In der britischen Netflix-Serie The Innocents reißen zwei Jugendliche aus ihrem strengen Elternhaus aus, doch die anschließende ungewöhnliche Reise der be. THE INNOCENTS In dieser Community dreht sich alles um die Netflix-Serie The Innocents. Die Serie. The Innocents Staffel 1 Episodenguide: Wir fassen schnell & übersichtlich alle Folgen der 1. Staffel von The Innocents für Dich zusammen. Hier findest Du.
The Innocents Inhaltsverzeichnis
Das Liebespaar June und Harry reißen von Zuhause aus, um zusammensein zu können. Als June übernatürliche Fähigkeiten entwickelt, werden gewaltige Mächte auf das Paar aufmerksam und versuchen, die beiden von einander zu trennen. The Innocents ist eine britische Fernsehserie, die am August auf Netflix veröffentlicht wurde. Netflix hat die Serie eingestellt. The Innocents steht für: The Innocents, britischer Horrorfilm von Jack Clayton (), siehe Schloß des Schreckens · The Innocents (Fernsehserie), britische. Romeo und Julia tauschen Körper: Netflix-Serie „The Innocents“ mit Sorcha Groundsell, Percelle Ascott, von Hania Elkington und Simon Duric. THE INNOCENTS In dieser Community dreht sich alles um die Netflix-Serie The Innocents. Die Serie. In der britischen Netflix-Serie The Innocents reißen zwei Jugendliche aus ihrem strengen Elternhaus aus, doch die anschließende ungewöhnliche Reise der be. The Innocents: Die verliebten Teenager June McDaniel (Sorcha Groundsell) und Harry Polk (Percelle Ascott) kommen mit ihren Eltern nicht mehr klar und fühlen.
THE INNOCENTS In dieser Community dreht sich alles um die Netflix-Serie The Innocents. Die Serie. The Innocents Staffel 1 Episodenguide: Wir fassen schnell & übersichtlich alle Folgen der 1. Staffel von The Innocents für Dich zusammen. Hier findest Du. The Innocents, Band 1: Bittersüße Küsse: virgilius.eu: Peloquin, Lili, Max, Claudia: Bücher.
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, another deceased employee of the children's uncle. Grose also reluctantly reveals that the two were in a relationship prior to their deaths.
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, while left 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. 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.
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.
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 , based on The Haunting of Hill House by Shirley Jackson.
In the book Fifty Classic British Films, A Pictorial Record , 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.
The original screenplay for The Innocents was adapted by playwright William Archibald from his play of the same name , which itself was based on Henry James's novella The Turn of the Screw.
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.
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.
Clayton saw the house as one of the characters in the film and used it as such to highlight certain scenes. 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. According to film scholar Frayling, the opening scene 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.
Deborah Kerr was cast in the lead role of Miss Giddens at the counsel of the film's studio and distributor, 20th Century Fox , despite the fact that the governess character in James's original work was twenty years old Kerr was forty at the time.
For the roles of the children, Clayton cast eleven-year-old Pamela Franklin in her film debut as Flora,  and Martin Stephens as her brother, Miles; Stephens had featured in the Metro-Goldwyn-Mayer horror film Village of the Damned This episode also featured behind-the-scenes anecdotes provided by Susie Orbach , Christopher Frayling and Jeremy Dyson.
During the interview, Wyngarde revealed that Alec Guinness and Cary Grant had expressed a strong interest in playing the role of Peter Quint. Jack Clayton turned them down.
Clayton wanted the film to be quite different from the Hammer horror films of the period, and employed a number of cinematic devices to achieve this end, including using genuinely eerie sound effects and moody, stylised lighting.
For the first 45 seconds of the film, the screen is black and singing is heard, and only after this do the credits appear.
Clayton, who had previously made films associated with the British New Wave , took on the project specifically to avoid being typecast as a New Wave director, and to work in a different genre.
Francis won the Oscar for Best Cinematographer for his work on the earlier film. Francis used deep focus and narrowly aimed the lighting towards the centre of the screen.
