First, let me apologize for not updating this blog as much as I used to. The sudden shift to teaching virtually has consumed a lot of my time over the last several months. Additionally, I’ve been writing a lot of reviews for HorrOrigins and Signal Horizon Magazine when I can spare a moment, so that’s kept me busy. That said, I’d like to get back to updating this blog as regularly as I can!
With theaters still shut down for the most part, or limited to retro films, streaming services are the only option for new content. With most of 2020’s bigger horror productions, including Halloween Kills and Candyman, pushed back to at least 2021, that’s given more attention to the already highly anticipated “The Haunting of Bly Manor,” Netflix’s 9-episode take on Henry James’ Gothic ghost stories, especially his novella The Turn of the Screw.
After finishing “Bly Manor” a few days ago, I’m still thinking about it, and I’m still undecided regarding how I feel about it as a whole. I thought Mike Flanagan’s reimagining of Shirley Jackson’s novel The Haunting of Hill House was quite strong. The fifth and sixth episodes specifically were some of the best examples of horror on the small screen that I’ve ever seen. The bent-neck lady was terrifying, and Flanagan did an excellent job diverging a bit from Jackson’s narrative, while still keeping most of her key ideas and themes in tact.
“Bly Manor,” however, is short on scares, at least compared to “Hill House.” Instead, the series is more of a Gothic Romance. The basic, and I mean VERY basic plot of The Turn of the Screw is introduced in the first episode. A young American, Dani Clayton (Victoria Pedretti), takes a job as a governess at Bly Manor, where she keeps watch over young Miles (Benjamin Evan Ainsworth) and Flora (Amelie Bea Smith). The first few episodes explore Clayton’s trauma, specifically the tragic death of her boyfriend, thus the reason she fled the states and takes the job at the British estate. Yet, she can’t escape the past, and her boyfriend appears to her as a ghost with shiny golden glasses, to boot.
The kids are one of the highlights of the series, nearly matching what James penned. Miles is both devious and charming. Flora runs around saying “perfectly splendid,” as if she’s practicing to be a 19th Century aristocrat. Though the series takes place in the 1980s, it very much feels like a 19th Century Gothic tale, due largely to Maxime Alexandre and James Kniest’s cinematography. Fog rolls off the pond near the castle-like estate. Night time shots create a sense of foreboding. Darkened corridors and long hallways feel menacing.
Yet, the ghosts in “Bly Manor” just aren’t that scary. The two main spirits featured in The Turn of the Screw, Peter Quint, played by Oliver Jackson-Cohen, and Miss Jessel, played by Tahirah Sharif, aren’t very threatening. Quint is abusive in a totally different way in “Bly Manor,” but he’s never…. that terrifying. Quint is a violent drunk in the novella. When Miss Clayton sees his ghost throughout the estate, he’s horrifying. The recounting of his death is also hair-raising. With “Bly Manor,” even the scenes directly adapted from James’ work, like an image of Quint’s face in a mirror or window, just aren’t that spooky.
Additionally, “Bly Manor” adds a storyline about possession (I think?) and time skipping that just don’t work quite well. “Hill House” toyed with a non-linear timeline in regards to ghosts, but it worked better in that series. In “Bly Manor,” it’s rather confusing. There is also a brief storyline about Miles and Flora’s uncle, Henry Wingrave (Henry Thomas), and his devious double. But that’s equally confounding..
All of that said, the eighth episode is a fantastic ghost story that provides context and background for the Lady in the Lake, a chilling spectral presence who haunts the residents at Bly. This episode is adapted from James’ story “The Romance of Old Clothes.” Once upon a time, the Lady in the Lake wasn’t faceless and water-logged. She was Viola, a wealthy woman with extravagant taste. Eventually, she marries, but she’s betrayed by her sister, Perdita (Daniela Dib), who moves in on her hubby when Viola falls ill. Viola is played by Kate Siegel, Flanagan’s wife who also played Theodora in “Hill House.” Siegel’s entrance to “Bly Manor” comes near the end of the series, but it’s worth the wait. The single episode contains nearly every trope of Gothic literature, including family betrayal, an ugly history that haunts the present, a failing English manor descending into financial ruin, and a vengeful ghost. It also sets up the finale quite well.
Overall, I need a few days to think about “Bly Manor” some more. Right now, the images and the cinematography stick with me most, especially shots of the foggy pond at night. But the ambiguity of James’ novella and some of its most terrifying scenes seem lost in this recent adaptation. There’s commentary about how ghosts and memories fade with time, hence the faceless Lady in the Lake. I’m afraid “Bly Manor” has that potential. I’m unsure what I’ll remember of the series months from now. I don’t know if this will stay with me the way “Hill House” did, but that’s okay. At least a 19th Century ghost story lives on for modern audiences.
If you want to check out another adaptation of The Turn of the Screw, I highly recommend The Innocents (1961).