THE WOMAN IN BLACK

UK, 2012, 95 minutes, Colour.
Daniel Radcliffe, Ciaran Hinds, Janet Mc Teer.
Directed by James Watkins.

The novel by Joanna Hill on which this film is based was a popular ghost story. A stage version opened in London in the early 1990s and was still running over twenty years later, so there were some expectations for this screen version.

On the one hand, it capitalises on a lot of familiar scary devices that jolt the audiences out of their seats. On the other, it is a rather sombre story, a character study and a tale of cruelty and vengeance. Put this all together in a very handsomely mounted period design and you have an entertaining ghost story.

Another major drawcard, especially for younger audiences (although this film comes ten years after the first Harry Potter film) is that it stars Daniel Radcliffe as Arthur Kipps. He performs his role well, the somewhat reserved young lawyer, still grieving his wife’s death, caring for his four year old son. Of course, that stretches credibility more than a little because Radcliffe was only 21 when he made this film. Nonetheless, his performance is quite effective.

An old mansion on a spit of land, separated from the mainland at high tide, is to be sold and the estate of the owner settled. It doesn’t seem a demanding job, so Arthur Kipps is sent to this gloomy, remote village and house. The villagers want him gone, but he does receive a welcome from the wealthy Mr Daily (Ciaran Hinds). It’s during the first night that things go bump and he becomes aware of the eerie presence of a woman in black.

As the film unfolds we learn more about the woman and her dead son, her exile from the village – and the deaths of children (including the Daily’s son, with his mother (Janet Mc Teer) driven mad with grief). And, while Arthur is in the village, there are more deaths. The ghost is merciless.

A film like this depends not just on scares (it is better in not relying on scary bits) but on the sustaining of an atmosphere where the audience is caught up in fear and apprehension. To this extent, The Woman in Black is a success in maintaining concern and gloom. It builds up to a ghostly climax and finale.

1. The popularity of ghost stories? The fear, the haunting? The implicit violence? The atmosphere?

2. The early 20th century period, atmosphere, London, the offices and homes? The contrast with the countryside, the small town, the railway station, the shops, the hotel? The coast and the road? The mansion, the grounds? The musical score?

3. The mansion, the foyer, the decorations, the artwork, the stairs, rooms, corridors?

4. The sinister title? The appearance of the woman in black, as a ghost, appearing, in the garden, at windows? At the deaths of the children? Her story, her child, taken from her, her sister and brother-in-law, their negligence, the scratching out of their faces on the photo? Her wanting vengeance on the other children? The letters and cards for her son? Arthur and his searching the files? Her death? The deaths of the children, the three little girls, the bright colour, going to the windows, throwing themselves down? The little girl who swallowed lye? The drowning in the marshlands? The girl consumed by the fire? The presence of the woman? Her saying that she would never forgive?

5. Arthur, his home, the death of his wife and his grief, the opening with the razor? The flashbacks to the birth, the presentation of the boy, his wife’s death? His job, the severity of his employer? The nanny, the son, promising a happy weekend? His going to the village and the house?

6. The plan, the weekend, his travel, meeting Sam in the train, the conversation about selling the house, no locals buying it? The rain, the lift to the hotel? The hostile attitude at the hotel, his going to the attic? The carriage for the station, his paying to go to the house, the ominous words of the coach driver? The search, the documents? Seeing the woman, in the garden? His return? Visiting the lawyer, the lawyer wanting to get rid of him? The people in the village, the hostility? Sam and the invitation to dinner, Elizabeth and her grieving at the death of her son, being possessed by her son, her behaviour at the table? Going back to the house, the noises and bumps, the black crow? The documents, his return to the town?

7. His dismay at the girl and her drinking the lye, the other children? The reactions? The girl in the fire, his going to rescue her, the woman in black and the girl being consumed by the fire?

8. The arguments about the rational and the irrational? Arthur and his meeting with Elizabeth at the tomb? Her panic, Sam’s help?

9. Going to the house, his decision to raise the vehicle, to find the body of the woman in black’s son? Sam and his help, the car, the swamp? Laying the body on the bed, the hopes, the toys – that the woman would come? Sam and his fear in the house, the glimpse of his own son, locked in the room? Arthur and the attack? Their burying the son with his mother?

10. The return to the town, the fear about the boy coming to visit, wanting to send a telegram, the post office closed, going to the station? .... (**??)..... and Joseph, greeting his father, wandering onto the tracks, Arthur jumping to save his son, Sam and the nanny and the dismay?

11. Arthur and his being reunited with his wife and son? The afterlife?

12. The vengeance, the woman in black never forgiving?

13. The credibility of this kind of ghost story, the suggestions, the effect of fear?