The Legend Of Hell House begins with an enticing proposal. An old man summons a respected scientist to his palatial estate. He wants him to be part of a team that enters an infamous mansion. Each member will receive a hundred thousand pounds after living in it for four days. Their task: to determine if one can indeed survive after death.
For you see, this particular mansion is supposedly haunted. And this is not the first time outsiders have attempted to understand its enduring mystery.
One of the team members, the much missed Roddy MacDowell, knows this place all too well. 20 years ago, he barely survived with his life intact while all his colleagues either died, were critically injured or driven insane. He’s a physical medium who has learned to turn off his gift.
The beautiful Pamela Franklin plays a young mental medium absolutely convinced of the house’s legend. (As expected, the scientist (Clive Revill), who already thinks she’s too young for such a challenging assignment, is not persuaded in the slightest. They frequently butt heads.) Rounding out the team is the scientist’s hot red-headed wife (Gayle Hunnicutt) who is sexually frustrated. One wonders why she is even here when her husband’s not putting out.
What’s really peculiar about this movie is when it takes place. The scientist has his meeting with the old man on December 17th. Once the team is all picked up, they arrive together three days later. That’s right. This is all supposed to wrap up on Christmas Eve. You know what’s even more peculiar? No one mentions Christmas.
The moment they arrive at this place is the moment The Legend Of Hell House stops being interesting. This mansion does not live up to its dark reputation at all. The pacing becomes much slower as it becomes clear the filmmakers have no real idea how to scare us. There is no unsettling atmosphere (unless you get jumpy around fog, suddenly breaking objects, falling chandeliers, moving bed sheets and creaky doors that sometimes open and close on their own), just a bunch of moaning and old school physical effects that are too old fashioned by today’s standards to be truly effective. (The movie came out in 1973.) The low, repetitive, rumbling music isn’t much better. Where’s Bernard Hermann when you need him?
It does not help that, as the movie progresses, we are constantly reminded of the date and time which feels unnecessary and excessive. Seeing these graphics again and again reinforces the film’s sluggish tone. December 24th can’t arrive soon enough.
It takes a while to even learn the history of Hell House. Many moons ago, unspeakable acts of depravity took place here culminating in a massacre that left a little more than a couple dozen people dead. The only one unaccounted for is the wealthy freakazoid who owned this place. His body remains missing.
Pamela Franklin’s character is able to channel the spirit of what she thinks is the owner’s son. A seance is conducted. At one point, the spirit speaks through her. (How is this possible? She’s not a physical medium like MacDowell.) The message is not friendly. The warnings are not heeded.
She is repeatedly visited by this invisible entity. And yes, there’s the obligatory scene where they fuck which she later regrets.
Meanwhile, the scientist’s hot red-headed wife starts making a play for the wide-eyed, bespectacled MacDowell, since she’s not getting any action. (At one point, while laying in bed next to her always sleeping husband she sees and hears shadows going at it. She is really backed up.) For his part, MacDowell, no longer blocking his medium powers, has his own freak out where we see him screaming and writhing on the floor all contorted like a stretching cat. Maybe he shouldn’t have turn down her advances. Looks like he could use a release, too.
Franklin, the mental medium, participates in another experiment. As she sits quietly in a chair with her eyes closed, Revill, the skeptical scientist, starts doing play-by-play into a mic’d up recorder as he monitors various levels on his equipment. Unexplained white energy starts emanating from her fingertips. (Not exactly a dynamite effect.) Revill is convinced she is somehow creating this energy herself. Okay.
At one point, the scientist unearths this giant machine. When it’s eventually turned on, everyone steps outside as it “cleans” the mansion of its filthy spirits. (He finally uses it on day four. Franklin, now controlled by the horny, angry, invisible entity, tries to destroy it but only causes minor damage.) Incredibly, it works with one big exception. By the time this finally wraps, only half the team will make it out alive.
The Legend Of Hell House is a good title in search of a good story. It knows how to set things up in an interesting way. (The best scene really is the first one.) It just fails to pay everything off. The moment we see this mansion from the outside we are decidedly unimpressed. (The mood isn’t properly established.) Once that front door opens and the foursome walk in, that opinion is solidified.
The ending is overwrought but not even remotely frightening. One mystery is solved but many questions linger. For one, how is that cat still alive?
It’s never a good sign for a supernatural horror film to see a suspicious disclaimer right at the top. Some real-life psychic I never heard of, who had apparently advised European royals way back when, wants you to know that while this story is fake (the screenplay, written by Richard Matheson (I Am Legend), is based on his novel), the fanciful ideas suggested in The Legend Of Hell House could very well happen off-camera.
Oh, fuck off, Tom Corbett.
Dennis Earl
Hamilton, Ontario, Canada
Monday, May 13, 2019
10:01 p.m.