Review of The Changeling (1980) by Ryan V — 01 Jan 2013

It's rare that you encounter a movie where grief, trauma and the supernatural intersect any sort of meaningful way but the Changeling superbly mixes all three with enough to creep out even the most desensitized horror film buff. The story focuses on John Russell (George C. Scott), a composer who recently lost his wife and daughter in a tragic accident that he witnesses. Attempting to move on with his life, he relocates from New York to Seattle to teach. He finds a new home with the assistance of Claire Norman (Trish VanDevere), who he quickly befriends. While still obviously suffering from grief, he begins to notice unusual events in his large, maze-like home. As these events intensify, John must not only identify their origin but how to make them stop.

While the premise of the Changeling is a somewhat common theme in horror nowadays (the Pact, the Messengers, etc.), what makes the film a horror classic and a true original is how effectively it marries grief and trauma with its plot. John is obviously suffering throughout - at first from his substantial loss and later, his loss and from the persistent presence within the house. While he relates to and understand the presence, he even yells at one point in desperation, "What else I can I possibly do?!".

Scott's powerful presentation of John adds to the emerging sense of dread. We, the audience, often feel for him - his situation is awful and Scott forces us to sympathize. And I must say, VanDevere's Claire is an excellent supporting character who's own trials and tribulations and interactions with the presence enhance the fear that Scott has already built upon.

However, even if not for the strong acting, the storytelling itself would be enough to warrant at least four stars. Madek makes his ghost something to be reckoned with. While most ghost stories gradually crescendo the presence and ability of the spirit, Madek constantly makes the audience guess at what this ghost can do, what it wants and where it is. There are no shadow figures and no floating or spinning heads (though the psychic scene in this particular film is by far the most effective I've seen and an interesting take on automatic writing). Think Woman in Black but substantially scarier.

If you don't mind a slightly long feature, this film will make cringe and look over your shoulder. It's an effective demonstration on how blood and gore are entirely unnecessary to scare us. Highly recommended.