Still of the Night / Stab (1982)
“We’re probably dealing with a woman who on the surface seems childlike and innocent, but underneath is capable of extreme violence.”
“We’re probably dealing with a woman who on the surface seems childlike and innocent, but underneath is capable of extreme violence.”
“You seem to have greater interest in Kendall dead than alive.”
“They must be made to admit what is happening — one word, one word of the truth from these children, and we can cast out those devils forever!”
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Review: The performances in The Innocents are, across the board, superb. It’s difficult to imagine anyone better than Kerr at playing Miss Giddens, an idealistic, faithful, sexually repressed woman who is mortified to learn that her sweet charges may have been corrupted — and who will stop at nothing to “clear” them of their sins. Both Pamela Franklin (who, six years later, starred in Clayton’s Our Mother’s House) and Martin Stephens (from Village of the Damned) are entirely believable as the inscrutable siblings, and Megs Jenkins rounds out the cast beautifully as the children’s well-meaning, naive maid — her performance never hits a false note, and is essential to the success of the story. Equally impressive are the film’s visuals, including the stunning black-and-white cinematography, appropriately baroque set designs, and effective use of pastoral outdoor settings. Much like in Robert Wise’s The Haunting (1963) and Val Lewton’s early films for RKO, the frights here are cinematically suggested rather than made explicit, with Clayton using a variety of techniques (including deep focus framing and double exposure) to evoke horror; yet even some straightforward shots — such as a bug crawling out of a statue’s mouth — are enough to cause one to jump. Ultimately, the “horror” here is truly psychological, indicating that the worst monsters are the ones we — like Miss Giddens — conjure up for ourselves. Redeeming Qualities and Moments:
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“We don’t have much, but we do have our self-respect — and now they’re trying to take that away!”
“Oh, Charlie, my Charlie — what’s happened to your mind, your spirit, your soul? Charlie Castle, the guy I married — he was a tiger!”
“David says something landed in the field out back. It doesn’t make sense, but he seems so convinced!”
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Response to Peary’s Review: Redeeming Qualities and Moments:
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“Debbie, I’m so proud of you!”
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“You don’t have to be ashamed; there’s nothing wrong with just watching.”
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Response to Peary’s Review: Redeeming Qualities and Moments: Must See? Categories Links: |
“Either you bring the water to L.A., or you bring L.A. to the water.”
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Response to Peary’s Review: In addition to its wonderful performances, Chinatown is full of many unforgettable scenes: Gittes getting his nose slashed by a thug (Polanski in cameo); Gittes spying on Dunaway and a mysterious young woman through a window (and, later, discovering who the woman is); Gittes driving recklessly through an orange grove while being chased by gun-wielding farmers; Gittes smooth-talking his way into a rest home. Perhaps most memorable, however, is the film’s overall look and feel, including John Alonzo’s luminous cinematography, Richard Sylbert’s meticulous production design, Jerry Goldsmith’s score, and Polanski’s excellent use of outdoor locales in the greater L.A. area (ranging from Catalina Island to concrete sewers to farmland to — famously, in the final scene — Chinatown itself). While Chinatown is too depressing to be a personal favorite, there’s no denying the sheer visceral power of its story, characters, and settings. Redeeming Qualities and Moments:
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(Listed in 1001 Movies You Must See Before You Die) Links: |
“I’m in love with your great-great grandmother — I have been since the moment I entered this castle!”