Jessie

Movie junkie Jessie Robbins picks a fright flick for a Saturday night.

What are some of the things that come to mind when someone uses the term “comfort food”? Popcorn, chips, mac and cheese, this time of year with it’s long nights, cold days and dark skies (at least where this writer lives, in frigid Ontario, Canada), sometimes a little bit more is required than an endless carby food supply. This week we take a look at one of my favorite “comfort food” horror movies. A film that no matter what trouble I’m going through, be it heartbreak or winter blues, manages to brighten my spirits (and you don’t need to feel bad about bingeing on a “comfort food” horror flick). With suspense, ghosts, murder, damsels in distress and my husband Vincent Price, I bring for your Saturday night viewing pleasure, HOUSE ON HAUNTED HILL (1959).

HOUSE ON HAUNTED HILL, directed by William Castle (1960’s 13 GHOSTS, 1959’s THE TINGLER) and written by Robb White (also 13 GHOSTS and THE TINGLER) stars Vincent Price and Carol Ohmart as millionaires Frederick and Annabelle Loren, a couple who’s marriage is anything but amicable. Frederick has decided to rent out an old supposedly haunted house and has invited five guests for a “haunted house” party. The prize for staying the whole night is $10,000. With firearms as party favours and gruesome discoveries behind every corner, the night is sure to be a deadly one.

This film, like most from this time, uses light and dark to great effect. Shadows play across the walls and the absence of light is almost as terrifying as any ghouls or ghosts present in the house.

What I love about watching films from the 40s and 50s is the dynamic between men and women. Women are mostly portrayed as weak, frail, quick to faint, while men are seen as the heroes. While that still may be the case here, what makes HOHH at least a little bit different is the contrast between Ohmart’s Annabelle, and one of the guests, Nora (Carolyn Craig). Annabelle is a bold and resourceful woman, admitted to once trying to poison her husband and obviously strong of will, whereas Nora is the stereotypical damsel in distress, hysterical at the drop of a dime, clutching to handsome Lance (Richard Long) as soon as she meets him, unable to fend for herself with tears streaming down her face. At least Annabelle (even if she could be conceived as a villain, which may give more credence to the theory that women can either be subservient or villains in film) has been given a backbone and she is not afraid to flaunt it around the men. With beautiful performances from both women, it is an interesting dynamic to see played out on screen.

Vincent Price *sigh*, I have adored Price my whole life. I could talk at length about his performance. Frederick Loren may be one of my favourite of his roles, calculating, conniving, murderous, and untrustworthy; he is every bit a despicable human being but I cannot help but love him. That is the charm of Vincent Price. And one of the main reasons you need to step away from the computer, and go watch this movie right now. Well, after the next paragraph, let me finish dammit.

This may be my favorite comfort food movie, but it is also one of my all time favorite movies, period, it is creepy in a way that only a film from the 1950’s can be and it’s suspenseful and dark. The music, simple at times, is accompanied by soft wailing vocals that float, theremin-esque and disembodied, around the atmosphere, running a chill down your spine. So turn down the lights, pop up some ACTUAL comfort food, and immerse yourself in this tale of deceit, drama and devilish deeds.

I would also like to just point out very quickly that the skeleton featured in this film is credited as “Himself”.

Darling.