The Turn of the Screw (2009 film)

The Turn of the Screw (also known as Ghost Story: The Turn of
The Turn of the Screw
the Screw) is a British television film based on Henry James's
1898 ghost story of the same name. Commissioned and produced
by the BBC, it was first broadcast on 30 December 2009, on BBC
One. The novella was adapted for the screen by Sandy Welch,
and the film was directed by Tim Fywell. Although generally true
to the tone and story of James's work, the film is set in the 1920s
—in contrast to the original 1840s setting—and accentuates
sexual elements that some theorists have identified in the novella.
The film's story is told in flashbacks during consultations
between the institutionalised Ann (Michelle Dockery) and Dr
Fisher (Dan Stevens). Ann tells how she was hired by an
aristocrat (Mark Umbers) to care for the orphans Miles (Josef
Lindsay) and Flora (Eva Sayer). She is met at the children's
home, Bly, by Mrs Grose (Sue Johnston), the housekeeper. Ann
soon begins to see unknown figures around the manor, and seeks
an explanation. UK release DVD cover

Critics were divided in their reviews of The Turn of the Screw. Based on The Turn of the
The acting and tone of the production were generally praised, but Screw
the plot's divergences from the original story were less well by Henry James
received. A particular disagreement concerned the film's horrific Screenplay by Sandy Welch
elements; some critics considered it to be genuinely scary, while Directed by Tim Fywell
others suggested that the horror was not fully effective. The
Country of United Kingdom
original story has been much analysed owing to its ambiguity,
origin
and critics disagreed about the extent to which the film succeeded
in portraying this trait. Academic analyses found the film Original English
considerably less ambiguous than the novella. The Turn of the language(s)
Screw was released on DVD on 1 March 2010 in the UK and on Production
28 April 2015 in North America. Producer(s) Colin Wratten
Running time 89 minutes[1]
Production BBC
Contents company(s)
Production Distributor Acorn Media UK
Broadcast and release Release
Plot Original 30 December 2009
Cast release
Critical reception
Literary analysis
References
 Further reading
External links

Production
The BBC had previously adapted several horror stories as Christmas films, with their series A Ghost
Story for Christmas including adaptations of the M. R. James stories "The Stalls of Barchester Cathedral"
(filmed as The Stalls of Barchester), "A Warning to the Curious", "Lost Hearts", "The Treasure of Abbot
Thomas" and "The Ash Tree". The Turn of the Screw fits into this "mini-genre" of the Christmas horror
film.[2][3] The BBC executive and drama commissioner Ben Stephenson, discussing The Turn of the
Screw, said that "Christmas wouldn't be Christmas without a ghost story for the adults to watch in front
of the fire when the children are in bed, and they don't get more chilling than this bold reimagining of the
classic Henry James tale." The film was commissioned by Stephenson and Jay Hunt, then controller of
BBC One. It was directed by Tim Fywell, and produced by Colin Wratten; the executive producer was
Jessica Pope.[4]

The film is an adaptation of Henry James's 1898 novella The

Turn of the Screw. As one of his more popular stories, it had
already been adapted for films and television many times,
although not previously by the BBC.[5] The adaptation was
screenwritten by Sandy Welch, who set the film in the early
1920s, in contrast to the novella's 1840s setting.[6][7] This
allowed the introduction of the Freudian psychiatrist interviewing
the main character;[7] this framing device is not used by James,
but both the novella and the film share a first-person narrator.[8]
The updated setting also allowed the First World War to account
Henry James, author of The Turn of
for the lack of male staff at the house.[9] The Freudian and
the Screw (1898), in a photograph libidinous elements some literary theorists have seen in James's
published in 1904 story are particularly prevalent in the film, with Ann's repressed
sexual feelings for the Master resulting in a number of highly
sexual sequences.[10] Further, Welch added a theological element
not present in James's story; Ann's father is a preacher, although Ann herself is unsure of her faith. The
psychiatrist, by contrast, is an atheist. When he asks Ann about her faith, she replies that she believes in
the Devil.[11]

