Maybe it was because my expectations were low, but saw this on "Svenghoulie's" show and enjoyed it as an old black and white creepy movie from the late 1940s just as a Saturday night sort of thing. Not great but had some especially bright spots and a pretty decent cast and storyline, and kept you wondering what the outcome would be right up to the end. I kept expecting the story to fall apart at some point as it usually does in the ones shown on this show, but it kept continuing to be fairly engaging and had some cultural references to the art world that kept it fun to watch. I liked the portrayal of art critics and the art theme, and fun to see the actor who played "Big Jim Champion" on "Circus Boy" in a lead role, along with the monster dude who was an interesting character and had an interesting life story outside of the movie. All in all, fun to watch if you like old movies from the '40s and just want to see something not too deep or demanding that might remind you of a past era you find yourself able to get lost in.
40 Reviews
Martin Kosleck's finest hour in Hollywood
kevinolzak17 April 2011
Warning: Spoilers
1946's "House of Horrors" was a staple of Pittsburgh's Chiller Theater, hosted by Bill 'Chilly Billy' Cardille, no doubt because of its inclusion in the popular SHOCK! package of vintage Universal titles first released to television in the late 50s. It was also Bill Cardille who introduced me to Martin Kosleck's "The Flesh Eaters," his ability to play cold blooded Nazi villainy on full display, although the actor himself fled the Hitler regime for America by the late 30s. He achieved a kind of lasting stardom only at Universal, from 1944 to 1946, with this film in particular standing out as his finest hour in Hollywood. The so-called house of horrors (shooting title "Murder Mansion") is the dimly lit studio of starving sculptor/artist Marcel De Lange, so poor that he must borrow bread and cheese from a neighbor. When a potential sale of $1000 (for a statue called "Circes from Troy") is dashed by smug, self satisfied critic F. Holmes Harmon (Alan Napier), Marcel decides to end his life at the waterfront, only to rescue a drowning man later identified as The Creeper (the immortal Rondo Hatton), a dull witted fiend notorious for snapping the spines of his victims (usually pretty girls). Unconcerned about his newfound model's true identity, Marcel begins what he fittingly describes as his 'deathless masterpiece,' certain that the long overdue acclaim denied him will finally come his way. The morning after the Creeper stalks out into the night and murders a streetwalker (Virginia Christine), Marcel hardly bats an eye, surreptitiously planting the seeds of vengeance in the killer's mind, against the critics who routinely mock him as the laughingstock of New York art circles, with even the insufferable, smarmy girl newshound (Virginia Grey) referring to Marcel as a 'harmless little screwball.' This fairly decent buildup pretty much falls to the wayside a third of the way in, as the film shifts its focus from the 'villains' to the 'heroes,' about as thoroughly nasty a bunch of detestables as any viewer is likely to find. We soon start rooting for the bad guys to kill off as many of them as possible, surely not the intention of the filmmakers! The credits 'introduce' Hatton as The Creeper (September 1945), but the character had made one prior appearance in the 1944 Sherlock Holmes feature "The Pearl of Death," and would make a third in "The Brute Man," Hatton's final film, a prequel to "House of Horrors," completed in November 1945 (the actor died February 2 1946, before either saw release). His physical presence is certainly impressive, but his delivery of dialogue far less so, but it must be said that the cringe worthy lines scripted here must rank with some of the all time worst. Listening to the nominal leads discuss thumb twiddling may perhaps be the absolute nadir, but Kosleck's Marcel is fortunately spared the indignity. Director Jean Yarbrough, best remembered for 1940's "The Devil Bat," and helming all 52 episodes of the Abbott and Costello TV series, does what may be his finest genre work, especially in regards to Marcel's pet cat, ever faithfully following him from kitchen to studio in scene after scene (quite an achievement considering what was probably no more than the usual 12 day shooting schedule). The climactic tussle has the artist trying to stop the killer from destroying his likeness, framed before the staircase, from which the cat comes charging down the steps, nestling in the hand of its now dead master (cat fanciers rejoice!). Martin Kolseck fondly recalled his work on the picture (and his happy times at Universal), never once crossing the line that would lose the audience's sympathy, and the touching opening between man and pet sets the proper tone for the duration of the film. A nice tribute to an actor who made a career out of playing Goebbels and other menacing Nazis on screen, airing an impressive seven times on Pittsburgh's Chiller Theater.
Bitter artist uses The Creeper to take murderous revenge on his critics
snicewanger26 August 2015
House of Horrors is a creepy little shocker film that is quite well done. Interestingly it's working title was "The Sinister Shadow" before it was released. House Of Horrors was another Ben Pivar production and Ben could put this kind of horror film out in his sleep.Director Jean Yarbrough cut his teeth directing these kind of B thrillers and he went on to have a very successful career in television. I always considered Rondo Hatton to be sort of a walking prop. He's a bit more animated in this story then usual but here he's not so much the monster as he is the real monsters tool. Virginia Grey wasn't one of Universal's Screen Queens". She was loaned out for "House" from M-G-M. She's very good as the spirited reporter trying to get the story.Robert Lowery was a handsome and talented leading man but you could aways tell when he was really into his role or just picking up a paycheck.The dependable Alan Napier has a turn as an egotistical and sarcastic art critic. He so good in the role that the audience cheers when he gets his.
Martin Kosleck was, as my dad used to say,the poor man's Peter Lorre He could play sinister capably enough but he was a bit too subdued to play out and out crazy. In this story he is the real monster, however, creeping around in the shadows and letting Rondo do his dirty work.This is one of Koslecks biggest roles and his weaselly Marcel De Lange is one of his best characterizations
Its a shame that Rondo Hatton passed on just as his star was beginning to rise in the horror film Pantheon so to speak. Whether or not he could have lasted as a horror star nobody can say. The second horror cycle was beginning to dry out in 1946 so he could have slid back into obscurity had he lived.The American Horror Film Board presents the Rondo Award every year to deserving horror films and actors since 2002. Film fans vote on the recipients. So Rondo Hatton has achieved some degree of movie immortality.
Martin Kosleck was, as my dad used to say,the poor man's Peter Lorre He could play sinister capably enough but he was a bit too subdued to play out and out crazy. In this story he is the real monster, however, creeping around in the shadows and letting Rondo do his dirty work.This is one of Koslecks biggest roles and his weaselly Marcel De Lange is one of his best characterizations
Its a shame that Rondo Hatton passed on just as his star was beginning to rise in the horror film Pantheon so to speak. Whether or not he could have lasted as a horror star nobody can say. The second horror cycle was beginning to dry out in 1946 so he could have slid back into obscurity had he lived.The American Horror Film Board presents the Rondo Award every year to deserving horror films and actors since 2002. Film fans vote on the recipients. So Rondo Hatton has achieved some degree of movie immortality.
