| Photos (See all 40 | slideshow) |
| James Brolin | ... | George Lutz | |
| Margot Kidder | ... | Kathy Lutz | |
| Rod Steiger | ... | Father Delaney | |
| Don Stroud | ... | Father Bolen | |
| Murray Hamilton | ... | Father Ryan | |
| John Larch | ... | Father Nuncio | |
| Natasha Ryan | ... | Amy | |
| K.C. Martel | ... | Greg | |
| Meeno Peluce | ... | Matt | |
| Michael Sacks | ... | Jeff | |
| Helen Shaver | ... | Carolyn | |
| Amy Wright | ... | Jackie | |
| Val Avery | ... | Sgt. Gionfriddo | |
| Irene Dailey | ... | Aunt Helena | |
| Marc Vahanian | ... | Jimmy | |
| Elsa Raven | ... | Mrs. Townsend | |
| Ellen Saland | ... | Bride | |
| Eddie Barth | ... | Agucci | |
| Hank Garrett | ... | Bartender | |
| James Tolkan | ... | Coroner | |
| Carmine Foresta | ... | Cop at the House | |
| Peter Maloney | ... | Newspaper Clerk | |
| Charlie Welch | ... | Carpenter | |
| J.R. Miller | ... | Boy | |
| Patty Burtt | ... | Girl | |
| Michael Hawkins | ... | New York State Trooper | |
| Richard Hughes | ... | 2nd New York State Trooper | |
| James Dukas | ... | Neighbor (as Jim Dukas) | |
| Baxter Harris | ... | Cop #2 at the House | |
| Michael Stearns | ... | Policeman | |
| Jack Krupnick | ... | Dead Father |
Directed by | |||
| Stuart Rosenberg | |||
Writing credits | ||
| Sandor Stern | (screenplay) | |
| Jay Anson | (book) | |
| George Lutz | story (uncredited) | |
| Kathy Lutz | story (uncredited) | |
Produced by | |||
| Samuel Z. Arkoff | .... | executive producer | |
| Elliot Geisinger | .... | producer | |
| Ronald Saland | .... | producer | |
Original Music by | |||
| Lalo Schifrin | |||
Cinematography by | |||
| Fred J. Koenekamp | (director of photography) | ||
Film Editing by | |||
| Robert Brown | (as Robert Brown Jr.) | ||
Casting by | |||
| Jane Feinberg | |||
| Mike Fenton | |||
| Judy Taylor | |||
Art Direction by | |||
| Kim Swados | |||
Set Decoration by | |||
| Robert R. Benton | (as Robert Benton) | ||
Makeup Department | |||
| Stephen Abrums | .... | makeup artist | |
| Christine Lee | .... | hair stylist | |
Production Management | |||
| Salvatore Billitteri | .... | post-production supervisor | |
| Jere Henshaw | .... | executive in charge of production | |
| Russell Saunders | .... | unit production manager (as Russ Saunders) | |
Second Unit Director or Assistant Director | |||
| Benjamin Rosenberg | .... | second assistant director | |
| Edward E. Vaughan | .... | first assistant director (as Ed Vaughan) | |
Art Department | |||
| Donald B. Nunley | .... | property master (as Donald Nunley) | |
Sound Department | |||
| Stephen Hunter Flick | .... | sound effects editor | |
| Robert W. Glass Jr. | .... | sound re-recording mixer (as Robert W. Glass) | |
| Maury Harris | .... | sound mixer | |
| Bill Henderson | .... | sound re-recording engineer | |
| Christopher Ramsey | .... | boom operator (as Chris Ramsey) | |
| Richard Tyler | .... | sound re-recording mixer | |
| John Wilkinson | .... | sound re-recording mixer (as John K. Wilkinson) | |
Special Effects by | |||
| Dell Rheaume | .... | special effects (as Delwyn Rheaume) | |
Visual Effects by | |||
| William Cruse | .... | visual effects | |
| Allen Blaisdell | .... | visual effects (uncredited) | |
Stunts | |||
| Bruce Paul Barbour | .... | stunt driver | |
| Brian Bruderlin | .... | stunt double | |
| Roger Creed | .... | stunt coordinator | |
| Conrad E. Palmisano | .... | stunt driver | |
| Rick Seaman | .... | stunt driver (as Richard D. Seaman) | |
Camera and Electrical Department | |||
| Mike Benson | .... | camera operator (as Michael Benson) | |
| Edward Morey III | .... | camera assistant | |
| John Murray | .... | key grip (as Johnny Murray) | |
| Gene Stout | .... | gaffer (as Eugene Stout) | |
| Hal Trussell | .... | electrician | |
Costume and Wardrobe Department | |||
| Cynthia Bales | .... | wardrobe: women | |
| Richard Butz | .... | wardrobe: men | |
Editorial Department | |||
| Bill Berry | .... | negative cutter | |
| Dee D'Orazio | .... | additional editing (as Etter 'Dee' D'Orazio) | |
| Stanley Frazen | .... | associate editor | |
| Dennis Galling | .... | assistant editor | |
| Barbara Gandolfo-Frady | .... | apprentice editor (as Barbara Gandolfo) | |
Music Department | |||
| Kenneth Hall | .... | music editor (as Ken Hall) | |
| Aaron Rochin | .... | scoring mixer | |
Transportation Department | |||
| Johnny Dias | .... | transportation | |
Other crew | |||
| Susan Anker | .... | production secretary | |
