Whistle and I'll Come to You (2010)

Slow pace in the most part of the movie.

The film makes a home in your brain and the only cure is to see it again.

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

First of all, I have not read MR James' book so I cannot compare the film to the book. Secondly, When I have read the book and watched the film I try never to compare the film to the book.This made for TV film is really good - very chilling, creepy! I was really impressed how scary the night scenes were - James Parkin (John Hurt) alone in the hotel room completely scary stuff! I had chills running up and down my spine with the scratching noises, the strange smiling bust, the door ratting, banging on the door and the look on Parkin's (Hurt's) terrified face definitely gave me the willies! If you like non-bloody, non-gory ghost stories then give this film a try. It's one of those slower films that builds over the viewing time - very subtle horror that becomes chilling.8.5/10

I recently saw both versions of "Whistle and I'll come to you" for the first time and thoroughly enjoyed both but was somewhat surprised to come on here and see all the negative reviews for the remake. So this may help to redress the balance a little. Certainly, I am no fan of remakes. The vast majority are utterly pointless vanity projects and crucially, their major flaw is that they extract and dilute content, often removing a central motif, character or complexity found within the original work. Some of these criticisms have been levelled at the remake of "Whistle", however I feel this is unfair. I am no expert on MR James and I appreciate this prevents me from having a full picture of why people value this story so much. It seems that the themes of the original 1968 TV production are best summed up by muldwych in another review posted on IMDb: 1. "The heart of the story is the folly of arrogant presumption, that there will always be realms of understanding beyond mortal man, and to believe you can quantify existence is to invite downfall". 2. "The rapid destruction of Parkins's self-assured, almost autistic world is almost as disconcerting as the unknown forces he has unleashed". This take on the 1968 version is fascinating and there is no doubt that this is the central theme of the piece. However, with the wonderful Michael Hordern playing the role, I just don't get the sense of his world crumbling in this way. He seems intrigued by these "unknown forces" but never particularly troubled by them (with the exception of the last 30 seconds). In a scene five minutes before the end, he is still fussing about not liking tomatoes and generally bumbling around in his own world. The events hardly seem to depict the dismantling and discrediting of an intellectual mindset as other reviews have described.So what is it about the John Hurt version that irritates fans of the original adaptation? Well, it is indeed a very different character with different circumstances. Hurt has just taken his incapacitated wife, suffering from dementia, into a care home and then gone on a therapeutic holiday alone to revisit places where they spent time together. While this twist raises the ire of many fans of the original tale, for me on first viewing without any background knowledge, it was utterly compelling and sublime. There is a palpable sense of loss, loneliness and bereavement running throughout, as Hurt appears to be pushing himself into this new life of solitude, forcing himself to function and revisit the past, a place that is both comforting and gut wrenchingly bittersweet. The film just seems to throb and reverberate with a glow of sadness and a kind of bleak fortitude.And this is perhaps where the two adaptations link together. Both men have been cut loose from their moorings and their belief systems, and the way they understand and relate to the world around them is being called into question. Michael Hordern's version of the character is not put into this situation until he blows into the whistle. John Hurt is already adrift when he arrives at the hotel and the supernatural events send him further into this spiral. But they are both lost souls in different ways and for this reason, they are both equally valid as a lead character.The two versions are exquisitely filmed and both are utterly beautiful. I did find more tension in the 2010 remake, I have to say, and I found myself nervously scouring the edges and background of each frame for any ghostly figures or disturbing detail. So for this reason, maybe the John Hurt version just edges it for me. Admittedly though, perhaps the title of the remake should've been changed, as it is a little clumsy considering the plot changes involved.

This is a modern version of the classic MR James ghost story 'Whistle and I'll Come To You'. To his credit Neil Cross has tried to find a modern way into the story and has turned it into a tale about a man whose wife is lost to Alzheimer's. Unfortunately what emerges has little resonance (the Alzheimer's stuff is patently phony--sorry Neil all sufferers from the illness do not act like corpses)and also zero connection to the original. All that survives is a lonely hotel by the seaside, a lonely man and...well not much else. Not even the whistle remains. The writer might just as well have stopped trading on the classic name and author and done an original story . Except of course if he had it would never have been made. Nobody is saying we need a slavish copy. Jonathan Miller's earlier classic version was recognisably the same story but it was still changed to brilliant effect. Cross just grafts a mediocre ending on and leaves it at that. The result is quite atmospherically directed but all else goes for nothing. What exactly was the point?

The BBC had a tradition of making some exceptionally spooky TV movie ghost stories based on the writings of M. R. James back in the 1970s – and WHISTLE AND I'LL COME TO YOU is their latest attempt to recall those much-loved classics. Unfortunately, while this 55 minute production is beautifully shot and full of a sense of gradually creeping menace, the whole thing is ruined by a needless updating of the storyline so that it becomes almost unrecognisable. Gone is the old whistle of the story, replaced by an old ring, and gone is the nameless horror lurking in the protagonist's bed sheets in favour of a more "updated" psychological torment. Therefore the title is now redundant and the story bears little resemblance to James's original.John Hurt is fine in the leading role, playing a refreshingly ordinary man for a change, and Sophie Thompson is also good value as the hotel receptionist. The winner, though, is director Andy De Emmony, who creates a supremely atmospheric look and feel to the production, with good old fashion scares straight out of THE HAUNTING, a suitably bleak backdrop and a wonderfully spine-tingling climax – fingers under the door – before THAT silly twist. Sadly, Neil Cross's look-at-me-I'm-better-than-James screenplay is a real letdown; if only they'd let somebody with a genuine affection for the genre, like Mark Gatiss, have a stab at it instead!