हॉन्टिंग

Robert Wise's recent passing brings "The Haunting" to mind. Less of a horror movie than a psychological thriller, it has Eleanor Lance (Julie Harris) coming to old house with several other people invited by Dr. John Markway (Richard Johnson). This is no ordinary house; it has a very disturbing history. And the answers to the creepy incidents that have taken place may be closer than anyone realizes.

What makes this movie so good is that it relies on camera angle (rather than gore and special effects, as usually seems to happen now) to create the horror. You literally can't tell when something is going to happen. The only thing that gives the movie a slightly silly feeling is the presence of Lois Maxwell (aka Miss Moneypenny in the James Bond movies) as Dr. Markway's wife Grace. Still, it's a horror classic. The 1999 remake, as far as I could tell, was deliberately trying to be silly; if so, then they sure succeeded, because that was a poor excuse for a movie. This one is the real "Haunting".

When director Robert Wise works on a small scale, with oppressive and/or claustrophobic settings, and uses less than mega box office actors, his films are usually good. Examples of this would be "The Set Up," "House On Telegraph Hill," "Andromeda Strain," "Odds Against Tomorrow" and "Born To Kill". It's also the case that when this director decides to go all "epic" on us he's a windy bore. I won't name those films, but you know who you are. Fortunately, this film is in the former category. It's just five characters in a creepy house and it grabs you from the get go with an effective montage of the house's macabre history and keeps your interest with acute examinations of the personalities of the main characters and the fear of the unseen.

What makes "The Haunting" so genuinely terrifying is the subtly expressed theme: that the house gradually devours Eleanor because her sad, pathetic life encapsulates the history of Hill House. This is made even clearer in the novel, where Hugh Crain had two daughters, who hated each other, and whose lifelong feud mirrors Eleanor's loathing of her own sister. Eleanor really has had no life up to this point - as a result she is emotionally all of thirteen. She doesn't get Theo's not so subtle hints that she is attracted to her. She also doesn't get that just because Professor Markway talks to her like a human being does not mean he is attracted to her. She's like the junior high kid in love with her teacher.

It has superb performances, a credible atmosphere, and gorgeous direction and cinematography. If you are after a body count ala John Carpenter look elsewhere, but if you like your horror implied this is worth your while.

ABC broadcast this film as a Sunday Night Movie in, I believe, 1965. I watched it with my best friend at his house, which happened to be next door. After the movie was over I was afraid to walk home. Thirty eight years later, this movie is still the scariest movie I've ever seen.

It's hard to put into words why this movie triggers such an emotional response. There is no blood and gore, no creatures or monsters in plain sight. In fact, there is very little physical presence in this movie that should evoke such a fear reaction. True, there are multiple angle exterior shots of the mansion that make one feel as if the house is watching them all the time. And there are loud unexplained noises, bulging wall panels, and door knobs that turn by themselves. All-in-all, the physical evidence is pretty tame, especially by today's standards.

The fear reaction lies not in the physical form, but in the psychological sense. For example, as Theo and Nell cling to one another as wall pounding draws closer to their room, only to stop and dead silence replaces the noise. Later in the movie, Nell and Theo are again in their room when Nell grabs hold of Theo's hand as noise begins to build outside their bedroom door. Finally, unable to stand the noise any longer, Nell begins to scream which awakens Theo, who happens to be halfway across the room, and thus not close enough to be holding Nell's hand. So the question is "who or what was Nell holding?". There are many scenes that are similar to the above.

This film was directed by Robert Wise who made me believe there was something lurking around every corner, or there was something that was going to happen, but you just didn't know quite when. This is the type of directing that has given this movie the classic status it so richly deserves.

So, if you are more into the physical style of a movie, go see "Texas Chain Saw Massacre", but if you are ready for a genuinely scary movie, go rent or buy the 1963 version of "The Haunting".

This is a must see for anyone who follows the horror genre. It is truly amazing what you can accomplish with sound, shadow, and great delivery. This black and white classic will get the hairs on the back of your neck standing up and it does it without blood, gore, or special effects. This film was the motivation for all other haunted house movies to follow it.

There's a house that sits atop an elevation, 90 years old, riven with cold, crooked damnation, uninhabited by the living, but surrounded by misgiving, not really sure, what's behind doors, but there's suspicion.

A curious anthropologist researching the paranormal gathers three souls who are sensitive to such things and envelopes them in surroundings simmering with the supernatural in the form of a haunted house on a hill (what more do you need). The cinematography is spectacular, all the performances outstanding, but you may struggle to keep your eyes off Claire Bloom in her prime. Watch it on a stormy night, on your own, with the lights out - if you dare!