Il buio

In the highly-alliterative and genre-suggestive Haunted House Of Horror, a group of teenagers, bored with the party they're attending one evening, decide to liven things up by trooping off to a supposedly, and unsurprisingly, haunted house to conduct a seance, wherein deadly consequences soon occur.

Having known little about this film for years other than its title, I found myself expecting a far different tale to the one that actually unfolded. Was there in fact any supernatural activity as the title suggested, or was the horror more conventional, leading to an earthbound whodunnit with B-movie slasher overtones? I must admit I was kept guessing for a while until those answers resolved themselves. All the meanwhile, I found myself reasonably entertained by the look and feel of a contemporary British sixties horror, from the swinging fashions to the unbelievable amount of smoking - actor George Sewell alone gives his best cigarette acting in this film. The musical score is fairly standard for the day and place - a good deal of brass, strings, moody piano and dramatic drum riffs. In fact, there were times when I felt sure this was a Bill ('Daleks: Invasion Earth 2150') McGuffie special, so either Reg Tilsley was familiar with his work, or these musical motifs were in vogue at the time. The lighting too is fairly conventional, though the day-for-night shooting became a little annoying after a while. Murky blue skies do not suggest midnight no matter how you dress them up, and must've been even more obvious on the silver screen.

The acting is competent if restrained - in part due to the lack of any really meaty roles on offer, though there are several luminaries of the period to help breathe life into the whole effort. Besides Sewell, we also have the soon-to-be Man About The House himself, Richard O'Sullivan, frequent TV guest star Jill Hawarth, and Robin Stewart, also soon to become well-known in Bless This House. Why we didn't get to see a lot more of the gorgeous Gina Warwick on the other hand, is a bit of a mystery. She and Hawarth almost make up for what is in the end, a rather pedestrian adventure.

And this in the end is what it is. I give it points for casting, period novelty, and for playing a little with audience expectations to avoid predictable plot trappings, but in the end, there is nothing ultimately remarkable about Haunted House Of Horror that helps it stand out from the competition of the day, like the popular Hammer Horror films. Which is not to say that their offerings are not sometimes prone to character cyphers, uneven pacing and abrupt endings, but more practiced hands on their part tend to make these things less of an issue. Interestingly, Tigon Films did snag horror veterans Karloff, Price, Cushing and Lee on a couple of occasions to produce horror-thrillers better received than what you find here - Scream And Scream Again, anybody? Nonetheless, Haunted House Of Horror should not be summarily dismissed - it's worth a look, but only if you've gotten a ways down through your must-view list.

i really enjoyed this movie.

why?

because it is FUN to watch. movies don't have to be deeply meaningful or classy or poetic..

more important than all that is that it is fun to watch.

i don't mean comedy-funny, i mean a flow, a structure and a story that doesn't make you snooze. (maybe some actors that actually can act, but thats a dying breed)

this movie is entertaining and fun, sure the story is thin and the middle drags a little, but it really doesn't matter..

you got frankie avalon, a dark old house and some outrageous 6oties hairdos, what more can you want?

London "hepcats" grow bored at a party one night and decide to go explore an old nearby estate that's supposedly haunted. Once there one of the gang is brutally knifed to death and the group is left to wonder if one of their own is a killer.

The Haunted House of Horror (also known simply as Horror House) is a swinging 60's British chiller that's a bit of a mixed-bag for horror fans. On the good side there's a couple of effectively shocking (and bloody) murder scenes, a nicely moody music score by Reg Tilsley, and the climax of the film is pleasingly intense. Unfortunately the rest of the film is hampered by a sluggish pacing and a fairly routine setup. The uneven performances from the cast don't help things either.

Still, overall Haunted House of Horror has enough going for it to make it an interesting watch - particularly for fans of British horror from this era or maybe for people who just hate Frankie Avalon.

** out of ****

When I was about 10 years old me and my friend saw this on TV and the ending really freaked us out! We had never seen so much blood and gore on television before and it stunned us. Well, 30 years later I've finally seen this film again. I've been searching for it ever since. I didn't know the title but I never miss a horror film so I was bound to run into it again. It took 30 years! The film starts slowly with Frankie Avalon playing a rare serious role. The film has two very bloody scenes that you don't expect from an Avalon film during this time. The ending is strange and inconclusive. One of the things that I did enjoy are the real 60's London mod style of clothing. Very interesting to see the style during these times. But the film does have a fatal flaw. There just is to much talking and not enough time spent in the horror house. So after all these years the two bloody scenes still pack a wallop but its still a tedious film. A curio, though.

This film is available on disc in the UK from Anchor Bay as part of their Tigon box-set, along with 'The Beast in the cellar', 'Witchfinder General', 'Virgin Witch', and 'The Body Stealers'.

'Haunted House' was available on the late lamented Vampix video label in the early 1980's in the UK. That release was notable mostly for the dark, drabness of the print. It looks considerably improved here, with lustrous, bright colors and correct aspect ratio. The film itself is not up to much, but remains watchable for its late 60's period frills and a couple of effectively nasty murders.

What makes this incarnation of the film interesting is the director's commentary supplied as an audio extra. Michael Armstrong's career had unfortunate beginnings: He shot this flick, his first, when he was 24 and the experience was painful, with the film taken away from him and his original cut undone by studio re-writes and re-shoots. The following year he went to Germany to make 'Mark of the Devil' and suffered exactly the same fate. The financial success of both titles (especially 'Mark', which was a huge exploitation hit) was little consolation to the tyro film-maker and he vowed to stay away from movies until he was guaranteed complete creative control.

Armstrong here explains the changes made to his original concept in great detail, pointing out exactly which scenes he shot and how they would/should have fitted into his scheme of things. The film he wanted to make - 'The Dark' - certainly sounds pretty interesting the way he tells it, and the most frustrating thing about the whole episode is that it seemed to boil down to a personality clash between him and Louis 'Deke' Hayward, AIP'S man-in-London at the time.

Hayward tried to shoehorn Boris Karloff (who owed AIP one film as part of a contract) into the plot at various junctures, a ploy which Armstrong vigorously resisted, resulting in a war of wills that Hayward was destined to win. Hayward went on to extensively re-write the script, inserting Dennis Price as a policeman and George Sewell as a lurking spurned suitor, and employed a technician called Gerry Levy to shoot the necessary patch-up sequences. It's fascinating to watch the film whilst Armstrong indicates continuity errors in the insert sequences and identifies the various loose ends that commemorate the residue of his original script.

Its no surprise, then, that 'The Haunted House of Horror' is a bit of a mess. Its perhaps remarkable that it plays as well as it does. But I recommend this release for the commentary, yet another that uncovers machinations and interference undreamed of by the casual viewer. As an education in the unseen political wranglings of film-making it is most enlightening.