Any student of the cinema will tell you that the medium of film is an art form, and that which is produced within it is therefore open to opinions that are inherently subjective. That said, let's take a look at this film, which is touted as being a `spine-chilling ghost story.' Warning! Danger, Will Robinson! Don't call the orthopedic surgeon just yet, because `The Woman In Black,' directed by Herbert Wise, is decidedly NOT chilling, nor is it apt to affect your spine in any way, shape or form. Those with insomnia, however, may want to give it a go, because if this one doesn't put you to sleep nothing will, and you had better seek professional help posthaste.
Solicitor Arthur Kidd (Adrian Rawlins) is dispatched from London to the coastal town of Crythin to attend the funeral and settle the estate of one of his firms clients, just deceased. At the cemetery, he first sees the woman in black (Pauline Moran), whom he assumes is a mourner. And upon his arrival at the mansion of the departed client, which is situated in a rather remote and nearly inaccessible location near the sea, he sees her again, in the yard. Later, after conducting his inventory of household items, he is visited by another, rather unseemly apparition; and still later, as he ventures out upon the road to await the carriage that will take him back to town, he is subjected to a cacophony of unearthly wails and sounds of unseen people in torment. And it's all a part of the mystery surrounding the enigmatic individual of the title.
From the beginning, though, the `mystery,' such as it is, holds little promise of any supernatural excitement or thrills. The story/screenplay (by Susan Hill and Nigel Kneale) is insipid and uninspired, and director Wise does little to make it otherwise. The tale begs for an atmosphere of delicious foreboding, but it never happens; Wise's idea of `atmosphere' is providing gray skies and fog. Not that there's anything wrong with that, except that a good fog should induce some apprehension, and Wise's does not; it just kind of lays about, producing nothing more than a lack of visibility. And he doesn't exactly go `out of the box' for effective F/X; the best he can come up with is borrowing the famous `Skree! Skree! Skree!' sound that Hitchcock used so effectively in `Psycho,' which here, during one of the `apparitions,' does nothing but startle the viewer into agitation as it grates on the ears. In the final analysis, to say this film is less than riveting would be a gross understatement; there is simply nothing here to make you sit up and take notice. Add to all of this a lame ending, at which point the filmmakers at last make an attempt to draw the viewer in and make an emotional connection-- which is too little and comes too late-- and what you have is a disappointing and forgettable film, to say the least.
The performances, too, are every bit as uninspired as the presentation of the film itself. Beginning with Rawlins, the portrayals are all to the last actor-- while neither convincing nor unconvincing-- just...well...dull. This is in large part, of course, a reflection upon the story and the director; the players did do the best they could with what they were given to work with. What this film needs more than anything is some nuance, some spark! of life-- but where there is no flint, there is no fire. Unfortunately, the barbecue will have to wait for another time and another picture.
The supporting cast includes Bernard Hepton (Sam Toovey), David Daker (Josiah), Clare Holman (Stella Kidd), Fiona Walker (Mrs. Toovey), Joseph Upton (Eddie), Robin Weaver (Bessie), William Simons (Keckwick) and John Franklyn-Robbins (Reverend Greet). Without question, employing subtlety can be extremely effective in presenting a story with supernatural underpinnings; the director, however, must be astute in the dispensing of it, lest he reduce his audience to a state of catalepsy, which is essentially what Wise has done with `The Woman In Black.' But to those who have somehow unluckily found their way to this cinematic casualty, take heart; because the movie you were actually looking for is out there and readily available to treat you to a `real' spine-chilling ghost story. It's called `The Others,' and stars Nicole Kidman. Now THAT one is the real deal; it is there that you will find the magic of the movies. 1/10.
Solicitor Arthur Kidd (Adrian Rawlins) is dispatched from London to the coastal town of Crythin to attend the funeral and settle the estate of one of his firms clients, just deceased. At the cemetery, he first sees the woman in black (Pauline Moran), whom he assumes is a mourner. And upon his arrival at the mansion of the departed client, which is situated in a rather remote and nearly inaccessible location near the sea, he sees her again, in the yard. Later, after conducting his inventory of household items, he is visited by another, rather unseemly apparition; and still later, as he ventures out upon the road to await the carriage that will take him back to town, he is subjected to a cacophony of unearthly wails and sounds of unseen people in torment. And it's all a part of the mystery surrounding the enigmatic individual of the title.
From the beginning, though, the `mystery,' such as it is, holds little promise of any supernatural excitement or thrills. The story/screenplay (by Susan Hill and Nigel Kneale) is insipid and uninspired, and director Wise does little to make it otherwise. The tale begs for an atmosphere of delicious foreboding, but it never happens; Wise's idea of `atmosphere' is providing gray skies and fog. Not that there's anything wrong with that, except that a good fog should induce some apprehension, and Wise's does not; it just kind of lays about, producing nothing more than a lack of visibility. And he doesn't exactly go `out of the box' for effective F/X; the best he can come up with is borrowing the famous `Skree! Skree! Skree!' sound that Hitchcock used so effectively in `Psycho,' which here, during one of the `apparitions,' does nothing but startle the viewer into agitation as it grates on the ears. In the final analysis, to say this film is less than riveting would be a gross understatement; there is simply nothing here to make you sit up and take notice. Add to all of this a lame ending, at which point the filmmakers at last make an attempt to draw the viewer in and make an emotional connection-- which is too little and comes too late-- and what you have is a disappointing and forgettable film, to say the least.
The performances, too, are every bit as uninspired as the presentation of the film itself. Beginning with Rawlins, the portrayals are all to the last actor-- while neither convincing nor unconvincing-- just...well...dull. This is in large part, of course, a reflection upon the story and the director; the players did do the best they could with what they were given to work with. What this film needs more than anything is some nuance, some spark! of life-- but where there is no flint, there is no fire. Unfortunately, the barbecue will have to wait for another time and another picture.
The supporting cast includes Bernard Hepton (Sam Toovey), David Daker (Josiah), Clare Holman (Stella Kidd), Fiona Walker (Mrs. Toovey), Joseph Upton (Eddie), Robin Weaver (Bessie), William Simons (Keckwick) and John Franklyn-Robbins (Reverend Greet). Without question, employing subtlety can be extremely effective in presenting a story with supernatural underpinnings; the director, however, must be astute in the dispensing of it, lest he reduce his audience to a state of catalepsy, which is essentially what Wise has done with `The Woman In Black.' But to those who have somehow unluckily found their way to this cinematic casualty, take heart; because the movie you were actually looking for is out there and readily available to treat you to a `real' spine-chilling ghost story. It's called `The Others,' and stars Nicole Kidman. Now THAT one is the real deal; it is there that you will find the magic of the movies. 1/10.