Directed by Lenny Abrahamson
Starring – Domhnall Gleeson, Ruth Wilson, Josh Dylan
The Plot – Tells the story of Dr. Faraday (Gleeson), the son of a housemaid, who has built a life of quiet respectability as a country doctor. During the long hot summer of 1948, he is called to a patient at Hundreds Hall, where his mother once worked. The Hall has been home to the Ayres family for more than two centuries. But it is now in decline and its inhabitants – mother, son and daughter – are haunted by something more ominous than a dying way of life. When he takes on his new patient, Faraday has no idea how closely, and how disturbingly, the family’s story is about to become entwined with his own.
Rated R for some disturbing bloody images
– This is a ghost story as advertised, but what will make some people feel manipulated is the kind of ghost story it truly is. Far from the world of flying white apparitions and possessions, ‘The Little Stranger’ instead speaks to the kind of haunting that is psychological, most notably in a location where the stacking of bad things happening haunts the family who still live there, and changes the complexion considerably. I dig this angle because its “Ghosts” feel much more understandable from an audience standpoint, and its material transcends the screen for any family watching it to comprehend.
– What Abrahamson excels at far greater than anything else, is the ability to conjure up a mental fog in the atmosphere that is anything but evident by shape or color. There is such a congested tone in the air of this once prosperous mansion that has decayed and aged alongside the very patrons inside of it, and the time spent inside poisons their mentalities almost like a poisonous gas that rests inside of its sacred walls. As a director, he has such a range in gauging the pulse from within his characters, and that is why he feels like the right man for the job in this respective project.
– Absolutely zero jump scares and cheap thrills. To some, they will shy away from this kind of detail, but for me it is much appreciated, as films often overlook what truly makes a film scary, or in this case haunting. ‘The Little Stranger’ very much rests its weight on this growing claustrophobia inside such a castle of a place. It’s in the inability to escape each other that has this family riveted on the edge, and why we as an audience take great fright in their progressive engagements, instead of what goes bump in the night. I compare this film a lot to this summer’s ‘Hereditary’, in that they are both unconventional horror films that refuse to feel influenced by modern day tropes that water down the effect of the story.
– As for performances, Gleeson again takes center stage as this doctor with his own secret past to the house and family. Because of the great passion that he takes in explaining his every memories on the property, we as an audience understand firmly why this is the last string tied to his past that he grips onto ever so tightly. His interaction with Ruth Wilson, who gives a stirring performance as the daughter of this household, consistently feels very tense and even unnatural for the way each feel like they’re hiding something revealing in each other, and it made for this blossoming of chemistry between them that spins in the most unorthodox of methods.
– Exceptional cinematography from Ole Bratt Birkeland (What a name). What is beneficial from Birkeland’s visuals are the necessity in mirroring the mentality for what is playing out. His close-ups feel naturally illustrated, beginning each frame with blur that slowly turns to focus for the character that moves into it. As for color, there’s a dimming aura that enchants the mansion, giving it that mirrored feeling like it previously rained everyday before shooting.
– Authentic timepiece designs in wardrobe and furniture stylings. This is a story that takes place in the 1948 Europe, so the use of elegant dining attire and long flowing gowns colorfully balance the texture for the time. But for my money, it’s in the colorless drab of the worn down wallpaper and 18th century furniture within the house that sets it apart from anything recently. The outdated surroundings speak volumes in this family’s incapability to change or move on, and it’s always great when you can draw that kind of conclusion from subtle observations.
– Surprisingly effective make-up. This was the last film that I expected to dazzle me with its effects work, most notably in the burning and scarred skin of Will Poulter’s character. The camera never turns away or moves quickly when it is in focus, bringing to life the time and effort that went into making something look so horribly disfiguring for this man who must see it and live with it every single day of his life. It’s truly crippling.
– This film is only 102 minutes long, and it drags like a horse’s feet after it refuses to journey any further. ‘The Little Stranger’ is a slow burn stinger of a drama, but that was never the problem for me. It’s more so in the way that scenes are often derivative, hammering home what we already knew a few scenes prior, and making it difficult to stay energetically glued to the unfolding mayhem before it. This will inevitably draw away a lot of its audience, and highlight this as a film that is not for every conventional horror fan.
– Lack of clarity with the ending. I’m pretty sure I know what happened in the film’s closing minutes, but my minimal confidence leaves me with the feelings that this movie required better telegraphing for audiences who require that one evident clue in drawing it all together. Because of this, the film just kind of ends on a question instead of a statement, and the disjointed pieces of this mystery still required the glue of clarity in piecing them back together.
– Touches on the class system of England without ever actually riveting us with a compelling observation. Every time there’s a scene involving the cultural divide between families, it feels like nothing more than a time filler. In particular, it’s the flashback scenes to when Faraday was a child that really have me scratching my head, because there’s never emphasis for their inclusion other than to show why he was so infatuated with the property. I could’ve used a lot more exposition for this backstory, ideally in the Ayers family’s point of view, in how they see themselves against those who adored their lavish lifestyle.