La casa delle ombre lunghe

Everyone probably figured that Vincent Price, Christopher Lee and Peter Cushing would have to all co-star in a movie, but who ever would have guessed that Desi Arnaz Jr would also co-star? Far removed from his parents' famous roles, Arnaz plays Kenneth Magee, an American author who goes to an old Welsh estate to write a novel. He is supposed to have no disturbances, but Vincent Price, Peter Cushing and John Carradine arrive to release their brother who has been locked in his room for forty years, and Christopher Lee arrives to claim ownership of the mansion. Naturally, things don't go as everyone expects.

"House of the Long Shadows" doesn't have anything that we wouldn't anticipate in a movie about a dark old mansion, but it's got more twists and turns than a roller coaster. So, I recommend it, and I hope that they don't try to remake it.

Desi Arnaz Jr. Plays Kenneth Magee, an American writer who makes a best with his publisher, Sam Allyson (Richard Todd). His ego is great enough that he thinks that he can write something on the level of "Wuthering Heights" (which he doesn't hold in high regard) in 24 hours. At stake is $20,000 of his money. So Sam procures for him a Welsh manor named Baldpate where Kenneth can supposedly write in seclusion. Of course, nothing goes as planned, and Kenneth is interrupted all night long by a family looking to exorcise their old demons and a man looking to purchase the manor.

This effort by the cult filmmaker Pete Walker ("Frightmare", "House of Whipcord") is notable mostly for uniting four legendary horror actors: John Carradine, Vincent Price, Peter Cushing, and Christopher Lee. "House of the Long Shadows" is a must see for their work, if nothing else. Walker and this fine cast does seem to have fun with the material, which was meant to be played with a sense of humor. Certainly some of the tropes of the genre are present and accounted for: the dark, stormy night, the locked room, the old family secret, etc. What this viewer appreciated most about the film was the old school atmosphere of a classic "Old Dark House" type of story, and for the fact that Walker and screenwriter Michael Armstrong so completely manipulate their audience.

While this viewer didn't dislike Arnaz Jr. As much as most people who've seen this, it's still probably better to say as little about his performance as possible. But don't see it for him. See it for Price (who rattles off the exposition in style), Lee, Carradine, Cushing (whose comic performance is simply wonderful), and Walker regular Sheila Keith (who plays Carradines' daughter).

Good fun for fans of the genre.

Seven out of 10.

Well yeah, in all honesty, "House of the Long Shadows" is an extremely disappointing and weak film, but I'm convinced that there isn't a single (real) horror fan out there that can bring him/herself to spread an entirely destructive criticism about this unique feature. After all, it is the only movie that ever managed to assemble no less than four of the most legendary genre icons and even show them in the same scenes! Something that stars Vincent Price, Christopher Lee, Peter Cushing and John Carradine all at once is simply fundamental viewing for horror fans, whether or not the storyline is any good. The plot is a re-working of the famous 'Seven Keys to Baldpate'-novel and introduces Ken Magee as a rather cocky writer who bets his publisher 20.000 Dollars that he can complete a successful novel in the likes of Wuthering Heights in a short period of only 24 hours. To have the required isolation for writing, his publisher gives him the key to an old deserted mansion in Wales. Instead of finding peace and quiet there, the writer is subsequently interrupted by his publisher's attractive secretary and four uncanny members of the Grisbane family that reunite in the house to release their mad youngest brother after an imprisonment of forty years. Writing a novel is completely out of the question when it turns out Roderick Grisbane escaped from his room and started a new killing spree around the house. "House of the Long Shadows" is a heavily flawed and clichéd film that would have been long (and righteously) forgotten by now if it weren't for the top notch cast listing. First and foremost, the film got released at least a decade too late. The early 1980's were an era dominated by raw and blood-soaked slasher movies and an old-fashioned haunted-house chiller simply couldn't fascinate the audiences any longer. Then it also takes far too long before something interesting happens. The story is over halfway by the time all four horror legends are fully introduced and it takes another twenty minutes before anything even mildly horrific occurs. Then there suddenly are too many childish and overly implausible plot-twists going on in the last sequences, resulting in a totally unsatisfying climax. The tone and themes of the film, as well as the murder-scenes, are regretfully tame. It's actually hard to believe that Pete Walker directed this film! He was the British exploitation master during the 70's and made shocking movies about murderous priests ("House of Mortal Sin"), cannibalistic grannies ("Frightmare") and barbaric women prisons ("House of Whipcord"). "The House of Long Shadows" doesn't feature one single shock and hardly any suspense moments, apart from Christopher Lee's gruff facial expressions. It certainly isn't the masterwork I secretly hoped it to be, but if I could make one wish, it would be going back in time and pay a visit to the film set.

