The Innocents

The Innocents (1961) goes well beyond the original source material. This is not merely a case of sexual repression. It is sexual projection, a mapping of desire and repulsion onto the possession delusion made concrete and real. A desire so powerful it broke through the surface of reality. A hideous self-loathing becomes entwined by a foreboding religious terror. She is tormented by the very demons which possess and consume her. She is nightly ravished by her tormented dreams. The paranoid mind must seek out clues from the barest of facts drawing the most far reaching assumptions, weaving out of whole cloth the unholy presence of this sickness. The explanation becomes its expiation. She seeks out in Ms. Grose an ally for her paranoid delusion. Every minor detail must be made to conform; every behavior that deviates in the slightest manner is evidence of a foul crime. Capote is at his masterful best and Clayton’s pacing and direction are chilling. The use of deep focus, a somewhat lost art form, and minimalist lighting force us to endure the unrelenting grip of her self-possession.

Baptism Through Drowning

Ah, the Purgists are back, though in truth, they never really leave us. It’s not even a sane argument but the dark brooding of a psychopath’s wet dream, a psychotic belief that Utopia must come at the cost of inflicting a massive amount of human suffering, degradation, and punishment. Sin, after all, must be purged, and what is more sinful than modern civilization? Of course, the suffering must be born by others, the masses, never by themselves, safe behind their ivory towers. Too many people in charge of too many things think like this. If we could purge this parasitic form of thinking from the souls of men, how much better off would we have been as a species? How many wars and injustices would have been averted, how fewer drops of innocent blood would have been spared?

Cassavetes

Other films depend on a shorthand, a shorthand for living. You recognize certain incidents and you go with them. People prefer that you condense; they find it quite natural for life to be condensed in films. They prefer that because they can catch onto the meanings and keep ahead of the movie. But that’s boring. I won’t make shorthand films. In my films there’s a competition with the audience to keep ahead of them. I want to break their patterns. I want to shake them up and get them out of those quick, manufactured truths.”