British gentry and inflections of Gothic horror are to be found in Lenny Abrahamson’s recent feature. ‘The Little Stranger’ is adapted from a 2009 novel by Sarah Waters, a book that plays around with the themes of finance and evil, which the film attempts to do but doesn’t altogether get a handle of.
Doctor Faraday (Domhnall Gleeson) pays numerous visits to an estate out in the country to help with the physical pains felt by RAF veteran Roddy Ayres (Will Poulter). As his trips to the house become more frequent he starts feeling an unshakeable presence through the house which he pins down with rational answers but Roddy’s sister Caroline (Ruth Wilson) is sure something else is going on as is her their mother Angela (Charlotte Rampling).
Abrahamson; the man behind a musician in a papier-mache mask and a kidnapped mother and child, shows he can switch genres well, but there is a connection. The director always seems prone to keep focus on the story’s characters, his latest feature is no different. The characters create a large proportion of the odd mysteries but unlike with Frank or Ma and Jack, the figures roaming through ‘The Little Stranger’ lack a special something and in the end, that’s the main weakness for this film.
This drama does feel too long as well, it snails through the narrative and though it’s not a bore to sit through, the gentile pace is prone to uninteresting spells. A lot of the film comes across like a theatrical play, a drawing room scene especially feels that way and I’m sure this tone stems from scriptwriter Lucinda Coxon who has many plays under her belt. This quality is by no means a negative, in fact it does show off the great acting but it stifles the stride and the times when the film could be more scarily cinematic.
Perhaps if the film stayed in the confines of the home then the run-time would have some minutes shaved off but ultimately it would have kept up an unsettling atmosphere and curious character, of which the house most certainly is one. It almost breathes with a strange desire for trouble. What the film explores well is the air of something not being fully right, through creaking halls and scratched walls, Abrahamson ensures the ghoulish moments are all the more striking by utilising a calm approach to the tension, this is echoed by the slow-moving camerawork which floats in and around the rooms of the dilapidating country house.
You can’t quite put a finger on Dr. Faraday, this is thanks to the fascinating performance from Gleeson who is charming in an irregular way but also quietly threatening. The more he appears, frequently stopping by the big house, the more he feels like an unwelcome stranger. Wilson plays a nice balance of hope against meekness, a smart soul trapped by an event in the past.
This film reminded me of ‘I Am the Pretty Thing That Lives in the House’, not because Wilson also appears in it but because both have great yet rare moments of spooky atmosphere stitched together in fairly quaint, hushed hushed settings and both carry intrigue which speedily vanishes to unwanted disappointment.