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The Haunting

Rating

Director

Jan de Bont

Screenplay

David Self (Novel: Shirley Jackson)

Length

1h 53m

Starring

Liam Neeson, Catherine Zeta-Jones, Owen Wilson, Lili Taylor, Bruce Dern, Marian Seldes, Alix Koromzay, Todd Field, Virginia Madsen, Michael Cavanaugh

MPAA Rating

PG-13

Review

“The Haunting” falls into a category opposite “The Blair Witch Project” in the realm of horror. Where “Blair” focuses on sound effects and what you don’t see to scare you, “Haunting” uses stunning visual effects and strange sound effects to heighten your fear.

Dr. David Morrow gathers together a group of insomniacs to participate in a study in fear masquerading as a sleep study. The participants are Theo (Catherine Zeta-Jones), a sexually open bisexual, Luke (Owen Wilson), a sex-craved insomniac without tact and Eleanor Vance (Lili Taylor), who hasn’t been able to sleep well since her mother, who kept her up most of the night, died.

They are invited to spend a week in a large mansion called Hill House, the residence of a factory tyrant several years prior. There is one other participant, Todd (Todd Field) and Morrow’s assistant, Mary (Virginia Madsen), who arrive at the mansion. That night, Mary is cut by two harpsichord strings that burst suddenly and Todd takes her to the hospital, thus eliminating them from the rest of the film.

Mary’s accident is merely the first in a long line of strange occurrences. The first night, after everyone is all told of the legend of Hill House, Eleanor is awoken by a noise out in the hallway. She hears what sounds like large footprints and so she runs into Theo’s room where Theo is also laying awake, frightened by the same sounds.

The room’s temperature drops dramatically and then something apparently large starts rattling the door trying to get in. Eleanor and Theo shiver in terror as they both suddenly realize that Eleanor’s room is unlocked and so is the connecting door between their two rooms. Eleanor rushes over and slams the bolt in the nick of time as the same huge entity starts pounding at that door.

From there, things continue getting more bizarre as Eleanor slowly figures out what is going on. First she sees the carvings of children’s heads moving and then hears voices trying to communicate with her.

Morrow tries to convince them it isn’t real and that it’s all just their imaginations playing jokes, but because he’s also told them they are participating in a study on fear and not on insomnia, they don’t take much else he has to say as the truth.

Taylor proves once and for all that she can shine in any role that she’s given. She’s played a blind woman on “The X-Files” and a femi-nazi in the critically acclaimed “I Shot Andy Warhol.” Her performance here follows a wonderful progression from apprehensive curiosity to self-assured terror to calm understanding.

The other characters are more one-dimensional with Zeta-Jones trying her best to squeeze something out of Theo. Wilson is completely annoying and useful only as set dressing. Neeson continues to falter after his previously poor performance in “Star Wars: Episode I” and hasn’t been able to deliver a truly good performance since “Schindler’s List.”

Technically, this film is perfection. The visual effects are terrific never leaving you a moment to question their realism. The sound effects are eerily effective and the art direction is as beautiful as it is robust.

Plot-wise, the film does lack a bit of direction in the middle, but the premise and delivery are adequate enough to make the film entertaining. While the resolution leaves a lot to be desired, the buildup to the finale makes for a good motion picture.

“The Haunting” isn’t for audiences of all ages. While the questionable language is at a minimum, the film still has scary moments that might be traumatizing for younger viewers (if I were younger, I probably wouldn’t be able to sleep well after seeing the door-pounding sequence). It is a better-than-average film for the summer, but not one that’s going to find any non-technical Oscars on its shelf.

Awards Prospects

I’m hoping for a visual effects nomination, as well as a sound effects nod. There’s also the possibility of an Art Direction nomination, which would be highly appropriate. Nothing else seems to jump out, however.

Review Written

August 27, 1999