Turn of the Screw by Benjamin Britten (2004) (TV)

User Rating:

6.1/10   

Director:

Katie Mitchell

Writer:

Myfanwy Piper (libretto)
(more)

Genre:

Horror | Music

Plot Keywords:

Opera | Ghost | British | Governess | Based On Novel

Cast

Lisa Milne	...	Governess
Mark Padmore	...	Quint
Diana Montague	...	Mrs. Grose
Catrin Wyn Davies	...	Miss Jessel
Nicholas Kirby Johnson	...	Miles
Caroline Wise	...	Flora
Liz Kettle	...	Mother
Felicity Cutting	...	Maid

Directed by
Katie Mitchell

Writing credits
Myfanwy Piper		(libretto)
Henry James		(novella) uncredited

Produced by
David M. Jackson	....	executive producer
Fiona Morris	....	producer

Cinematography by
Nic Morris		(director of photography)

Production Design by
Alison Chitty

Second Unit Director or Assistant Director
Kiaran Murray-Smith	....	second assistant director
Carrie Rodd	....	first assistant director
Rachel Stone	....	third assistant director

Camera and Electrical Department
Vernon Connolly	....	best boy (as Vernon Connelly)
John Kolthammer	....	grip
Piers Lello	....	assistant camera
Piers Lello	....	focus puller
Kay Rudin	....	assistant camera

Music Department
Richard Hickox	....	conductor

Other crew
Tim Faulkner	....	location manager
Mark Hayden	....	production runner

Production Companies

• BBC Wales

Distributors

• British Broadcasting Corporation (BBC) (2004) (UK) (TV)
• Opus Arte (2005) (worldwide) (DVD)

Other Companies

• The City of London Sinfonia  orchestra
• Boosey and Hawkes  music published by (as Boosey & Hawkes Music Publishers Ltd.)

Runtime:

UK:117 min

Country:

UK

Language:

English

Color:

Color

Aspect Ratio:

1.78 : 1

Sound Mix:

Dolby Digital

Company:

BBC Wales

Musically fine, dramatically disappointing version of Benjamin Britten's masterpiece.

Though this version of Britten's opera is musically impressive and has some fine performances and good photography, this TV. adaptation is bitterly disappointing, due entirely to some poor directorial decisions.

The chief of these is to make the ghosts appear far too early, in far too corporeal form. Henry James, the author of the novella on which the opera is based keeps the ghosts at a distance at first, seen fleetingly high in a tower, or across water or through glass until, as their sinister presence grows stronger, they approach nearer. Here, they are striding about in very fleshy form, right from the beginning. As a result, the most chilling scene in the opera, with Peter Quint appearing at the window, a terrifying moment in most opera or movie versions of the story, has no impact whatsoever. This is a fatal fault in a production of the most subtly frightening of all ghost stories.

The children also appear too old for their roles.

All in all, what is the point of a production of this work, now matter how well performed, if it delivers no chills