The Woman In Black Review

Director: James Watkins

Cast: Daniel Radcliffe, Ciáran Hinds, Janetb McTeer, Shaun Dooley

Running time: 95 minutes

Certificate: 12A

Synopsis: Following the death of a reclusive woman, widowed solicitor Arthur Kipps (Radcliffe) travels to a remote coastal town to sort her affairs. But upon arriving, Kipps discovers that the town is haunted by a vengeful ghost – the ‘Woman in Black’ – whose appearance is said to always result in the death of a child…

There are two major questions surrounding Hammer Studios’ much-anticipated THE WOMAN IN BLACK. The first, and perhaps most discussed, is whether a certain young wizard is able to prove himself outside the corridors of Hogwarts; the second, more crucial question is whether the 2012 version of the story is a worthy and effective adaptation of the popular source material. Published in 1982, Susan Hill’s novel ‘The Woman in Black’ has remained a popular work of horror fiction; it was previously adapted into a West End stage production (which runs to this day), and a 1989 TV movie, a dated-but-effective chiller that has accrued a cult following over the years.

Fortunately, Hammer Studios had the foresight to bring Jane Goldman on board as screenwriter. Since 2010’s KICK-ASS, Goldman has proved herself as a more than adequate screenwriter, particularly when adapting established stories and characters. Whilst she may have taken major liberties with source material in the past (most notably with the characters and back-story of the ‘X-Men’ comics), Goldman has usually succeeded in transferring its most important aspects to the big screen. As all great adaptations should, Goldman’s scripts capture the heart and essence of the original stories, remaining close in tone and theme, if not necessarily plot. Now, with THE WOMAN IN BLACK, Goldman has worked her magic again, maintaining the spirit (intended) of the book and other adaptations.

There are notable changes in the 2012 version, some of which will have the purists screaming bloody murder. For the most part, however, Goldman’s additions to the narrative are well conceived, and lend themselves well to the medium of film. For instance, protagonist Arthur Kipps now begins the story as a widower, and the prospect of also losing his son to the town’s curse is unthinkable. Consequently, Kipps is afforded a more satisfying character arc and clear objectives. His crushing grief is also shared by the surrounding characters – including the ‘woman in black’ herself – ensuring the film is structurally and thematically sound. That isn’t to say Goldman’s version of THE WOMAN IN BLACK is perfect: there are some new elements to the story that don’t entirely work, and one plot point in particular (difficult to discuss without revealing too much) feels awkwardly crowbarred in to the narrative, and the spectre of the classic Hollywood formula is never far.

Despite these changes, Hammer’s version remains reverent and, above all else, is little more than an old-fashioned ghost story. Director James Watkins has already proved his ability to create nerve-shredding tension with 2008’s EDEN LAKE, and here he continues that trend. As Kipps arrives in Crythin Gifford to sort the affairs of the deceased Mrs Drablow, there is an immediate sense of unease and isolation. Indeed, Kipps is unwelcome in the town, and it’s clear that an unspoken horror hangs over its residents. Watkins handles this masterfully, and the viewer quickly finds they are in Kipps place: alone, unwelcome, and in grave danger. Also, the threat upon the children of the town  suitably unsettling and occasionally brutal (make no mistake, THE WOMAN IN BLACK isn’t afraid to bump off a few kiddie-winkles – something from which even the most horrific of horror films will often retreat).

The suspense continues as the story moves forward, and when Kipps relocates to the dead woman’s abandoned home, Watkins takes us through the Haunted House 101 book of tricks. There are voices in the graveyard, creaking floorboards, lights that go on and off, wind-up toys that move of their own accord, and handprints on the window (to name but a few). In fact, a large chink of the film seems to be little more than Kipps moving from one eerie sound to the next, in a series of standard yet well-timed scares. It’s here that Kipps unravels the back-story, discovering the truth behind the woman in black, who, as both Goldman and Watkins have ensured, is never too far behind.

There is, however, something that doesn’t quite work with the modern, celluloid ghost story. There is something perhaps too glossy and overproduced about such films, especially as they deal with such classic, old-fashioned stories. THE WOMAN IN BLACK has the same problem as this year’s THE INNKEEPERS or 2010’s INSIDIOUS: it’s the build-up that works most effectively, and once the CGI and visual tricks surface for the payoff, things become less interesting and more crucially, less frightening.

Despite this, there was never any doubt that THE WOMAN IN BLACK would provide good scares. It’s based on established material, has a competent director and screenwriter, and has been created in the image for which Hammer Studios are so fondly remembered. The only remaining question – as already discussed – is whether Daniel Radcliffe (played by Harry Potter) can carry the film and establish himself outside of a certain magical franchise. Though criticized for his acting abilities in years past, it’s easy to forget that Radcliffe has demonstrated a clear improvement in his performances and given a scene-stealing turn in the BBC’s EXTRAS. And for THE WOMAN IN BLACK, Radcliffe does a fine job; his troubled widower is perfectly believable, as is the emotional path of sorrow and fear he travels. He’s not alone either, supported by strong performances from the remainder of the cast, most notably Ciáran Hinds, Janet McTeer and the ever-terrifying Shaun Dooley.

Though not perfect, THE WOMAN IN BLACK is a success for everyone involved. It continues the Hammer tradition, and is easily the best of their films since reforming. It is also an artistic triumph for those behind and in front of the camera, and be it aesthetically or emotionally, a very satisfying experience. Whether it will stand the test of time and remain in the public consciousness as the book and stage version have remains to be seen. Either way, it has no shortage of tension and raw terror. And what more could we ask from a good old-fashioned ghost story?

  THE WOMAN IN BLACK is released in UK cinemas 10th February