Hill House has stood for about 90 years and appears haunted: its inhabitants have always met strange, tragic ends. Now Dr. John Markway has assembled a team of people who he thinks will prove whether or not the house is haunted.
Dr. Markway, doing research to prove the existence of ghosts, investigates Hill House, a large, eerie mansion with a lurid history of violent death and insanity. With him are the skeptical young Luke, who stands to inherit the house, the mysterious and clairvoyant Theodora and the insecure Eleanor, whose psychic abilities make her feel somehow attuned to whatever spirits inhabit the old mansion. As time goes by it becomes obvious that they have gotten more than they bargained for as the ghostly presence in the house manifests itself in horrific and deadly ways.Written by
Doug Sederberg <firstname.lastname@example.org>
Robert Wise had seen Julie Harris in a play and decided she was perfect for the leading role. She later confessed that shooting the picture had been very hard on her. She saw her character, Eleanor, in a different way than director Wise but didn't feel it was her place to disagree, so playing the part was a struggle for her. Still, she claims Wise was a perfect gentleman and they remained friends for decades. See more »
When Nell arrives at Hill House, she's given a room right at the top of the stairs with several obtuse angles. However, the view from the hallway afterward shows a room with right angles implying the two locations are two separate sets. See more »
Dr. John Markway:
An evil old house, the kind some people call haunted, is like an undiscovered country waiting to be explored. Hill House had stood for 90 years and might stand for 90 more. Silence lay steadily against the wood and stone of Hill House, and whatever walked there... walked alone.
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The original cut of movie (shown 24/9/03 at Filmhouse, Edinburgh) has several differences from the general release print -
Alternate opening with voice-over by the Mrs. Sanderson character in place of the Markway monologue. The titles prior to this scene are slightly different. The 'History of Hill house' scene continues into the meeting with Mrs Sanderson and Markway but in this version, it is Sanderson who is doing most of talking.
The following scene from the general release print of Markway listing his subjects on a blackboard is missing. In its place is a scene where Theo throws her lover out her apartment and, next to a photo of her lover, writes "I Hate You!" on a mirror in lipstick, looks at her reflection and mutters "I hate you too...". She then receives her invitation from Markway. This is delivered to her by her landlady, who requires the excess postage to be paid. Theo already knows this is to be paid and there is humorous exchange concerning her ESP or her 'gift.'
There are several extended scenes involving Eleanor's 'inner thoughts' - most of which tie into her thoughts on her possible relationship with Markway. The scene showing her traveling to Hill house is extended with more 'inner monologue' material including a couple of shots of her turning onto 'Route 238' and commenting on "Journey's end in lovers meeting...".
The Morning/Harp scene runs longer and contains more dialogue from both Eleanor and Markway. This print had a title card prior to the MGM logo - "This print is on loan from the National Film and Television Archive."
The Haunting is directed by Robert Wise and adapted to screenplay by Nelson Gidding from the Shirley Jackson novel The Haunting of Hill House. It stars Julie Harris, Claire Bloom, Richard Johnson, Russ Tamblyn and Lois Maxwell. Music is by Humphrey Searle and cinematography by David Boulton.
Hill House has a troubled history, death, either by accident or by suicide, has occurred there over the years. Today, Dr. Markway, an anthropologist and investigator of paranormal activity, leads a team of four for a stay at Hill House, where they will stay for a period of time in the hope that Markway can prove something paranormal resides there
The haunted house premise has been a staple for horror film makers since forever. To place the viewer in a murky house, alongside some character unfortunates, and then scare the tar out of them has always been the aim. It hasn't often worked to great effect, in fact the number of genuine scary haunted house movies barely trouble the fingers of both hands. How strange, then, that the best of the bunch chose a simple formula that has never been replicated since with the same great effect.
The Haunting thrives not on what it throws at you by way of jumps and peek-a-boo visceral shocks, it deals firmly in the realm of what you can't see scares you the most. Where we have to use our own fretful imaginations to fill in the blanks for us, which is never a good thing in psychological horror parlance. Robert Wise, a most gifted and versatile director, uses oblique camera angles, thundering sound effects and angled close ups of his actors to get the maximum amount of atmosphere from the premise.
Distortion is very much a key component here. We are told the history of the house and some of its structural quirks, the camera angles heighten this for ethereal impact whilst simultaneously marrying up to the distortion of a key character's mental health. The story in essence sounds simple, yet there is much bubbling away in Hill House, both on the page and up there on the screen. This is not simply a case of a group of people being haunted by a spectre or otherwise, the mind is a key player here, very much so.
Along the way are some truly breath holding scenes; a bending door, pounding in the corridor, a face on the wall (the lighting here genius), Nell's hand holding incident, a rickety spiral staircase that we fear from the off, and the ghostly finale as Hill House reveals its hand and what we thought was a simple and true narrative is actually more clever, more chilling than we first imagined. Suggestion is a very big thing in The Haunting, it's what drives it to greatness, but it also has scenes that really bring the gooseflesh jumping up on your arms.
The acting is mostly great, with Tamblyn and Johnson correctly underplaying their roles to let the two girls take centre stage. Both Harris and Bloom are excellent. As Nell, Harris is nervous, introverted and caught up in the atmosphere of the house, it's the pivotal role and Harris instills a heart aching fragility into the character. Bloom as Theodora has mystical qualities, a sexiness and a devilishly playful disposition, things that play off of Harris' egg shell walking quite brilliantly. While the house itself (exterior is Ettington Park Hotel in Stratford-Upon-Avon) is an ominous character all of its own. As Nell first spies the monolithic frontage she muses that it's a monster waiting to swallow her, a small creature, whole; we know exactly how she feels.
Still the template haunted house movie, accept no substitutes and ignore stupid claims of homophobia, this is intelligent, scary and crafted with great skill. 10/10
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