Dreams Are What Le Cinema Is For: The Haunting - 1963

THE HAUNTING 1963lecinemadreams.blogspot.com/2012/06/the-haunting-1963.html

"The dead are not quiet in Hill House."

As a child, I tried watching The Haunting one evening when it aired on network television, but I don’t think I lastedmore than 20 minutes…if that. Then more accustomed to the get-right-down-to-business directness of CreatureFeatures–style horror movies, The Haunting’s deliberate pacing and leisurely approach to character and moodseverely taxed my ten-year-old attention span.

It wasn’t until a 1999 screening of The Haunting on TCM (to coincide with the theatrical release of the atrociousmega-budget, CGI-laden remake) that I opted to give the film another look. Well, the passing years must haveworked its alchemy on either the movie or me, for this time out The Haunting held me in rapt fascination in front ofthe TV set (do they even call them that anymore?), caught up in 112-minutes of the sharpest, most enjoyably tensemovie terror I can recall.

"It was an evil house from the beginning....a house that was Born Bad."Hill House, the monumentally creepy estate that serves as The Haunting's

setting. The mansion is supposed to be located in Boston, but filming took placein the UK and Ettigton Hall (now a hotel) was used for exteriors.

What was tedious and meandering to me as a child was absorbing and spooky as hell as an adult. The charactersinvolved me, the psychological/paranormal uncertainties intrigued me, and I especially responded to the inherentrisk in making a haunted house film that dares you to take it seriously. The director respects the genre, thescreenplay doesn't insult the intelligence, and the actors don't play down to the material. Best of all: the thrillscontained in The Haunting extend so far beyond its ghostly surprises that a great deal of pleasure is derived fromrewatching the film just to see the interplay of the characters. The performances are just that interesting, thecharacterizations just that developed.

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When I think of how often it is I find myself, as an adult, at the polar-opposite end of an aesthetic bias I held in myyouth, when I'm made aware to what degree my early tastes were shaped by my limited life experience; I can’t helpbut wonder if American cinema hasn't harmed itself in always so doggedly courting the youth market (TheAvengers, The Hunger Games). Movies today are bigger, louder, and faster to be sure (e.g., theaforementioned The Haunting remake), but how good can they be if the whole of the criteria to which they holdthemselves are the ADD standards of the texting/tweeting generation?

Julie Harris as Eleanor Lance

Claire Bloom as Theodora

Richard Johnson as Dr. John Markway

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Russ Tamblyn as Luke Sanderson

Lois Maxwell (Bond's Miss Moneypenny) as Mrs. Markway

Clearly not a man to enjoy a little downtime, director Robert Wise, between the mammoth West Side Story (1961)and elephantine The Sound of Music (1965), found time to direct two comparatively small features: the off-beatromance Two for the Seesaw and this modern Gothic ghost story The Haunting. The latter, adapted from ShirleyJackson’s 1959 novel The Haunting of Hill House, has a premise that is simplicity itself: four disparate strangersforced to spend time together in one incredibly creepy house with an unsavory past.Dr. John Markway (Richard Johnson), eager-beaver anthropologist and self-styled supernatural sleuth, invitesseveral “assistants” to participate in an investigation of paranormal activity in what is believed to be an actualhaunted house. Of the several invited to join (culled from a list of subjects “…touched in some way by thesupernatural”) only two show up: stylish ESP whiz, Theodora — “Theodora…just Theodora” — (Claire Bloom), andthe emotionally fragile spinster Eleanor Lance (Julie Harris). On hand as a kind of drowsy chaperone to theproceedings is Luke Sanderson (Russ Tamblyn), born skeptic and nephew to the owner of Hill House. What followsis as much an incisive character study or psychological thriller as ghost story.

Cast of The Haunting

Somewhere on the path toward chasing the easy dollar, directors of horror films seem to have forgotten that horror isnot exactly synonymous with gore. The sense of dread and equilibrium-rattling unease at the core of every great

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thriller comes from an understanding of that unique quirk of the human mind that makes it possible for a person toscare the hell out of themselves with just the slightest assist from outside stimuli.

The Haunting is famous (and rightly so) for being one of the finest screen examples of nail-biting terror with nary adrop of blood or ANYTHING being shown. I’ve never seen the 1961 film The Innocents (recommended by a readerof this blog, it’s at last on my DVR queue…thank you TCM!) but I understand that it succeeds in much the sameway. Through the employment of moodily atmospheric lighting, evocative music, crazily subjective camera angles,and top-grade performances from its impressive cast The Haunting builds and sustains such a high level ofwariness and suspense that it fairly gets under your (crawling) skin before you realize it.

