The Others


1h 41m 2001
The Others

Brief Synopsis

The mother of two children comes to suspect her remote country estate is haunted.

Film Details

Also Known As
Les Autres, Los otros, Others, Otros, autres
MPAA Rating
Genre
Horror/Science-Fiction
Drama
Horror
Period
Thriller
Release Date
2001
Production Company
Carlos Lidon
Distribution Company
Dimension Films
Location
Cantabrie, Spain; Santander, Spain; Madrid, Spain

Technical Specs

Duration
1h 41m

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.

Crew

Claudia Adriazola

Other

Javier Aguirresarobe

Director Of Photography

Javier Aguirresarobe

Dp/Cinematographer

Graham Aikman

Special Effects Assistant

Svetlana Albitskaia

Stand-In

Arturo Aldegunde

Steadicam Operator

Maria Jose Almela

Assistant Editor

Nike Alonso

Production

Alejandro Amenßbar

Original Music

Alejandro Amenßbar

Music

Alejandro Amenßbar

Screenplay

Claire Amondaray

Production

Rosa Angel

Visual Effects

Gonzalo Anso

Props

Emilio Ardura

Set Decorator

Julie Austin

Advisor

Angel Balaguer

Other

Miguel Balanzategui

Video

Irene Ballesteros

Stand-In

Chris Barret

Sound

John Bateman

Adr

Juan Pablo Ana Belen

Production

Enrique Bello

Gaffer

Jon Benn

Editor

Felix Berges

Visual Effects Supervisor

Maite Bermudez

Post-Production

Alfonso Berrocal

Assistant Editor

Montse Boqueras

Makeup Assistant

Montserrat Boqueras

Makeup Assistant

Fernando Bovaira

Producer

Jose Joaquin Bru

Production

Antonio Buenaga

Special Thanks To

Sergio Burmann

Boom Operator

Stanley B Burns

Photography

Felicia Bushman

Assistant

Yolando Caceres

Color Timer

Xavier Capellas

Original Music

Juanjo Carretero

Rerecording

Luis Casacuberta

Assistant Director

Felisa Catalinas

Negative Cutting

Tim Cavagin

Rerecording

Eduardo Chapero-jackson

Associate Producer

Javier Chinchilla

Assistant Director

Frederic Chopin

Music

Mara Collazo

Makeup Assistant

Salvador Comes

Other

Ana Cortes

Visual Effects

Tom Cruise

Executive Producer

Ana Cuerda

Wardrobe Assistant

José Luis Cuerda

Producer

Juan Benito Cuevas

Stunt Coordinator

Carlos Culebras

Boom Operator

Juan De Andres

Other

Gustavo De La Fuente

Other

Pedro De La Fuente

Construction

Jose Ramon De La Isla

Stand-In

Sophie De Macmahon

Production

Viuda De Ruiz

Wig Supplier

Guillaume Delamare

Foley

Paco Delgado

Wardrobe Assistant

Noble Denton

Other

Carmen Diaz

3-D Artist

Eduardo Diaz

Visual Effects

Manuel Diaz

Post-Production

Isabel Diaz Cassou

Sound Designer

Al Dublin

Song

Laurent Dufreche Gibert

Assistant Editor

Rod Duggan

Consultant

Steve Ellis

Titles

Guillermo Escribano

Assistant Director

Camilla Evans

Casting Associate

Elizabeth Every

Other

Paula Farias

Medic

Alejandro Fernandez

Other

Alejandro Fernandez

Assistant Sound Editor

Benjamin Fernandez

Production Designer

Daniel Fernandez

3-D Artist

Daya Fernandez

Other

Eladio Fernandez

Post-Production

Jose Alberto Fernandez

Production Assistant

Marian Fernandez

Production Assistant

Montserrat Fernandez

Stand-In

Ruben Fernandez

Production Assistant

Madrid Film

Film Lab

Geoff Foster

Sound Engineer

Sandra Frieze

Dialogue Coach

Carlos Garcia

Electrician

Jose Garcia Donado

Other

Jose Antonio Garcia Tapia

Unit Manager

Luis Fernando Garrido

Stand-In

Brian Gibbs

Production Accountant

Carlos Gil

Props

Antonio Gimenez

Other

Lucio Godoy

Music Producer

Lucio Godoy

Original Music

Salvador Gomez

Other

Diego Gonzalez

Special Thanks To

Jose Luis Gonzalez

Key Grip

Jose Luis Gonzalez

Grip

Miguel Angel Gonzalez

Line Producer

Sonia Gonzalo

Stunts

Sonia Grande

Costume Designer

Angel Granell

Electrician

David Greenbaum

Other

Elli Griff

Set Decorator

David L Guaita

Visual Effects

Alfonso Gutierrez

Production Assistant

Elaine Haggis

Special Thanks To

Flora Herranz

Other

Didi Hopkins

Advisor

Claudio Ianni

Original Music

Claudio Ianni

Music Conductor

Angela Iglesias

Assistant Editor

Inmaculada Iglesias

Casting

Teresa Isasi

Photography

Alejandro Jimenez

Stand-In

Centro Cultural La Vidriera De Maliano

Special Thanks To

