Gänsehaut

i really enjoyed this movie.

why?

because it is FUN to watch. movies don't have to be deeply meaningful or classy or poetic..

more important than all that is that it is fun to watch.

i don't mean comedy-funny, i mean a flow, a structure and a story that doesn't make you snooze. (maybe some actors that actually can act, but thats a dying breed)

this movie is entertaining and fun, sure the story is thin and the middle drags a little, but it really doesn't matter..

you got frankie avalon, a dark old house and some outrageous 6oties hairdos, what more can you want?

In the highly-alliterative and genre-suggestive Haunted House Of Horror, a group of teenagers, bored with the party they're attending one evening, decide to liven things up by trooping off to a supposedly, and unsurprisingly, haunted house to conduct a seance, wherein deadly consequences soon occur.

Having known little about this film for years other than its title, I found myself expecting a far different tale to the one that actually unfolded. Was there in fact any supernatural activity as the title suggested, or was the horror more conventional, leading to an earthbound whodunnit with B-movie slasher overtones? I must admit I was kept guessing for a while until those answers resolved themselves. All the meanwhile, I found myself reasonably entertained by the look and feel of a contemporary British sixties horror, from the swinging fashions to the unbelievable amount of smoking - actor George Sewell alone gives his best cigarette acting in this film. The musical score is fairly standard for the day and place - a good deal of brass, strings, moody piano and dramatic drum riffs. In fact, there were times when I felt sure this was a Bill ('Daleks: Invasion Earth 2150') McGuffie special, so either Reg Tilsley was familiar with his work, or these musical motifs were in vogue at the time. The lighting too is fairly conventional, though the day-for-night shooting became a little annoying after a while. Murky blue skies do not suggest midnight no matter how you dress them up, and must've been even more obvious on the silver screen.

The acting is competent if restrained - in part due to the lack of any really meaty roles on offer, though there are several luminaries of the period to help breathe life into the whole effort. Besides Sewell, we also have the soon-to-be Man About The House himself, Richard O'Sullivan, frequent TV guest star Jill Hawarth, and Robin Stewart, also soon to become well-known in Bless This House. Why we didn't get to see a lot more of the gorgeous Gina Warwick on the other hand, is a bit of a mystery. She and Hawarth almost make up for what is in the end, a rather pedestrian adventure.

And this in the end is what it is. I give it points for casting, period novelty, and for playing a little with audience expectations to avoid predictable plot trappings, but in the end, there is nothing ultimately remarkable about Haunted House Of Horror that helps it stand out from the competition of the day, like the popular Hammer Horror films. Which is not to say that their offerings are not sometimes prone to character cyphers, uneven pacing and abrupt endings, but more practiced hands on their part tend to make these things less of an issue. Interestingly, Tigon Films did snag horror veterans Karloff, Price, Cushing and Lee on a couple of occasions to produce horror-thrillers better received than what you find here - Scream And Scream Again, anybody? Nonetheless, Haunted House Of Horror should not be summarily dismissed - it's worth a look, but only if you've gotten a ways down through your must-view list.

It's interesting noting some of the comments of displeasure about this film -- "boring", "dull", "uneventful". What's funny is that this is an early prototype of what became known as the Mad Slasher film where a scarred, dysfunctional wretch goes on a killing spree in some secluded locale, using a flashy means of disposing his victims who more often than not are just getting what they had coming. What is amusing is seeing the fans of the modern day versions of the basic story reacting with a certain amount of glib indifference. I felt the same way about French Impressionism when taking art history; "BOR-RING." Boy, was I wrong.

THE PLOT; A group of perpetually drink-clutching and cigarette puffing modly dressed hipsters who have obviously seen BLOW-UP decide to go have a smashing party at the local supposedly haunted manor out in the middle of nowhere. Some of them have more than one story to tell as far as why they are drawn to their circle of friends, who seem to regard each other with scorn when gathered together & more friendly-like when off on their own. A scruffy Scotland Yard detective (priceless Freddie Jones) and a scruffy, pock-marked, sinister private investigator are both caught unprepared when someone starts slaughtering the kids both during and after their party, and the clues seem to hint that it's either a vengeful poltergeist ... or one of their own.

DON'T ANYBODY GIVE AWAY THE ENDING!! It's not much of a surprise but it then again that's half the fun of these things. What makes this one kind of tick are the hipster trappings which seem unaware that it wasn't 1967 anymore, and how it seems to pattern itself after the "Giallo" films coming out of Italy at about the same time. I wish the supernatural angle had been played up more but found the three rather grisly killings to be quite over-the-top, had fun remembering what it was like to poke around inside of old houses with a candle with your knucklehead buddies on a dare, and it's always great to see Kim Haworth back in her leggy, sexy fox days. If you're looking for shocks this probably isn't a good suggestion but it's a finely made very British film that just banks more on style instead of flying body parts.

