways in which these self-sufficient children are able to have fun with their newfound freedom — such as the glee they experience when they’re successfully able to convince the bank to cash their mother’s monthly check. The tone and direction of the film suddenly shift about midway through, once Bogarde’s character appears at the door of “mother’s house”. Charlie is a genuinely mysterious wildcard, and we’re kept in constant suspense about both his true identity and his ultimate motivations. Yet he also introduces the story’s one major flaw, which is that it’s impossible to believe that none of these children would recognize Charlie, given that he claims to be their mother’s husband (and, by extension, their father). If you can get beyond this gap in logic, however, you’ll undoubtedly find yourself intrigued and delighted by this unusual ensemble tale, which dares to posit children as intelligent beings who may be better off on their own than under the “guidance” of self-serving adults. Redeeming Qualities and Moments:
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Posted on April 30th, 2007 by admin
Filed under: Original Reviews
Very much a must!
Six years after the perfection that is ‘The Innocents’, director Clayton returned to similar gothic territory – with a decided difference.
As noted, the main reason to see ‘Our Mother’s House’ is the extraordinary ensemble performances by the children. One really believes these kids operate as one and as family. (As for the fact that they do not resemble each other – and though it is not given enough explanation – I took from the story that each child has a different father; that ‘Mother’ was somewhat schizo and torn between her wild ways and guilt, esp. about her pregnancies. As well, it seems to me that the eldest, Elsa, does recognize Charlie when he re-enters the picture; but, to me, it’s of no consequence that the others don’t – and I don’t see that as a flaw.)
In their single-mindedness, the children are reminiscent of the alien children in ‘Village of the Damned’. However, here, of course, they are fully fleshed-out; some of the most refreshingly complex youngsters ever to appear on-screen. Though they do take something of a back seat once Charlie arrives (at a chilling moment), they are not trumped by Bogarde’s performance (excellent though it is; among his best). As noted, the “small moments” are many and varied – one of my favorites being when Elsa first discovers that ‘Mother’ is dead, and reaches out to keep Hubert from getting closer to find out. Another esp. gripping scene occurs when Diana (Franklin excellent again, after ‘The Innocents’) is terrified when she no longer senses ‘Mother’ speaking through her.
Overall, a fine film, worthy of re-visits. In the world of horror, it’s unique, at times even funny, at times heart-breaking.
cf: De Palma’s ‘Carrie’, for its depiction of religious hysteria