Which one is better: The Haunting (1999) Vs House on Haunted Hill (1999)

Jan 4

Sometimes Hollywood releases content in the same year that is albeit overly similar (called twin films). Mad bombers (Blown Away, Speed (1994)) volcanic eruptions (Dante’s Pealk, Volcano (1997)), end of the world scenarios (Armageddon, Deep Impact (1998)) and haunted houses (The Haunting, House on Haunted Hill (1999)). Only The Haunting and the House on Haunted Hill though, have relied on previous material such as Shirley Jackson’s novel The Haunting of the Hill House and William Castle’s 1959 film of the same name respectively.

Since the late '90s allowed for more graphic content and use of modern, digital effects use, directors Jan de Bont and William Malone opted for a slicker and more visceral presentation for their cinematic ghouls and the undead who insist on terrorizing unsuspecting guests. Yet, the critical aftermath was not a good one. Both received low scores - especially de Bont’s, but a quarter of a century later, one might wonder how they fare against each other or whether they are worthy of anyone’s time.

Budget/Box Office

Critical reception

1. Story

David Self’s script in The Haunting is both hilarious and confusing, removing Shirley Jackson’s interesting dynamics between its characters - including strong homoerotic tones and a descent into madness. It’s uncertain on how to portray the mysterious events on the big screen, unable to offer any insight into the main quartet. When the mystery unfolds at the end, you do not care, as the film is more invested in its visuals than in delivering an adequate story. The finale in particular is a mess, seeing people running cluelessly all over the place at a slog of a pace. Malone’s movie, on the other hand, is marginally better due to its promising first half, more intriguing character work and a handful of plot twists. It does a better job of messing around with its victims, even if ultimately falls also prey to the same underwhelming ending that strips away any goodwill shown in the beginning.

2. Presentation

The Haunting boasts Eugenio Zanetti’s take on a massive haunted house that is more reminiscent of 17th-century European palaces than an actual residence. Each room and hallway has been designed with scale in mind, boasting distinct visual identities and complemented by beautiful wall art, carefully placed statues, rugs, and chandeliers. For all its shortcomings, its production design is outstanding due to its unheard-off-for-a-horror-motion-picture $80 million budget. House on Haunted Hill had roughly less than a quarter of its opponent’s budget and thus sought to implement traditional methods to represent a ghost-infested mental asylum. Trashed medical (and experimental) equipment, cobwebs, narrow corridors, staircases, and small rooms made of metal provide a traditional, claustrophobic feeling targeting the audience’s fear of darkness. It might not have much ambition, but it gets the job done.

3. Cast

Although The Haunting has far more star power, House on Haunted Hill has a larger and more diverse group of people. The former boasts a breakout star in Catherine Zeta-Jones (by far the most memorable from the cast), a solid lead in Lili Taylor, Owen Wilson’s natural charisma, and Liam Neeson’s magnetic stoicism - all of them enough to put butts in seats, as seen in the film’s whopping $180 million worldwide box office. House on Haunted Hill features more nuanced (or at least entertainingly hammy) actors: Oscar winner Geoffrey Rush chews the scenery any chance he gets, supported by a relatively unknown Ali Larter, Xenia Onatop/Jean Grey Famke Janssen, Spike himself (James Marsters), SNL’s Chris Kattan, Peter Gallagher, Sonya Blade (Bridgette Wilson), and the hot hunk that was Taye Diggs in the late '90s. House on Haunted Hill’s cast might lack the star appeal of Zeta-Jones and Neeson, but it is by far more interesting.

4. Terror, thrills and scares

What is scarier: an abandoned mental asylum or a mansion in the middle of nowhere? Jan de Bont (of Speed and Twister (1996) fame) was the wrong choice for a horror movie. For all the expensive special effects he can conjure up, the attacks and jump scares are nothingburgers. Rooms become bigger, digital faces appear on sheets, curtains, or windows, and statues move. Yet for all their (back-then) sophistication, they feel weightless and bear a circus-like quality to them. Most importantly, de Bont can’t come up with an interesting set piece across the entire running time. House on Haunted Hill’s limited budget obviously did not allow much CGI except in the finale (which resembles really close the one of its opponent), relying heavily on gross/grotesque makeup effects instead at least initially. While its scares can be bloody and clichéd (e.g., creepy person standing in the corner, unorthodox specter movements), they are infinitely more effective and otherworldly.

5. Soundtrack

Jerry Goldsmith was quite prolific in 1999, having scored two more motion pictures (The 13th Warrior, The Mummy) besides The Haunting. A master composer and the genius behind The Omen’s (1976) dark theme, he seems a bit lost though in Jan de Bont’s production. Although his work is well done - his signature string compositions are prominent throughout - invoking more drama than frights. The main theme is solid but has nothing special to it, and a genre horror entry should at least aim to be creepy in the audio department. Don Davis’ work in House on Haunted Hill, by contrast, is vastly superior. His opening piece (and the film’s main acoustic core) makes heavy use of the church organ, already introducing a sense of uneasiness and doom. The incorporation of a shouting choir and what would later become his signature metallic percussion - along with a more lyrical approach for the Prices’ backstabbing schemes, Davis’ score is actually better than the movie it accompanies.

6. Reception

With the exception of Metacritic (28 vs. 42), House on Haunted Hill received better scores overall, even if it failed to make the same strong commercial impact that The Haunting had. Standing its ground against Jan de Bont’s blockbuster, it has nearly a double Rotten Tomatoes rating (31% vs. 17%) and a higher one on IMDB (5.6 vs. 5.0). In addition, it lacks The Haunting’s five Razzie nominations! Through the years and after careful re-examination, William Malone’s House on Haunted Hill has seen its reception somewhat improve; its humble beginnings and vibrant cast enhance its R-rated playfulness, while The Haunting still remains one of those cases where money and talent cannot be translated into efficiency - and, passion for cinematic storytelling.

Verdict

With 5 wins in 6 categories, House on Haunted Hill is 1999’s best haunted house flick. Despite its modest budget, traditional approach, and lack of major star power, it is (slightly) more effective due to a tighter script and an increasing amount of underlying creepiness. While The Haunting displays an expensive presentation and oozes mainstream appeal, it is not scary, relying on overproduced special effects to generate a sense of dread that is simply not there.

George Karystianis http://www.filmmining101.com