THE OTHERS (***)
Supernatural thrillers were rife during the age of existentialism in film, when we questioned man's relationship to the universe or to God. It's too bad that we now live in an age of cynicism where we are doubtful of anything that cannot be explained definitively. With the advent of more convincing special and makeup effects, along with new scientific breakthroughs and discoveries, it is getting ever more difficult to scare audiences who have been shocked into numbness, or believe they know everything.
If Alejandro Amenabar's THE OTHERS had been shown twenty years ago, it would've been considered one of the horror genre's best. It's a good old-fashioned ghost story with some turns and twists that are worthy of its contemporaries. I generally do not like thrillers that resort to cheat scares (sudden sound blares and unexpected figures which dart in and out of places), and this film does have several of the kind. But they are effectively intermingled with an ever-growing sense tension that I didn't mind them. Here's one movie where unanticipated shocks are well placed.
The story takes place in an old yet elegant mansion on the British isle of Jersey, where a woman named Grace (Nicole Kidman of MOULIN ROUGE) tends to her two children Anne (Alakina Mann) and Nicholas (James Bentley). These two tykes need special care since they suffer from a condition making them allergic to sunlight. To assist her, Grace hires three servants headed by Mrs. Bertha Mills (Fionnula Flanagan of WAKING NED DEVINE), all of whom seem humble, decent, and good-natured. Together, they discover something in the house, "Something diabolical!" Grace screams. But diabolical or not, it concerns every character involved.
This is the kind of film that you will either like or be annoyed at. There are many things I liked about it. It sets a cold, eerie mood. The mansion's inner rooms are courtly even when there is little light, and its surroundings have a misty, forsaken feel. To get a better picture, try to imagine a film with Tim Burton's imagery with coldness of Kubrick's sensibilities.
One thing that cynics may not like about this movie, is the length it takes to get to its thrills. I can understand Mr. Amenabar's need to build suspense with his style and character development. But there are some scenes that are unnecessarily lengthy or unnecessary period. Some people may want to say, "Get to the point!" It will be that thin line of patience that will determine how good this movie is in the minds of its viewers. For me, it was juuuust right (right before my snapping point).
Another commendable thing about the movie is its leads. Alakina Mann and James Bentley give convincing performances, which are their first in film if you can believe that. Ms. Mann's performance is especially memorable since she adds a creepy dimension to her character ("There's someone there!"). Try to notice her image as she wears a faded wedding gown. It's a haunting sight comparable to the last scene of Cate Blanchett in ELIZABETH. Fionnula Flanagan gives a sweet presentation as the children's nanny. She emanates warmth, concern, and a hidden knowledge that we know she possesses and can't wait to find out.
Nicole Kidman provides the emotional center of the film. To be honest, I didn't know what to think of her acting at first (I thought she was emoting). But watching the story unfold, I realized her character's mental state had something to do with the story's core, hence her display was necessary and in the end, understandable. We don't so much relate to her, but witness why she is the way she is. Her character seems like a chained cat being teased by a caged canary. Eventually, we get to figure out what the canary is.
The first two-thirds of the movie provide the movie's build-up, while the last third provides the payoff. Don't let this setup dismay you. It is stylishly crafted, and its characters are genuinely likeable. The house's rules provide a lot of eccentricity, such as locking any of the mansion's 50 doors once exiting a room, or the necessity of window draperies making the manor seem almost unbearably unlit. And as I said before, the film's jolts are so well done, that after experiencing its best scare (where I swear every woman in the crowd screamed), the audience was laughing in delight.
Mr. Amenabar seems to be the real deal. He's only around 29, yet he's already directed what's considered to be one of the best cult sci-fi movies in ABRE LOS OJOS (Open Your Eyes) which is the film VANILA SKY is based upon (oddly enough, Penelope Cruz is in both). THE OTHERS is an engaging supernatural thriller. Like many of the best horror movies, it knows how to make you fear what's in the dark, and of what you don't know. Its revelations in the end are somewhat surprising but ultimately satisfying. It will scare you... if you let it.
Posted by FLIPCRITIC at January 31, 2002 12:00 AM