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House of D (2004)

PG-13  |   |  Comedy, Drama  |  29 April 2005 (USA)
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Ratings: 7.0/10 from 7,223 users   Metascore: 33/100
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By working through problems stemming from his past, Tom Warshaw, an American artist living in Paris, begins to discover who he really is, and returns to his home to reconcile with his family and friends.



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Cast overview, first billed only:
Lady / Bernadette
Magali Amadei ...
Coralie Warshaw
Bernie Sheredy ...
Sasha (as Bernard Sheredy)
Ticket Seller
Mrs. Brevoort
Harold Cartier ...
Odell Warshaw
Mr. Pappass


On their son Odell's 13the birthday, graphic artist Tom Warszaw finally confesses to his wife why he fled Greenwich Village, NYC at that age to Paris. As a schoolboy, naturally sensitive, considerate Tommy was best buddy with 'adult' half-wit Pappass, father Duncan's Catholic school's assistant janitor. Smothered by his dependent mother, a dumb orderly, Tommy got 'parental advice' from a women's prison inmate. Together with Pappas, he saves up tips from their butchery delivery rounds. One night, Pappas steals the bike they were saving for. Tommy tries to take the blame, but ends up expelled as if the instigator. Even more tragic consequences follow. Written by KGF Vissers

Plot Summary | Plot Synopsis


See the world a little differently. See more »


Comedy | Drama

Motion Picture Rating (MPAA)

Rated PG-13 for sexual and drug references, thematic elements and language | See all certifications »





Release Date:

29 April 2005 (USA)  »

Also Known As:

Can dostlar  »

Box Office


$6,000,000 (estimated)

Opening Weekend:

$36,371 (USA) (15 April 2005)


$371,081 (USA) (6 May 2005)

Company Credits

Show detailed on  »

Technical Specs


Sound Mix:


Aspect Ratio:

1.85 : 1
See  »

Did You Know?


Film writing/directing debut of David Duchovny, who claims to have written the screenplay in six days. See more »


Both Donald Trump World Tower (completed 2001) and 100 UN Plaza (completed 1986) are visible in the 1973 New York City skyline. See more »


Melissa: Your outfit is... um...
Tommy Warshaw: Orange?
Melissa: Really orange.
See more »


Referenced in Crossover (2006) See more »


Written by Gregg Allman, Steve Alaimo
Performed by Erykah Badu, The Allman Brothers Band
Courtesy of Universal Records
Under License from Universal Music Enterprises
See more »

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User Reviews

Moving, sweet, and deeply human
14 May 2004 | by (NY) – See all my reviews

Of course I went into the premiere at the Tribeca Film Festival hoping to like it. Still, I'm not sure I would have liked anything on the screen just because it was David's; I have a highly-developed sense of being able to cringe in empathetic embarrassment when someone I like royally screws something up. So while I wanted to like what I saw, I also prayed I wouldn't have to cringe anywhere along the line.

I needn't have worried. It's a lovely piece of work. It's just sweet enough to grab at your heart; it's just gritty enough to have its feet firmly on the ground. The writing is 'lean' in the best sense of the word: there is not an ounce of fluff on it; nothing gratuitous that was tossed in for the easy laugh or for the cheap pathos of the moment. Every word in the script, every shot in every scene, earned the right to be there.

What I loved about David's writing in his two X-F eps, I loved here too. It's character-driven, not plot-driven; so while he definitely has an idea of the story arc, rather than having a sense that he molded the characters' actions to fit the plotline, you feel he presented these characters with this situation and let them tell him how they handled it. Because of this,

you don't see actors reading lines -- you see living, breathing people, having lives. In many films you can spot one or two actors who achieve this through their own talents, but when it's everybody in the production, you have to assume it was the writing and direction that gave them their wings.

These people must have loved working for him. He has said that he didn't really have a hard idea of how the lines were supposed to read or how the scenes were supposed to be played; he just wrote down the words and let the actors take them. And he was smart enough to assemble a group of actors who could not just take them but could run with them. If Anton Yelchin in particular is not considered for some awards for this performance, it will be very surprising indeed.

The camera work and editing are marvelous. Again, he was smart enough to hire very good people, but we saw the evidence of his good eye in those two X-F eps, and it's a cinch he didn't have to hire those people to make up for anything he was lacking. Right from the get-go, the visuals of the opening scenes are so engaging, and it stays that good throughout. Like the writing, the cinematography and production are very purposefully done, and all work toward achieving a particular effect.

So, okay. It wasn't as good as I hoped it would be... it was better. :-)

94 of 152 people found this review helpful.  Was this review helpful to you?

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