On December 6, 1985, New World Pictures originally released Home in theaters. Directed by Steve Miner of Friday the 13th franchise based on a story by Fred Dekker – the mastermind behind horror comedy classics like Night of the Creeps And Monster Squad – House, starring William Katt, Richard Moll, George Wendt and Kay Lenz, was a fresh, darkly humorous and strangely cathartic take on the traditional “haunted house story.” Making the most of its $3 million budget, Home won over audiences well after its initially mediocre opening week. Forty years later, it has become a cult classic, earning it two sequels. It is considered a staple of the horror genre and is beloved by fans for its tongue-in-cheek style, practical effects, and strong performances from its lead actors.
Arthur Cobb (Katt) is a well-known and successful, but deeply troubled author. In addition to grappling with his own dark past as a Vietnam War veteran, Arthur’s son Jimmy disappeared while staying at his childhood home, the elaborate Victorian home of his apparently senile aunt Elizabeth Hooper, who repeatedly claimed the house was haunted. Jimmy’s disappearance left a mark on Arthur’s already unstable mental health and led to his divorce from Jimmy’s mother, actress Sandy Sinclair (Lenz). When Aunt Elizabeth suddenly (and suspiciously) commits suicide, Arthur finds himself the new owner of her house. While trying to write his own memoir about his experiences in Vietnam and fending off unwanted attention from his nosy but good-natured neighbor, Harold (George Wendt), Arthur soon discovers that his aunt may have been entirely right about the haunted house, and that the key to Jimmy’s disappearance and the supernatural terrors roaming the halls may lie closer to home than Arthur knows. would never have suspected it. This is a solid and promising hypothesis, one that has surprisingly stood the test of time despite its forgivable flaws.
The founding of House is equal parts horror and humor
The 1980s are considered the golden age of horror, popularizing the slasher, reconstructing traditional monsters, revitalizing creature features, and updating tried-and-true tropes and setups for the encroaching modern era. With new technologies available, sophisticated practical effects, more precise editing tools, and the introduction of the steadicam, aspiring horror filmmakers had all the tools necessary to present their unique take on the genre. Among these budding filmmakers was Steve Miner, who had the honor of cutting his teeth as a director at Friday the 13th franchise, especially the second part in 1981 and Three in 1982 – best known for being the films that introduced Jason Voorhees as the face of the franchise, alongside his iconic hockey mask.
With such a popular and growing IP under his belt, it was only fitting that Miner would continue to helm an original property. His distinctive directorial touch – the same one that humanized and popularized the murderous but childish Jason Voorhees – was well suited to Fred Dekker’s special brand of dark comedy, lending a much-needed degree of tact and dignity to the troubled veteran’s story and character arc when necessary, without taking away from the film’s comedic backbone. This touch of tenderness was important in conveying the sometimes funny, often heartbreaking flashbacks to the Vietnam War (carried in depth by Katt and Richard Moll) and the lingering tragedies of Aunt Elizabeth’s death and the supernatural, inexplicable abduction of Arthur’s young son.
House’s humor holds up, as do its practical effects
Home is above all a horror film. However, it has a degree of self-awareness unusual for its time and cleverly mixes comedy with a touch of drama throughout. Thanks to Ethan Wiley’s screenplay, Miner’s direction, his cast’s deadpan, matter-of-fact delivery and, of course, Dekker’s source material, The house the horror of the haunted house is enlivened by dry, dark humor. Katt and Wendt particularly bring their flat-footed comedic talents to their respective roles: Katt lends a subtle sense of wry, sarcastic charm to his emotionally vulnerable and naturally edgy Arthur Cobb; Wendt’s lovably intrusive and awkward Harold is just the right amount of awkward to remain endearing without ever veering into annoying territory.
Alongside his peers from the 80s, Home exemplifies the best that the practical effects of the time could offer. This is a tangible work of art in every sense of the word: every scene feels earthy and tactile, even in the most fantastical scenes. A lot of thought and effort went into the production design and effects, and it shows. The eponymous house, a real California Victorian mansion owned by two firefighter brothers, was apparently repainted and renovated for the film, creating an atmosphere that oscillates between cozy, spooky, stuffy and eerie. That’s not even getting into the practical effects, especially the numerous creatures and puppets, and the impressive makeup and prosthetics. From a grotesque parody of the image of Kay Lenz, a horrible closet demon with its own internal organs, and the extensive zombie makeup of Richard Moll, Home didn’t always stick the landing with horror, but there’s no denying the mastery of the production design and its appealing tactile nastiness.
A promising premise is robbed of its potential as plot threads remain dangling
Home is a solid, dynamic spectacle that deserves its cult status, thanks to its solid premise, careful balance of comedy, horror, and pathos, and a flawed but likeable hero that you can’t help but root for. But as charming and engaging as it is 40 years later, it is not without its flaws and problems. The eponymous haunted house is presented correctly and its infamous mystique is explored with equal parts terror and humor. Despite a solid and respectable climax, the true power and backstory of the house remains unexplored, leaving the ending sudden, while satisfying, abrupt and disappointing.
There is little to no explanation as to why the house is haunted in the first place and how it is so closely tied to Arthur’s tragic past. The most the audience gets is that “the mind makes things real”, which works for Arthur’s experience with the house, but not for his Aunt Elizabeth’s. It’s a shame to see such a good premise left mostly half-baked. The war flashbacks and extremely funny horror antics help distract the audience from these awkward plot holes. Certainly, some of The house the scares fall flat, with the emphasis more on humor than horror until the tense final minutes. Likewise, Arthur’s relationship with his ex-wife Sandy is also underdeveloped, which is a waste of potentially interesting character dynamics outside of the missing child and divorce angst.
The story also suffers from inconsistent and unbalanced pacing. The first act, despite an effective opening of a few minutes, takes time to gain momentum, carried by ironic witticisms and deliberately hilarious blunders. Once Arthur is in the house and the supernatural hijinks begin, the film picks up pace nicely. There are awkward stalls and stops; Some comedic sequences and subplots can undermine the tension and momentum that the main plot strives to create. As funny as these subplots are, they don’t compare to the less-is-more-dry, witty dialogue, or the genuinely scary moments that come together to bolster the film’s final 15 minutes.
Home is not a perfect film. It has glaring flaws. He neglected some of his potential, made a few missteps in rhythm and didn’t always scare when he should have. But these are forgivable sins and do not take away from the pleasure it offers. With its self-effacing, self-conscious dark humor, endearing deadpan delivery, remarkable practical and makeup effects, excellent production design, likable cast and characters, and a deliciously cheeky, sometimes frightening take on a centuries-old horror tradition, The house Foundation is still going strong 40 years later as a loveable cult classic.
Home
- Release date
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February 27, 1986
- Runtime
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93 minutes
- Director
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Steve Miner
- Writers
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Ethan Wiley
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George Wendt
Harold Gorton
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- Excellent practical effects, makeup, puppetry and production design.
- A fun and cathartic blend of horror, comedy and drama.
- Dry and worthy performances from the actors.
- The haunted house tradition is underdeveloped and disappointing.
- The story is unevenly paced and irregular.