It's also kind of too bad that as the "Trivia" section hints at, the then just starting to heat up David Bowie was suggested and then rejected for a key role. If he'd gotten the part this might have retained a certain cult status beyond the sum of it's parts like Roeg's PERFORMANCE ... Frankie Avalon does not a Thin White Duke make. What a lousy decision.

5/10; Neutral. Neither good nor bad, but then again how very British.

This film is available on disc in the UK from Anchor Bay as part of their Tigon box-set, along with 'The Beast in the cellar', 'Witchfinder General', 'Virgin Witch', and 'The Body Stealers'.

'Haunted House' was available on the late lamented Vampix video label in the early 1980's in the UK. That release was notable mostly for the dark, drabness of the print. It looks considerably improved here, with lustrous, bright colors and correct aspect ratio. The film itself is not up to much, but remains watchable for its late 60's period frills and a couple of effectively nasty murders.

What makes this incarnation of the film interesting is the director's commentary supplied as an audio extra. Michael Armstrong's career had unfortunate beginnings: He shot this flick, his first, when he was 24 and the experience was painful, with the film taken away from him and his original cut undone by studio re-writes and re-shoots. The following year he went to Germany to make 'Mark of the Devil' and suffered exactly the same fate. The financial success of both titles (especially 'Mark', which was a huge exploitation hit) was little consolation to the tyro film-maker and he vowed to stay away from movies until he was guaranteed complete creative control.

Armstrong here explains the changes made to his original concept in great detail, pointing out exactly which scenes he shot and how they would/should have fitted into his scheme of things. The film he wanted to make - 'The Dark' - certainly sounds pretty interesting the way he tells it, and the most frustrating thing about the whole episode is that it seemed to boil down to a personality clash between him and Louis 'Deke' Hayward, AIP'S man-in-London at the time.

Hayward tried to shoehorn Boris Karloff (who owed AIP one film as part of a contract) into the plot at various junctures, a ploy which Armstrong vigorously resisted, resulting in a war of wills that Hayward was destined to win. Hayward went on to extensively re-write the script, inserting Dennis Price as a policeman and George Sewell as a lurking spurned suitor, and employed a technician called Gerry Levy to shoot the necessary patch-up sequences. It's fascinating to watch the film whilst Armstrong indicates continuity errors in the insert sequences and identifies the various loose ends that commemorate the residue of his original script.

Its no surprise, then, that 'The Haunted House of Horror' is a bit of a mess. Its perhaps remarkable that it plays as well as it does. But I recommend this release for the commentary, yet another that uncovers machinations and interference undreamed of by the casual viewer. As an education in the unseen political wranglings of film-making it is most enlightening.

Wow, how did I manage to go so long without seeing this wonderfully corny '60s title, lost among thousands of other obscure, late-night drive-in classics? I had heard about it many years ago, just a rough plot outline, and always thought it sounded like cheesy fun, but I never had the chance to see it. However, I managed to view the film recently, under its alternate title, "The Haunted House of Horror", and I must say that I enjoyed every minute of it! Where do I begin? Well, first of all, those amazing '60s fashions! Go-go boots and mini-skirts haunt this picture more than the house itself does, and it must be said that throughout the entire movie the curvaceous Jill Haworth looks absolutely stunning (and yes, in many scenes she is wearing mini-skirt). Basically, the plot revolves around this girl Sheila (Haworth), her swinger beau Chris (Frankie Avalon!) and all of their groovin' swinger friends who get bored with the usual Friday night party antics in swinging London and decide to go "ghost-hunting" at an old deserted mansion in the countryside. Well, what follows is that someone ends up dead (in a murder scene which is surprisingly bloody for a PG-rated film) and the kids try to figure out whodunit! I guess one could describe this little number as a more mature, live-action British version of "Scooby Doo"! It's an absolute hoot, and I really enjoyed it. The plot was really nothing special, but from beginning to end I was hooked on this movie, and I was surprised at how ahead of it's time it was, and of course by the bloodiness of the killings. There is one killing at the climax of the film that will surely make your eyes pop out of their sockets - unbelievable! I won't give anything away, you'll have to see for yourself, but this baby is just amazing, from the corny dialogue: "Sheila, the way you dig blood, people'd think you're a vampire!", "You'd better watch out, darling, next time I give you a love bite!", to the swingin' sixties fashions, to the Scooby Doo antics and gory knife murders, plus a very downbeat, disturbing ending and a creepy atmosphere - you can't go wrong with this one. Unfortunately it's pretty hard to find, but it has found a cozy little home on cable, so if you get the chance, give it a look!