"The Shirley Jackson" at "The Ganounting of Hill House" attracts us to its Gothic, Macaber World before we set our sights to the title. When we finally see the frightening residence, Acksecson's persecuting prose amplifies the image of a house that makes and responds to human presence, as it is a little sensitive as its inhabitants. However, the real horror lies in the unspoken fears caused by such a terrible, surreal place. When the castle brings the worst anxieties in our protagonist, Eleonor Vans, it is difficult not to slip into the shoes and absorb some of her fears.

As the key to catching the heart of Acksecson's frightening story is to explore these subtleties, several adaptations have managed to reinvest the book's premise in their own terms. The most effective and remarkable effort (so far) is Mike Flanagan's "The Ganuting Of Hord House" Go the sadness and his generational property over the Crane family. While Flanagan's story enriches the world of novel by diving deep into character-PSSThe adaptation of Robert Wizz of the same name in 1963 provides servicing, interpreting the surface level of Acksecson's work. Although a deep disadvantage, the wise version is an unforgettable visual spectacle, thanks to the smart use of light and shades of cinematographer Davis Bullton to cause fear and claustrophobia.

However, there are Third The offensive adaptation of Acksexon's novel that did well at the box office, despite receiving predominantly negative reviews from critics. I'm talking about "The Ganuting" in 1999, which doesn't have much about it, except for a big, beautiful set design. But pretty aesthetics cannot save a horror title that is not frightening or uncertain, nor can it mask the absolute lack of depth that brands from start to finish. This is a shame, as the film starred in some truly capable actors, including the scenic on Lily Taylor, whose glossy presence is complemented by the characters of Liam Neeson, Owen Wilson and the characters of Catherine Zeta-Onesons. So what exactly went wrong here?

During the initial stages of the film, the "persecutor" was intended as a remake of adaptation of wisdom of 1963 and began as a collaboration between Steven Spielberg (!) And Steven King. While this could have been a solid creative team, fate had other plans, as King and Spielberg could not continue to work together for creative differences. Although Spielberg ordered a script for the film in an attempt to continue, he later approached Jan de Bont ("Speed", "Twitter") and offered a "report on minorities" in exchange for "The Ganuting". In retrospect, this was a good move, like Spielberg's approach to Philip K.'s adaptation. Dick is both sharp and provocative to thinkhighlighting his strengths as a blockbuster director.

On the other hand, De Bont proved to be poorly adapted for the title of the character, though he restored the focus of the film by prioritizing Acksexon's source material. All the ingredients needed to make an attractive adaptation were present: an interior design team that understood the attractiveness of Gothic horror, cinematographer (Carl Walter Lindellaub of Stargate "and" Independence Day ") that can bring this species to life and called casting.

However, De Bont treatment for the premise is so insufficient and deprived of excitement that the "persecuting" is barely recognized when talking about the book that adapts it. Such treatment is slightly guaranteed, as the film feels more than the horrific horror of Hount House, which really manages to scare and leave our imagination to work wild.

What Whether Work here are the pieces, which are both beautiful and striking. Part of the interior sets were built within the Hughes X-4 Hercules flying ship, which formerly sports housing before dissolving its operating team in 1976. Production designer Eugenio Zanetti injected these sets with Grand, stunningly inspiring Gothic designs, which convey Obluling and latent fear, causing Sentiant, however, dealing with Jackson.

Unfortunately, there is no amount of dark, frightening indoors spaces cannot capture us in a Gothic world that has no significant stakes and focuses on characters that feel like consequent considerations.