| Samuel Z. Arkoff | .... | presenter | |
| Thomas Bermingham | .... | religious supervisor (as Reverend Thomas Bermingham) | |
| Gary Gillingham | .... | production controller | |
| Connie Greenwood | .... | unit controller | |
| Karl Lewis Miller | .... | animal trainer | |
| Mary Ann Newfield | .... | script supervisor | |
| Barbara Pieters | .... | production coordinator | |
| Steve Warner | .... | location auditor | |
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| The Amityville Horror | La corta notte delle bambole di vetro | Amityville II: The Possession | The Omen | Carrie |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Horror section | IMDb USA section |
Over the years, I have truly enjoyed "The Amityville Horror," a 1979 haunted house flick that has been critically, and unfairly, bashed. Since it's based on a true story, the critics have found that they dislike the movie based on their knowledge of the movie's inspiration. Now, here's my opinion: fiction or non-fiction, Stuart Rosenberg managed to make a fun, campy, and all around creepy horror film that resonates as one of the most famous haunted house movies ever created.
Everyone knows the legend about that house in Amityville, New York, the Dutch Colonial on 112 Ocean Avenue. The movie begins in 1974, when Ronnie DeFeo Jr. murdered his family in the house at 3:15 am, shooting them all in their sleep. A year later, George and Kathy Lutz bought the house and moved in with their three children and their dog, Harry. Aware of the tragedy that occurred in the home, George and his wife planned to fix it up and start a new life after their recent marriage. After all, "houses don't have memories." But then, things went wrong. Horribly wrong. And after 28 days, the family left the house and fled Amityville, never turning back.
Of course, Jay Anson's novel was a bestseller. I've personally read it myself, and it's written well. But there are several different variations on what happened during those 28 days, even with George and Kathy Lutz. So, for those of you who know the story before you watch the movie, it's hard to distinguish what is and isn't true. Some of you may not believe it at all. However, I am one of those people that believe in this account of a suburban haunted house, after watching rather truthful and intelligent interviews with the Lutzes and other paranormal investigators. But aside from that, what matters most about "The Amityville Horror" is how it works as a movie.
First of all, the setting means everything. Filmed in New Jersey, and not actually filmed in Amityville, the house is a particularly creepy abode to look at, especially during night scenes. Those two windows become a character all their own. They stare out into the night, and give the viewer the horrible feeling that they're being watched.
Also, there is definitely enough paranormal activity going on to keep you interested. However, the ghostly phenomenon doesn't start right away. In fact, it builds sporadically, creating a wonderful sense of dread. If you can appreciate a good build-up without much special effects(until the dynamite ending), then you will probably like the movie.
James Brolin and Margot Kidder are a joy to watch as George and Kathy Lutz. They are not perfect performances by far(there are moments when their performances go a little too over the top). But there are great things to see here between Brolin and Kidder. They have sincere moments together as husband and wife. Other times when things get frightening, their shock and fear comes off naturally. Then we are scared for George and Kathy. Basically, Brolin and Kidder give mostly good performances.
We also have Rod Steiger's performance as Father Delaney to judge. Sandor Stern's script has limited this character, and therefore, Steiger is not in the movie too much, but he makes the most with the screen time he has. In fact, he makes the role larger, and we're not just scared for the Lutz family, but for him also.
Obviously, some events in "The Amityville Horror" are slightly exaggerated when you compare them with the book's events or the perspectives of others who have experienced the haunting. But that doesn't make the movie any less entertaining. I look past its flaws, and embrace it for what it is: a cult classic that has gotten some damn good attention over the years. It's not a masterpiece, but I continue to love and believe in "The Amityville Horror."