House of Horrors

One thing many film buffs don't know is that Rondo Hatton was a hero in World War I, buried with honors not long after this film was completed. He obviously attracted Hollywood because of his looks and associated illness, which, according to bio records, may have been a direct result of him being gassed on the battlefield. It was a tragic twist of fate, however he rose to become one of the most famous monsters (without makeup) in screen history.

HOUSE OF HORRORS, long a fave on tv, is a solid chiller. Hatton is teamed with another memorable villain, none other than Martin Kosleck, remembered for his portrayals of Nazi commanders. Kosleck plays a sculptor whose career is ruined by a ruthless art critic... Call in "The Creeper" to crush the critic! And so it goes. The typical revenge plot that Universal employed in so many of its chillers that kept all of us kids on the edge of our seat.

But the best was Rondo Hatton, simply unforgettable as a real walking nightmare, who must have been genuinely frightening when first seen by audiences. There's a good story and supporting cast at work here, particularly Alan Napier as the arrogant critic who gets his, though the hulking Creeper takes top honors, not forgetting that pronounced slow walk and his extended arms.

The Creeper was actually born in Universal's Sherlock Holmes series starring Basil Rathbone and Nigel Bruce. In the PEARL OF DEATH, shot two years earlier, Rondo Hatton introduced his frightening character as the killer of those who held a legendary, but deadly pearl in their possession. The Creeper was so well received, the studio made Hatton an overnight star. He even had a home in Beverly Hills. Only in Hollywood! A classic thriller, which actually was one of the last horror films Universal produced in the mid 1940s and, perhaps, one of the most profound. Watch this one with the door opened, just a crack... What you call real camp

Best dvd box set via Universal/TCM. Released 2009.

Rondo Hatton is my hero. Who cares if he wasn't a classically trained actor?! As The Creeper he tugs the heart-strings like a pro! He's got heart! He's got soul! He's got courage! He's also damned likable! Rondo is also one hell of a hero. Rondo took the crummy hand that fate dealt him and played it magnificently. He became one of the most endearing and cool anti-heroes of all B-moviedom! To experience Rondo as The Creeper is to experience pure magic! I watched horror movies as kid and always loved "the monster". A good "monster" gets my vote every damn time. The Creeper fits that bill perfectly and better than most. The Creeper is one of my all time favorite fright flick anti-heroes. GOD BLESS YOU RONDO HATTON!

In the Sherlock Holmes mystery "The Pearl of Death", an ominous character dubbed The Creeper had been debuted. The Creeper was played by a man named Rondo Hatton, who had been handsome as a youth, but had his facial features disfigured by acromegaly (a possible result of exposure to poison gas during WWI). The success of this character inspired Universal to create more movies that would focus on him, instead of making him a side player.

The first of the bunch was "House of Horrors", a story about a despondent, failed sculptor named Marcel DeLange (the great bad guy actor Martin Kosleck), who rescues the Creeper from a river, not knowing that the guy is a notorious serial killer. Soon, Marcel finds that the guy comes in handy, as he proceeds to bump off the nasty art critics that are the bane of the sculptors' existence (and the existence of other artists in the city). But Marcel won't be able to keep this secret forever....

Hatton is the main reason to watch here, playing a brute with a real screen presence. The script, by George Bricker, is often hilarious with its assortment of sardonic lines and witticisms, but the humour often works against the horror, taking up perhaps too much of the running time. But the whole cast is great: Robert Lowery as a temperamental painter, a stunning Joan Shawlee as his model, a sassy and sexy Virginia Grey as his girlfriend, Bill Goodwin as the obligatory cop on the case, Alan Napier as the acid-tongued critic F. Holmes Harmon, Virginia Christine as an incidental victim, and Howard Freeman as a critic who attempts to be the bait in a police trap. Kosleck is wonderful as a man who's worthy of some sympathy, even though he ultimately goes off the deep end.

Good atmosphere and a snappy pace are assets, as well as the assortment of truly dynamite-looking ladies (including Janet Shaw as a cabdriver).

Seven out of 10.

More than "the creeper" himself ,the real monster is Marcel (a sculptor with a French name meaning "from the angel"!)Martin Kosleck is actually the stand out with his piercing eyes,his banal look and his aspiration for glory ;at the beginning he seems a nice guy feeding his pet cat and coming to a man's rescue.But further acquaintance shows this :he gradually goes nuts and the statue becomes a transparent metaphor for the monster he is creating (a Frankensteinesque relationship,which the ending confirms).

This is also a fierce attack on art critics "who judge works but do not know they are judged by them "(Jean Cocteau),a subject which "theatre of blood" will resume in the seventies.

Lunacy abounds...mostly amongst the few comments about this b-picture gem, but to that later. In this horror film, the lunacy of artist Martin Koslek directing the killer tendencies of Rondo Hatton to dispatch unfavorable art critics is inspired. It's quite a contrast to watch Koslek be wonderfully melodramatic while Hatton remains as flat as a board, which is perfect for his character. All this is done within the context of the period, and with all the elements mixing in a way to create, perhaps serendipitously, a chilling and vastly entertaining blend.

To the dimwits who have not been able to see beyond the constraints of their modern attitudes and mores, you are missing it. Rondo Hatton did not "intensely dislike" his brief career as a film fright figure, he was indifferent to it, and the prevailing common attitude towards working women in 1940s America was that they eventually would become married, stay-at-home mothers. The film isn't 'anti-feminist' at a time when the term feminist wasn't used, and when both men and women, not all but most, felt this way of life was appropriate.

So to you dunces I say, march onward, great re-writers of history, and make sure you burn Birth of a Nation, and continue to press Disney to never release Song of the South. Perhaps we ought to ban the Three Stooges, as well, for their insensitive, boorish portrayal of the common working man, and of course, to add insult to injury, they were also Jewish.