Rondo!!
VicCasey11 October 2005
Rondo Hatton is my hero. Who cares if he wasn't a classically trained actor?! As The Creeper he tugs the heart-strings like a pro! He's got heart! He's got soul! He's got courage! He's also damned likable! Rondo is also one hell of a hero. Rondo took the crummy hand that fate dealt him and played it magnificently. He became one of the most endearing and cool anti-heroes of all B-moviedom! To experience Rondo as The Creeper is to experience pure magic! I watched horror movies as kid and always loved "the monster". A good "monster" gets my vote every damn time. The Creeper fits that bill perfectly and better than most. The Creeper is one of my all time favorite fright flick anti-heroes. GOD BLESS YOU RONDO HATTON!
A real-life monstrosity in a luridly bizarre B horror film.
Dewey196012 July 2006
Warning: Spoilers
HOUSE OF HORRORS (1946) comes at the very tail end of Universal's classic horror film cycle, following on the heels of 1930s box office blockbusters like Dracula, FRANKENSTEIN, THE MUMMY, THE INVISIBLE MAN and THE BLACK CAT. By the 1940s, however, the studio's established monsters had been relegated to a succession of sequels with mixed and varying results. Ultimately, as budgets shrank and the big stars like Karloff and Lugosi drifted off to other studios, Universal began producing very low budget (although generally very entertaining) B horror melodramas such as CAPTIVE WILD WOMAN, THE MAD GHOUL, and, most notoriously, HOUSE OF HORRORS. For many, this film was particularly repellent because its star, Rondo Hatton, suffered from a horribly disfiguring and ultimately degenerative disease called acromegaly. He appeared in a small number of cheap-jack horror thrillers, HOUSE OF HORRORS definitely being the best of the lot. In it he (again) appears as The Creeper, a deformed, deranged killer thought to have drowned in the East River after a police manhunt. He is, however, rescued by a suicidal sculptor named Marcel De Lange (wonderfully played by Martin Kosleck) who spots him in the river just as De Lange is about to take his own life. He brings the monster back to his skid row studio where he not only nurses him back to life but develops a strange, impenetrable bond with him. This bond extends itself into killing off a number of art critics (as well as sexy streetwalkers and models) who have denounced De Lange as a fraudulent disgrace to the art world by first strangling them then snapping their spines. Ultimately The Creeper and De Lange are outwitted and brought down by a girl newspaper columnist (Virginia Grey) and her pin-up artist boyfriend (Robert Lowery). A dim-witted cop (Bill Goodwin) provides little help at all. Despite the rather dismal reputation this film has, it is nonetheless an effectively atmospheric and peculiarly disturbing story, perhaps most accurately described as horror noir. Put aside whatever reservations you may have about this bizarre oddity and check it out.
Kosleck is terrificl
dibbleduane29 December 2020
"An annoying habit on the part of women: screaming."
Hey_Sweden20 October 2020
In the Sherlock Holmes mystery "The Pearl of Death", an ominous character dubbed The Creeper had been debuted. The Creeper was played by a man named Rondo Hatton, who had been handsome as a youth, but had his facial features disfigured by acromegaly (a possible result of exposure to poison gas during WWI). The success of this character inspired Universal to create more movies that would focus on him, instead of making him a side player.
The first of the bunch was "House of Horrors", a story about a despondent, failed sculptor named Marcel DeLange (the great bad guy actor Martin Kosleck), who rescues the Creeper from a river, not knowing that the guy is a notorious serial killer. Soon, Marcel finds that the guy comes in handy, as he proceeds to bump off the nasty art critics that are the bane of the sculptors' existence (and the existence of other artists in the city). But Marcel won't be able to keep this secret forever....
Hatton is the main reason to watch here, playing a brute with a real screen presence. The script, by George Bricker, is often hilarious with its assortment of sardonic lines and witticisms, but the humour often works against the horror, taking up perhaps too much of the running time. But the whole cast is great: Robert Lowery as a temperamental painter, a stunning Joan Shawlee as his model, a sassy and sexy Virginia Grey as his girlfriend, Bill Goodwin as the obligatory cop on the case, Alan Napier as the acid-tongued critic F. Holmes Harmon, Virginia Christine as an incidental victim, and Howard Freeman as a critic who attempts to be the bait in a police trap. Kosleck is wonderful as a man who's worthy of some sympathy, even though he ultimately goes off the deep end.
Good atmosphere and a snappy pace are assets, as well as the assortment of truly dynamite-looking ladies (including Janet Shaw as a cabdriver).
Seven out of 10.
The first of the bunch was "House of Horrors", a story about a despondent, failed sculptor named Marcel DeLange (the great bad guy actor Martin Kosleck), who rescues the Creeper from a river, not knowing that the guy is a notorious serial killer. Soon, Marcel finds that the guy comes in handy, as he proceeds to bump off the nasty art critics that are the bane of the sculptors' existence (and the existence of other artists in the city). But Marcel won't be able to keep this secret forever....
Hatton is the main reason to watch here, playing a brute with a real screen presence. The script, by George Bricker, is often hilarious with its assortment of sardonic lines and witticisms, but the humour often works against the horror, taking up perhaps too much of the running time. But the whole cast is great: Robert Lowery as a temperamental painter, a stunning Joan Shawlee as his model, a sassy and sexy Virginia Grey as his girlfriend, Bill Goodwin as the obligatory cop on the case, Alan Napier as the acid-tongued critic F. Holmes Harmon, Virginia Christine as an incidental victim, and Howard Freeman as a critic who attempts to be the bait in a police trap. Kosleck is wonderful as a man who's worthy of some sympathy, even though he ultimately goes off the deep end.
Good atmosphere and a snappy pace are assets, as well as the assortment of truly dynamite-looking ladies (including Janet Shaw as a cabdriver).
Seven out of 10.
She screamed. He snapped.
mark.waltz17 November 2016
Warning: Spoilers
A man crawls out of the Hudson River as another man contemplates jumping in. Seeing the face of the man crawling up, the suicidal man is inspired for his greatest work of art. Meanwhile, rumors of a serial killer named "the creeper" continue to travel as a prostitute is found with her spine snapped. A friendship of sorts grows between the two men. The artist is Martin Kosleck whose work has been panned by a snooty critic. The other is Rondo Hatton, a simple man of hideous looks and brutal strength who is quickly revealed to be "the creeper", and a tool of the vindictive Kosleck.
