The Innocents 1961

The film opens with a haunting visual of two clasped hands, accompanied by a woman’s voice softly whispering her deepest desire: “all I ever wanted was to help the children, not hurt them, and that more than anything, I love children.” This powerful sentiment sets the stage for the story that unfolds.

In her initial scene, Miss Giddens, portrayed by Deborah Kerr, is earnestly seeking a position as a governess for two orphaned children. Her lack of experience does not deter the wealthy bachelor interviewing her, whose indifference towards parental responsibilities is glaringly apparent. This man, Peter Wyngarde, bluntly expresses that he is emotionally disconnected from the children and relies heavily on Miss Giddens to accept full responsibility without burdening him with any difficulties that may arise. Captivated by his charm, Miss Giddens reassures him of her commitment, citing her strong affection for children and her vivid imagination—traits that she believes make her perfect for the role.

Upon her arrival at Bry, the vast estate where the children reside, she quickly hears the melodic call of a woman summoning Flora, the bright and whimsical little girl she is soon to care for. Miss Giddens instantly feels a connection with Flora and also strikes up a friendship with the kind-hearted housekeeper, Mrs. Groce. The young boy, Miles, is initially away at boarding school, but Miss Giddens soon receives the troubling news of his expulsion due to his purportedly negative influence on his classmates. While Mrs. Groce cannot fathom this accusation against Miles, Miss Giddens, intrigued by the boy’s charm, is eager to meet him. When they finally do connect, she is taken with his maturity—perhaps a bit too mature for someone his age, especially seen through the lens of flirtatious behavior.

As Miss Giddens tends to the rose bushes the following day, she notices a shadowy figure at the top of one of the estate’s towers, an unusual and unnerving sight. On a rainy afternoon, Miss Giddens opts for a playful game of hide-and-seek with the children rather than the usual schooling, where mysterious occurrences begin to plague her. During this time, she encounters visions—a woman she believes to be Miss Jessel, the former governess who died under strange circumstances. As she delves deeper into the history of the estate, she learns that Peter Quint, a man linked to the children who was once a valet there, had a sinister reputation and a controlling bond with Miles.

Miss Giddens grows increasingly convinced that both children harbor dark secrets stemming from the tumultuous relationship of their deceased caretakers. She is especially troubled by Miles’s unsettling attitude, which seems to mirror the behaviors of the entities she suspects are haunting the estate. The lines of possession begin to blur, as the innocent actions of Flora and Miles develop an unsettling quality she cannot ignore.

Convinced the children are trapped within a chilling grip of their former guardians, she seeks help from Mrs. Groce, seeking answers to banish the evil presence from their lives. However, her pleas fall on deaf ears as the housekeeper turns against her, fostering doubt about Miss Giddens’ credibility. This leaves Miss Giddens feeling utterly isolated in her battle against the spectral forces at play.

As events escalate, she finds herself alone with Miles, desperately trying to uncover the truth behind Quint’s and Miss Jessel’s continued influence over the children. The intensity of the children’s possessed behaviors grows, culminating in disturbing confrontations between Miss Giddens and Miles, who takes on a more sinister demeanor as he acts out and demonstrates an alarming knowledge of the darkness surrounding them.

Ultimately, the tension reaches a fever pitch when Miss Giddens urges Miles to confront the spirits of his past, culminating in a catastrophic climax. In a heart-wrenching moment, after confronting the ghostly figure of Peter Quint, Miles collapses, leaving Miss Giddens to realize her worst fears have culminated in a chilling conclusion. The film fades out on a powerful image that echoes its haunting themes: the same clasped hands from the beginning, now trembling in abject horror.