The Others
Brief Synopsis
Cast & Crew
Alejandro Amenßbar
Nicole Kidman
Fionnuala Flanagan
Christopher Eccleston
Elaine Cassidy
Alakina Mann
Film Details
Technical Specs
Synopsis
On the secluded Isle of Jersey in the final days of World War II, a young woman waits in vain for her beloved husband to return from the front. Grace has been raising her two young children alone in her beautiful, cavernous Victorian mansion, the one place she believes them to be safe. But they are not safe. Not anymore. When a new trio of servants arrives to replace the crew that inexplicably disappeared, startling events begin to unfold. Grace's daughter reveals she has been communicating with unexplained apparitions that come and go in every room of the house. At first, Grace refuses to believe in her children's scary sightings, but soon, she too begins to sense that intruders are at large. Who are these numinous trespassers? And what do they want from Grace's family? In order to discover the truth, Grace must abandon all of her fears and beliefs and enter the otherworldly heart of the supernatural.
Director
Alejandro Amenßbar
Cast
Nicole Kidman
Fionnuala Flanagan
Christopher Eccleston
Elaine Cassidy
Alakina Mann
Michelle Fairley
Jean-marc Luisada
Aldo Grilo
James Bentley
Keith Allen
Alexander Vince
Gordon Reid
Ricardo Lopez
Eric Sykes
Renee Asherson
Crew
Claudia Adriazola
Javier Aguirresarobe
Javier Aguirresarobe
Graham Aikman
Svetlana Albitskaia
Arturo Aldegunde
Maria Jose Almela
Nike Alonso
Alejandro Amenßbar
Alejandro Amenßbar
Alejandro Amenßbar
Claire Amondaray
Rosa Angel
Gonzalo Anso
Emilio Ardura
Julie Austin
Angel Balaguer
Miguel Balanzategui
Irene Ballesteros
Chris Barret
John Bateman
Juan Pablo Ana Belen
Enrique Bello
Jon Benn
Felix Berges
Maite Bermudez
Alfonso Berrocal
Montse Boqueras
Montserrat Boqueras
Fernando Bovaira
Jose Joaquin Bru
Antonio Buenaga
Sergio Burmann
Stanley B Burns
Felicia Bushman
Yolando Caceres
Xavier Capellas
Juanjo Carretero
Luis Casacuberta
Felisa Catalinas
Tim Cavagin
Eduardo Chapero-jackson
Javier Chinchilla
Frederic Chopin
Mara Collazo
Salvador Comes
Ana Cortes
Tom Cruise
Ana Cuerda
José Luis Cuerda
Juan Benito Cuevas
Carlos Culebras
Juan De Andres
Gustavo De La Fuente
Pedro De La Fuente
Jose Ramon De La Isla
Sophie De Macmahon
Viuda De Ruiz
Guillaume Delamare
Paco Delgado
Noble Denton
Carmen Diaz
Eduardo Diaz
Manuel Diaz
Isabel Diaz Cassou
Al Dublin
Laurent Dufreche Gibert
Rod Duggan
Steve Ellis
Guillermo Escribano
Camilla Evans
Elizabeth Every
Paula Farias
Alejandro Fernandez
Alejandro Fernandez
Benjamin Fernandez
Daniel Fernandez
Daya Fernandez
Eladio Fernandez
Jose Alberto Fernandez
Marian Fernandez
Montserrat Fernandez
Ruben Fernandez
Madrid Film
Geoff Foster
Sandra Frieze
Carlos Garcia
Jose Garcia Donado
Jose Antonio Garcia Tapia
Luis Fernando Garrido
Brian Gibbs
Carlos Gil
Antonio Gimenez
Lucio Godoy
Lucio Godoy
Salvador Gomez
Diego Gonzalez
Jose Luis Gonzalez
Jose Luis Gonzalez
Miguel Angel Gonzalez
Sonia Gonzalo
Sonia Grande
Angel Granell
David Greenbaum
Elli Griff
David L Guaita
Alfonso Gutierrez
Elaine Haggis
Flora Herranz
Didi Hopkins
Claudio Ianni
Claudio Ianni
Angela Iglesias
Inmaculada Iglesias
Teresa Isasi
Alejandro Jimenez
Centro Cultural La Vidriera De Maliano
Antonio Lado
Derek Langley
Javier Leal
Walter Leonard
Stuart Lermonth
Carlos Lidon
Ivan Lopez
Sol Lopez
Ana Lopez-puigcerver
Belen Lopez-puigcerver
Catalina Madurga
Julio Madurga
Javier Martin
Julian Martin
Luis Martin
Eugenio Martinez
Rafael Martos
Robert Mccann
Gloria Menchacatorre
Carmen Mesa
Jose Luis Molero
Gregorio Molina
Natalia Montes
Pedro Alvarez Moreno
Gonzalo Moure
Ramon Moya
Juan Munoz
Laura Munoz-rojas
Eva Muslera
Julien Naudin
Jose Luis Navarro
Javier Navasques
Barnard Newton
Trilby Norton
Pablo Nunez
Javier Oleza
Guillermo Orbe
Antonio Ortiz
Emiliano Otegui
Manuel Outomuro
Peter Owen
Blas Antonio Padilla
Juan Pando
J Ethan Park
Sunmin Park
Matt Pascale
Ken Paul
Maite Payero
Stuart Pearson
Miguel Pedregosa
Juan Luis Pedrero
Guillermo Pena
Sergio Perez
Luis Perez Davila
Magoga Pinas
Carmen Prieto
Teresa Rabal
Esther Ramos
Juana Ramos
Isabel Ranz
Sito Raposo
Orly Ravid
Luis Revuelta
Adolfo Rios
Clemente Rivas
Maite Rivera Carbonell
Miguel Angel Rodriguez
Nuria Rodriguez
Veronica Roldan
Antonio Romero
Sergio Rozas
Ramon Rubio
Andrea Ruiz
Nacho Ruiz Capillas
Ramiro Sabell
Eva Salas
Manuel Salgueiro
Joaquin Samperio
Alberto Sanchez
Antonio Sanchez
Francisco Sanchez
Jennifer Sanchez
Antonio Fernandez Santamaria
Videos
Movie Clip
Film Details
Technical Specs
Articles
The Others (2001) -
