The Innocents 1961 Film full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

Miss Giddens applies for a job as a governess. It is to be her first position, but the wealthy bachelor interviewing her is unconcerned with her lack of experience. He values his freedom to travel and socialise and unabashedly confesses that he has "no room, mentally or emotionally" for his niece and nephew. They were orphaned and left in his care as infants, and he keeps them at Bly, his large country estate. The previous governess, Mary Jessel, died suddenly less than a year ago. All he cares about is that Miss Giddens accept full responsibility for the children, never troubling him with whatever problems may arise.

At Bly, Miss Giddens is instantly taken with Flora, the niece. She also forges a friendship with Mrs. Grose, the kindly housekeeper. The boy, Miles, is away at boarding school, but soon returns to Bly after being expelled from school for being a "bad influence" on his peers. Mrs. Grose says she cannot imagine Miles misbehaving, and when Miss Giddens meets the boy herself, she too thinks his teachers must have exaggerated. He seems charming and mature – though perhaps too mature, with flirtatious flattery toward his governess. Miss Giddens soon grows disturbed by the children's occasional odd behaviours and secretiveness, and is bothered by disembodied voices and apparitions of a man and woman she witnesses in the house, whom Mrs. Grose identifies, from their descriptions, as Miss Jessel and Peter Quint – the uncle's deceased valet. Mrs. Grose reveals that Quint was abusive to Miss Jessel, and that they were indiscreet, performing sexual acts in plain sight of the other servants and even, perhaps, the children. After Quint's accidental death, Miss Jessel went into a deep depression and drowned herself in the lake.

When Miles recites a poem invoking a "lost lord" to rise from the grave, Miss Giddens concludes that the ghosts of Quint and Miss Jessel possess the bodies of the children so they can physically continue their relationship. She is determined to rescue them from this possession. One night Miss Giddens finds Flora at a window, watching Miles, who is walking in the garden. When Miss Giddens escorts him to bed, he kisses her goodnight in a disturbingly sexual manner. The next day Miss Giddens finds Flora dancing alone in a folly on the shore of the lake – and again sees the figure of Miss Jessel staring at them from across the water. Miss Giddens begs Flora to admit that Miss Jessel is there, but Flora begins to scream and cry, calling Miss Giddens wicked and insane. Hours later, Flora is still hysterical, and when Mrs. Grose finally leaves her bedside, she says she cannot imagine where Flora learned such obscenities. Miss Giddens orders her to take Flora away from Bly. She is certain that Miles is on the brink of confessing the possession to her and that she must be left alone with him.

That night, alone with Miles, Miss Giddens presses him to talk about the ghosts, and about why he was expelled from school. Initially, Miles is glib and evasive, but he eventually admits that he frightened the other boys with violence and vulgar language. Miss Giddens enjoins him to say who taught him this language and behaviour. Miles suddenly begins yelling obscene insults and laughing maniacally, and Quint's face appears in the window behind him, joining in the boy's laughter. Miles then runs outside; Miss Giddens follows, begging him to "say his name." Quint appears on a hedge nearby, but Miles does not appear to see him. He finally shouts Quint's name, and Quint appears. Miles grows still and falls to the ground. Miss Giddens cradles him and assures him that he is free. She then realises that Miles is dead. Sobbing, she leans over him and kisses him on the lips.

• Deborah Kerr as Miss Giddens
• Michael Redgrave as The Uncle
• Peter Wyngarde as Peter Quint
• Megs Jenkins as Mrs. Grose
• Martin Stephens as Miles
• Pamela Franklin as Flora
• Clytie Jessop as Miss Jessel
• Isla Cameron as Anna

The Innocents has received attention from academics and specialists in film theory, beginning with the literary theorist Edmund Wilson, who wrote extensively on the film's source novella, insisting that the supernatural phenomena were in fact the product of Miss Giddens' own sexual repression. According to literary scholar Leonard Orr, of the many adaptations of James's work, The Innocents has received the largest amount of critical attention.