The changes to the story were mostly superficial,[6] and the adaptation generally mirrors the novella's
tone.[12] The television critic Matthew Baylis observed that the film creates unease and horror through
distortions of reality, and that The Turn of the Screw is not a "screaming-banshees-and-horrible-corpses
style of ghost story".[5] The film utilises subtle horror, including details such as a broken doll on a
window ledge, and the fact that viewers never discover certain elements of the story (for example, it is
never revealed why the character Miles has been suspended from his boarding school). This, for Baylis,
ties to the title of the film: "it's the writer who puts the screw in the hole and the best ones ask the
audience to turn it themselves".[5]

The Turn of the Screw was filmed on location in the West Country of England, beginning in August
2009.[13] The scenes at Bly were filmed at Brympton d'Evercy, a manor house near Yeovil, Somerset.
Brympton was chosen because of its similarity to Bly House, as described by James, including its
extensive grounds and large lake.[14] The railway scenes were filmed at the East Somerset Railway.[15]

The Turn of the Screw starred Michelle Dockery as Ann, Sue Johnston as Mrs Sarah Grose, Dan Stevens
as Dr Fisher, Mark Umbers as the Master, Nicola Walker as Carla, Edward MacLiam as Peter Quint and
Katie Lightfoot as Emily Jessel.[16] Corin Redgrave, who played the professor,[16] was the son of
Michael Redgrave, who starred in The Innocents, a 1961 adaption of The Turn of the Screw.[3] The
children, Flora and Miles, were played respectively by Eva Sayer and Josef Lindsay.[16] However, due to
the sexual content of the film, the child actors did not attend the preview screenings.[10]

Broadcast and release

The Turn of the Screw was first shown at 9 pm on BBC One on 30 December 2009,[17] as part of the
BBC's Christmas 2009 season.[16] It has since been broadcast on other BBC channels[16] and on
Drama.[18] In the UK, the film was released on DVD on 1 March 2010,[19] and distributed by Acorn
Media UK. The DVD was rated "15" by the British Board of Film Classification for "infrequent scenes
of strong sex".[1] The film was released on DVD for the North American market as Ghost Story: The
Turn of the Screw on 28 April 2015. The DVD was unrated and had no extra features.[20][21][22][23]
Foreign language versions of the film include television screenings or DVD releases of the film in
German (Schloss des Schreckens),[24] Finnish (Ruuvikierre)[25] and Polish (W kleszczach lęku).[26]

Plot
The film's story is told in a series of flashbacks interspersed with External video
discussions between Ann (Dockery), a patient in a sanatorium,
Turn of the Screw trailer (https://
and Dr Fisher (Stevens), a sceptical and atheistic psychiatrist.
www.youtube.com/watch?v=WuRkT
Despite the suggestion of his superior (Redgrave) that he focus
897cX4)
upon soldiers who have returned from the First World War,
The television trailer shown on the
Fisher wishes to help Ann if he can.
BBC for Turn of the Screw (hosted
In flashbacks, Ann is hired by a wealthy and sophisticated on YouTube)
aristocrat (Umbers) to act as a governess for his orphaned "Blindfold Game (http://www.bbc.
nephew and niece who live at Bly. He tells her that he is not to co.uk/programmes/p005jljp)"
be bothered in London, and that Ann is to deal with any Flora shows Ann her room shortly
problems that may arise. Ann travels to Bly, where she meets the after the latter's arrival at Bly, but
all-female household staff—led by Mrs Sarah Grose (Johnston), insists that she wear a blindfold.
the housekeeper—and then the young Flora (Sayer), one of While unable to see, Ann hears
Ann's new pupils. Ann finds the house unnerving, and the staff voices in the room.
standoffish and unwilling to talk. Ann subsequently receives a "Ann's Discovery (http://www.bb
letter informing her that Miles (Lindsay), her other pupil, has c.co.uk/programmes/p005jljc)"
been expelled from his boarding school, but is assured by Mrs As Miles looks over the grounds,
Grose that Miles is well-behaved. When he arrives at Bly, Ann Ann finds the grave of Emily Jessel
finds Miles to be charming, and although he does not explain in the yard of Bly's church. Ann then
what happened at school, she does not push him. Her mistakes Mrs Sarah Grose, also
interactions with the children are idyllic, and they sail on Bly's present in the graveyard, for a
lake and enjoy picnics together. Meanwhile, Ann fantasises ghost.
about the Master, futilely hoping that he will visit.
Ann discovers that her predecessor, Emily Jessel (Lightfoot), is buried in Bly's church, and is told that
Jessel killed herself. She also begins to see the figures of a young man and a young woman around Bly.
Mrs Grose dismisses Ann's stories, but one maid, Carla (Walker), tells Ann of the sexually abusive
former valet Peter Quint (MacLiam). Mrs Grose reveals that Carla had been badly affected by the War,
and is prone to flights of fancy. Later, Ann is woken at night by the figure of the woman, and follows her
to find Flora standing next to an open window. The pair see Carla fall from the roof, landing near Miles,
who is in the garden. Ann rushes outside, and sees the male figure on the roof. Inside again, Mrs Grose
assures Ann that she must be confused.