Antonio Lado

3-D Artist

Derek Langley

Special Effects Supervisor

Javier Leal

Film And Electronic Laboratory

Walter Leonard

Interpreter

Stuart Lermonth

Props

Carlos Lidon

Cable Operator

Ivan Lopez

Visual Effects

Sol Lopez

Production

Ana Lopez-puigcerver

Makeup

Belen Lopez-puigcerver

Hair

Catalina Madurga

Other

Julio Madurga

Camera Operator

Javier Martin

Accountant

Julian Martin

Scenic Artist

Luis Martin

Accountant

Eugenio Martinez

Electrician

Rafael Martos

Gaffer

Robert Mccann

Makeup

Gloria Menchacatorre

Other

Carmen Mesa

Negative Cutting

Jose Luis Molero

Electrician

Gregorio Molina

Visual Effects

Natalia Montes

Storyboard Artist

Pedro Alvarez Moreno

Special Effects Assistant

Gonzalo Moure

Visual Effects

Ramon Moya

Construction Manager

Juan Munoz

Production

Laura Munoz-rojas

Craft Service

Eva Muslera

Other

Julien Naudin

Foley Artist

Jose Luis Navarro

Carpenter

Javier Navasques

Assistant Editor

Barnard Newton

Special Effects Assistant

Trilby Norton

Production Coordinator

Pablo Nunez

Titles

Javier Oleza

Accountant

Guillermo Orbe

Visual Effects

Antonio Ortiz

Production

Emiliano Otegui

Line Producer

Manuel Outomuro

Photography

Peter Owen

Wig Supplier

Blas Antonio Padilla

Props

Juan Pando

Consultant

J Ethan Park

Production

Sunmin Park

Producer

Matt Pascale

Production

Ken Paul

Props

Maite Payero

Other

Stuart Pearson

Other

Miguel Pedregosa

Stunt Coordinator

Juan Luis Pedrero

Accounting Assistant

Guillermo Pena

Film And Electronic Laboratory

Sergio Perez

Production Assistant

Luis Perez Davila

Security

Magoga Pinas

3-D Artist

Carmen Prieto

Special Thanks To

Teresa Rabal

Makeup Assistant

Esther Ramos

Stunts

Juana Ramos

Accountant

Isabel Ranz

Assistant Editor

Sito Raposo

Adr

Orly Ravid

Production

Luis Revuelta

Stand-In

Adolfo Rios

Driver

Clemente Rivas

Props

Maite Rivera Carbonell

Sound Editor

Miguel Angel Rodriguez

Production

Nuria Rodriguez

Medic

Veronica Roldan

Production

Antonio Romero

Production

Sergio Rozas

Storyboard Artist

Ramon Rubio

Production

Andrea Ruiz

Stand-In

Nacho Ruiz Capillas

Editor

Ramiro Sabell

Other

Eva Salas

Wardrobe

Manuel Salgueiro

Other

Joaquin Samperio

Special Thanks To

Alberto Sanchez

Electrician

Antonio Sanchez

Carpenter

Francisco Sanchez

Other

Jennifer Sanchez

Stand-In

Antonio Fernandez Santamaria

Electrician

Film Details

Also Known As
Les Autres, Los otros, Others, Otros, autres
MPAA Rating
Genre
Horror/Science-Fiction
Drama
Horror
Period
Thriller
Release Date
2001
Production Company
Carlos Lidon
Distribution Company
Dimension Films
Location
Cantabrie, Spain; Santander, Spain; Madrid, Spain

Technical Specs

Duration
1h 41m

Articles

The Others (2001) -


The impossibility of writing, or even talking, about Alejandro Amenabar's The Others (2001) is no small matter - the film is a spring-trap gotcha machine, setting itself up in one long atmospheric stretch for an ending that turns the world exactly upside down. Knowing even that much could be a spoiler - what can we talk about when we talk about The Others, 13 years after its release? (Or 44 years after Richard Lortz's teleplay The Others, based on his older play, that ran on the BBC's Armchair Theatre in 1970, had the same set-up, and is uncredited on Amenabar's movie?)

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) -

The Others (2001) -

The impossibility of writing, or even talking, about Alejandro Amenabar's The Others (2001) is no small matter - the film is a spring-trap gotcha machine, setting itself up in one long atmospheric stretch for an ending that turns the world exactly upside down. Knowing even that much could be a spoiler - what can we talk about when we talk about The Others, 13 years after its release? (Or 44 years after Richard Lortz's teleplay The Others, based on his older play, that ran on the BBC's Armchair Theatre in 1970, had the same set-up, and is uncredited on Amenabar's movie?) 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

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.)