You could argue that Don’t Look Now and The Changeling are treatments of the same story. The protagonists are both men (George C. Scott in The Changeling) who suffer tragic deaths in their families and in their struggle to find a coping mechanism – they find spooky architectural pursuits. Here, Scott plays a composer who rents Chessman Manor from the Denver historical society after his wife and daughter die in a tragic car accident. A house that has been vacant for 12 years for unknown reasons and has a history of happenings. Scott hears mysterious rhythmic bangs emanating from the top floor and a ball that once belonged to his daughter bouncing down the sizeable Gothic stairway. There is something else in Scott’s new home, something spooky and desperately sad, which Trish Van Devere (Claire Norman) helps Scott find answers to, answers which change the generic face of the Changeling considerably.
The Changeling is a classic horror movie, recalling an era of genre cinema when the macabre told fully fleshed-out stories that also happened to contain scenes designed to unnerve and thrill. The idea of horror cinema that rose in the 80s saw the rise of movies where scares are at the forefront, at the cost of storytelling. Only in recent years has horror come to encompass both, making for the most welcoming parish the genre has ever been – but I digress. There are fabulous moments to induce fear with little more than an innocuous red and white ball. More patient than visceral thanks to a potent atmosphere, yet nothing comes anywhere near the virality of the séance, both in live and recorded states. It does all this within a story of grief as a trauma upon the land and those left long behind.
John Coquillon’s cinematography brings the mysterious tenant to life beautifully. Something is there, watching; the camera explicitly communicates that much. There’s also the throwing of a ball and the banging of pipes – we know something is trying to communicate with George C. Scott. Later, in this séance, the medium questions the spirit, writing the answers on piece after piece of paper with whirlwind ferocity. Before this juncture, the most the ghost has done is smash a distant window here and there. That softly-softly approach ends as a vase is thrown across the room, scaring away the observers sharply. Alone in his cavernous abode, Scott replays the audio recordings. What follows is a simple, elegant scene that is nothing less than skin-crawling, and yet, all it entails is a meek, softly-spoken child answering the questions. In an age where all our cinematic ghosts are pantomime creations that love shouting boo, this is exhilaratingly simple and effortlessly spooky.
Not all of the horror trimmings are as well-staged. Chalk this up to the Changeling‘s status as Canuxploitaiton (made in Canada during the 1970s as tax write-offs), meaning money was limited – so corners had to be cut. The first example is no less pivotal than a car crash which kills Scott’s wife and daughter. The other example is the last big scare, a trope that sees the director save the biggest and best for last. Unfortunately, that is a bit silly as it sees Trish Van Devere (Claire Norman) chased out of the house by a wheelchair. When it comes to scaring the audience, Medak is better in moments of calm. Big moments with effects, rigs and set-ups feel like the production bit off more than it could chew.
Still, being in league with the emotional chillers like The Shining and Don’t Look Now speaks volumes of how timeless this grief-ridden horror is. And while it may not reach the same highs, we are talking about two of the best horror movies of all time – whereas the Changeling has to settle with being one of the more interesting of the 80s; not exactly damming with faint praise there.
The Changeling is also a mystery as George C. Scott & Trish Van Devere attempt to discover why no one lived in this long-vacant Gothic manor and what happened in 1909. Their dogged determination makes the lion’s share of the latter narrative. Before that, though, the fate of this house does not affect him as a renter. Learning that the ghost may be a very young child – a similar age to his deceased daughter – gives him that personal stake. His purpose is not to solve this mystery but to emotionally acknowledge his family tragedy. Within that, the emotional complexity of his performance is outstanding – facing this ghost is tantamount to facing his grief head-on. Consider this within an era defined by Indian burial grounds, and The Changeling stands heads and shoulders above all competition.
I may have gone to lengths to illustrate the horror credentials, but it is also more than that – something which may throw a first-time viewer expecting a traditional haunted house affair. Post-Seance, the mystery aspirations intertwine with political shenanigans wrapped around Chessman’s former owner and his transgressions. The Changeling certainly isn’t a political thriller cum haunted house movie, but the DNA is there for those willing to make the case. For me, the truth behind the horror is a little under-cooked, lacking the space to make the most out of its latter ideas and themes.
The Changeling can boast many an accomplishment. The slow burn and camerawork give this a longevity and timelessness uncommon in most 1980s horror – a decade more renowned for its campy excess. Sure, some moments would be better with a bigger budget, but you can only really judge what it is rather than what might have been. Still, being in league with the emotional chillers like The Shining and Don’t Look Now speaks volumes of how timeless this grief-ridden horror is. And while it may not reach the same highs, we are talking about two of the best horror movies of all time: whereas The Changeling has to settle with being one of the more interesting of the 80s – not what I’d call damming with faint praise.
This issue from Second Sight is a 4K update of their previous Blu-ray release, so naturally, many of the extras of that 2018 release migrate over to this 2023 disc. Two new extras are: “Interview with Peter Medak by filmmaker Adrián García Bogliano at Mórbido Fest 2018,” and “Exile on Curzon St. – Peter Medak on his early years in swinging London”. Beyond that, the new artwork by Christopher Shy is gorgeous – and there is a 108-page book with new essays by Martyn Conterio, Alexandra Heller-Nicholas, Rich Johnson, Mikel J Koven, Meagan Navarro, Rachel Reeves, Shelagh Rowan-Legg and Heather Wixson. The main event is the upgrade to 4K, and I hate to report that this is somewhat underwhelming. It looks solid enough for an upgrade most of the time; however, when it is dark, the amount of noise in the image is considerable. Even if you aren’t looking for it, it is unavoidable. Stating that this is a “bad 4K master” would be reductive – the issue with 4K is that it exposes flaws in the original print and brings them back to life. Given the movie’s low-budget status, I would guess that this is what has happened with this Second Sight release. This is still the definitive UK release – still, bear in mind, it isn’t without considerable shortcomings.
THE CHANGELING 4K IS OUT ON SECOND SIGHT BLU-RAY
