James Odom
Frank LaLoggia has done something remarkable here: he has created an effective and atmospheric, Supernatural-Mystery that has become an annual "Must-Watch" on Halloween. I am not alone in this obsession. To be even more honest, I have watched the opening sequence of the film so many times that I have lost count. Why? Storytelling, Mystery, and Nostalgia. Those are just three among many reasons that I could go on and on about. Storytelling is so important mainly because many film makers today lack that essential aspect. LaLoggia wins here and wins big. We are so immersed in the world of Willow-Point Falls, the Scarlatti family and "little" Frankie. With his narrative point of view, we are guided seamlessly through the story and with style, might I add. There is so much style and, most importantly, Nostalgia in this film. The reason i can watch the film over and over again, is that LaLoggia shows us the world of Willow Point Falls in such a way that it is so familiar, and yet so specific that you feel you've known this fictional place your entire life. The locale, musical score and writing remind you of a much 'safer time' of childhood and that is what propels us into a frightening and engaging Horror/Mystery. As with the best of Horror films, the objective isn't to scare. That's a by-product. It's to remind us of our humanity. He achieves that by conjuring experiences of adolescence and curiosity which allows the film to become more unsettling because of it.
Sugarbehr1967
Come back with me to 1962. The setting? Willowpoint Falls, NY. Thus begins Frank LaLoggia's beautiful and atmospheric LADY IN WHITE, a ghost story that is so much more. The story begins with a famous author recanting the early days of his childhood in a small New York village. Frankie Scarlatti, played by Lukas Haas, two years after his impressive turn in Peter Weir's WITNESS, is coping with the death of his mother, being raised by his father Angelo (the late, great Alex Rocco) and his grandparents (they provide some wonderful comic relief). His older brother Geno (Jason Presson) is a pain, but they share a mutual affection. All in all, his childhood is mostly normal. But after fellow students lock him in the school cloakroom, he comes across the ghost of a little girl that will change his life forever.LaLoggia helmed 1981's FEAR NO EVIL, but that outing is far and away different that this story, which combines the innocence of childhood and the brutality of adulthood. Haas and Rocco are excellent, as are Len Cariou and Katherine Helmond in supporting roles. Classified as a horror movie by many critics, it takes on a traditional ghost story, and turns it into so much more. A subplot about a black janitor and a connection to the story makes you feel as if you were reading Harper Lee's novel in the way it was presented, but it does tie the story into its ultimate conclusion. Rarely has a movie captured childhood and it's turn into adulthood so beautifully. Scary and heartwarming, it's a movie that you won't soon forget.
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.