Ann believes the figures to be the ghosts of Quint and Jessel, seeking to continue their passionate and
violent sexual encounters through Miles and Flora. However, she is concerned to find that others
apparently cannot see the ghosts. She then begins to suspect that Miles and Flora, having been groomed
by and involved in the activities of Quint and Jessel, may be deliberately seeking to bring the pair back.
She resolves to leave Bly, but, when saying goodbye to Miles, learns that he, too, sees the figures.
Minutes after leaving, she asks to be taken back. Later, Ann panics, believing Miles and Flora to have left
the house. She finds them by the lake, but they are playing roughly; when Miles pushes Flora's head
under the water, Ann sees the pair as Quint and Jessel. She rushes to intervene, and grapples with a figure
alternating between Quint and Miles. When Ann repeatedly strikes Miles, Mrs Grose stops her, and Flora
says that she no longer wishes to see Ann. After ordering the staff and Flora away from Bly, Ann waits
with Miles to confront Quint. The pair are scared, but when Quint arrives Ann tells Miles to demand that
Quint leave him alone. Miles (speaking with Quint's voice) shouts at Ann, but eventually (in his own
voice) tells the ghostly Quint that he wishes him to leave. Ann embraces Miles, whose body goes limp.

Ann is found some time later by the police, clutching Miles's dead body, but she refuses to speak of what
happened until meeting Dr Fisher. He seems to accept Ann's story, unconvinced by his own psychosexual
explanations of her visions. Fisher is dismayed to see Ann led away by the police, accused of Miles's
murder, and he sees Quint's face on one of the officers. The film closes with a new governess arriving at
Bly.

Cast
Michelle Dockery – Ann, the governess
Sue Johnston – Mrs Sarah Grose, Bly's housekeeper
Dan Stevens – Dr Fisher, a sceptical psychiatrist
Nicola Walker – Carla, a maid at Bly
Eva Sayer – Flora, the young girl at Bly
Josef Lindsay – Miles, the young boy at Bly
Mark Umbers – The Master
Corin Redgrave – The professor at the sanatorium
Wendy Albiston – Baines, the driver
Sarah Buckland – Diane, a member of staff at Bly
Edward MacLiam – Peter Quint, the former valet at Bly
Katie Lightfoot – Emily Jessel, a former governess at Bly
Nellie Burroughes – A maid abused by Quint
Peter Bygott – Ann's father
Honor Cargill-Martin – Young Ann
Cameron Stewart – The police Inspector
Critical reception

The story is told through a series of flashbacks during conversations between Ann and Dr Fisher,[8] played
respectively by Michelle Dockery (right, 2013) and Dan Stevens (left, 2009).[16] The pair later co-starred in
Downton Abbey as Mary and Matthew Crawley. In an interview published in Harper's Bazaar, Dockery recalled
a meeting after her audition for Downton Abbey: "Until then I'd played much more vulnerable parts, but I
remember coming out of the audition, and Dan Stevens was in the waiting room. I said, 'Who are you up for?'
and he said, 'Matthew.' ... I walked out and thought, 'Oh, that could work'."[27] For one critic, the presence of
the two actors in a pre-Downton Abbey collaboration served to highlight the film,[23] while another said that The
Turn of the Screw would allow Downton Abbey fans to "get a little fix of the actors together", with "the duo’s
chemistry ... fully on display".[28]

