I can't add much to what the other members have said, except to note that a side by side comparison of The Innocents and The Haunting (the original version, that is) is worth making, if only to show two quite different approaches to horror film-making. The Haunting is certainly scary, and its photography is superb, but next to the Innocents it is too noisy and brightly lit to be counted as one of the greatest of spinechillers.
Clayton's film, on the other hand, uses subdued lighting, sustained long-distance shots and the occasional (utterly unpredictable) surprise moment to generate a superior, unsettling experience - and he handles the paedophile sub-text with care and delicacy. This director was often workmanlike, but he excelled himself on this occasion (we might also recall Roy Ward Baker, another generally sleeves-rolled-up director who surpassed himself with one film - in his case, the incomparable Quatermass and the Pit). It really goes without saying how good Freddie Francis's photography is. Lousy director, great lighter. Even the normally irritating Deborah Kerr is sympathetic. 9 out of 10. Those who have enjoyed Blair Witch (which I haven't seen yet) should seek this out.
Clayton's film, on the other hand, uses subdued lighting, sustained long-distance shots and the occasional (utterly unpredictable) surprise moment to generate a superior, unsettling experience - and he handles the paedophile sub-text with care and delicacy. This director was often workmanlike, but he excelled himself on this occasion (we might also recall Roy Ward Baker, another generally sleeves-rolled-up director who surpassed himself with one film - in his case, the incomparable Quatermass and the Pit). It really goes without saying how good Freddie Francis's photography is. Lousy director, great lighter. Even the normally irritating Deborah Kerr is sympathetic. 9 out of 10. Those who have enjoyed Blair Witch (which I haven't seen yet) should seek this out.