Mortelles confessions

A very fine Walker effort. Not really a horror film nor a giallo but very British. Must have upset as many as it pleased upon release with it's uncompromising attack upon the Church in general and the Catholic Church in particular. Excellent central performances and it is these performances that helps the film over the odd script shortcomings. Not for the easily offended but for everyone else quite a treat and who is to say accusations of wrong doings by priests and cover ups by other self righteous members of society is so far fetched? Begins well and although gets a bit lost halfway through, there is a full powered body strewn build up to a surprising ending.

Pete Walker's 1976 film "House of Mortal Sin" is a compelling, albeit flawed, entry into the British horror genre that is sure to leave viewers both intrigued and unsettled. This film offers a unique blend of suspense, mystery, and exploitation that is worth exploring for fans of the genre.

"House of Mortal Sin" takes viewers on a disturbing journey into the dark corners of religious fanaticism and moral corruption. The narrative centers around a young woman, Jenny (played by Susan Penhaligon), who becomes entangled in a web of deceit and violence after witnessing a shocking confession in a Catholic church. The film's plot is engaging and filled with unexpected twists, making it a gripping watch despite its pacing issues.

One of the film's strongest aspects is its exploration of religious hypocrisy and the destructive consequences of blind faith. Walker skillfully exposes the dark underbelly of the church, revealing a world of manipulation, abuse, and murder. The film's most chilling moments come from the unnerving performances of its cast, particularly Anthony Sharp as the sinister Father Meldrum and Sheila Keith as the ruthless Sister Gertrude.

However, "House of Mortal Sin" is not without its faults. The film's low budget is evident in its production values, resulting in a somewhat dated and amateurish aesthetic. Additionally, the pacing can be uneven, with certain scenes dragging on unnecessarily while others feel rushed or underdeveloped. The film's exploitative elements, including graphic violence and nudity, may also be off-putting to some viewers.

Despite these shortcomings, "House of Mortal Sin" remains a noteworthy addition to the British horror canon. The film's unsettling atmosphere and provocative themes make it a memorable watch, even if it doesn't always hit the mark. Walker's direction is confident and assured, demonstrating a clear vision and a willingness to take risks.

In conclusion, "House of Mortal Sin" is a flawed yet fascinating film that offers a unique take on religious horror. While it may not appeal to all viewers due to its explicit content and uneven execution, those who appreciate a dark, thought-provoking thriller will find much to enjoy in this sinister tale of faith and corruption. Just be prepared for a few rough edges along the way.

Disappointing Pete Walker film which flirts with a variety of good ideas but manages to fumble all of them.

Story has vulnerable young woman (Penhaligon) going to Confession, where she is harassed by the priest whose fatherly concerns have a sinister element. He turns out to be a crazed killer, stemming from his mother (yawn!!) who still lives with him in a semi-vegetable state.

Plot goes into a poor-mans 'Rosemary's Baby' scenario, Penhaligon unable to convince anyone of the truth, with the Priest above suspicion because of his position.

Film labours its point that religious restrictions have fashioned Father Meldrum into a killer, while the younger Priest who tries to help is too wet for the audience to respond to. All this leaves Stephanie Beacham as the best thing here. At least the film doesn't cop-out at the end, but by then we are past caring. A film students favourite, but more interesting to study than to watch.

Catholic priest Father Xavier Meldrum (Anthony Sharp) becomes obsessed with parishioner Jenny Welch (Susan Penhaligon) who unwisely pays a visit to his confessional after a break-up with her boyfriend. Excited by the gorgeous young woman, but unable to have her, Meldrum is driven to kill using rosary beads, a flaming incense burner and poisoned communion wafers as his weapons.

House of Mortal Sin sees British exploitation legends David McGillivray and Pete Walker having fun at the expense of Catholicism, depicting the murderous antics of a sexually frustrated Catholic priest with a mother complex whose mind has been twisted by a lifetime of repressed carnal urges. It should be a whole lot of salacious silliness, but sadly falls short of the mark.

Despite the film's deliberately controversial subject matter and plenty of sadistic violence, House of Mortal Sin is actually one of my least favourite Walker movies thanks to a dreary narrative, a plodding pace and surprisingly uninspired direction. Penhaligon is lovely as the poor subject of Meldrum's attention but is given little to do other than look frightened; likewise, Sheila Keith is wasted in yet another role that calls for her to be cruel and emotionless.

Coming hot on the heels of the sleazy HOUSE OF WHIPCORD and the outrageously gruesome FRIGHTMARE, veteran exploitationer Pete Walker and his puckish screenwriter David McGillivray decided to stir up some more mischief, this time aiming their vitriol at the hypocrisy of the Catholic church, with a blackmailing killer priest who uses the tools of his trade (incense burners, rosary beads and communion wafers) to deal out death to non-believers. Given the hoo-hah the Monty Python team caused with LIFE OF BRIAN four years later, you'd have expected the controversy to rage as Pete and David had hoped it would, but HOUSE OF MORTAL SIN barely raised a murmur - most likely because it's a rather dull and restrained affair compared to their earlier exercises in wonderfully hideous terror. Anthony Sharp is fine in the lead as the crazy cleric, alternating between pompous bumbling and trembling mania at the drop of a hat, whilst Susan Penhaligon makes a memorably vulnerable victim, but the film feels too much of a cut-and-paste catalogue of borrowed elements (the mother fixation from PSYCHO, Sheila Keith basically reprising her WHIPCORD role as Sharp's demented housekeeper, the dysfunctional family business from FRIGHTMARE) to really ring true. The set-piece murders are impressive, and the ending is as bleak and as desolate as you'd expect, but the film contains more padding than a cheap mattress and Walker seems to have confused tension with tedium in several scenes. Still, it's entertaining enough for a slow evening.