One of the best later B Universal horror films, this is extremely well plotted, suspenseful and features a way above average script. Kosleck and Hatton are sort of the poor man's Bela Lugosi and Boris Karloff, with Kosleck getting more and more insane, and the pathetic Hatton sort of sympathetic for the child like hurt he feels for society's rejection for his "ugliness". Robert Lowery and Virginia Grey are feisty as an artist and model who are suspects in the critic's murder; Alan Napier, aka " Alfred the Butler" in the "Batman" series is the nasty critic who finds his snappy words the key to his separated spine, with Virginia Christine, the "Folger's" lady, as Hatton's first on screen victim.
There's also a bit of comic relief with Bill Goodwin as the wise-cracking detective. Often, the mixture of horror and comedy is either ridiculously silly, an ingenious spoof, or off center in its Jekyll and Hyde personality. This is one film where it all works, causing me to highly praise it as being an excellent example of B films at their best.
One of the best later B Universal horror films, this is extremely well plotted, suspenseful and features a way above average script. Kosleck and Hatton are sort of the poor man's Bela Lugosi and Boris Karloff, with Kosleck getting more and more insane, and the pathetic Hatton sort of sympathetic for the child like hurt he feels for society's rejection for his "ugliness". Robert Lowery and Virginia Grey are feisty as an artist and model who are suspects in the critic's murder; Alan Napier, aka " Alfred the Butler" in the "Batman" series is the nasty critic who finds his snappy words the key to his separated spine, with Virginia Christine, the "Folger's" lady, as Hatton's first on screen victim.
There's also a bit of comic relief with Bill Goodwin as the wise-cracking detective. Often, the mixture of horror and comedy is either ridiculously silly, an ingenious spoof, or off center in its Jekyll and Hyde personality. This is one film where it all works, causing me to highly praise it as being an excellent example of B films at their best.
Beware the Creeper
utgard1421 March 2014
Struggling artist (Martin Kosleck) intends to kill himself but winds up saving the life of serial killer The Creeper (Rondo Hatton) instead. Afterwards, he sends The Creeper out to murder his critics. When another artist (Robert Lowery) is suspected of being the killer, his girlfriend (Virginia Grey) investigates and finds the clues lead to Kosleck and The Creeper. Nice cast, weak script. Alan Napier is fun as one of the critics. This is one of the lesser Universal horror films made at the end of their second horror cycle. It's mainly of interest for Universal completists and those interested in the disfigured Hatton. It's certainly better than Hatton's next (and last) movie, Brute Man.
Overlooked gem.
MonsterVision9910 October 2016
Warning: Spoilers
House Of Horrors is one of those films that people forgot about and it god buried in time, but it is a very good film, the acting its great, the cinematography its great too.
The film deals with subjects such as art criticism and more, the critics are pretentious assholes who are there just to be unlikeable, not too far from real critics, it shows just how useless and horrible critics could be, caged within their own narrow boundaries, the talks about how they push artists to the extremes by bashing them, so much that the artist in this film has to resort to murder in order to have a decent meal, I guess they didn't deserved to die, but they are assholes.
The film uses Rondo Hattons appearance to its benefit, hes a brute, actually this film reminded me of Buñuels film "El Bruto", I think he used some of this films elements.
Overall, very enjoyable, quite good actually, definitely recommended.
The film deals with subjects such as art criticism and more, the critics are pretentious assholes who are there just to be unlikeable, not too far from real critics, it shows just how useless and horrible critics could be, caged within their own narrow boundaries, the talks about how they push artists to the extremes by bashing them, so much that the artist in this film has to resort to murder in order to have a decent meal, I guess they didn't deserved to die, but they are assholes.
The film uses Rondo Hattons appearance to its benefit, hes a brute, actually this film reminded me of Buñuels film "El Bruto", I think he used some of this films elements.
Overall, very enjoyable, quite good actually, definitely recommended.
HOUSE OF HORRORS (Jean Yarborough, 1946) **
Bunuel197623 January 2010
This low-grade Universal chiller has just been announced as an upcoming DVD release but, intended as part of a collection of similar movies that I already had in my possession, I decided to acquire it from other channels rather than wait for that legitimate release. Which is just as well, since the end result was not anything particularly special (if decently atmospheric at that): for starters, the plot is pretty weak – even though in a way it anticipates the Vincent Price vehicle THEATRE OF BLOOD (1973)
albeit without any of that film's campy gusto. What we have here, in fact, is a penniless sculptor (Martin Kosleck) – whom we even see sharing his measly plate of cheese with his pet cat! – who, upon finding himself on the receiving end of art critic Alan Napier's vitriolic pen one time too many, decides to end it all by hurling himself into the nearby river. However, while contemplating just that action, he is anticipated by Rondo Hatton's escaped killer dubbed "The Creeper" and, naturally enough, saves the poor guy's life with the intention of having the latter do all the dirty work for him in gratitude! Although it is supposedly set in the art circles of New York, all we really see at work is Kosleck and commercial painter Robert Lowery (who keeps painting the same statuesque blonde girl Joan Shawlee over and over in banal poses – how is that for art?) who, conveniently enough, is engaged to a rival art critic (Virginia Grey) of Napier's! Before long, the latter is discovered with his spine broken and Lowery is suspected; but then investigating detective Bill Goodwin gets the bright idea of engaging another critic to publish a scathing review of Lowery's work (I did not know that publicity sketches got reviewed!!) so as to gauge how violent his reaction is going to be! In the meantime, Kosleck deludes himself into thinking that he is creating his masterpiece by sculpting Hatton's uniquely craggy – and recognizable – visage which, needless to say, attracts the attention of the constantly visiting Grey (we are led to believe that she lacks material for her weekly column)
much to the chagrin of both artist and model. Bafflingly, although The Creeper is fully aware of how Grey looks (thanks to her aforementioned haunting of Kosleck's flea-bitten pad), he bumps off Shawlee – who had by then become Goodwin's girl! – in Lowery's apartment and, overhearing Kosleck talking to (you guessed it) Grey about his intention to dump him as the fall guy for the police, sends the slow-witted giant off his deep end
even down to destroying his own now-completed stony image. Curiously enough, although this was Hatton's penultimate film, his name in the credits is preceded by the epithet "introducing"!
Very good
jamesroyhold26 August 2018
This movie is so much better than what I thought it'd be. Both Rondo Hatton as the psycho killer and Martin Kosleck as an artist driven to madness by unkind critics are villains, yet both are sympathetic in a way. What is especially touching is Kosleck's interaction with his pet cat and the closing scene where the cat curls up by his dead body. (Or did he die? The dialogue isn't clear on it.) It was effective and sorrowful.
