A young, traumatised American au pair is hired to look after two orphan children living in a mysterious manor in the English countryside, where reality is deceitful.
As I watched, I couldn’t help but think, ‘How am I supposed to write about it without giving away spoilers?’ I have tried to avoid hearing or reading anything about it, but sporadic negative whispers managed to find their way to me. I would presume that the audience that has, is, and will be watching Bly Manor is the same audience that has already adored Hill House. Thus, a line must be drawn between the two.
Mike Flanagan, who once more proves to be a great filmmaker, and Amblin Entertainment and Netflix are still behind the mini-series – even though, past the first episode, Flanagan is not wearing the director’s hat. The same applies to most of the cast, who we get to see in different roles. Also, both of them are parts of the same anthology, marking Bly Manor‘s 35th adaptation for the film or TV of Henry James’ novella The Turn of the Screw – Flanagan pays a lot of tributes to The Innocents (1961). Due to the similarities, please don’t think or try to find a connection between the two. The producers have announced more series and stated that there is no link whatsoever – if they go down the American Horror Story (2011- ) road or not, that is a different story.
Bly Manor‘s directing, photography, editing, costume design, and make-up department win the impressions from the first episode, and you’ll have no grief about their quality. The Newton Brothers have also done an excellent job with the film’s score, and I guarantee you that you won’t be able to shake off the “O Willow Waly”; it will hum in your ears for days. Furthermore, all actors deliver top-notch performances that will knock your socks off. All of them get enough screening time to unfold and develop their characters and make sure that each and every one of them will make your heart, one way or another, skip a beat. I mean, how Amelie Bea Smith can act this way is totally beyond me.
The narrative is left deliberately for the end because it is the source of comparisons, contrasts, controversies, and contradictions. I can understand all four of them, but imagine if the Bly Manor was like Hill House. What would be the point? Some might prefer the latter because, behind the ghosts, there is a strong family drama that pins you down. Flanagan’s protracted shots give that drama the justice it deserves (that’s why I missed his directing on this one). But here’s what I think happened…
The convoluted narrative that will end up with a mind-blowing resolution requires hiding clues and overall information, BUT, even while misleading with the fabula and syuzhet’s timeline, the filmmakers need to make sure they don’t leave their audience completely bamboozled. Because this is where they lose interest, and even when something big happens in the end, they will have already missed a lot and, eventually, will not understand or care about it. That’s my two cents anyway. I highly recommend it and look forward to the next haunting.
Oh, before I go, there is actually something connecting the two: love or the lack thereof…
P.S. Victoria Pedretti shone as Nell Craine, shines as Dani Clayton, and she very much reminded me of Piper Perabo when I first watched her in Coyote Ugly (2000).
P.P.S. My beloved Ioanna, as promised, this one goes out to you!
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