Vincent Price, Peter Cushing, Christopher Lee and John Carradine in one movie is like a dream come true and a recipe for a truly great time. House of the Long Shadows is not a great movie, but it is an interesting one and better than I was led to believe. It does have flaws of course, the ending is unsatisfying and feels like more than one ending rolled into a single one, the middle drags and Desi Arnaz Jnr gives an awful lead performance, very wooden and overly-serious. However, the production values complete with a suitably Gothic mansion are in keeping with the spooky atmosphere and in the genre House of the Long Shadows is an example of. The music has a very haunting sound to it, I loved the tongue-in-cheek humour and thrills in the script(Vincent Price having the best lines and he really relishes them), and the story has some nice-if occasionally silly- twists and turns and is mostly swiftly paced. The opening sequence is great. The murder sequences are not exactly subtle, but are suspenseful and evoke some chills. The four stars Price, Cushing, Lee and Carradine- easily the highlights of the film- are brilliant, distinctive and commanding with a very one-of-a-kind chemistry. In conclusion, fun and interesting if far from perfect. 7/10 Bethany Cox

Never turning up on television, long out of print on video, and never released to DVD, HOUSE OF THE LONG SHADOWS has fallen prey to neglect in recent times. To a degree, this is understandable; taken purely on its own, HOUSE at first seems to emerge a bit disappointing today. The oft-cited problem is that the four horror stars seem painfully marginalized in order to make way for Desi Arnaz Jr. But, when seen in a larger context, HOUSE rises far above its humble origins and becomes something much greater than the sum of its parts. Much like James Whale's THE OLD DARK HOUSE - a film that shares much in common with HOUSE - it is a film that requires multiple viewings to fully appreciate.

Just as Universal's Dracula of 1931 inspired and influenced a cycle of horror films that would grow, mature, mutate, and ultimately flounder in various forms till the late Forties, so too did another horror zeitgeist bloom during the late Fifties, Sixties and Seventies. The British studio that had produced 1957's groundbreaking THE CURSE OF FRANKENSTEIN, Hammer Films, found great success in the genre over the next twenty years, not infrequently making use of Christopher "Dracula" Lee and Peter "Frankenstein" Cushing. Meanwhile, in Hollywood, American International found their superstar in Vincent Price, whom they headlined in a series of literate, atmospheric Edgar Allan Poe adaptations, beginning with THE FALL OF THE HOUSE OF USHER in 1960. Eventually, this series too would cross the Atlantic. The popularity (and profitability) of these scare shows insured a legion of second-rate cheapness from various entities, many of which utilized Shakespearian actor and erstwhile Universal horror veteran John Carradine, who crept his arthritic way through such low-budgeters as GALLERY OF HORRORS and BLOOD OF DRACULA'S CASTLE.

But, by 1982, this cycle of traditional horrors had seemingly come to a dead end. Hammer and AIP were no longer producing feature films, and most of the great horror stars of the time were now electing to either shoot for mainstream success or a semi-retirement save for the occasional film and television cameo appearance. As the Eighties dawned too, the genre was foregoing Gothic horror in favor of the summer camp bloodbath, the holiday massacre, and the dream-slaying slasher. In the midst of these gruesome developments however, director Pete Walker, not unfamiliar with bloody subject matter himself, decided to provide the old-fashioned approach one last go-around, and gather the very icons of that style to do it.

The plot is old humbug, another revitalization of Earl Derr Bigger's old standard Seven Keys to Baldpate, which had been filmed a number of times before. Jaded novelist Arnaz accepts a bet from his impish publisher (Richard Todd), which involves him spending 24 hours in an old Welsh mansion and writing a Bronte-like Gothic story. As the stormy night progresses, various dodgy characters turn up who, as it emerges, are all members of the benighted Grisbane family, gathered on this night to release a horrible secret in the attic. Before long, various unwary visitors - as well as the Grisbanes themselves - begin to be murdered in grisly ways by a mysterious psychopath. Many twists and turns later, the narrative works its way toward a lighthearted conclusion.

There had long been plans to unite the four horror superstars in one film, but scheduling conflicts had made it impossible. Finally, the opportunity arrived with this project, and all are well served by their roles here. Each is allowed to indulge in his particular acting persona. Price is flamboyant and theatrical, Lee imperious and sinister, Cushing genteel and sympathetic, Carradine sonorous and stentorian. Price in particular excels here, and this was his last real opportunity to shine in a full-fledged horror film. Though he would return to the genre two more times before his death in 1993, neither his embarrassing appearance as an expletive-spewing sorcerer in BLOODBATH IN THE HOUSE OF DEATH or his cantankerous turn hosting THE OFFSPRING can compare to his grandly overstated Lionel Grisbane. In particular, Lionel's pitched introduction at the doorway is unforgettable, a true highlight of horror cinema.

If there is a major regret here, it's that Cannon opted to re-cut the film for some theatrical showings - and that's the version released to VHS years ago. This move appears to have been done in order to play up the horror content and mute the comedy. Though I've never seen the original cut, it almost unquestionably would have been preferable. Both Price and Cushing seemed to feel so, and lamented the fact that many of the comic build-ups were left in, only to have the punch lines cut. The real loss was the original end credits sequences, in which each member of the cast steps out of character to take a final bow.

But, in the end, the shortcomings matter little. HOUSE stands as truly the last of its kind, and more than that, can be seen as the point of embarkation for a new style. Just as Universal provided the iconographic monsters of the Thirties and Forties with a peculiarly reverential send-off in ABBOTT AND COSTELLO MEET FRANKENSTEN, so too does HOUSE OF THE LONG SHADOWS allow its four veteran bogeymen of the Sixties and Seventies to gracefully bow out, in character and with their dignity intact. It's sublimely appropriate that the film should meld Eighties slasher/body-count horror themes (gruesomely accented ax murders, stabbings, acid baths, etc.) with the traditional Gothic approach these men specialized in; by taking part in those very situations themselves, Price, Lee, Cushing, and Carradine thereby "pass the torch" to the knife-wielding maniacs that would come to rule the genre in their place. Seen in this light, the film's faults seem to considerably melt away, and one realizes what a true, unique gem we have here. That is, a lighthearted but affectionate good-bye to twenty-five years of classic horror films executed with great deft and style.