My sole complaint is the woefully brief appearance of Virginia Christine as Creeper's first victim. I hardly had a chance to recognize her before she was offed. I always enjoy her early film appearances because she was an out and out fox. I would so much have enjoyed seeing her as the tennis model instead. Hubba-hubba!
My sole complaint is the woefully brief appearance of Virginia Christine as Creeper's first victim. I hardly had a chance to recognize her before she was offed. I always enjoy her early film appearances because she was an out and out fox. I would so much have enjoyed seeing her as the tennis model instead. Hubba-hubba!
For a 1940's movie, it's filled with clichés! Not a bad thing.
insomniac_rod7 March 2010
Warning: Spoilers
I'm talking about the famous cliché of trying to open the door but the doorknob gets stuck and the female lead cannot escape from the villain. This time it happened when the great Rondo tried to capture her!
This isn't the generic monster-chasing the heroine. In fact, there's an interesting plot that deals with a mad sculptor gone evil because his work isn't "understood". So he is aided by the infamous Creeper who almost died in the previous film.
The acting is solid and the fact that most of the situations center around The Creeper, demonstrate it that exploitation towards "strange" looking people has happened since "Freaks". Now, in the 40's it was considered as something "entertaining", "freak circus entertaining". Today it would be considered as something against good behaviors or something like that.
Rondo delivers a fine performance and I truly enjoyed his evil lurking and walking. For example, the way we see his shadow slowly moving was creepy. The Direction is fine and classy.
The low point of the movie happens when the events get kind of dull and hard to believe. Some corny dialogs and situations make it less entertaining and affect the suspense factor.
Nevertheless, this is an interesting Universalesque feature that if not considered as a monster feature, it has all the characteristics to make us believe that Rondo was the main reason to watch this movie.
The ending was very good. I liked how the bullet cracked the window and reached Rondo. Well, you have to watch it to believe it.
This isn't the generic monster-chasing the heroine. In fact, there's an interesting plot that deals with a mad sculptor gone evil because his work isn't "understood". So he is aided by the infamous Creeper who almost died in the previous film.
The acting is solid and the fact that most of the situations center around The Creeper, demonstrate it that exploitation towards "strange" looking people has happened since "Freaks". Now, in the 40's it was considered as something "entertaining", "freak circus entertaining". Today it would be considered as something against good behaviors or something like that.
Rondo delivers a fine performance and I truly enjoyed his evil lurking and walking. For example, the way we see his shadow slowly moving was creepy. The Direction is fine and classy.
The low point of the movie happens when the events get kind of dull and hard to believe. Some corny dialogs and situations make it less entertaining and affect the suspense factor.
Nevertheless, this is an interesting Universalesque feature that if not considered as a monster feature, it has all the characteristics to make us believe that Rondo was the main reason to watch this movie.
The ending was very good. I liked how the bullet cracked the window and reached Rondo. Well, you have to watch it to believe it.
Routine Horror/Thriller with, how shall I put this, "interesting" casting.
DrSatan31 May 2000
This is a typical late Universal Horror flick: its technically comptent, if by the numbers, with a cookie cutter plot and some serious overacting. The most interesting part of this film is its stunt casting of Rondo Hatton, a man with a bone disease as the film's "monster". Its sad to see this man exploited, but he probably made good use of the money they paid him. Hatton is less horrifying than the studio hoped, as I more often felt pity over fear or even loathing. Martin Koslack is on board as the film's mad artist, and he is very amusing in this part. I for one enjoy seeing Koslack in just about anything; for some reason the man amuses me. The only other part of the film that entertained me is the film's absurd take on the art world. Here we are shown evil art critics who revel in their ability to break artists; this is side by side with the film's male "hero" who is an "artist" who paints...get this...pin up girls. Somehow our hero's work is reviewed side by side with the villan's absurdist sculpture. Also amusing is the film's chief nasty critic, who at one point claims that he despises the hero's pin up art because "women like that don't exist" to which our heroine replies with an assurance that the critic just doesn't get out enough. Finally, there's a bit of a subplot about the heroine's (who is an art critic herself) domestication by the leading man....completely anti-feminist and ridiculous to witness. Overall this film is a rather mediocre picture with a few amusing elements.
Lunacy abounds,,,
rixrex30 September 2005
Lunacy abounds...mostly amongst the few comments about this b-picture gem, but to that later. In this horror film, the lunacy of artist Martin Koslek directing the killer tendencies of Rondo Hatton to dispatch unfavorable art critics is inspired. It's quite a contrast to watch Koslek be wonderfully melodramatic while Hatton remains as flat as a board, which is perfect for his character. All this is done within the context of the period, and with all the elements mixing in a way to create, perhaps serendipitously, a chilling and vastly entertaining blend.
To the dimwits who have not been able to see beyond the constraints of their modern attitudes and mores, you are missing it. Rondo Hatton did not "intensely dislike" his brief career as a film fright figure, he was indifferent to it, and the prevailing common attitude towards working women in 1940s America was that they eventually would become married, stay-at-home mothers. The film isn't 'anti-feminist' at a time when the term feminist wasn't used, and when both men and women, not all but most, felt this way of life was appropriate.
So to you dunces I say, march onward, great re-writers of history, and make sure you burn Birth of a Nation, and continue to press Disney to never release Song of the South. Perhaps we ought to ban the Three Stooges, as well, for their insensitive, boorish portrayal of the common working man, and of course, to add insult to injury, they were also Jewish.
To the dimwits who have not been able to see beyond the constraints of their modern attitudes and mores, you are missing it. Rondo Hatton did not "intensely dislike" his brief career as a film fright figure, he was indifferent to it, and the prevailing common attitude towards working women in 1940s America was that they eventually would become married, stay-at-home mothers. The film isn't 'anti-feminist' at a time when the term feminist wasn't used, and when both men and women, not all but most, felt this way of life was appropriate.
So to you dunces I say, march onward, great re-writers of history, and make sure you burn Birth of a Nation, and continue to press Disney to never release Song of the South. Perhaps we ought to ban the Three Stooges, as well, for their insensitive, boorish portrayal of the common working man, and of course, to add insult to injury, they were also Jewish.
