The Legend of Hell House (1973)
There is a school of thought that the key to crafting a good horror or supernatural film lies with creating an atmosphere that impacts upon the viewer’s mind and emotions, rather than relying solely upon visual effects, gore and spectacle. Director Robert Wise clearly demonstrated this in his 1963 film The Haunting, based upon Shirley Jackson’s book The Haunting of Hill House. In many ways the film is seen as vindicating this particular theory. The Legend Of Hell House, made a decade later, is another example of this approach to genre film making. Directed by John Hough and written by Twilight Zone veteran and cult author Richard Matheson, it is another meticulously crafted piece of cinema with a focus on increasing tension and a sense of disquiet. Rather than intermittently scalding the viewer with jump scares, the film’s atmosphere is more akin to placing the audience in water and slowly bringing them to a boil.
Physicist Dr. Lionel Barrett (Clive Revill) is contracted by eccentric millionaire Mr. Deutsch to make an investigation into "survival after death". He must conduct his experiment in "the one place where it has yet to be refuted". The Belasco House, the "Mount Everest of haunted houses", originally owned by the notorious "Roaring Giant" Emeric Belasco. A six-foot-five perverted millionaire and alleged murderer, who disappeared soon after a massacre was discovered at his home. The house is believed to be haunted by numerous spirits, all victims of Belasco's twisted and sadistic desires. Accompanying Barrett are his wife, Ann (Gayle Hunnicutt), as well as two mediums. The first is mental medium and spiritualist minister Florence Tanner (Pamela Franklin) and the second is physical medium Benjamin Franklin "Ben" Fischer (Roddy McDowell). Ben is the only survivor of a previous investigation conducted 20 years before. All others involved either died or subsequently went mad.
British TV and film director John Hough had a very eclectic background prior to making this film. Yet despite only making one previous horror film (Twins of Evil for Hammer studios) he certainly shows a flair for the genre here. Using a very direct style bordering on a faux documentary, The Legend Of Hell House moves efficiently through its story. The Pre-credits sequence clearly sets out the film’s remit and then wastes no time in exploring it. It is not long before there is a seance with ectoplasm manifesting around Florence. And then both Florence and Ann are subject to nocturnal disturbances and whisperings. The spirit activity also plays heavily upon their sexual desires, especially Ann who is repressed. There are some intermittent jump scares and sudden jolts but Hough focuses more upon the characters reaction to the increasingly malevolent atmosphere, as the house itself preys upon each of the four researcher’s weaknesses.
Underpinning the proceedings is a discordant and sinister electronic score from former BBC Radiophonic workshop pioneers Delia Derbyshire and Brian Hodgson. It is composed mainly of sounds and rhythms rather than traditional music and motifs and it works incredibly well. The cast are all on top form and acquit themselves well, especially McDowell. His calm demeanour hides the true horror of his previous experience at the Belasco House. There is a disquieting scene in which he finally lowers his psychic barriers to the evil presence. The camera spends several seconds holding McDowell in a close shot only for him to scream directly into the camera. Gayle Hunnicutt also gives a very sympathetic performance, as the spirit exploits her latent desires. Screenwriter Richard Matheson, who adapted his own novel, has toned down the sexual content and it is handled intelligently rather than explicitly. Viewers are made abundantly aware how human lust becomes a point of leverage by the force inhabiting the house.
The Legend Of Hell House remains a genuinely creepy and undeniably uneasy viewing experience. It explores the conflicts between traditional spiritualism and scientific enquiry into the so-called supernatural with an honest eye. The two make for curious bedfellows but this idea works well with the confines of this story. The ending is a curious blend of both methodologies which I felt was genuinely innovative. I would also like to note how the Blu-ray release of The Legend Of Hell House benefits greatly by having subtitles. They show what many of the inaudible whispering voices are saying which greatly enhances the story. Over the years The Legend Of Hell House has grown in reputation. It received mixed reviews upon its theatrical release in 1973 but has garnered more attention over time by critics who see it as a more cerebral work, rather than standard horror exploitation fodder. Discerning genre fans with an interest in noteworthy films should certainly add it to their watch list.
