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Say what you want about producer/director William Castle (The Tingler, 13 Ghosts, Mr. Sardonicus) but one thing was for definite…he knew how to possess seats in a movie theater, primarily by forcing some sort of announce interaction between the audience and the film (at least in his anxiety themed features) . In House on Apprehensive Hill (1959), he utilized a technique he called `Emergo’, which essentially featured a skeleton, suspended from wires, coming from the camouflage towards the audience during a specific fragment of the movie, the intent being to dismay the pants off those in the theater. From what I’ve heard, it didn’t sound like many were timorous, 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 Effect (The Flee, The Tingler, House of Usher) in the first of two films he made with Castle. Also appearing is Elisha Cook Jr. (Shane, The Shy 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 animated cramped party fascinating five, seemingly random strangers gathering at a insecure house with ten thousand dollars to each who dare conclude 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 runt game for one reason, they need the dough, and if some crazy rich dude is willing to portion with his green for such a seemingly easy task, what the hay, moral? Well, the guests advance, introductions are made, and Frederick gives them the plump 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 valid), there’s no getting out until the caretakers advance 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 gross events occurred (including a visit to the acid vat in the cellar…man, this state 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 create of loaded handguns (nothing like being drunk and armed), not that they’d do anyone worthy salubrious if there are ghosts out and about…anyway, midnight is coming so if anyone wants to crop out of this ghoulish catch together, they’d better secure while the getting’s grand…
While not my approved Castle feature (that goes to The Tingler), House on Afraid Hill is calm 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 Sign. No matter how despicable the feature was (which wasn’t the case here), Imprint always brought with him a accurate sense of class and sophistication to the proceedings, especially right 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 explore the pair have an spicy hate/hate relationship…here’s an example of their often sinful and insinuating banter they win in gradual closed doors…
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Fredrick: Of all my wives you’re least respectable…
Annabelle: But level-headed 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 trustworthy exchanges between Notice and Ohmart, profitable alone of seeing this film. As for the rest of the performers, I had no right complaints. Elisha Cook Jr.’s character did gain 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 near and bewitch them all away. Perhaps this attitude was assisted by his excessive alcohol intake, but really, what’s the point of accepting an invitation to utilize a night at a house you bear you won’t near out of alive? The money? Won’t do you powerful qualified if’n you’re humdrum, fool. If I was in that house I probably would have shot him fair 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 sincere poison pill. I did like Ms. Ohmart, and not fair because she was a smoking babe with a mountainous rack, but because she held her contain with Effect, even if it was for unbiased a handful of scenes. If you’ve got a hankering to inspect more of her, and you like ookie fright 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 produce you soil yourself…some scenes will effect you snicker, though, like the one where Pritchard chucks a unimaginative rat into the acid vat, if only to present 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 staunch deal. Yes sir, that be some great acid…the movie may not be grand for scares, but it does have plenty of atmosphere created by Castle’s direction, groovy, cobweb laden situation 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 observe there are a number of DVD releases by various companies. I can’t insist for those other releases, but the one I possess, save out by Warner Brothers (it has a mammoth headshot of Sign in the lower apt hand corner and Ohmart in a nightgown being menaced by a disfigured hand in the upper left), looks exceptionally fine, and features both the fullscreen and widescreen formats, along with a good 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 diagram, this movie saw a remake of the same titled, released in 1999, oozing with high tech special effects. It was decent enough, but I smooth liked the current better.
William Castle at his gimmicky best! A Classic, spooky Unlit and White, with deliciously devilish Vincent Label as millionaire with a bored gold-digger wife. She wants a Halloween party with her friends, Effect tosses a party all good, 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 shy house. One of the 5 is a young Elisha Cooke, family of the venerable owners who died in the house, and he leads them on a destroy tour. To jazz things up, Impress passes out “party favors” – guns. And it’s a rush to glean 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, dim mysterious corridors, a witchy woman floating around and vanishing – and the topper that organ music!! This is more like a Halloween Fun house poke than a movie! Brand is campy and has mountainous fun with the role, with dapper lines, especially when fussing with his less than pleased 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 stupid fun and a wee trek down memory lane.
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