One doesn't want to be a piker, so we will not venture even now toward the film's climactic gambit, and luckily for us the film remains otherwise a rich and fascinating Gothic exercise, reeking with moody chills, repressed sexual power and enough semi-unconscious slippages to fill a Freudian notebook. Nicole Kidman, her crystal-clear eyes and dainty nostrils flaring, stars as Grace Stewart, the very high-strung matriarch occupying a massive and foggy estate manse on Jersey Island. The house is empty except for she and her two children, 11-year-old Anne (Alakina Mann) and 8-year-old Nicholas (James Bentley), and that's where things start getting strange, in a Poe-Dickens-Bronte-Shirley Jackson kind of way. As three new servants show up, led by Fionnula Flanagan's redoubtable Mrs.Mills, to replace the staff that just mysteriously left, Grace explains the situation: the children are beset with an "allergy" to light, and so curtains must be always drawn and every door must be locked behind you, to insure that no light leaks in. Silence is "highly prized" here. The kids sleep during the day, of course, and at first it seems obvious that Kidman's control-freak mom is both fraying from the stress and might in fact be enacting a Munchausen-by-proxy scenario, torturing all involved with her own delusions. (What Grace describes is an actual, if extremely rare, UV-shy condition called xeroderma pigmentosum.) Of course, eventually the children start saying they see and hear other people in the house, ghosts, and in time a near-hysterical Grace hears them, too, shifting into protective-uber-Mom gear.
In this sense, you can detect traces of neo-Gothic classics like The Innocents (1961), and The Haunting (1963), in which the ghostly manifestations may or may not be the product of the heroines' bottled-up psychosexual manias. The genre has always depended on this ambiguity, and Kidman's harpyish intensity certainly invites us to consider that she is the source of the film's various weirdnesses, as she grieves secretly for her absent husband and practically pops a blood vessel every time someone does anything that doesn't conform to her idea of how things should be.
Amenabar's essential cleverness is evident long before the ending - the house's interior, for instance, is a multilayered weft of staircases, arches and non-right angles, explicitly, it seems, designed to echo lithographs by M.C. Escher (particularly "Relativity" and "Concave and Convex"), and thereby injecting a ubiquitous sense of irrationality into the story. (Cinematographer Javier Aguirresarobe's lighting, for a scenario in which light itself is considered a threat, is magisterial.) The cast is the other secret weapon on hand - in addition to Kidman's domineering presence, the film's primary human hook is Bentley, whose almost unearthly little porcelain face, its tiny dark eyes set close together like a doll's, is cleaved throughout by worry and consternation. We look to him to tell us what the film's story really is, even though he's the most clueless and defenseless character present.
Clues do arise - the servants' shady hints, a hidden gravestone, the obfuscatory fog outside that never lifts - but do yourself a favor, and don't set your gears turning, trying to second-guess Amenabar's fictional twist. It wouldn't be hard, and you'd spoil the Gothic stew brewing in the meantime, which tense as it is could've actually used more sexual torque. (The prototype here is Deborah Kerr's nanny in The Innocents, fracturing under the pressure of the copulative nastiness she's not even supposed to be thinking about.) Trying to surmise the ending of such a film is a dead-end mode of movie-watching in any case -the effort boils the whole film and all of its textures and ideas down to the matter of conceptual predictability, pitting you against the scriptwriter. Generally, twist endings in general are delicate things, and should be ignored until they land in your lap.
In 2001, The Others jazzed nearly everyone - it was a hit the same season Kidman's soon-to-be-ex-husband Tom Cruise's Vanilla Sky died at the box office. (That film, ironically, is a remake of Amenabar's Open Your Eyes, 1997.) It remains the most popular Spanish-made film to play in Spanish theaters, and also swept the Goyas that year, a first for a film in which not a word of Spanish is spoken. It's that rare thing - a satisfying haunted-house saga that doesn't overdue the shock cuts and gore, honors its Gothic roots, and manages to take you somewhere new.
By Michael Atkinson
The Others (2001) -
Quotes
Trivia
Miscellaneous Notes
Winner of eight 2002 Goya awards, including Best Film, Best Director, Best Original Script, Best Production Design, Best Editing, Best Photography, Best Artistic Direction and Best Sound.
Co-Winner, with "Mulholland Dr." (France/USA/2001), of the 2001 award for Best Original Screenplay from the Online Film Critics Society (OFCS).
Released in United States Summer August 10, 2001
Released in United States on Video May 14, 2002
Released in United States 2001
Shown at Venice International Film Festival (Venice 58 - in competition) August 29 - September 8, 2001.
English language debut for Spanish director Alejandro Amenabar.
Began shooting September 30, 2000.
Completed shooting November 23, 2000.
Released in United States Summer August 10, 2001
Released in United States on Video May 14, 2002
Released in United States 2001 (Shown at Venice International Film Festival (Venice 58 - in competition) August 29 - September 8, 2001.)