Second outing for Hatton as The Creeper
rosscinema23 February 2005
Warning: Spoilers
Universal Studios wasn't making that many horror films by the mid 1940's and that's due to the fact that audiences tastes were starting to change but they were always keeping their eye open on the next popular character and they thought they could make some money from "The Creeper" but it just wasn't meant to be. Story starts with the starving sculptor Marcel De Lange (Martin Kosleck) who after receiving nothing but scathing attacks by art critics decides to attempt suicide but while at the river he finds a disfigured man near death and takes him back to his studio.
*****SPOILER ALERT***** Marcel nurses and befriends this brutish man (Rondo Hatton) in exchange that he sits for a sculpture to be made of his head but it doesn't take long for Marcel to discover that his model is actually "The Creeper" who's hobby is snapping the spines of women. Marcel also convinces him to kill the critics who have been so vicious in their critique and tells him that they are the reason that they have no money for food. Lt. Larry Brooks (Bill Goodwin) at first thinks the murders might have been committed by painter Steven Morrow (Robert Lowery) but his girlfriend (and another art critic) Joan Medford (Virginia Grey) knows this isn't true but her snooping leads to Marcel and the realization that he's harboring a murderer.
This film is directed by Jean Yarbrough who was a good and active director and while this won't exactly go down in the books as a huge success he did make a film that has become a cult favorite. There are many things to point out that don't make much sense but two stand out for me and the first would be the inappropriate title. Most of the film takes place in the studio and while I think this also serves as Marcel's living quarters it's definitely not a house. Marcel and The Creeper sit around hungry nibbling on old bread and potatoes and I thought...why doesn't The Creeper take the money from his victims? Is that beneath him in terms of morals? Marcel couldn't even feed his cat! Grey plays her character as forever chipper and annoyingly wisecracking but while she gloats about her job by the end of the film she's ready to give it up and get married. The film ends with The Creeper getting shot but his death is not announced and Goodwin shouts "Let's get this man to a hospital". It's obvious that Yarbrough and others at Universal wanted to keep this character available for sequels but only one was made (The Brute Man) because Hatton who suffered from the disease Acromegaly died shortly afterward. Hatton disliked intensely being exploited by the studios in this manner but he was a remarkable presence on film and in his own way made an indelible mark in cinema.
*****SPOILER ALERT***** Marcel nurses and befriends this brutish man (Rondo Hatton) in exchange that he sits for a sculpture to be made of his head but it doesn't take long for Marcel to discover that his model is actually "The Creeper" who's hobby is snapping the spines of women. Marcel also convinces him to kill the critics who have been so vicious in their critique and tells him that they are the reason that they have no money for food. Lt. Larry Brooks (Bill Goodwin) at first thinks the murders might have been committed by painter Steven Morrow (Robert Lowery) but his girlfriend (and another art critic) Joan Medford (Virginia Grey) knows this isn't true but her snooping leads to Marcel and the realization that he's harboring a murderer.
This film is directed by Jean Yarbrough who was a good and active director and while this won't exactly go down in the books as a huge success he did make a film that has become a cult favorite. There are many things to point out that don't make much sense but two stand out for me and the first would be the inappropriate title. Most of the film takes place in the studio and while I think this also serves as Marcel's living quarters it's definitely not a house. Marcel and The Creeper sit around hungry nibbling on old bread and potatoes and I thought...why doesn't The Creeper take the money from his victims? Is that beneath him in terms of morals? Marcel couldn't even feed his cat! Grey plays her character as forever chipper and annoyingly wisecracking but while she gloats about her job by the end of the film she's ready to give it up and get married. The film ends with The Creeper getting shot but his death is not announced and Goodwin shouts "Let's get this man to a hospital". It's obvious that Yarbrough and others at Universal wanted to keep this character available for sequels but only one was made (The Brute Man) because Hatton who suffered from the disease Acromegaly died shortly afterward. Hatton disliked intensely being exploited by the studios in this manner but he was a remarkable presence on film and in his own way made an indelible mark in cinema.
Magnifque! The perfect Neanderthal!
kapelusznik183 November 2013
Warning: Spoilers
***SPOILERS*** After being humiliated by #1 art critic the snotty and full of himself Holmes Harman,Alan Napler, struggling sepulcher & artist Marcel De Lange, Martin Kosleck, decides to end it all by jumping into the East River and drowning himself. When Marsel saw someone in worst condition then even he was in floating below he decided to help the poor guy and nurse him, together with his pet cat Peblo, back to health. As it turned out the person that Marcel saved from drowning is the notorious "Creeper", Rondo Hatton, who's been on a rampage murdering a string of young women, mostly hookers, all throughout the city of New York.
Puzzled but grateful for what the very out of touch with the latest news Marcel did for him, way would anyone rescue a serial murderer like himself, a now fully recovered "Creeper" decides to do what Marcel didn't have the guts to do himself. Take care of all those art critics like Holmes Harman who've been making his life a living hell by putting down his great, in his mind, works.At first Marcel doesn't realize what the "Creeper" was doing but as he read the newspaper reports of his exploits, murdering art critics who disgrace him and his art, he encouraged him to keep up the "Good Work". As it soon turned out the "Good Work" resulted in Marcel making his masterpiece a bust of the "Creeper" himself!
As it also soon turned out it was a woman newspaper columnist Jean Medford, Virginia Gray, who in fact was one of the few persons in the city who admired Marcel's work who lead to both his and the "Creeper's" downfall. That's by giving Marcel the publicity, in her column, that he really didn't need. It was that , Jean's column about his latest work, which in the end broke up a beautiful friendship, Marcel and the "Creeper", and thus finally putting and end to their reign of terror .
P.S Rondo Hatton who's signature role as "The Creeper" was to make him famous in the world of horror movies died almost two months before the film "House of Horroes" was released at the age of 51.
Puzzled but grateful for what the very out of touch with the latest news Marcel did for him, way would anyone rescue a serial murderer like himself, a now fully recovered "Creeper" decides to do what Marcel didn't have the guts to do himself. Take care of all those art critics like Holmes Harman who've been making his life a living hell by putting down his great, in his mind, works.At first Marcel doesn't realize what the "Creeper" was doing but as he read the newspaper reports of his exploits, murdering art critics who disgrace him and his art, he encouraged him to keep up the "Good Work". As it soon turned out the "Good Work" resulted in Marcel making his masterpiece a bust of the "Creeper" himself!
As it also soon turned out it was a woman newspaper columnist Jean Medford, Virginia Gray, who in fact was one of the few persons in the city who admired Marcel's work who lead to both his and the "Creeper's" downfall. That's by giving Marcel the publicity, in her column, that he really didn't need. It was that , Jean's column about his latest work, which in the end broke up a beautiful friendship, Marcel and the "Creeper", and thus finally putting and end to their reign of terror .
