Mortelles confessions

Original title: House of Mortal Sin

1976
16
1h 44m

IMDb RATING

YOUR RATING

The story follows a young woman, who seeks out his church. There, she is manipulated into giving confession to Father Xavier Meldrum. Meldrum uses his status and crazed persistence to work h... Read allThe story follows a young woman, who seeks out his church. There, she is manipulated into giving confession to Father Xavier Meldrum. Meldrum uses his status and crazed persistence to work his way into Jenny's life by any means necessary.The story follows a young woman, who seeks out his church. There, she is manipulated into giving confession to Father Xavier Meldrum. Meldrum uses his status and crazed persistence to work his way into Jenny's life by any means necessary.

Director
- Pete Walker
Writers
- David McGillivray
- Pete Walker
Stars

See production info at IMDbPro

IMDb RATING

6.3/10

1.4K

YOUR RATING

Director
- Pete Walker
Writers
- David McGillivray
- Pete Walker
Stars

See production info at IMDbPro

Awards
- 1 nomination total

Photos65

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Storyline

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Did you know

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Trivia
Originally Peter Cushing was offered to play Father Xavier Meldrum and at the time there were some rumours that Cushing hated the script. In 1983, when Cushing acted in Walker's final film, The House of Long Shadows, Walker learned that Cushing actually liked the script, but had other film commitments.

Goofs
When Jenny is listening to records, the song that is playing is Joan Armatrading's "Visionary Mountains". The record that is playing is from RSO, a record company that never published Armatrading.

Quotes
Miss Brabazon: [to Meldrum's infirm mother] He's gone out again, I'm afraid... you're all alone again... with me.

Connections
Featured in Courting Controversy (2005)

Soundtracks
Main theme and incidental music
Written by Stanley Myers

User reviews34

Featured review

8/10

Good, compact melodrama

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?).