During principal photography, Clayton and editor Jim Clark —whom he had hired on the recommendation of his colleague Jimmy Ware, editor of Clayton's first feature, Room At The Top —would meet each evening and view the footage shot that day, assembling daily rough cuts as they progressed; this allowed Clayton to make adjustments and shoot pick-ups along the way, giving him closer supervision during the filming process.
In his memoir Dream Repairman , Jim Clark recalled his work as editor on The Innocents as "a true collaboration" and that he and Clayton became close friends and regular drinking partners during production, since both were single at the time, and lived near each other.
He described The Innocents as "a real pleasure to edit, since Jack had a very certain approach to his material, having worked out everything beforehand.
He was a perfectionist who left nothing to chance, and was very precise in his approach to work. Inspired by George Stevens' A Place in the Sun , Clark crafted numerous dissolves and superimpositions, which he also described as "mini montages", in which he edited the cross-fades between certain scenes to run four or five times longer than the standard "mix", and often blended in a third, near-subliminal image; film scholar Anthony Slide would later refer to the film's use of dissolves as "obsessive".
Clayton maintained close supervision over the editing of the film, specifically making sure that no single scene ran too long; because of the film's small cast, Clayton worried that "if [the film] sags, we've got no other characters to go to".
Clark recalled that on the evening of the pre-release critics' screening, Clayton went into a rage because, through no fault of her own, his personal assistant Jeanie Sims was late in phoning him with the critics' reactions.
When Sims called Clark to Clayton's office the next day, he discovered that Clayton had completely smashed a large plaster scale model of Bly House, and was refusing to speak to either of them.
In spite of this rift, Clark and Clayton gradually repaired their friendship, and Clayton subsequently invited Clark to edit his next film, The Pumpkin Eater.
The original score for The Innocents was composed by Georges Auric , who had scored several films Clayton had been involved with in the past, such as Moulin Rouge and The Bespoke Overcoat These "spectral massed sine tones " were incorporated into the film's sound design, though Oram was not credited for them.
In the United Kingdom, the original classification in given by the British Board of Film Censors now the British Board of Film Classification or BBFC had been the "X" rating, which meant that no person under the age of 16 years would be allowed into the cinema to see it.
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Deutscher Titel. The Innocents. FSK Jack Clayton. Georges Auric Paul Dehn. Freddie Francis. Teenagers June Sorcha Groundsell and Harry Percelle Ascott skip town together, seeking escape from their troubled home lives.
June and Harry try to make sense of her remarkable but terrifying power, and head to London to escape various forces trying to track them down.
Homeless in the capital, June and Harry befriend Shane Andrew-Lee Potts , a friendly stranger who employs them to sell drugs on the London club circuit.
However, June experiences another terrifying shift which leaves both the teens spinning. Steinar begins trailing John and Ryan Arthur Hughes when they arrive in the city.
Jamie Donoughue. The runaways are contacted by Kam Abigail Hardingham , an alluring shifter living in London, but whilst June is enthralled by her, Harry soon feels outcast.
Christine realises that the McDaniels are connected to the 'Pennines Five', an unsolved case that had a catastrophic impact on Harry's father Lewis Philip Wright.
Kam's behaviour pushes June into Halvorson's grasp, and she agrees to travel to Sanctum with him. Steinar is cut off by Halvorson, but he takes action when he encounters a face from his past.
June and Halvorson journey to Norway, but June's reunion with her mother has potentially devastating consequences.
Harry and John are close on their heels, but receive a hostile welcome from the women at Sanctum.The Innocents. Staffel 1. Erscheinungsjahr: June und Harry sind von zu Hause ausgerissen. Als June übernatürliche Fähigkeiten. The Innocents Staffel 1 Episodenguide: Wir fassen schnell & übersichtlich alle Folgen der 1. Staffel von The Innocents für Dich zusammen. Hier findest Du. The Innocents, Band 1: Bittersüße Küsse: virgilius.eu: Peloquin, Lili, Max, Claudia: Bücher.