Aguas que regresan

The unsuccessful writer Stephen Byrne (Louis Hayward) tries to force his servant Emily Gaunt (Dorothy Patrick) sexually while his wife Marjorie Byrne (Jane Wyatt) is visiting a friend and accidentally strangles her. His crippled brother John Byrne (Lee Bowman) coincidently comes to his house in that moment, and Stephen asks him to help to get rid of the corpse and avoid an scandal, since his wife would be pregnant. The naive and good John helps his brother to dump the body in the river nearby his house. Stephen uses the disappearance of Emily to blame her and promote his book. When the body is found by the police, all the evidences points to John, and he becomes the prime suspect of the murder.

"House by the River" is a dark and tense movie with one of the most despicable characters I have ever seen. Louis Hayward is perfect in the role of a scum, capable of killing, defaming, lying, falsely accusing, and maintaining cold blood. Jane Wyatt and Lee Bowman complete the efficient trio of lead cast. Fritz Lang uses with mastery the shadows and lights in the black and white cinematography as usual. The story is very tense, but the conclusion is very abrupt and quite conventional, moralist and commercial. In my opinion, this excellent film deserved a darker and amoral ending to become another masterpiece of this outstanding director. My vote is nine.

Title (Brazil): "Maldição" ("Curse")

House by the River is directed by Fritz Lang and adapted by Mel Dinelli from A.P. Herbert's novel The House on the River. It stars Louis Hayward, Jane Wyatt, Lee Bowman & Dorothy Patrick. Music is by George Antheil and photography by Edward J. Cronjager.

Novelist Stephen Byrne (Hayward) makes a play for the house maid and unwittingly kills her when she repels his advances. Enlisting the help of his disabled brother, John (Bowman), to dispose of the body in the river, Stephen suddenly finds that the publicity surrounding the maid's disappearance has put him in vogue again. In fact he finds his muse sufficiently stoked enough to craft another novel. But as easy as Stephen finds it easy to have no conscience, the opposite is the case with John, and with the river refusing to hold its secrets, something is going to give.

Working out of Republic pictures, Lang refused to let the low budget production hamper his vision of a bleak Cain & Abel like Gothic-noir-melodrama. He did, however, meet some resistance when requesting that the maid be played by a black woman, which was quickly shot down by nervous executives at the famed "B" movie studio. House by the River is far from being among the best of Lang's work, but the final product is still a triumph considering it's basically a three character piece set virtually in just two locations. It scores high on eerie atmosphere and finds Lang dealing in moral bankruptcy/responsibility and the eye for an eye mentality. Ushered into the narrative, too, is a Lang fave of people irked by loving someone they can't have. These themes allow the director to gloss over the simple script and dally in some truly arresting visuals.

Aided considerably by Cronjager's (Desert Fury/CanyonPassage) chiaroscuro photography, Lang's film is a lesson in how to maximise effect from limited sets. The actual house on the river, and that of the neighbour (resplendent with creepy scarecrow in garden), has a very disquiet feel to it, fronted by shimmering water that carries the dead carcass' of animals, it's a most haunting setting. And the eerie atmosphere continues inside the house, where shadows work their wonders and Antheil's music sticks rigidly (and rightly) to the creaky house formula. The cast don't pull up any trees, but they don't need to. Hayward is perhaps too animated for a study in snide villainy, but it works and he has a nice line in visual mocking. The rest fall in line for what is required, with the best of the bunch being Ann Shoemaker as nosey neighbour Mrs. Ambrose.

Once a hard to find film, House by the River is now easily accessible after gaining a DVD release (the print is fine, some age spotting and crackles, but completely watchable). It's a film that is easily recommended to Lang and Gothic house based movie purists. Driven by a despicable protagonist and cloaked in a creepy noirish vibe, it deserves to now gain a better and more appreciative audience. 7.5/10

House by the River is something of an anomaly; it's more of an old-dark-house Gothic than the grittier dramas, from Fury to Beyond A Reasonable Doubt, which Fritz Lang made in his American period. (The location of this house is a worrisome and amateurism anomaly, too; the conventions, milieu and some of the accents suggests that it's an English country estate, but much else argues that the film takes place in the U.S.) Would-be writer Louis Hayward, getting flirtatious with the maid in the absence of his wife (Jane Wyatt), accidently strangles her when she resists his advances. His brother (Lee Bowman) reluctantly agrees to cover up for him and help sink the body in the sinister, ever-present river that runs by the edge of the property; the resulting scandal of the disappeared servant bolsters the writer's flagging career. When suspicion begans to gather around his innocent brother, Hayward, by now seriously demented, couldn't be more pleased. But then Wyatt comes across a hidden manuscript; Hayward (you see), flushed by his phoney success, resolves to write "what he knows...."

Edward Cronjager's heavily shaded cinematography and Georges Anthiel's brooding score help fill out Lang's dark, clammy vision, making the river -- forever disgorging its flotsam and jetsam -- a principal character in the action. House by the River is a good old-fashioned thriller, particularly in its Gothic closing scenes, but it's not in a class with Lang's films at the top of his American form, like Scarlet Street, The Big Heat or Human Desire.

Failing novelist Stephen Byrne (Louis Hayward) murders his maid and manipulates his brother John (Lee Bowman) into helping him dispose of the body. Later, after it has been found, he sees a chance to pin the crime on John, whom he eventually tries to kill, too (making it look like suicide). 'House by the River' is suffering from one essential downside: The plot is illogical. While Stephen does everything to let suspicion fall on his brother, he is at the same time working on a new novel (following the advice of a neighbour to focus on things he knows) about a murder - a novel that is as good as an admission of guilt. And if he puts all this into that novel, which after all he intends to publish, why is he so desparate to prevent his wife Marjory (Jane Wyatt) from reading the manuscript? Despite all this, I am rating 'House by the River' 7 stars. That is because it is well-acted and beautifully photographed. Especially the eerie scenes on the river (with its murky and brackish water) are great. In sum, this is by no means one of Fritz Lang's best films, far from it. But it has some important points in its favour.

Louis Hayward utters this chilling line. His brother, Lee Bowman, has a physical disability. He has always been loyal to Hayward. But Hayward is looking out for number one -- big time.

I had seen a terrible print of this movie once years ago and figured it to be lesser Fritz Lang. Not so! It is certainly one of the very best of his American movies. It's beautifully filmed, extremely well plotted, and cast superbly.

It is, in summary, a terrifying movie.

The Hayward character is responsible for a killing very early in the plot. He had not intended it, though his motives were not very high in the circumstance causing it. He doesn't care whom he drags down to keep his name clear and finish the book he is writing about the crime.

In addition to excellent performances by Hayward, Bowman, and Jane Wyatt as Hayward's wife, the supporting cast is a dream: Plump Jody Gilbert is pathetic and hateful simultaneously as Bowman's maid. Ann Shoemaker gives a touch of comic relief -- but just a touch -- as a nosy neighbor of Hayward and Wyatt.

Like the best of Lang -- "The Big Heat," "Fury," "M," "Metropolis," and the Mabuse films -- this concerns morality and its lack. There is a Biblical feel to it, as evidenced in the quote from Hayward (Cain) regarding his fine brother Abel/Bowman.

It could scarcely be better than it is.