House of Mortal Sin

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.

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.

The charming story of a priest.....who murders people! Meet Father Xavier Meldrum from the Church of the Sacred Heart. He uses religious means to bump off his enemies such as a poisoned wafer, incense burner and rosary beads. Splendid performance by Anthony Sharp (remember him as the government minister in A Clockwork Orange?) as the obsessed vicar and a good turn by Pete Walker regular Sheila Keith as a one eyed housekeeper. A well done musical score by Stanley Myers is also featured. Remember this movie the next time you go to confession!

Tense, horrible, and funny at the same time, made without frills, for both practical and aesthetic reasons, this is my favorite of Pete Walker's trilogy because it is the strongest-centered, in the characters of the priest and his main victim (the actors have a lot to do with this). It's a study in how to generate suspense with a minimum of resources. Rather than a would-be giallo, I'd identify it as an updating of 19th-century melodrama. The director plainly worked best on minuscule budgets, using them to maximum effect, but he couldn't entirely disguise their restrictions (e.g., where is everybody? don't these people ever go anywhere?).

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.