Amenabar Achieves the Impossible

Rating: 10/10 (3 June 2002)

Films that deal with the supernatural, whether in direct or implied terms, are more often than not disappointing, in that they rarely manage to deliver on their promise. Moreover, films of that same school touted as being `scary,' as well, are usually even more of a let down; so a film that can truly bring a supernatural theme to fruition and be frightening-- joltingly scary even-- in the balance, is one to be celebrated. `The Others,' written and directed by Aleiandro Amenabar, is a film to be celebrated. Unlike most films of the genre, this is a true sojourn into regions beyond the known that actually takes you to that final destination. And when your mouth is so dry you can't swallow, and the palms of your hands have gone clammy cold with sweat, you'll know you've arrived; that Amenabar has succeeded in taking you to that place where few filmmakers dare to even attempt to go. By the end of the film, it's clear that when Amenabar makes a promise, he keeps it.
The Channel Islands, 1945: World War II has ended, and in a picturesque country mansion, the mistress of the manor, Grace Stewart (Nicole Kidman), is at the end of her tether; she has not heard from, nor about, her husband, Charles (Christopher Eccleston) since he went off to war, and all of her servants-- including her children's nanny-- have inexplicably disappeared without notice and without a trace. Caring for her two children, Anne (Alakina Mann) and Nicholas (James Bentley), without help, is beginning to overwhelm her, as they suffer from a rare disease that makes them vulnerable to light any brighter than the essential amount of candlepower, a condition that demands the utmost vigilance on the part of their caretaker. And at the moment, that means Grace, alone, in a house by necessity shrouded in darkness.
Help arrives, however, in the form of Ms. Bertha Mills (Fionnula Flanagan) and her companions, Mr. Tuttle (Eric Sykes), and a young girl named Lydia (Elaine Cassidy), in response to an add placed by Grace in a local newspaper. All experienced in service, they are the answer to Grace's immediate problems, and she puts them to work immediately. But it soon becomes apparent to Ms. Mills and the others, that something is amiss in the household; something to do with Grace, who seems to be having trouble coping. Still, there's more: Anne insists that she has seen `others' in the house, including a young boy she calls `Victor.' And, according to Anne, Victor claims that the house belongs to him and those with him. The real problem, though, is the fact that no one else can see him. Only Anne. And it's about to take Grace to the very edge of what's left of her sanity. If, indeed, there is any left at all by that time.
More than a supernatural thriller, what Amenabar has created here is a gem that stands out from among the rest because of it's sheer purity and brilliance; a diamond with it's own unique cut that dazzles the mind and the eye with it's perfection. From the opening frames, he sets a deliberate pace and begins to sow the seeds of doubt and question, opening that Pandora's Box of enticement that allows you to consider that otherworldly devices are actually at play here. In the quietude of the atmosphere he's so deftly created, he winds the tension slowly and subtly until the wheel can turn no more, and just at the point at which others films would fail because they simply cannot deliver on the promise of what has preceded, he hits you with the reality of what is happening, and in a way that will jar your senses. He does not manipulate and he does not play games; he quite simply and directly delivers one of the best endings ever filmed within this particular genre, especially, and moreover, one that will stand against any of the best from any category. Because, regardless of genre, very few films have ever delivered so well on what has been promised as the story unfolds.

Nicole Kidman was nominated for an Oscar for Best Actress for her performance in `Moulin Rouge' this year (and deservedly so), but her portrayal of Grace Stewart is the one that should have put her at center stage and clutching the gold on the big night. Her presentation of Grace is introspective, subtle and reserved; understated and convincing, she fills the screen with a dark charm that is reminiscent, and yet something of the antithesis, of Grace Kelly. And her screen presence has never been more dynamic. She enables you to feel her fear, anger, confusion and frustration as the drama moves toward the denouement, and it is Grace through whom you most experience the impact of that final, breathtaking scene, when all is at last revealed. A truly memorable performance from the gifted and beautiful Kidman, and one that is destined to be more appreciated with the passing of time.
Flanagan turns in a memorable performance, as well, creating a character in Ms. Mills that transcends the stereotype of one `in service,' and successfully adds to the aura of mystery surrounding the events as they transpire. It's a portrayal that demonstrates how important a good character actor is, and how much it can add to a film.

The supporting cast includes Renee Asherson (Old Lady), Gordon Reid (Assistant), Keith Allen (Mr. Marlish), Michelle Fairley (Mrs. Marlish) and Alexander Vince as Victor. Riveting entertainment that will slow your breathing and increase your heart rate, `The Others' is an inspired film that offers one of, if not `the' most satisfying endings ever produced in the realm of supernatural cinema. Amenabar is a magician who has performed the impossible: He's made the `Super' in supernatural viable and real, succeeding where almost all others who have tried failed. It's an awe-inspiring accomplishment from an accomplished filmmaker; and it's the magic of the movies. 10/10.