THE LITTLE STRANGER
Ireland, 2018, 111 minutes, Colour.
Domhnall Gleeson, Ruth Wilson, Charlotte Rampling, Liv Hill, Will Poulter, Harry Hadden- Paton.
Directed by Lenny Abrahamson
In many ways this is a very strange film. It also has a title which reveals practically nothing.
The film was directed by Lenny Abrahamson who has made some very significant films over the years, from Irish comedies, to the bizarre story of a man wearing a mask, Frank, and the Oscar-winning effective story of an abduction, Room.
This time he returns to Ireland in 1948, the atmosphere after the end of World War II, a transition time, the crumbling of many traditions – and even of traditional houses and class distinctions.
Domhnall Gleeson plays the local doctor who, as a boy, had visited a mansion where his mother worked. Now he has been called back to treat the maid, encountering the daughter of the house, Ruth Wilson, retired and caring for her family. This includes her brother, wounded in the war, played by Will Poulter, and her mother, a regal Charlotte Rampling.
While there is a narrative about life in the town, the work of the doctor, the focus of the film is on the interior of the mansion and its surroundings. Domhnall Gleeson gives a very seemingly-stayed and stolid performance, perhaps explained by the end of the film. He is attracted to the daughter of the house but is also attracted to its mystique, his memories of past visits, of the little girl, now dead, who taunted him.
The film does not really give much indication in the first part of its move towards horror conventions, a haunted house, the mysterious ghost of the girl and her signs, the effect on the family which is ultimately deadly.
While there are some interesting themes, the film was rather long, takes its time, and audiences may lose interest.
1. An Irish story? The period story?
2. Psychological drama, haunting thriller, horror touches?
3. The title, enigmatic, generic?
4. The locations, the town in the countryside, the mansion, the grounds and the interiors? the kitchen, the rooms and staircases? The musical score?
5. Faraday at the centre of the story? The performance of Domhnall Gleeson, his appearance, manner, seemingly stilted and reserved, lacking in personality?
6. 1948, the doctor, his practice, his substituting, the older doctors, the range of patients and visits? Going to the house, the maid and her illness, her fears? The encounter with Caroline? Roderick and his war experience, disfigurement? Mrs Ayres?
7. 1948, the flashbacks, costumes and decor after World War I? The mother working the house, Faraday, in awe of the house, at the celebration, the encounters with Susan, play? His observing, the sense of class? The effect on his ambitions?
8. His visits, the frequency, the effect on him? His being severe with Roderick, demanding that he come out to the celebration? Roderick and his drinking? His being confined to the institution? His return to the funeral, his reactions?
9. Caroline, attractive, the discussions with the doctor? Mrs Ayres, her age, dignity? The socials, the visitors? Caroline being unmarried, yet at the socials, possible husbands, the dancing, walking with the doctor? The effect, romance, the behaviour in the car, the relationship?
10. Mrs Ayres, aristocratic, agreeable, welcoming the doctor, her family and the tensions, the socials and her behaviour? Memories of her daughter, the death – and the touch of haunting?
11. The maid, her fears, deciding to stay, working the house, the family depending on her?
12. The intimations of the past, the accumulation of the flashbacks, suggestions about the doctor, the grief about the death of Susan, the scratchings and names on the wall?
13. Mrs Ayres, the attack, the bird, her being rescued, her death? The funeral, the presence of her family?
14. Caroline, her reaction, with the maid, her falling to her death?
15. Dr Faraday, what he had attained, his motivations, in himself, the deaths, the response, achievement – and the final image of him as a boy looking over the staircase?
