MidiHorrorReviews
This film only came on my radar about a month ago and is an emotional experience, from the beginning. The narration at the start is like a comforting blanket wrapped around us and telling us all will be okay, but the story we are about to hear may be tumultuous. We hear the soothing soft voice of an older Frankie (Frank LaLoggia narrates this himself), as he explains how his innocent childhood (tragic but loved) is changed in an instant by one night in a cloakroom. Lukas Haas (Witness,Inception, The Tripper) was the child Frankie - and he has come a long way since. He is sweet, kind, sometimes niave and just a normal kid coming to terms with his mothers death and bullies (who he thinks of as friends). With his big doe eyes and easy appeal, Haas has us convinced on screen with each breath. Whether the scene is comedic, serious, sad or scary , we are engrossed with his every movement. Frankie's family is a close and , although insane (like all families), loving bunch of eccentric characters. There is Geno (Frankie's brother played by Jason Presson from films like Gremlins 2 and Explorers), his dad 'Al' / Angelo (played by Alex Rocco from Batman:Year One,The Entity),his grandmother 'Mama' (played by Renata Vanni from A Patch of Blue, and many television roles) and 'Papa' (played by Angelo Bertolini from Wrong is Right and Homer and Eddie). This collection of vintage and newer actors at the time, meshed so well together you felt like one of this crazed but affectionate migrant family. Watching Mama and Papa bicker over simple things , breaks the icy plot with some well rounded cheeky humour -and this ultimately helps the film avoid becoming depressing or overly darkened. We are also introduced to uncle Phil (a friend of Al's played by Len Cariou -from most recently the TV show Blue Bloods ,as well as Spotlight, 1408, Secret Window, About Schmidt) and uncle Tony (played by Jack Andreozzi from Hit List, Mother and numerous TV roles). Both men have the kindness and tenderness for their roles. They comfort Al in his time of need, joking round and acting as most blokes would. They care for Al's sons like real blood related uncles. However one harbours a dark secret. When Len Cariou releases his characters crazed frantic side in one particular scene, I admit, I was a tad shaken. He is manic, frothingly aggressive and executes one of the most scary moments in a film (in my opinion) ever. I was chilled and could feel the hairs on my arms as they stood up! The trio at the forefront of this film is Melissa and Anne Montgomery and the infamous LADY IN WHITE. Melissa is played by Joelle Jacobi (known primarily for this role and has seemingly left the limelight in 1990- a few searches proved fruitless to yield further information) and gives a convincing and ,at times, harrowing portrayal of Melissa's demise. Her mother Anne is played by Karen Powell (like Joelle she seemingly did quite little prior to Lady in White and has only one credit since). Of course it is soon revealed that many believe that it is Anne's soul they see mysteriously venturing around the cliff side and the cottage nearby, but we realize it is in fact Amanda (Anne's sister, who is alive) haunting around the area , wanting answers for the losses of her beloved sister and niece. Katherine Helmond (best known on TV as Mona in Who's the Boss -for a chunk of my childhood- and as Jessica Tate in Soap, she also had roles in films like The Legend of Lizzie Borden, The Hindenburg, Family Plot, Brazil, and even voiced Lizzie in Disney's Cars / Cars 2). Helmond delivers perhaps one of the most endearing , but even at times creepiest, performances on screen. At first we fear Amanda when we see her in the cottage, but when she rescues Frankie and emotionally delivers her tale of woe and heart break, we love her. Her fragile, cracking, tear choked voice as she delivered the words "What is the good of living, when all that you love is gone?" nearly made me cry (having lost my mother nearly 2 years ago, it resonated harshly with me) proving the power behind her performance. Frank LaLoggia assembled the finest actors for each role, each delivering the right dash of humour, sorrow, innocence, aggression, and whatever else is needed throughout the film. His writing is well constructed and encourages our minds to feverishly observe all of the characters within the film. We are constantly guessing who is genuine or perhaps who is merely a lie? The racial undertones that some (as I have read) find overkill, is actually spot on. In 1962 the USA was gripped with the racial divide and Willowpoint Falls (granted fictional) was to be no different. The scenes with Mr and Mrs Williams , whether in the church or courthouse , are as valid as any other and to quote the Sheriff in the film "He's the perfect scapegoat, he's black!" Sadly this sentiment was wide spread in that time. LaLoggia taps into the era and provides us visual stimulation in its simplicity - be it in road signs, clothing, toys (all great reflections on the prop dressers and set designers). Our ears are given a sensation of their own with the haunting, jovial and even at times whimsical scoring of this film (Frank LaLoggia again leads the way with this aspect of the film). We are whirled through the emotional roller coaster of frightening undertones of the film. It is very easy to see why the cast(Lukas even won one), and Frank LaLoggia all gathered award nominations in 1989, despite a low box office return (which I cannot understand) and how this film gathered places in many peoples hearts. I just wish it had been a staple of my childhood.
