La maison du cauchemar

"Delusion" (also released as "The House Where Death Lives") follows a young nurse who goes to work at the Langrock estate to care for a dying millionaire. After the arrival of the elderly man's troubled nephew, anyone connected to the home begins to die at the hands of an unseen killer.

This pseudo-psychological slasher film has mostly been forgotten, and registers as one of the more obscure of its peers, though not entirely for good reason. It's not a great film by any stretch of the imagination, but it is reasonably well-shot and captures a claustrophobic, isolated atmosphere. The film falls in familiar trappings and does little to distinguish itself, but it does drum up a bit of intrigue with a couple of its murder scenes (each of which are clobbering administered by a loose table leg, oddly enough) which are well-executed.

The acting is a mix of poor to decent, with Joseph Cotten playing the ailing patriarch, and Patricia Pearcy (of 1976's "Squirm"), who here seems to be overplaying catatonia a bit much, though she does a generally serviceable job. I actually found the letter voice-over narration an interesting way to frame the film, and certainly not one used often, especially in slasher films. The finale comes together a bit quickly and feels slapdash in nature, though it's mildly satisfying.

Overall, "Delusion" is a middling slasher film, part psychological thriller and part murder mystery. It's certainly not original, but it is relatively well-shot and has a few moments scattered throughout that drum up a bit of suspense. Its limited locations exhibit what I presume was a low budget, but there is a hazy air about the film that leaves it feeling a bit like a fever dream. Not great, not terrible—certainly unremarkable, but worth a watch from slasher completists. 6/10.

A young nurse named Meredith accepts a job looking after an ageing millionaire in his secluded country home. Almost as soon as she arrives strange events begin occuring. It then becomes apparent that someone is murdering all the occupants of the house and making their deaths look like bizarre accidents. It's left up to Meredith to try and reveal the killer's identity before she ends up next on his list.

Firstly don't be disillusioned by the back of the video blurb that would lead you to believe that DELUSION is 'a chiller in the mould of THE OMEN or REPULSION.' This is pure whodunit? owing more of a knowing nod towards Christie than Carpenter. Although saying that, slasher fans will find the odd thrill here, including one or two decent edge of your seat jolts and a couple of brutal slayings. It looks pretty well budgeted, cleverly shot and the cast do their jobs efficiently. The flicks main problem lies in the fact that it seems to drag far too much in between murders and it began to get a little too tedious towards the end. It's nicely directed and genuinely well acted but lacks the cheese that made most of it's hack and slash counterparts from that era so loveable.

Smart in places, but hardly memorable enough to ever be watched more than once. HOUSE ON SORORITY ROW is a much better effort, rent that instead.

"Delusion" is a slasher film...and I rarely choose this sort of movie to watch. It's not totally mindless, keeps you guessing and isn't altogether awful!

When the film begins, Meredith (Patricia Pearcy) arrives at a mansion to become the new nurse for an elderly invalid (Joseph Cotten). The job seems pretty easy and she fits in well. However, when the old man's weird grandson arrives, things start dying...starting with the family dog but not stopping there! Who's behind all this...and are the confusing plot elements going to make sense by the end of the picture?

The film suffers a bit from Pearcy's zombie-like performance during much of the film. It also occasionally makes little sense...such as why the police aren't more alarmed with all these deaths. But it does offer plenty of false leads, dead ends and twists and so if you like this sort of film, it will fit the bill. I respect what they did with this picture, though I wasn't especially thrilled with seeing it.

It's very difficult to put into words just how poor & tedious this film is to watch. It was a chore to sit through such a dire, tiresome and insultingly substandard cinematic effort - I want to claim back the time it took to watch this, and the small amount of cash I bought it for. (Even though I think i picked it up for £1:99)

My review was written in February 1984 after a screening at 42nd St. Times Square theater.

"The House Where Death Lives" is a painfully slow-paced and old-fashioned gothic horror film, made in 1980 and originally titled "Delusion". Once-planned for release by the since-defunct The International Picture Show Co., picture has had territorial release over the past two years via Gotham-based New American Films as well as pay-tv exposure, ahead of its current Manhattan debut.

Trite tale unfolds in flashback (bookended by the heroine writing this story to her dad), concerning a young man, introverted nurse Meredith (Patricia Pearcy) arriving at a mansion to take care of crippled Ivar Langrock (Joseph Cotten). Another newcomer to the Fairlawn estate is Gabriel (John Dukakis), Langrock's suspicious-looking 16-year-old grandson who has been living in a commune.

Overly expository opening reels introduce (with a straight face) many cliches of the gothic format: a face seen at an upstairs window of a room that is always kept locked, a heroine prone to wandering inquisitively about the house and grounds, etc. One b one, cast members are dispatched by a sudden bonk on the head from a blunt instrument (it turns out to be a leg from a table) until the final reel reveals who the crazy is. Wedged into the package for the umpteenth time is a case of incest as a long-ago incident and plot motivator.

Director Alan Beattie fails to generate suspense or atmosphere in a picture that remains low-key even during violent scenes. Acting is more than competent, with red-headed, fair-complexioned Patricia Pearcy making a distinctive impression in the rather limited central role and Cotten (in his most recent screen appearance) thoroughly professional in support. Despite its release title linking the film with the overworked "blame it on the house" horror genre, pic's locale is neutrally plain and there are no supernatural overtones.