P.S Rondo Hatton who's signature role as "The Creeper" was to make him famous in the world of horror movies died almost two months before the film "House of Horroes" was released at the age of 51.
But what about the cat?!
WankerReviews23 June 2020
Warning: Spoilers
A starving artist saves a disfigured man from the river, and uses him to seek revenge on the negative critics, regarding his sculptures.
This was really fun to watch. Kept me on the edge of my seat. Scenes weren't graphic at all but still effective. One scene that caught me by surprise was when the creeper was already hiding in someone's apartment, but the scene plays out like he was going to show up at the front door, or get caught.
One thing I didn't like was the reporter named Joan. That character was very irritating. She was a busy body noisy and even stole something from someone's house, just so she could get a story out of it. I really didn't want her to survive. For most of the movie I thought she was pointless, and kinda boring, and made some of the scenes drag a bit. Most of her scenes involve simple chit chat with another artist. Her part was finally put to some good use at the end, and things really picked up, and didn't go the way I thought it would. This was a good movie, but not knowing what happened to the cat made me sad. I hope it's ok!
This was really fun to watch. Kept me on the edge of my seat. Scenes weren't graphic at all but still effective. One scene that caught me by surprise was when the creeper was already hiding in someone's apartment, but the scene plays out like he was going to show up at the front door, or get caught.
One thing I didn't like was the reporter named Joan. That character was very irritating. She was a busy body noisy and even stole something from someone's house, just so she could get a story out of it. I really didn't want her to survive. For most of the movie I thought she was pointless, and kinda boring, and made some of the scenes drag a bit. Most of her scenes involve simple chit chat with another artist. Her part was finally put to some good use at the end, and things really picked up, and didn't go the way I thought it would. This was a good movie, but not knowing what happened to the cat made me sad. I hope it's ok!
The Creeper returns!
The_Void26 October 2008
In 1944, a strange looking actor (apparently as a result of an incident during The Great War in which his face was deformed) called Rondo Hatton made a film called The Pearl of Death (a part of the successful Sherlock Holmes series) where he played a murderer named 'The Creeper'. Apparently, Universal studios thought this character was too good for just a single outing and so obviously decided to make another film with the same actor playing the same character (and with a bigger role) and what we get is House of Horrors. The film features what would have to be described as a rather tame plot line; especially when compared to Universal's best films; such as Frankenstein and Dracula. The plot focuses on a sculptor who is dismayed by the way that critics lambaste his best works. His fortune changes one day when he rescues a man from drowning. He later discovers that this man just happens to be a murderer that the police are calling 'The Creeper', and he soon hatches a plan to have his new found friend murder his critics...
The main standout of the film is undoubtedly the presence of Rondo Hatton; although the performance is rather tragic considering the disease he had that made him deformed. The role and the film really exploit this, which is rather sad. The lead actor is Martin Kosleck and he delivers a performance that doesn't quite fall short of ridiculous and its rather hard to take seriously; although it is at least entertaining. The plot is not played out with any real style and the film does feel a bit stagnant. Director Jean Yarbrough doesn't really offer much in the way of suspense and intrigue and as such we're left with just the plot to keep us interested; which the film doesn't always manage. It's always rather predictable where it's going and unfortunately the film doesn't offer much in the way of surprises. Universal horror will always be remembered as the creators of some of the best horror ever made; but I very much doubt that House of Horrors will get a mention next to their classic films of the thirties. The film is not a complete dead loss but it's not a classic either.
The main standout of the film is undoubtedly the presence of Rondo Hatton; although the performance is rather tragic considering the disease he had that made him deformed. The role and the film really exploit this, which is rather sad. The lead actor is Martin Kosleck and he delivers a performance that doesn't quite fall short of ridiculous and its rather hard to take seriously; although it is at least entertaining. The plot is not played out with any real style and the film does feel a bit stagnant. Director Jean Yarbrough doesn't really offer much in the way of suspense and intrigue and as such we're left with just the plot to keep us interested; which the film doesn't always manage. It's always rather predictable where it's going and unfortunately the film doesn't offer much in the way of surprises. Universal horror will always be remembered as the creators of some of the best horror ever made; but I very much doubt that House of Horrors will get a mention next to their classic films of the thirties. The film is not a complete dead loss but it's not a classic either.
Generally uninspired B horror movie has its moments
mlraymond2 May 2008
Warning: Spoilers
The peculiar charisma of Martin Kosleck brings a certain believability to his character of the frustrated artist. He imbues his dialog with an odd sense of realism, making the sculptor Marcel a convincing individual. The character manages to come across as a real person and not so much a typical B movie villain.
The story line is nothing to write home about, and many scenes are dull. What makes it work is the strange chemistry between Kosleck and Rondo Hatton as the Creeper. Kosleck's talkative, philosophical character is contrasted with Hatton's low key, monosyllabic approach. The character of the Creeper isn't developed much beyond a basic monster level, but Hatton suggests undeveloped possibilities and makes you wonder about his back story.
This movie was on Shock Theater a lot when I was a kid, so I have a certain nostalgic fondness for it. It's worth seeing once, anyway, for those who enjoy Forties horror movies.
The story line is nothing to write home about, and many scenes are dull. What makes it work is the strange chemistry between Kosleck and Rondo Hatton as the Creeper. Kosleck's talkative, philosophical character is contrasted with Hatton's low key, monosyllabic approach. The character of the Creeper isn't developed much beyond a basic monster level, but Hatton suggests undeveloped possibilities and makes you wonder about his back story.
This movie was on Shock Theater a lot when I was a kid, so I have a certain nostalgic fondness for it. It's worth seeing once, anyway, for those who enjoy Forties horror movies.
Decent enough Universal chiller
kannibalcorpsegrinder1 May 2015
After saving the man's life from drowning, a vengeful sculptor uses a psychotic killer in a ploy to take down the spiteful art critics plaguing his work and forces a journalist to get the police on the trail of the killing spree.