The critical response to The Turn of the Screw was mixed. The film was praised by Matt Baylis, writing
in The Express, as one of the better adaptations of James's story.[5] The Times's David Chater, although
he did not consider the film "terrifying" or "suppurate[d] in evil", found it "never less than absorbing",
suspecting this would be particularly so for viewers unfamiliar with the story.[29] The Daily Telegraph's
Simon Horsford felt that The Turn of the Screw "might not work on all levels but it is an unsettling
interpretation nonetheless".[18] By contrast, Tom Sutcliffe, writing in The Independent, was unimpressed
with the film, considering James's novel to have been "comprehensively vandalised",[30] while Richard
Whittaker, writing in The Austin Chronicle, felt that the film was "a particular and peculiar misfire" from
Welch.[31] The Turn of the Screw was chosen as "pick of the day" in The Sunday Times, despite the
reviewer, Victoria Segal, expressing her view that the film was "far from perfect".[32] But she added that
the flaws could be overlooked, and although there are times "when it grinds through the gears with a
clunk and clatter", the "spirit" of James's story is retained.[32]

Several other critics praised the way that the film had kept the tone of James's story and the subtle
approach to horror.[12][33] This subtlety, according to a review in the Western Morning News, hit "exactly
the right note of terror",[9] and the film was praised as genuinely scary by some critics.[11][34] Whittaker,
though generally critical of the film, felt it strongest when focussed on the house, children and ghosts.[31]
Paul Whitelaw, writing in The Scotsman, commended Welch and Fywell for sustaining a horrific
atmosphere, and noted that the soundtrack added to the horror. For him, even the use of horror clichés
was effective, contributing to the film's atmosphere.[11] The Guardian's Phil Hogan expressed a contrary
opinion: while he thought The Turn of the Screw "exquisitely turned out", he felt the film's use of clichés
limited the extent to which it was actually scary.[7] In a review for The Leader-Post, Andy Cooper
praised the "creepy atmosphere" and tension, but said that the film "[fell] short in the chills department"
and "could have done with a few jolts of terror to breathe more life into it".[22]

The divergences from the original novella's plot were generally not well received. Tim Teeman,
reviewing The Turn of the Screw for The Times, felt the 1920s setting did not contribute to the story, as it
was not properly developed. He compared the film to Sarah Waters's novel The Little Stranger, a ghost
story set in the 1920s in which the social upheavals of the decade are explored.[12] Gerard Gilbert,
writing both for The Independent and The Arts Desk, felt that Ann's relationship to the Master was
"unnecessarily sexed up",[33] and that this element added nothing to the story, and, in fact, detracted from
it.[35] In his review of the American DVD release for the Deseret Morning News, Chris Hicks said that he
could not see why the changes had been made, and that the literalisation of the sex and violence detracted
from the film.[23] Whittaker suggested that The Turn of the Screw was "oddly sexually explicit", and that
the changes were unnecessary for the plot. The biggest problem, he suggested, was the introduction of
the psychiatrist; his discussions with Ann, which could easily be removed, served to remove the mystery
from the plot, in Whittaker's eyes.[31] Sutcliffe was critical of the reframing of the story as a stereotypical
account of how "a cocky young man of science has his certainties upturned", and said the film took "the
terrifying indeterminacies of the original", turning them "into a slightly shabby ghost-train ride".[30]