roberthomson
One of the many strengths of Frank LaLoggia's 1988 ghost story "Lady In White" might be considered uncommon for a horror film; there is a lot of care, passion and compassion both behind and in front of the cameras. From script to performances, LaLoggia coaxed the very best out of everyone on this project and it shows. (He cast Alex Rocco as the widower father and got an astonishingly nuanced performance from him, perhaps his best ever.) LaLoggia also managed to get wonderful performances from his younger cast members and, playing on their strengths, created an almost otherworldly universe in which they could thrive and explore, the way children would naturally. It's almost as if "Lady In White" has a magic spell cast on it that seeps out of every frame and this, I believe, is why the film has garnered a devoted following since its initial theatrical release. It's also especially effective considering the story is about how 'normal life' in a small town—and also within a family in that town—is interrupted by the appearance of a ghost. In fact, the many levels and layers in this film make it difficult to neatly sum it up in bite-size pieces, so I will not try. LaLoggia does a great job of telling a somewhat complex story and yet still manages to keep the characters' relationships at the heart of the film. Most horror films don't even bother to try.
sndsrgn-904-945444
This is truly a classic ghost movie. Everything seems very normal and peaceful at the beginning, but slowly, things start to get a little more disturbing as the plot thickens with the discovery of a little girl ghost, by Frankie, and Frankie being discovered as a witness by a serial killer and the little girl ghost talking Frankie into helping her find her mother (who is ALSO a ghost) and through all of this, Frankie is juggling his emotions between helping the girl ghost and trying to evade the serial killer, until it pays off to an edge-of-your-seat ending. In addition, I thought the subplot of the serial killer was a stroke of genius. The story takes you from plot to subplot....plot to subplot....plot to subplot. Sometimes I felt like I was on a roller coaster ride, emotionally. This film really held my attention. I recommend this movie to any and all ghost movie fans.....Additionally, it's a perfect movie to watch at Halloween.
vincentlynch-moonoi
An interesting film, but one with a significant problem -- it's too "kiddish" for adults, but too "adultish" for kids. Not to mention some pretty low budget special effects.The adultishness of this film is because the basic premise of the film is that a child molester is abusing and murdering children. That's a pretty heavy topic, and even more than the murders is one scene where Len Cariou is subtlety caressing Lukas Haas while teaching him how to be successful at archery. It's a very powerful scene.The kiddish aspect of this film is more noticeable in the first quarter of the film where the director attempts to show us what is happening from the kid's point of view, but seems to make it more of a kid's film.The basic story here is that a young boy gets pulled into a horror story that combines a child-stalker/murderer and his evil with a supernatural aspect as souls lost because of him attempt to reunite.Lukas Haas is superb as the young boy here; he was only 12 when this was filmed. Len Cariou was quite courageous to take on the role as the molester/murderer here, and it is an excellent performance. Alex Rocco is fine as the father. Katherine Helmond is interesting as the crazy grandmother of one of the other victims, although her speaking role is very limited. Jason Presson as the older brother is quite good, as well.The bottom line here (at least for me) is that this could have become a classic horror film with to "ifs". First a better budget. Second, and more importantly, that it would have been handled in a more adult manner. Here's a fairly good film that I wish would be re-made.
