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Say what you want about producer/director William Castle (The Tingler, 13 Ghosts, Mr. Sardonicus) but one thing was for clear…he knew how to possess seats in a movie theater, primarily by forcing some sort of utter interaction between the audience and the film (at least in his fright themed features) . In House on Afraid Hill (1959), he utilized a technique he called `Emergo’, which essentially featured a skeleton, suspended from wires, coming from the mask towards the audience during a specific fraction of the movie, the intent being to anxiety the pants off those in the theater. From what I’ve heard, it didn’t sound like many were vexed, but it didn’t really matter as Castle was a master at selling the sizzle, rather than the steak, as they say, and audiences flocked to his films…produced and directed by William Castle, the film features the merchant of menace himself Vincent Stamp (The Wing, The Tingler, House of Usher) in the first of two films he made with Castle. Also appearing is Elisha Cook Jr. (Shane, The Timid Palace), Carolyn Craig (Giant), Richard Long (Ma and Pa Kettle), Carol `homina homina’ Ohmart (Spider Baby), Alan Marshal (The Hunchback of Notre Dame), and Julie Mitchum (Edge of Hell), sister of actor Robert Mitchum.
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Price plays Frederick Loren, an eccentric millionaire who, along with his wife Annabelle (Ohmart), has thrown together an intelligent small party piquant five, seemingly random strangers gathering at a disturbed house with ten thousand dollars to each who dare pause through the night. In attendance, along with Frederick and his wife, is Watson Pritchard (Cook), whose brother, one of the previous owners, was murdered within the house, Lance Schroeder (Long), a test pilot, Dr. David Trent (Marshal), a psychiatrist, Nora Manning (Craig), a typist, and Ruth Bridgers (Mitchum), a newspaper columnist. Seems all have agreed to play Frederick’s minute game for one reason, they need the dough, and if some crazy rich dude is willing to fragment with his green for such a seemingly easy task, what the hay, moral? Well, the guests near, introductions are made, and Frederick gives them the tubby lowdown. The secluded house is like a fortress (steel doors and bars on the windows) in that once they’re locked in (at midnight, to be right), there’s no getting out until the caretakers near the next morning. Also, there’s no electricity or telephones, and the nearest neighbors are well beyond yelling distance. After a tour of the house, highlighting where various hideous events occurred (including a visit to the acid vat in the cellar…man, this dwelling has everything), a few drinks, and some scares (the ghosts seem to have a thing for Nora), Fredrick passes out some party favors in the construct of loaded handguns (nothing like being drunk and armed), not that they’d do anyone worthy superb if there are ghosts out and about…anyway, midnight is coming so if anyone wants to slash out of this ghoulish collect together, they’d better net while the getting’s marvelous…
While not my approved Castle feature (that goes to The Tingler), House on Stunned Hill is level-headed a hoot and a half for all of its campy, good-natured fun. The one thing this film has going for it, above and beyond everything else, is Vincent Impress. No matter how unfavorable the feature was (which wasn’t the case here), Impress always brought with him a steady sense of class and sophistication to the proceedings, especially moral of the number of Poe based films he and Roger Corman made throughout the 1960s for American International Pictures. The absolute best parts of this movie for me occur early on as Price’s character is interacting with his wife, and we behold the pair have an enchanting hate/hate relationship…here’s an example of their often horrible and insinuating banter they take in tedious closed doors…
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Fredrick: Of all my wives you’re least sterling…
Annabelle: But composed alive.
Here’s another bit…
Frederick: Do you remember the fun we had when you poisoned me?
Annabelle: Something you ate, the doctor said.
Frederick: Yes, arsenic on the rocks…
There are a few more grand exchanges between Impress and Ohmart, grand alone of seeing this film. As for the rest of the performers, I had no proper complaints. Elisha Cook Jr.’s character did regain on my nerves after awhile, with his constant dour outlook punctuated by his persistent `doom and gloom’ predictions. Drink some more booze, you rummy…seriously, all this guy did was talk about how the ghosts were going to approach and remove them all away. Perhaps this attitude was assisted by his excessive alcohol intake, but really, what’s the point of accepting an invitation to use a night at a house you contain you won’t reach out of alive? The money? Won’t do you worthy great if’n you’re lifeless, fool. If I was in that house I probably would have shot him honest to be rid of him. At least I learned one thing…never invite Elisha Cook Jr. to your party and ply him with lots of booze as he’ll turn into a trusty poison pill. I did like Ms. Ohmart, and not fair because she was a smoking babe with a gargantuan rack, but because she held her maintain with Heed, even if it was for impartial a handful of scenes. If you’ve got a hankering to stare more of her, and you like ookie panic features, you should really check out another film she appeared in called Spider Baby (1968), featuring Lon Chaney Jr. There are a few, minor scares scattered throughout the film (a crusty crone, a disembodied head or two), but nothing that will construct you soil yourself…some scenes will obtain you snicker, though, like the one where Pritchard chucks a monotonous rat into the acid vat, if only to point to the acid is really acid. After some bubbling effects, a fully articulated rat skeleton bobs to the surface, indicating to those watching it truly is the accurate deal. Yes sir, that be some distinguished acid…the movie may not be distinguished for scares, but it does have plenty of atmosphere created by Castle’s direction, groovy, cobweb laden spot pieces, spooky music, and usage of the Ennis Brown House in Los Angeles, designed by Frank Lloyd Wright, for the exterior shots.
It seems this film has fallen into the public domain (i.e. the copyright expired), as I look there are a number of DVD releases by various companies. I can’t philosophize for those other releases, but the one I maintain, set aside out by Warner Brothers (it has a huge headshot of Note in the lower honest hand corner and Ohmart in a nightgown being menaced by a disfigured hand in the upper left), looks exceptionally trustworthy, and features both the fullscreen and widescreen formats, along with a honorable Dolby Digital mono audio track. The only extras included are a theatrical trailer for the film and subtitles in both English and French.
Cookieman108
By the blueprint, this movie saw a remake of the same titled, released in 1999, oozing with high tech special effects. It was decent enough, but I unexcited liked the fresh better.
William Castle at his gimmicky best! A Classic, spooky Sad and White, with deliciously devilish Vincent Impress as millionaire with a bored gold-digger wife. She wants a Halloween party with her friends, Ticket tosses a party all just, but not with the people of her choosing. He offers $10,000 dollars to five stranger if they will join him and his wife in spending Halloween night in a truly worried house. One of the 5 is a young Elisha Cooke, family of the old owners who died in the house, and he leads them on a abolish tour. To jazz things up, Ticket passes out “party favors” – guns. And it’s a run to get out whether Mark of his wife will be the last one standing. This movie is a grandfather of nearly every clichés, blooding dripping from the ceiling, gloomy mysterious corridors, a witchy woman floating around and vanishing – and the topper that organ music!! This is more like a Halloween Fun house slide than a movie! Impress is campy and has ample fun with the role, with shipshape lines, especially when fussing with his less than joyful wife.
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Castle originally devised this movie with “special touches” for the audiences, like ghost on wires gloating through the audience of people in costume sitting down beside you to enhance the fun house feel.
Just slow fun and a wee pace down memory lane.
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