Horrific Inquiry: HOUSE ON HAUNTED HILL (1959)

Welcome back to the newest, and at times goriest, column here at Film Inquiry: Horrific Inquiry. Twice a month, I will be tackling all things horror, bringing two films back into the spotlight to terrify and frighten once more. And occasionally looking at those that could have pushed the envelope further. Join us as we dive deep into the heart of horror, but warning, there will be spoilers.

With our Halloween countdown just about wrapped up, I would be remised if I did not include one of the most prominent faces (and voices!) in horror. An icon of the genre in his own right, Vincent Price was a personal requirement this month, an unmistakable voice and face whose films I have still yet to make a dent in. With a familiarity of the legend cemented in Michael Jackson’s “Thriller” and his role as the Inventor in Edward Scissorhands, Vincent Price was a name I grew up with but never truly appreciated.

While I kicked off the year with House of Wax, there are still a plethora of films starring the horror legend to embark on. For this Halloween countdown, William Castle’s House on Haunted Hill stood out. Having watched the remake in my teens, the familiarity drew me to this classic, providing a chance to hold the remake against its predecessor. And as we mark the days to scariest of the year, it seemed the perfect fit!

An Original Haunting

If you have seen the 1999 version of House on Haunted Hill, you will know the general premise going into the original. What you will not expect is the potential breaking of the fourth wall in the very opening moments of the film. Following a scream and the sound of metal shakers to the a black screen, a lonely head zooms close into the frame. As he introduces himself as Watson Pritchard (Elisha Cook Jr.), a brief history of the house is recalled to the audience, one that cements it in a horrific haunting that threatens to endanger all who stay there. As Pritchard continues, he speaks of the murders of seven people within the home, brutal murders as we find, further stating he once stayed overnight at the house, being discovered in the morning barely alive. It feels as thought Pritchard is speaking to us, almost warning us of the dangers.

And while Pritchard extends a warning to his audience, Frederick Loren (Vincent Price) extends an invite. There is an instant tension between the warning and the welcoming invite that parallel the question of reality and illusion that will play throughout House on Haunted Hill. As Frederick explains his intentions – renting a home for his wife’s haunted house party – the true focus of the film plays out, Frederick’s talking head transforming to a voiceover. As cars arrive at the home one by one, he explains that each of these five strangers has arrived for the chance at $10,000 – all they have to do is stay the night at the “haunted” house. As each is described, so is their current financial situations, boasting their need for the money.

As they arrive at the home, it is expansive and solid. Made of stone, it reverberates the feeling of an Egyptian pyramid, all who enter locked in for eternity. And it begins to feel this way as the guests, after struggling to find their way in and dodging a falling chandelier, are informed that once the clock strikes midnight, they will be sealed within the home until 8 am the next morning. At first, the need for money convinces all involved to overlook the oddity of the situation, that is until a tour from Pritchard leads to the first ghostly encounters for Lance (Richard Long) and Nora (Carolyn Craig). With the terror heightening and midnight close at hand, Nora attempts to escape the home – only to find they have been sealed in early.

Timeless Terror

Not all of House on Haunted Hill stands up to the times since its release. But there is still plenty of eeriness and horror to enjoy. While the pace is slower, filled with a lot of dialogue and “searching”, its scares still carry weight, the panning shots still heightening the tension. We are trained viewers, knowing that the action is coming, that at any moment, something is sure to jump out to terrify. As the panning shots take in the room and the increasing feeling of dread, it also takes in the environment, the doors closing, candles glowing out or dimming – yet, nothing jumps out. Rather, the panning presents the tension and crafts the expectation. It is the terror that what we expect to be there at the end of the pan, whatever it is, is not there. For a moment, there is a relief, yet a heightened sense of anxiety.

As our eyes focus, the relief turning into continued anticipation, a figure’s face slowly emerges from the darkness, gliding eerily towards the film’s characters. Beyond the panning, House on Haunted Hill does boast a few jump scares, but they are lent to more stationary camera moments, forcing the action to move into the frame – many times unexpectedly. Yet it is the film’s climactic finale that truly brings the eerie and campy feeling – even awe.

House on Haunted Hill boasts a few twists and turns in its narrative, keeping its viewers on their toes. As we discover, Frederick has been behind the scares, a sneaking suspicion growing that he has the intent of killing his wife. Their relationship is clearly tumultuous and toxic, their dialogue playfully yet maniacally expressing the disdain they have for one another. As Annabelle (Carol Ohmart) is discovered hanging from a rope on the stairs, what appears to be suicide is quickly suspected as murder. And as the gang begins to turn their suspicions to Frederick, it is revealed in a sliver of a noir aspect that Annabelle never really died – rather it is her pulling the strings in an attempt to commit the perfect murder.

Puppeteering the evening, she and Dr. Trent (Alan Marshal) seemingly pull it off, driving Nora to hysteria and sending Frederick to the basement after her. With her suspicions of murder set, Nora shoots Frederick, Dr. Trent arriving to clean up the evidence. As the lights drop to black, there is a splash, the sound of one of the men meeting the acid below the floor. Yes, there is acid on the floor from a previous murder, and while strange, it presents the perfect platform for the film’s final scare. As Annabelle arrives having heard the shot, there is nobody and no sign of Trent. As Annabelle looks into the acid, bubbles give way to the bones left behind, a skeleton slowly rising from below. As it continues to rise, the horror builds in Annabelle’s face, the skeleton taking to land and moving towards her, driving her to her death.

While the screaming and the actual action take a moment to actually happen, the scene suspended for a moment in haunted props and classic terror, it is a deliciously horrific scene – one that I wish I had been around for at its introduction. As it is revealed in the end, Frederick was the true mastermind, outwitting his murderous wife and becoming the true puppeteer.

Conclusion: House on Haunted Hill

As the film concludes, Pritchard bookends the film, his head returning to address the audience, once again breaking the fourth wall, his words a final warning. “They are coming for me now and they will come for you.”

House on Haunted Hill is a classic in its own right, exhibiting the ability for horror to remain timeless. While there are aspects that may not impress as they once did, it captures the spirit of the genre within its locked walls, boasting hysteria, horror, and murderous intentions for generations to come.

What are your favorite Vincent Price films? Let us know in the comments below!