THE HAUNTING is really a classic horror movie. This movie is different from any other horror movies. Instead of giving you a jump scare or frightening ghost, THE HAUNTING gives you a terrifying environment and atmosphere. THE HAUNTING builds its suspense with a very slow tempo. Then, it gives you a real horror later. The black and white cinematography also helps to increase the terror of this movie...
The scientist and the playboy are stock characters from ages past, but The Haunting does have one foot towards the warped, wide-angle terrors of the future. There are moments here of creepy atmosphere, shots composed for both beauty and shocks, and some impressive FX. But what remains most fresh, as the film turns into its second half, is the psychology of repression, with a lesbian subtext that's barely sub.
A rollicking revisit to the old dark house with all the expected levers pulled with polished panache, despite some occasional playing to the rear gallery. As with the contemporariness The Innocents, it utilises widescreen well with tangy setups in crisp cinematography. Wise is a somewhat overlooked everyman of a Director competently helmimg most things with integrity and confidence. Next stop: Austria...
35mm, rewatched. A treaty of composition and editing and and if it wasn't for Julie Harris actor studio' style on excess, literally hysterical, and more concentration in the middle of the film, somehow adrift, and it would be a masterpiece. Nevertheless, is one of the great thriller films of suspense and fantastic.
Atmospheric and suspenseful classic horror from director Robert Wise based on the story by Shirley Jackson. The initial setup is very much of the 'old dark house' variety but by concentrating more on the psychological elements the film's novelty works in its favour. Julie Harris and Claire Bloom are very well cast but the films direction, editing and cinematography make this quite memorable.
This movie has a lot to love, and a loooooooot to hate. The photography, camera angles, lighting, mise-en-scene-, and compositions are flawless throughout the film. The plot misses the mark entirely though, especially the character of Eleanor... Damn she's annoying.
Re-watched this after at least twenty years. I feel like this film is to horror what ’The Third Man' is to film noir: It's old-fashioned and silly but at the same time very modern and intriguing. It has also aged really well. No school like the old school.
Malgré une photographie sublime,ce film m'a fait chier,je ne souhaitais qu'une chose: que tous ces protagonistes très creusés et horripilants(dont le jeu soulève néanmoins la réussite)meurent dans d'atroces souffrances.Ce qui ne pouvait pas arriver puisqu'il ne s'agit pas d'un film d'horreur,mais d'épouvante,celle que génère l'esprit,celle qui trouble les rapports et la psychologie des personnages,engendrant la folie