There’s an interesting backstory to this movie, as it marketed itself and used a deceitful ploy to the audiences, per a friend, Achille Manzotti of the uncredited producer Joe d’Amato, to change the movie La Casa 3 instead of Ghosthouse; the reasoning was that La Casa 1 and 2 were the titles to Evil Dead [1981] and Evil Dead II [1987]. This is not unheard of, Lamberto Bava’s The House of the Ogre [1988] which was initially released as Demons III to ride on the success of Demons [1985] and Demons II [1986] and later it even switched to Ghosthouse 2 to ride on the trail of this film when presented on DVD. In addition, for the curious La Casa went for further usage with part 4 and 5 respectively used with Witchcraft (aka Witchery [1988]) and then Beyond the Darkness [1990]. It since appears to have been retired from usage upon the masses, one should note this is not a solely method in foreign markets such as Conjurer [2008] plays off the popular title of The Conjuring [2013], though the latest technique aside from titling is artwork covers (but is another article on its own). Legendary cult director Umberto Lenzi used his Americanized name of Humphrey Humbert for this bizarre slasher meets haunted house while Cinthia McGavin served as screenwriter with dialogue provided by Shelia Goldberg.
A shocking sequence opens the film which sets itself 20-years ago involving a little girl, named Henriett (Kristen Fougerousse) dressed in white, holding a large jester-like doll who receives a cruel punishment of being locked in the basement, for unclear reasons. A few moments he is killed with an axe being planted in his skull and her mother first losing her left eye to an exploding mirror and then a knife being plunged into her neck, never clearly seeing who the culprit actually is, one is to infer that it’s a spiritual force or possession. This entire opening delivered with an odd rhythmic, demonic chant and creepy organ music this highlight, shall make the last of the originality for the move. The story does a time jump to present day, 1987, and we meet a HAM radio operator Paul (Greg Scott (Deadly Manor [1990])), sitting a sparce studio apartment with his computer discussing interviews and music of Duran Duran before tuning in to hear dreadful screams from a remote broadcast. As he begins his Scooby-doo investigation supported by his girlfriend Martha (Lara Wendel (The Red Monks [1988])), determined by listen to radio-waves; along their route they meet the goofiest, not in a good way Pepe (Willy M. Moon), before dropping him along the route. They successfully find the source in New England at the supposedly is the same home used in Lucio Fulci’s The House by the Cemetery [1981] and located other individuals (don’t fret over their names) one who is a HAM operator Jim. Paul shares the strange record with them and while the recognizes their own voices screaming in horrid deny making them, so of course they stick around, like any reasonable person. While the police on scene due to a few deaths occurring, we are treated a very phony jump scare involving Tina (Kate Silver) and Pepe followed by a host of strange scenes, that work to build a body count with many odd scenes, such as having a camper possessed, Susan (Mary Sellers) reentering the murder house to take shower, why – who cares, not the story, plot or filmmakers, a room full of floating pillow feathers and a maggot face ghoul.
This is a strange movie, there many pieces that don’t necessary fit together perfectly in fact they seem forced or even not as well-thought out as one would ideally seek. It comes from the characters, they are often dull, not very engaging and leave the audience struggling for someone to choose to root for in the film. Staying on point with characters, namely what is the reason for Pepe his contributions are unnecessary, and his appearances are frankly confusing, and then Valkos (Donald O’Brien (Zombie Holocaust [1980]) as the crazy handyman, he doesn’t act the part of a doomsayer and has an unfinished arc for his role. The dialogue feels dry, and that could be due to the actors, it may actually be a combination of unfamiliarity of some of the words or just how actors are as puzzled as about the various scenes. There are a series of disjointed scenes almost with the intent to shock more than actual resemblance to a storyline for example the individual cloak in black holding a knife complete with a maggot covered face – WTF – it’s just there for a brief moment with no connection to anything else. Then the implementation of a HAM radio broadcast why, when an easier method of a psyche fortuneteller often plays better into these situations. While some of the visuals are stunning such as a guillotine and brutal slash across the throat that was so memorable it once graced the cover of the 5th issue of Gorezone magazine; but the long winding story leaves many confusions for a viewer.
The early publicity at the time present one with the promise of a scary serious thrill ride, however it reveals itself as a disappointment, especially when knowing who the actual director is. Yes, there is some good gory moments, but clear influence from Superstition [1982], The Shining [1980], and Poltergeist [1982], but one obviously recognizes there’s quite a bit of padding to create a fuller storyline, which is a blend of cheesy qualities and groan of what it all could have been.
TAGLINES:
- We dare you to go inside…
- Death holds the mortgage, and if you move in…they’ll be Hell to pay.
http://www.imdb.com/title/tt0093090/
IMDb Rating: 4.8/10
Baron’s Rating: 4.5/10
Followed By:
Witchery (1988)
Beyond Darkness (1990)