Film scholar David J. Hogan reiterated the film's underlying themes of sexual repression becoming the focus of supernatural activity, and compared elements of the film to Robert Wise's The Haunting (1963), based on The Haunting of Hill House by Shirley Jackson. Hogan also interprets the film's final scene as "a perverse variation on the Sleeping Beauty story, as Kerr symbolically liberates the boy from a presumed possession with a kiss after he has fainted."

In the book Fifty Classic British Films, 1932-1982: A Pictorial Record (2013), film writer Anthony Slide noted: "Through the use of shadows, oblique camera angles, and an atmospheric soundtrack, Jack Clayton not only captured the horror of James's story, but also its deeper sadness—the children's isolation from the real world, the governess' problematic sexuality, and the curiously pitiful nature of the former governess, Miss Jessel."

Conception

The original screenplay for The Innocents was adapted by playwright William Archibald from his 1950 play of the same name, which itself was based on Henry James's novella The Turn of the Screw. In both his stage and screen adaptations, Archibald wrote under the assumption that the supernatural experiences of Miss Giddens were real, and that the ghosts she encountered were legitimate entities as opposed to figments of her imagination (a possibility left unresolved in James's original work). Archibald's interpretation of the source material was made clear in a denouement in the original draft of the script, which:

comprises a montage of images superimposed over reclining figure—the cracked photograph of Quint, Quint on the tower, Flora's hand holding her pet tortoise, a musical box trilling "O Willow Waly." The dream ends with Miss Giddens imagining how the children have been possessed by Miss Jessel...dancing in silhouette with Flora, Quint putting a possessive arm over Miles's shoulder, and Miss Giddens herself praying for deliverance to the sound of a chiming clock.

Director Jack Clayton envisioned a more ambiguous conclusion for the film: "My original interest in the story was in the fact that one could tell it from a completely different point of view," he said. "In other words–evil was alive in the mind of the governess and in fact she more or less creates the situation. Now this was long before I read the notes on Henry James and found that somebody else also imagines that Henry James wrote it this way—sort of almost Freudian hallucinations the governess had."

Clayton was ultimately unhappy with Archibald's screenplay due to their conflicting interpretations of the material, and asked American writer Truman Capote (whom he had met while working on Beat the Devil) to rework Archibald's script. At the time, Capote was in the middle of writing In Cold Blood; however, because he was a fan of the James novella, he agreed, and took a three-week hiatus to rewrite the screenplay. Capote introduced the Freudian symbolism that is prominently highlighted in the relationships and visual compositions of the film, with implications that the supernatural phenomena experienced by Miss Giddens is a result of her own sexual repression and paranoias rather than legitimate paranormal experiences. Clayton later brought in writer John Mortimer to give the dialogue a "Victorian" polish. Clayton needed to maintain a sense of claustrophobia and, at the same time, open up the play, which took place entirely in the drawing room of the house. Clayton saw the house as one of the characters in the film and used it as such to highlight certain scenes.

Cultural critic Christopher Frayling attributes approximately 90% of the film's script as it appears on the screen to Capote (The final credits attribute the screenplay to Archibald and Capote, with Mortimer receiving credit for "Additional Scenes and Dialogue"). Frayling also notes a Southern Gothic feel present in Capote's script alterations – particularly with the governess's repressed erotic sensibility counterpointed by shots of lush and decaying plants and rapacious insect life. Director Clayton, though, chose to downplay this aspect in the finished film, to preserve the ambiguity between the ghost story and Freudian element.

An unreliable narrator was originally intended to feature in the narrative and the film was to open with a funeral scene. There are stills of the scene that circulated at the time, but during production Clayton elected to open with darkness, a song sung by a little boy, and the image of Kerr's hands that are clasped in prayer, with her rosary between her fingers. Gradually Kerr's face is highlighted. The opening creates a sense of intimacy and, perhaps, trust that the governess should be trusted, but the use of darkness surrounding her suggests that it is possible that the story that follows could be nothing more than in her own mind – isolated and creating its own supernatural world, according to Fra