Mortelles confessions

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.

Disappointing Pete Walker film which flirts with a variety of good ideas but manages to fumble all of them.

Story has vulnerable young woman (Penhaligon) going to Confession, where she is harassed by the priest whose fatherly concerns have a sinister element. He turns out to be a crazed killer, stemming from his mother (yawn!!) who still lives with him in a semi-vegetable state.

Plot goes into a poor-mans 'Rosemary's Baby' scenario, Penhaligon unable to convince anyone of the truth, with the Priest above suspicion because of his position.

Film labours its point that religious restrictions have fashioned Father Meldrum into a killer, while the younger Priest who tries to help is too wet for the audience to respond to. All this leaves Stephanie Beacham as the best thing here. At least the film doesn't cop-out at the end, but by then we are past caring. A film students favourite, but more interesting to study than to watch.

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.

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!

The church is corrupt, that's what director Walker seems to be saying in a rather clumsy way with this exploitation effort. Elements of "Psycho" are mixed uneasily with "Rosemary's baby", about a mad priest who tapes his confessional sessions and keeps his bedridden mother in the attic. There is extortion, murder (by religious symbols like a rosary and an incense-burner) and an accomplice with a disfigured face (eye-patch and all!). Some scenes, ie the ones with the bedridden mother, border on the tasteless, but I somehow think that that was the point. Surprisingly good performances from a largely unknown cast, with Sheila Keith as a standout in a (too) minor role. Boy, can she give a murderous glance! It's not a stunning tour-de-force like "Frighmare" by the same director, but still manage to pack a punch or two, despite some dreary bits (most of them involving the hero-priest who is too goody-goody to be interesting). For those who is familiar with Pete Walker and his movies, the ending will come as no surprise, but to others it will be shocking/frustrating in about equal measures.