The Others (2001) Review

It’s the spookiest month of the year, and what better way to celebrate the successes of horror cinema as the release of a new chapter to the Saw franchise – a series of film made famous for extreme mental torture and gore. But we shouldn’t forget that not all horror fans appreciate such extremes, and some far prefer the subtleties of a good old fashioned ghost story.

Alejandro Amenábar’s 2001 film, The Others (or Los otros in Spanish) meets this need, standing as a testament to the power of mood, atmosphere, and the unseen to send Victorian-style literary chills down the spines of modern day audiences. In a genre often associated with excess, Amenábar’s work is a masterclass in subtlety and restraint.

Set in 1945, on the eerie and isolated Channel Island of Jersey, The Others weaves a tale around Grace Stewart, portrayed with unwavering precision by Nicole Kidman. Grace resides in a vast, shadowy mansion with her two young children, Anne and Nicholas, both afflicted with a rare photosensitivity that renders them unable to tolerate sunlight. The family lives in perpetual darkness, their existence cloaked in the gloom of heavy curtains and locked doors. When three mysterious servants arrive seeking employment, the delicate balance of their world is thrown into disarray.

Kidman’s portrayal of Grace is nothing short of exceptional and her performance is an exercise in both fragility and tenacity. Grace’s character is complex, a mother fiercely protective yet haunted by her past, her strict Catholic faith at odds with the inexplicable events unfolding in her home. Kidman’s icy stare, alternating between fear and fury, is the linchpin of the film’s tension. Throughout, her character’s vulnerability is palpable, and she commands the screen with grace and conviction.

The real revelation of The Others lies in its deliberate pacing and the eerie ambiance that envelopes every frame. Amenábar chooses to build tension methodically, eschewing the typical reliance on jump scares and explicit violence. Instead, he employs suspense, mood, and the unknown to create a palpable sense of dread. The film feels like a fireside ghost story, drawing audiences in with its slow, unsettling revelations.

The supporting cast, including Fionnula Flanagan, Christopher Eccleston, and the talented young actors Alakina Mann and James Bentley as Anne and Nicholas, contribute significantly to the film’s success. Flanagan, in particular, shines as Bertha Mills, the housekeeper with a mysterious past. The interactions between the characters, especially the children, add depth to the narrative, blending elements of psychological horror with the supernatural.

Amenábar’s direction is a masterstroke of gothic elegance as he transforms the mansion into a character itself, a brooding presence that looms over the family. The production design, cinematography by Javier Aguirresarobe, and musical score, composed by Amenábar himself, work in haunting harmony to create an atmosphere that is both chilling and beautiful.

The Others is a rarity in the horror genre. It’s a film that relies on the power of suggestion and the fear of the unknown. It invites viewers to question their perceptions, blurring the line between the living and the dead. Kidman’s haunting performance, coupled with Amenábar’s impeccable direction, elevates this film to a level of sophistication rarely seen in the genre.

The Others is a haunting tale of gothic elegance and subtle scares. It reminds us that true horror often lies in what we cannot see, in the shadows and the unspoken. Alejandro Amenábar’s mastery of mood and Nicole Kidman’s compelling performance make this film a standout in the world of supernatural cinema. Better still, it has aged surprisingly well since it’s release more than 20 years ago. It’s a reminder that sometimes, less is more, and you still can’t beat a good ghost story.

Movie Rating:

The Others is now out to buy as a full restored 4K Blu-Ray

The Others Trailer