The Haunting (1963)
Review by Voodoun Romance
The Haunting is the “little old woman” of the horror genre – even if you don’t like her, you’ve still got to show her some respect. Sure, it’s a film frequently overlooked in horror circles; possibly due to its distinct lack of gore, sex and even creative death sequences. But that doesn’t mean the film isn’t memorable. You see, The Haunting doesn’t deal with malicious monsters or some other creature that goes bump in the night (well, strictly speaking, it does, but they’re not of your standard flesh-and-blood variety). Nope, The Haunting is a traditional ghost story. But, it isn’t a rattling chains and floating sheets affair; it’s an intelligent, thought-provoking tale. I’d go as far as to deem it the definitive ghost story.
Director Robert Wise (whose previous horror credentials include Curse of the Cat People and The Body Snatcher in the 1940s) has relied upon other means to invoke terror, however. What’s scary is simple: it’s the unseen, the burgeoning tension and mounting sense of dread, the noises and the strange, unexplainable occurrences. I believe that’s something a truly gifted director (like Wise) can accomplish – create a menacing presence without the aid of a visual representation of the antagonist(s). And the late Robert Wise was one marvelous director. From the opening credits, he manages to captivate us, drawing us into his twisted little horror film of a house “born bad”.
Based on Shirley Jackson’s novel, The Haunting of Hill House and scripted by Nelson Gidding, the film follows Eleanor “Nell” (Julie Harris), Theodora “Theo” (Claire Bloom) and, Luke (Russ Tamblyn) as they arrive at Hill House, the site of an experiment hosted by the dashing Dr. John Markway (Richard Johnson). As it transpires, Dr. Markway’s research deals with the existence of paranormal activity, and Hill House has a rather extensive back catalog of violent ‘accidents’, suicide and just plain bad luck. Granted, the locals are cautious of the house, and stories are rife of its apparent haunting, which is unfortunate for Luke as he’s heir to the massive house. As the narrative develops, the spirits torment the group, particularly Nell, who seems to have a deeper connection with Hill House itself.
In terms of characterization, The Haunting is populated by a small group of diverse, intriguing personalities, whose presence bring a variety of themes into the fold. It is revealed that Nell’s Mother recently passed away, and she took up the opportunity to go to Hill House in order to escape her sister’s family. Due to her sheltered existence, Nell’s had very little experience in the outside world, and is constantly drawn to the idea of having a “home”. Theo is an artist and a psychic, and is instantly drawn to the fragile Nell – it’s strongly suggested that she’s a lesbian/bisexual — a fact that is backed up by the sexual tension between her and Nell. Despite her characters brash nature, Claire Bloom embodies Theo with enough tenderness and vulnerability, making her an engaging figure. Luke is an arrogant playboy, but is easygoing and likable enough – his journey at Hill House is complete when he acknowledges the paranormal forces at work. Dr Markway is the voice of reason, and he holds the group together, acting as mentor. Overall, the acting is solid, even if Julie Harris’ Nell is a little shrill at times.
A particularly interesting aspect of the film is that Hill House can be regarded as a character. It has its own wants and needs, and is an entirely foreboding figure, illustrated even more so by Humphrey Searle’s fearsome instrumental score (even if it is, admittedly, a little overdramatic at times). Although straight-laced, the script is fitting for the nature of the film, and still contains many memorable lines of dialogue – just listen to that intriguing prologue lifted from Jackson’s novel! Drenched in shadows and curious threads of mist, The Haunting works extremely well as a black and white film – arguably more so than if it had been produced in color; voices successfully creep amongst the gray backdrop, and it would be hard to imagine such level of mystery achieved amongst vibrant colors. It’s an attribute which Robert Wise associated with the rather limited budget of the film (it was made on little more than $1,100,000, which was seen as a stretch for Wise). Obviously reliant on the unseen, The Haunting put its budget to good use, and doesn’t pause in flexing its creative muscle – one notable illusion is the surreal “bendy door” (an effect achieved by the use of a rubber prop door, and numerous stagehands) and the variety of disembodied voices, making Hill House sound bustling with the deceased. Sweeping pans and bizarre tilts heighten the sense of disorientation, drawing the viewer further into the story.
Despite her family struggles, Nell isn’t the most likable of protagonists; she’s whiny, intolerant and demanding; “But I’ve been expected!” she bemoans several-times-too-many. Nonetheless, it adds to the desperate, hungry nature of the character, who desires – no needs a place to belong. I found the ending somewhat underwhelming; however, it is fitting, both in terms of character and narrative. It’s also rather unsatisfying to see the interaction between the characters fizzle when Nell’s obsession with Hill House grows to disastrous heights. Its former skeptic Luke’s final words which resonate with the viewer; standing outside, he gazes up at Hill House, and mutters; “It outta be burned down, and the ground sown with salt.”
Despite its obvious rooting in the horror genre, The Haunting is so much more than a ghost story; it’s also a character study, dealing with themes such as loneliness, family problems, bereavement, sexuality and the desire to belong. In many ways, The Haunting was leagues before its time, and is a true classic. Even today, it outshines many modern ghost stories – just take a glance at Jan De Bont’s CGI-filled remake, which proved to be nothing more than horrendous, and inferior to the 1963 outing in every sense. So, if you find yourself in the mood for a classic ghost story, go see The Haunting. It’s a wonderfully atmospheric film- a nightmare captured on film. Absolutely essential viewing.
Available from Amazon
Friday, December 12th, 2008 at 9:56 am | Filed under Horror Reviews.
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