The Haunting is a great deal of scary fun

How The Haunting achieves this is rather uncanny, for I’m sure the experience is different for each viewer. In mycase, returning to the film after so many years, during which time I’d been exposed to such seminal horrormasterpieces as The Exorcist, Alien, The Shining, et.al., I had essentially cast myself in the know-it-all skeptic rolethat West Side Story’s Russ Tamblyn handles so well. I honestly didn’t think a 35-year-old horror film could packmuch punch, and I was only motivated to try The Haunting again because I was so excited about the remake(mostly because of Lili Taylor. Alas, that film found a way of squandering even her talent).

But what took me by surprise in seeing The Haunting again after so long is how it never felt in the least bit dated,and how the overall intelligent approach to the material struck me as almost startlingly atypical for the genre. Itreminded me of what I love in Polanski thrillers and typifies the best in the films of Val Lewton (Cat People, TheSeventh Victim).

"There won't be anyone around if you need help. We couldn't hear you...in thenight. No one could...in the dark...."

Terrifically ghoulish housekeeper, Mrs. Dudley (Rosalie Crutchley)

WHAT I LOVE ABOUT THIS FILMA director with a little imagination can bring quite a lot to a genre film if he/she is willing to have fun with itsconventions. Horror films are notoriously plot-driven, moving its characters about like game pieces, all in service ofcoincidence-heavy story machinations. Although a standard ghost story in many ways, The Haunting nevertheless

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feels like a different breed of animal entirely, due to the degree of depth with which it depicts its characters. The filminvites us to contemplate the possible connection between the escalating intensity of a supernatural “haunting” andthe gradual disintegration of a character’s psychological state. In doing so, it’s remarkable to discover how chilling asimply constructed, bloodless horror film can be when time is invested in getting the audience to be receptive to thevulnerable humanity of its protagonists.

It's not difficult to take note of parallels to Stephen King's Carrie when we learnabout Eleanor's back story (repressed youth, social outcast, an unexplained hailof stones raining on the family house for several days, possible unacknowledged

psychic ability). She even has a sister named Carrie!,

PERFORMANCESI haven’t seen a great deal of Julie Harris’ work, but from the looks of it she was the go-to-gal for repressed,emotionally delicate types. It’s certainly easy to understand why, and by no means is pointing that out a diminutionof her talent. In fact, she is to be commended on her consistent ability to add dimension to roles that must appear onpaper to be of a rather limited emotional palate. As Eleanor, she is, dramatically speaking, the very center of TheHaunting and it’s through her touching and enigmatic performance (Is she mad? Possessed?) that the film draws usin. On repeat viewings it becomes more apparent what a complex character Harris creates in Eleanor. A sad, lonelywoman of bottled-up, barely understood emotions, Eleanor can be by turns charming, determined, dreamy, andpetulant; all adding up to the kind of realistic characterization necessary to add verisimilitude to TheHaunting’s Gothic mayhem.

"To my new companion!"The stylish Theodora makes the first of several passes at the not-completely-in-

the-dark Eleanor.Claire Bloom is marvelously cool and feline as, if not the first sympathetic

lesbian in a major motion picture, then certainly the most unapologetic and self-assured. The scenes between Boom and Harris are virtuoso.

THE STUFF OF DREAMSThe Haunting is unequivocally and most emphatically a ghost story, but I like howthe film allows for the ambiguous intermingling of the psychological and supernatural. Eleanor’s precarious mental

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state is revealed to us through the extensive use of first-person voiceover, but this extra-sensory intimacy deviceonly makes us more unsure about her ability to distinguish between what is real and what is imagined. As Eleanor’semotions intensify, there’s the sense that she is perhaps suffering some kind of mental breakdown; practically willingHill House to be the beckoning destiny she simultaneously fears and desires. Other times, Hill House (alwaysspoken of in terms usually reserved for a living thing) feels as though it is feeding upon and growing stronger fromthe fears and weaknesses of its inhabitants.In balancing these complimentary/conflicting realities, The Haunting arrives at a narrative structure which mirrorsthe discordant perspectives of its characters—the realists: Luke & Mrs. Markway; the psychics: Eleanor& Theodora;and the scientist: Dr. Markway.

Small wonder that The Haunting's reputation as one of the most effective horror films ever made continues to growwith each passing year. Each time I watch it I discover something new. And sometimes, if I really allow myself to getswept up in the ghost story, I can still find myself experiencing the odd goosebump chill as that massive old housegoes into its act.

BONUS MATERIALFor more information and trivia about the making of The Haunting, be sure to check out this wonderfullycomprehensive website: The-Haunting.com

Copyright © Ken Anderson

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