(Here's a thought, jackasses: leave the fucking house.)
CAST: Julie Harris, Claire Bloom, Richard Johnson, Russ Tamblyn, Lois Maxwell, Fay Compton, Valentine Byall, Rosalie Crutchley.
DIRECTOR: Robert Wise
WARNING: Some SPOILERS and lots of things going bump, boo, and bang in the dark....
Utter the name "Shirley Jackson" before any confirmed fan of supernatural/ghost novels, and they will likely either jizz or cross themselves. You see, Ms. Jackson was the author of a little novel called THE HAUNTING OF HILL HOUSE. Released in the late 50's, the book dealt with a 90-year old mansion in the most remote part of New England. And not just any 90-year old mansion - but one with a troubled history of mysterious deaths and occurrences. The novel was such a runaway success that it spawned two films: a very good one in 1963 and a very shitty one in 1999. But first things first...
At one time owned by a tycoon named Hugh Crain, Hill House has seen two of his wives die mysteriously. After Crain's own death, his daughter Abigail basically grew to be an ancient spinster in the house, eventually succumbing herself to whatever fucked-up influences lurk within its walls. Not long after Abigail's death, her caregiver (who inherited the house) inexplicably hangs herself. And Hill House has been abandoned since. So, in summary, the place ain't exactly Disneyland.
Years and years later, a quartet of foolish dipshits show up to, ahem, investigate it's mysterious phenomena. This group is comprised of: (1.) Dr. Markway (Richard Johnson), some sort of scientist who is trying to rationalize ghostly phenomena - that is, when he's not standing around trying to look like Sean Connery; (2) Eleanor Vance (Julie Harris), a repressed spinster who is so high-strung and prone to violent shouting you have to wonder if she's the reason Prozac was invented; (3) Luke Sanderson (Russ Tamblyn), a carefree lad who expects to one day inherit Hill House and is forever hitting on (4) Theo (Claire Bloom), a sleek and seductive city girl who seems more interested in - gasp! - Eleanor. Way to be ahead of your time, Theo baby. Flip that straight girl...
Also in the house are its caretakers, Mr. and Mrs. Dudley (Valentine Byall and Rosalie Crutchley). Mr. Dudley barely has any screen time so, far all I know, a piece of furniture named Valentine Byall played him; concerning Mrs. Dudley, well, she has more screen time and I frankly wish she didn't - mainly because the bitch is fucking creepy and prone to saying things to our heroes like, "We leave at 6 PM every night. Before it gets dark. The closest house is 9 miles away. If anything happened, no one could hear you. In the night. In the dark." Thanks, you demonic bitch, for the warm fuzzies. Now fix our fucking dinner and go back to your coffin in town.
At any rate, Markway's strategy for investigating Hill House seems to consist of having his team: (1) wander around the house, (2) stare like dumb shits at the paneling, (3) argue with one another, and (4) occasionally listen to him give some techno-philo-psycho-babble bullshit about "cold spots" and even more boring Hill House history. Very scientific, dude. I can see you planned this project well.
Anyway, Eleanor promptly begins to go ape-shit. Not surprising since the following things occur: (1) someone - or something - repeatedly slams what sounds like a whole blue whale against her and Theo's closed bedroom door, (2) someone - or something - scrawls HELP ELEANOR COME HOME PLEASE on the front hallway wall, (3) someone - or something - moans and groans from down the hall like he's getting the Blowjob of the Century, and (4) someone - or something - grabs her hand in the dark and squeezes it until she screams, "Stop it, Manny Pacquiao!" Okay, maybe it isn't Pacquiao - but it sure as hell felt like someone with powerful fists.
Is Eleanor going crazy? Are the others trying to push her over the edge? Is Hill House really haunted? Is Markway just trying to punk them? Or is Hugh Crain really back to kick some ass? Who will live? Who will die? Why the fuck don't they just get the hell out of the house? And - most importantly - will Eleanor and Theo finally get down for some hot girl-on-girl action? Well, let's just say that - as with the book - not all these questions are answered, with most left to the imagination. And, since this was the 60's, you can forget about Theo and Eleanor making like Denise Richards and Neve Campbell in WILD THINGS. And just because it stars Catherine Zeta Jones, don't think you'll see any skin in the limp 1999 remake, either.
BUT, SERIOUSLY: In a word, THE HAUNTING is, well, rather haunting. Taking a simple "team-investigates-haunted-house" scenario, but painting it in ambiguous and eerie tones, director Robert creates an terrifying film that is all the more effective by not showing the horror lurking in the dark - and just implying its presence. Which made things far more terrifying.
THE HAUNTING has some very frightenting set-pieces: (1) the attack by an unseen force on Theo and Eleanor's bedroom door, (2) The group finding the message scrawled on the hallway wall, (3) Eleanor being awakened by the ghostly moans and whispers from down the hall, (4) the mysterious "hand" that grips Eleanor's in the dark, and (5) the climax on Hill House's driveway. While these sequences may seem quaint and old-hat compared to modern horror films, the are noteworthy for paving the way for future horror films. Sadly, none of the the films that came after could duplicate THE HAUNTING's sense of dread and foreboding - especially the pathetic remake.
The cast is uniformly fine. Richard Johnson makes for a cool, level-headed hero as Markway. Russ Tamblyn is suitably flip and light as Luke. As for the women, Claire Bloom turns in the most intriguing performance as Theo, a woman who is either bisexual or lesbian, but never telegraphs this. Instead, she conveys a lot with cat-like movements, mysterious smiles, and knowing looks. Even with feline ambiguousness, though, Bloom also manages to get across Theo's genuine concern for Eleanor.
As the pivotal center that the plot comes to revolve around, Julie Harris as Eleanor Vance turns in a performance that is shrill in some parts, sympathetic in others. For the longest time, I found the character hard to like, given as she was to screaming like a banshee at the slightest provocation. I used to think that this was Julie Harris's acting choice. Recently, however, I found out she disagreed with how director Robert Wise wanted her to play the character. However, not wanting to rock the boat, Ms. Harris just went along with his plan. The result is a heroine that I am ambivalent over. In the end, you can't help but sympathize with her, but she does try your patience occasionally. I have to wonder how Julie Harris wanted to play Eleanor. My gut tells me she would've toned down Eleanor's hysterical side somewhat - which would have gone a long way in making her more appealing.
Bottom line: THE HAUNTING is a solid haunted-house flick that deserves its reputation. Unfortunately, it would be followed in 1999 by one of the most ill-advised, ill-conceived, and ill-executed remakes ever.