Overall this one was a pretty decent if not entirely spectacular entry. One of the biggest marks against this one is the fact that the film continually finds itself traveling back-and-forth to the artists' laboratory despite continually being made aware of the killer's existence which really seems foolish and destined for danger. Not only is it completely at odds with the fact that she's obviously headstrong and determined not to do this repeatedly, the fact that her ignorance against the killer's identity despite plenty of evidence to the contrary in her earlier discovery of the sketch along with the note from the editing room asking for the purpose of printing the article all without protection or even advising the authorities on the matter makes her seem destined for death one way or another. Likewise, the fact that this one tries to play off the fact of his apartment encounter is really retribution for those actions which results in the mistaken identity issue has no reason to exist due to these early scenes giving him not only the look but also the general feel of this one so he shouldn't have had any problems carrying this out. Still, there's a few rather enjoyable parts here with the fact that the early stalking scenes are set-up to be quite chilling and typically enjoyable romps through the darkened alleyways famous in these kinds of efforts, the ability to pull off a kill against a suspect in police protection from the other room away is quite inventive and this manages to get a lot of mileage out of the unique and distinct appearance of the main killer. The grotesque, misshapen features and imposing appearance certainly get some great use throughout the sculpting scenes which have an uneasy air to them based on their relationship, and certainly helps in the finale with a lot of fine action that comes into play due to the killer's appearance, but otherwise this one didn't have much else for it.
Today's Rating-PG: Violence.
Overall this one was a pretty decent if not entirely spectacular entry. One of the biggest marks against this one is the fact that the film continually finds itself traveling back-and-forth to the artists' laboratory despite continually being made aware of the killer's existence which really seems foolish and destined for danger. Not only is it completely at odds with the fact that she's obviously headstrong and determined not to do this repeatedly, the fact that her ignorance against the killer's identity despite plenty of evidence to the contrary in her earlier discovery of the sketch along with the note from the editing room asking for the purpose of printing the article all without protection or even advising the authorities on the matter makes her seem destined for death one way or another. Likewise, the fact that this one tries to play off the fact of his apartment encounter is really retribution for those actions which results in the mistaken identity issue has no reason to exist due to these early scenes giving him not only the look but also the general feel of this one so he shouldn't have had any problems carrying this out. Still, there's a few rather enjoyable parts here with the fact that the early stalking scenes are set-up to be quite chilling and typically enjoyable romps through the darkened alleyways famous in these kinds of efforts, the ability to pull off a kill against a suspect in police protection from the other room away is quite inventive and this manages to get a lot of mileage out of the unique and distinct appearance of the main killer. The grotesque, misshapen features and imposing appearance certainly get some great use throughout the sculpting scenes which have an uneasy air to them based on their relationship, and certainly helps in the finale with a lot of fine action that comes into play due to the killer's appearance, but otherwise this one didn't have much else for it.
Today's Rating-PG: Violence.
The Creeper.
AaronCapenBanner25 October 2013
Rondo Hatten plays the Creeper, who in this film is a notorious serial killer of women, breaking their backs with his huge hands and body. He is found nearly drowned in the river by frustrated artist/sculptor Marcel De Lange(played by Martin Kosleck) who takes him home, and they become friends(of a sort). Marcel tells the creeper about how much he hates the art critics who have trashed his work in their columns, so he takes this as a hint to murder them, as well as the occasional poor woman walking down the street... Exploitive of Rondo Hatton's unfortunate condition, film is also quite shallow, since no background or reasons for the murderous behavior is offered at all. Some good acting here(even Hatton isn't bad) but too one-dimensional.(though at least Marcel is nice to his cat!)
Not just a little creepy. Short of a horror classic.
michaelRokeefe13 April 2017
Warning: Spoilers
Universal pictures presents a real creepy winner among the B horror movie genre. And a genuine star in Rondo Hatton, The Creeper! Struggling sculptor Marcel De Lange (Martin Kosleck) is the victim of scathing reviews by the New York art critics. The distraught artist goes to the river to drown himself...that is where he discovers the half-drowned notorious serial killer, the Creeper (Hatton). De Lange decides the best way to get back at all of his critics is to have them meet the Creeper, personally.
Jean Yarbrough directs the George Bricker screenplay from Dwight Babcock's original story. Rondo, of course, is the real star. Other cast members are strong: Bill Goodwin, Robert Lowrey, Virginia Grey, Alan Napier and Joan Fulton.
Jean Yarbrough directs the George Bricker screenplay from Dwight Babcock's original story. Rondo, of course, is the real star. Other cast members are strong: Bill Goodwin, Robert Lowrey, Virginia Grey, Alan Napier and Joan Fulton.
House of Horrors
Scarecrow-8817 July 2011
Warning: Spoilers
Okay Universal chiller starring Rondo Hatton, returning as the Creeper, still snapping spines, this time at the motivation of a sculptor slowly driven mad by pretentious, nasty art critics who love to tear apart New York artists using their type writer as a means to diminish and destroy anyone they consider poor or devoid of talent (while also writing vitriol towards artists they simply don't like). Needless to say art critics like the F Holmes Harmon (Alan Napier), admiring themselves and their reputed opinions, even if the art community finds those like him detestable, who get the Creeper spine-snapping treatment, aren't exactly sympathetic victims we feel sorry for.
At first French sculptor, Marcel De Lange (Martin Kosleck) is presented as a rather sympathetic figure, an impoverished artist in dire need of critical support so that he can sell some of his works just to buy food and pay rent for home and studio. After getting his work trashed by Harmon, convincing a potential buyer to not purchase a sculpture, De Lange considers suicide, seeing an injured Creeper appearing from a river in bad need of care. De Lange sees Creeper as an artistic triumph in the making and so a partnership is formed. Soon De Lange is doting on how he would like to tear Harmon apart with his bare hands with Creeper willing to oblige. But the Creeper is a psychopath who murders women so not only critics get their spines snapped and necks wrung. Robert Lowery is Steven Morrow, a commercial artist who had a beef (and altercation) with Harmon, dating a snappy, unflappable, and loyal art critic named Joan (Virginia Grey) whose voice is also respected in the city, her own column dedicated to the art scene. Joan is a supporter of De Lange despite the stigmatism his work suffers, described as something a lunatic would sculpt (perhaps true considering De Lange uses Creeper to kill and harm for him), but when she steals a sketch outlining the Creeper's facial features, he prepares to get rid of her before being connected to the killings ( a second critic is also murdered for comparing Steven's work to De Lange's, further belittling the sculptor's reputation, as if Harmon didn't do enough damage).
