Kaidan semushi otoko

I recently watched House of Terrors (1965) on a random streaming service. The plot revolves around a man who was tortured and killed in his house. Years later, his widow visits the house, discovering that her late husband's servant still resides there. Strange occurrences begin to unfold, and as she delves into the mystery of her husband's fate, her own life becomes endangered.

Directed by Hajime Satô (The Golden Bat), the film features Kô Nishimura (Yojimbo), Masumi Harukawa (Ultraman Leo), Takeshi Katô (Yojimbo) and Yûko Kusunoki (Goke, Body Snatchers from Hell).

This film excels in creating the perfect atmosphere and ambiance. The settings and background music contribute to a captivating and eerie atmosphere, while the cast delivers strong performances. The portrayal of the hunchback character is particularly well-executed, and the old lady's role is outstanding. The film also skillfully incorporates elements of humor to heighten the intensity. The storyline is intriguing and reminiscent of House on Haunted Hill in certain aspects.

In summary, House of Terrors is a worthwhile Japanese haunted house movie, which was so popular in all cultures during this era. I would rate this a 7.5/10 and recommend watching once.

House of Terrors is Japan's answer to all of those European gothic horrors of the 60s: it takes place in a sprawling mist-shrouded mansion that comes complete with a curse, a hunchbacked housekeeper (Kô Nishimura), and a massive statue of a demon in the hallway!!! When her husband dies after a bout of insanity, pretty widow Yoshie Munakata (Yûko Kusunoki) inherits the old house, unaware that it is haunted by the vengeful spirit of a very miffed baron who has vowed that no-one will leave the place alive.

Director Hajime Satô uses all the tricks in the book, with mysteriously opening and closing doors, wailing voices, and other assorted supernatural occurrences, including a memorable seance in which the medium, a creepy old woman, becomes possessed by Yoshie's dead husband. The script is par for the course, with several disposable characters, a flashback revealing exactly why the baron isn't resting in peace, and an exciting climax in which Yoshie is menaced by the hunchback, who plays host to the baron's murderous spirit.

Well paced, with solid performances, effective black and white cinematography, and a surprisingly downbeat ending, House of Terrors delivers almost everything one would expect from a 60s gothic horror. Except for Barbara Steele.

6.5/10, rounded up to 7 for the bulging door effect.

N. B. I streamed a crisp print of this in its original Japanese language with subtitles, so a decent version is out there.

GHOST OF THE HUNCHBACK (1965, original title Kaidan semushi otoko, aka SATAN'S PIT, HOUSE OF TERRORS) is an inventive little slice of J-horror that carries on the usual Japanese trope of a malignant house possessed by myriad evils (cf. The JU-ON films, HAUSU). This one sees a young woman, Yoshi, inheriting her late husband's country villa only to encounter a strange servant and various spirits dwelling within.

Original this one isn't! It has a creeping atmosphere of dread borrowed from the Italian gothic cycle and a big banging-on-the-door set-piece ripped off straight from THE HAUNTING. However, it's a fast-paced little effort replete with murders, flashbacks and various spooky weirdness, so I quite liked it. The hunchback himself - who isn't a ghost, by the way - is a dead ringer for Christopher Lee.

At the time of this writing the film is only available in Italian with no subtitles and a cropped down watery looking image. But these sever problems can't hide what is a good movie. The Haunting is a clear influence here, there is even a scene with a bulging door, a creepy stature, and I suppose creepy evocative sound fx are also a important element in this film along the black and white widescreen photography. But there are some elements--birds for instance--that appear in this Japnese director's other films, along with some of the same cast members that make this more its own film than a copy of anything else. He may not be an auteur(though he may I haven't seen enough of his films to know) but he's an effective director of genre material with a personal vision style wise and and a good visual storyteller.

And despite the references to, or steals from, other films this is not a rip off it has, especially in its style an approach of its own. It doesn't seem, even with an all Japanese cast, to be very Japanese in feel, especially in the most Italian element which may be the female wailing voice used in the film's score. What I'm saying is this film in unique in several ways.

The opening of the film is especially well done but it has effective evocative moments right on through. A better title might be GHOST and the HUNCHBACK, as the Hunchback isn't a ghost, or of course the film's original title which better reflects what the film is about. A brisk pace helps it move and the visuals are striking.

This effective and interesting film deserves proper presentation at 2:35 aspect ratio and translation.

Finally found this film on YouTube after years of looking for it under the title "Ghost of the Hunchback". (The film was apparently available on Amazon Prime but is no longer, at least not "in my area"). Who would not be intrigued by the prospect of a Japanese take on the then-current Italian Gothic horror cycle? Adding to the strange mix, this version is dubbed into Italian, with the credits being anglicized in that weird Italian way - a bunch of unconvincing English sounding names, this time appended to a film obviously made by a Japanese director with Japanese actors, and subtitled in English! But no matter. The film does not disappoint, and is in fact considerably more gruesome and sexually frank (and perverse) than almost any Italian counterpart from the same time period that I can think of ,and conjures up a very effectively creepy atmosphere. The rather free-wheeling plot is hard to summarize (and therefore to spoil) and actually doesn't feel particularly Japanese, in terms of what we might expect from Japanese horror. Director Hajime Sato doesn't seem to have made too many films, but is responsible for another big favorite of mine, the rather amazing "Goke, Body Snatcher From Hell". Both films play with and freely mix genre conventions, provide ample shocks and surprises along the way, display a lot of visual flair and end with a certain grim finality. I wish he had made more movies.