Critics disagreed about how successful the film was in capturing the novel's ambiguity, which is part of
the enduring appeal of James's story. For Tim Dowling, a columnist for The Guardian, the film failed in
this regard. The novella, Dowling explained, can be understood as a straightforward ghost story, but it
can also be understood as a story about Ann's madness, and there is further ambiguity concerning
whether the children are being controlled by Quint and Jessel, or whether the children are controlling
Ann. He suggested that "there's probably a subtlety to all this ambiguity on the page which, when
translated to the screen, just looks like having it both ways." As a result, "the narrative was at times more
evasive than ambiguous".[36] Whittaker felt that the film failed to appropriately present the novella's
ambiguity and implicit themes, saying that the adaptation "feels oddly obligated to fill in all those blanks,
and it's really the script's fault".[31] Sutcliffe expressed a similar view; for example, he noted that "when
the governess sees Quint on the tower for the first time so do we, and the thing that really haunts us as we
read the story—uncertainty—vanishes to be replaced by a much duller kind of fretfulness, about when
something is next going to pop out at us."[30] By contrast, Chater and Teeman (both writing for The
Times) felt the ambiguity of the film was praiseworthy, with Chater asking whether the ghosts truly exist
or are just a manifestation of "hysterical imagination", and Teeman suggesting that viewers will be more
likely to believe (with Dr Fisher) that Ann's retelling is accurate.[12][29] The Scotsman's Whitelaw praised
Welch's ability to balance the various subtexts of the film while still delivering an effective narrative.[11]

The cast of the film were praised, with Dowling considering The Turn of the Screw "a slick production
with strong performances",[36] and Cooper saying that the film features "a great supporting cast".[22]
Critics particularly commended the performances of Dockery[9][11][12][22][35][36][37] and
Johnston.[33][35][36][38] Dowling also picked out the performances of Lindsay and Sayer as worthy of
note,[36] while Whitelaw praised MacLiam, who was able "to personify pure evil with scarcely a line of
dialogue".[11] Segal, by contrast, felt MacLiam was badly cast, which resulted in "one of the story's
primary dark forces [looking] more like a member of Elbow than the very essence of evil".[32]

Literary analysis
James's novella The Turn of the Screw has been much analysed in academic literature, and, given that it
has been frequently reinterpreted in the arts, discussion of many of the adaptations has found a place in
the academic literature on Henry James and neo-Victorian culture.[39] Considering the frame narrative of
the film, Anna Viola Sborgi, a literary theorist, argues that the fact that Ann begins the film in a
sanatorium conveys the impression that the character is mad, resulting in a loss of ambiguity.
Consequently, the film is left less a horror story and more a psychological thriller. Sborgi argues that the
film is explicitly made psychological through particular narrative and visual choices; for example, Miles
appears at the train station in a ghost-like way through a cloud of steam. The fact that the film is a thriller,
she argues, is further expressed through the use of a collage of images before the opening scene.
However, the use of horrific imagery (including an open grave) in the collage "highlight[s] the
contradiction inherent in this rendering of the novella": while the story is presented as psychological, the
viewer is nonetheless drawn into the film as a horror story. Other than the atypical frame narrative,
Sborgi considers the adaptation fairly conventional with regard to both setting and costume.[8]

For the literary theorist Thomas S. Hischak, The Turn of the Screw is a weak adaptation of the novella,
with poor performances that can be "ascribed to the trite, anachronistic dialogue and leaden direction".
He likens the film to In a Dark Place (2006), an earlier adaptation of the novel that focuses upon the
supposed sexual aspects of the story. For Hischack, the 2009 film presents a governess who is not
successful in repressing her sexuality. Ann's fantasies of her own sexual encounters with the Master, as
well as her visions of the sexual encounters between Quint and Jessel, "are among the many obvious and
clumsy aspects of this adaptation". Like Sborgi, Hischak sees little ambiguity in the film, calling it a
"misguided adaptation that likes to spell things out for the viewer".[40]

References
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Further reading
Griggs, Yvonne (2016). The Bloomsbury Introduction to Adaptation Studies: Adapting the
Canon in Film, TV, Novels and Popular Culture. New York: Bloomsbury. pp. 147–60.
ISBN 9781441167699.

External links
The Turn of the Screw (http://www.bbc.co.uk/programmes/b00pk76h) at the BBC
The Turn of the Screw (https://www.imdb.com/title/tt1577883/) on IMDb

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