Has everyone forgotten the adaptation of Turn of the Screw starring Ingrid Bergman and filmed for television in 1959? It was shown in the USA and on BBC in Britain. Bergman was brilliant ,of course!and the two children were also excellent. I have forgotten who played Quint or any of the other parts and shall search for it. My point here is: don't assume the most recent adaptation of anything is the best. Usually it is not - for example Far from the Madding Crowd 1967 is 100% better than the recent version.

I enjoyed this production very much. I don't think the frame distracted from The Master's tale at all but then I wasn't wanting a pure recreation of the original. As it was, we are left with ambiguity. I don't believe in ghosts or evil but like to suspend disbelief just to understand how it would feel. The performances were great, a credit to themselves and the director.

This filmed version of James' novella is a travesty. It begins with the conceit of the insane asylum, in which the Governess is an inmate, as if this were an acceptable or even clever way to evoke the issue of her questionable sanity. The shots and cuts seem to be meant to reinforce this simplistic kind of ambiguity, certainly with none of the subtlety of James' work, and sometimes even to opposite effects, and often garishly. For example, when the Governess first arrives at Bly, she is greeted by the staff. The camera pans over their faces and cuts to close-ups of especially sour-looking expressions in order to make us wonder whether this is really such a nice place, or perhaps that some of these unhappy people may wish her harm. To get at the latent sexuality of the text, this filmed version relies on a piece of lingerie, flashbacks of Quint atop Jessel in bed, and the Governess' fantasies of her and the uncle in various hackneyed romantic gestures. Mrs. Grose's rosy, innocent, and reliable sympathy with the Governess in the novel has been eradicated here and replaced with her somewhat cold rejection of the Governess' claims to have seen Quint and Jessel.There's more. The music has been expediently installed to cue the intended emotional responses. The dialogue and characterizations, with their overwrought emotion, are both anachronistic and unconvincing, and get worse as the film wears on, ending with the children's swearing at the Governess, a device that's just plain tacky, and Miles' pummeling Flora, slapping her face and calling her the b-word before he dunks her head into the water of the lake. This is how the filmmakers attempt to answer the question, What harm might Quint and Jessel intend for the children? Why, to make the children into likenesses of themselves of course! Hence, at the end, Miles kisses the Governess passionately, while the image of the actor who plays Quint is superimposed over him.It's not clear to me why so much of what's produced for television is so poorly done. If the producers and directors are dumbing their work down for wider audiences, then they ought to give us more credit. If they themselves are such poor interpreters of literature, then they should be given other projects, or discharged. Or haunted by Peter Quint and Miss Jessel, and Henry James himself!

I hated the 20's costumes, this just NEEDS the fancy Victorian clothing! Also, automobiles? Stupid frame story? And using Voice Of The Legion, one of the worst horror tropes? No match to The Innocents - that was perfectly creepy and beautiful (Miles could have been prettier, but otherwise everything as it should be).Here? Meh. Adding random new characters was unnecessary.Music - can't even recall it. Go for the opera if you want the REAL music of this, also, Britten understood a lot more than this movie's director. It was not just about *possessing* children. It was more, at least in the case of Quint/Miles.