
My cousin Brett and I rented The Orphanage for our non-conformist Saturday the 14th horror viewing needs. (On Friday the 13th, we watched South Park’s ImaginationLand - funny.) I had heard smatterings of praise here and there for El Orfanato, but that was a while back and I’d largely forgotten about The Orphanage until Brett and I ran across it at Blockbuster in Green Hills.
We looked up The Orphanage on Rotten Tomatoes before we watched it, just out of curiosity, and the review summaries caused me to really look forward to watching it.
- Rotten Tomatoes: 85%
- Yahoo Users: B+
- Rated PG-13
- 1:45
Among the compliments received from Rotten Tomatoes movie reviewers:
• As horror films go, this sits firmly at the classy end of the spectrum.
• The Orphanage proves the haunted house genre is alive and well - in the right hands.
• Not only is the story spooky…there are several good shocks along the way that will knock you out of your seat.
• A good old-fashioned horror in the best possible way, this is a beautifully told, terrifying ghost story that lingers with you long after the shivers have stopped.
• The Orphanage is a visceral and well-crafted horror film that goes for the heart as well as the mind.
• Haunting and heartbreaking, The Orphanage delivers a double whammy of chills both real and supernatural.
• The Orphanage goes beyond the superficialities of the average horror movie to delve into more important themes, such as grief and guilt.
Once seen, it might come as no surprise that the producer of the Spanish supernatural thriller The Orphanage is none other than talented Mexican director Guillermo Del Toro (Pan’s Labyrinth, Hellboy, The Devil’s Backbone), whose influence is felt greatly throughout the picture.
Made by an entire crew of newcomers, The Orphanage is an extremely accomplished work. The story concerns Laura (Belen Rueda), who has returned with her husband Carlos (Fernando Cayo) and adopted child Simon (Roger Princep) to the large manor where she was raised in an orphanage as a child. Laura is determined to fix up the abandoned house and open it as a refuge for ill children.
From the moment she returns, the past begins to haunt her. It isn’t long before she begins to see the children who she used to play with as a seven-year-old. And when Simon goes missing one afternoon, she’s convinced that they have taken him hostage. What follows is a murky descent into Laura’s mind, where she doesn’t know what is real and what is a figment of her tortured imagination.
Bayona brings Sanchez’s complex script to life with the help of Faura’s haunting imagery and Valazquez’s atmospheric score. But what makes The Orphanage an even greater achievement is its insistence on being more than standard horror-fare. Bayona and Sanchez are more interested in deeper themes of memory, loss, and grief, establishing Laura as a mother who feels guilt over not being able to protect her child from outside forces. The result is a film that is both unsettling and moving.