Hatton's acromegaly again is well utilized, both as a sculptor's inspiration and as a hulking brute with longish fingers and rough features cornering smaller beauties and wimpy art critics, his shadowy silhouette on the wall portraying the result of his actions as the victims have nowhere to run and no strength to escape his clutches. Kosleck's manipulative madman, presented as pitiable and tiny, even shorter than Virginia Grey, I thought was a fun variation on Dwight Frye, using a powerful brute to do his handiwork. Bill Goodwin is Lt Larry Brooks, the investigator trying to catch the killer, terrorizing his streets. Lowery has "the wrong man" character, a "person of interest" to Lt. Brooks, due to his negative feelings for Harmon, who has to come to the rescue of his girl when she is in danger of being yet another victim of the Creeper. Some atmospheric moments with foggy streets and a memorable "movie monster" in Hatton who thinks he's found a friend in De Lange, but "House of Horrors", to me, was rather a bit too predictable and underwhelming overall..maybe I was a bit too excited entering my viewing of this movie. It just has lazy writing (not much depth in the scenario or the characters this time around), too, although the execution of art critics who use newspaper articles to demean those they have a distaste for, sometime out of pure meanness, might be met with audience celebration.
At first French sculptor, Marcel De Lange (Martin Kosleck) is presented as a rather sympathetic figure, an impoverished artist in dire need of critical support so that he can sell some of his works just to buy food and pay rent for home and studio. After getting his work trashed by Harmon, convincing a potential buyer to not purchase a sculpture, De Lange considers suicide, seeing an injured Creeper appearing from a river in bad need of care. De Lange sees Creeper as an artistic triumph in the making and so a partnership is formed. Soon De Lange is doting on how he would like to tear Harmon apart with his bare hands with Creeper willing to oblige. But the Creeper is a psychopath who murders women so not only critics get their spines snapped and necks wrung. Robert Lowery is Steven Morrow, a commercial artist who had a beef (and altercation) with Harmon, dating a snappy, unflappable, and loyal art critic named Joan (Virginia Grey) whose voice is also respected in the city, her own column dedicated to the art scene. Joan is a supporter of De Lange despite the stigmatism his work suffers, described as something a lunatic would sculpt (perhaps true considering De Lange uses Creeper to kill and harm for him), but when she steals a sketch outlining the Creeper's facial features, he prepares to get rid of her before being connected to the killings ( a second critic is also murdered for comparing Steven's work to De Lange's, further belittling the sculptor's reputation, as if Harmon didn't do enough damage).
Hatton's acromegaly again is well utilized, both as a sculptor's inspiration and as a hulking brute with longish fingers and rough features cornering smaller beauties and wimpy art critics, his shadowy silhouette on the wall portraying the result of his actions as the victims have nowhere to run and no strength to escape his clutches. Kosleck's manipulative madman, presented as pitiable and tiny, even shorter than Virginia Grey, I thought was a fun variation on Dwight Frye, using a powerful brute to do his handiwork. Bill Goodwin is Lt Larry Brooks, the investigator trying to catch the killer, terrorizing his streets. Lowery has "the wrong man" character, a "person of interest" to Lt. Brooks, due to his negative feelings for Harmon, who has to come to the rescue of his girl when she is in danger of being yet another victim of the Creeper. Some atmospheric moments with foggy streets and a memorable "movie monster" in Hatton who thinks he's found a friend in De Lange, but "House of Horrors", to me, was rather a bit too predictable and underwhelming overall..maybe I was a bit too excited entering my viewing of this movie. It just has lazy writing (not much depth in the scenario or the characters this time around), too, although the execution of art critics who use newspaper articles to demean those they have a distaste for, sometime out of pure meanness, might be met with audience celebration.
Doesn't demand much at all
tomgillespie200227 January 2014
One of many 60-minute B-movie horrors that Universal churned out in the 1940's, House of Horrors remains one of the most fondly remembered due to the hulking presence of Rondo Hatton. Originally a journalist and apparently a handsome man, he developed acromegaly which began to disfigure him in adulthood. He started getting extra work and bit-parts as faceless thugs until he appeared as 'The Creeper' in the Sherlock Holmes film The Pearl of Death (1944). Universal planned a series of films starring Hatton as The Creeper, but after this and it's sequel The Brute Man (1946), he sadly died of a heart attack brought on by his disease. He was far from a good actor - he does little but grunt and talk in child-like speech - but his presence is undeniable, and probably saves House of Horrors from obscurity.
Living alone in his rotting studio, sculptor Marcel De Lange (Martin Kosleck) is on the verge of selling his best work to a high-rolling collector. Unfortunately, the potential purchaser brings along notorious art critic F. Holmes Harmon (Alan Napier), who dismisses Marcel's work as a travesty, causing the sale to fall through. Penniless and on the verge of suicide, he spots a body wash ashore one night. The body is that of the Creeper, a known serial killer with the face of "the perfect Neanderthal," (as Marcel dubs him), so Marcel brings him home and nurses him back to health. Fascinating with his appearance, Marcel begins to sculpt the Creeper and exploit his blood-lust by setting him up to murder his enemies.
At just 65 minutes, House of Horrors, also known as Murder Mansion and Joan Medford is Missing, doesn't demand much at all. This is a formulaic genre picture that manages to squeeze an extraordinary amount into it's slender running time, and remains suitably entertaining throughout. Kosleck, for all his ham-fisting, manages to inject a tragic quality into his character, at first humble and optimistic, and later hateful and blood-thirsty. But it's Hando that steals the film - his Creeper snaps a woman's spine just for screaming in a scene that more than hints at rape (a big no-no in the 40's). Though there's no background or personality given to the character, that lurch-like appearance more than compensates. A forgettable genre film that is certainly worth an hour of your time.
www.the-wrath-of-blog.blogspot.com
Living alone in his rotting studio, sculptor Marcel De Lange (Martin Kosleck) is on the verge of selling his best work to a high-rolling collector. Unfortunately, the potential purchaser brings along notorious art critic F. Holmes Harmon (Alan Napier), who dismisses Marcel's work as a travesty, causing the sale to fall through. Penniless and on the verge of suicide, he spots a body wash ashore one night. The body is that of the Creeper, a known serial killer with the face of "the perfect Neanderthal," (as Marcel dubs him), so Marcel brings him home and nurses him back to health. Fascinating with his appearance, Marcel begins to sculpt the Creeper and exploit his blood-lust by setting him up to murder his enemies.
At just 65 minutes, House of Horrors, also known as Murder Mansion and Joan Medford is Missing, doesn't demand much at all. This is a formulaic genre picture that manages to squeeze an extraordinary amount into it's slender running time, and remains suitably entertaining throughout. Kosleck, for all his ham-fisting, manages to inject a tragic quality into his character, at first humble and optimistic, and later hateful and blood-thirsty. But it's Hando that steals the film - his Creeper snaps a woman's spine just for screaming in a scene that more than hints at rape (a big no-no in the 40's). Though there's no background or personality given to the character, that lurch-like appearance more than compensates. A forgettable genre film that is certainly worth an hour of your time.
www.the-wrath-of-blog.blogspot.com
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