Occultober – Day 16 – House Of The Devil

House Of The Devil
As with yesterday’s look at Suspiria, Ti West’s break out film could be viewed as an exercise in style. Pure 70s horror film style. From its opening freeze-frame credits through the loooooong build-up of tension, the movie quite deliberately calls to mind the aesthetic of many occult thrillers and slow burn horror films of the Me Decade. But it’s more than that…

Many fans of the film put an asterisk on their love for it – ie. “It’s great…*except for the last 20 minutes”. The complaint is that the movie throws away its devotion to the 70s films (the grain seems less and the colours seem richer in this last section) and goes for the gusto with a sudden switch to more gory scenes and a straight up reading of the title. I would argue that West quenches the thirst derived from stretching the tension and does so in a novel and eye-popping fashion. If the sacrificial ceremony isn’t wholly unexpected, it certainly is handled with aplomb (and how great was the casting of Tom Noonan?) and the film ends with a perfect dark, devil-worshipping, oh-you-thought-you-were-safe moment that also recalls occult and horror films of the past. But again, the movie is more than that…

The real strength of House Of The Devil is its characters – in particular its main character Samantha. You could apply most of the standard qualities of horror movie final girls to her – plucky, cute, virginal (if you’re going to target someone for a sacrifice…) – but the best quality of her character is that you can feel empathy for her. So as the dread starts in (especially around the time she is bopping around the house to The Fixx’s “One Thing Leads To Another”), you begin to feel anxious for her. And so you become invested in the outcome of the film.

And that’s why this movie works like gangbusters.