The Red House

Plot

Pete Morgan (Edward G. Robinson) and his sister Ellen (Judith Anderson) live on a remote farm with their adopted daughter Meg (Allene Roberts). When Meg's friend Nath (Lon McCallister) comes to help with chores, Meg becomes fascinated by a mysterious red house in the woods that Pete has forbidden anyone to visit. Pete's increasingly erratic behavior and warnings about the woods only heighten Meg's curiosity, leading her to discover that the red house holds a dark secret from Pete's past. As Meg and Nath investigate further, they uncover a tragic story of murder, guilt, and psychological torment that has haunted Pete for decades. The film builds to a dramatic confrontation in the woods where the full truth about the red house and its connection to Pete's past is finally revealed.

Historical Background

Released in 1947, 'The Red House' emerged during Hollywood's post-war transition period when psychological themes became more prevalent in American cinema. The film reflected growing interest in Freudian psychology and the exploration of repressed trauma, themes that resonated with audiences processing the psychological aftermath of World War II. This was also a period when film noir was flourishing, and 'The Red House' incorporated many noir elements while pushing into psychological horror territory. The film's focus on rural isolation and family secrets tapped into contemporary anxieties about the dark undercurrents beneath seemingly normal American life.

Making Of

Director Delmer Daves, who had previously worked as a screenwriter, was passionate about adapting Chamberlain's novel. He fought to cast Edward G. Robinson against the studio's initial preference for a more conventional leading man. Robinson was initially hesitant about playing such a psychologically complex role but was convinced by Daves' vision. The production faced challenges creating the right balance between psychological horror and mystery, with several scenes reshot to adjust the tone. The forest sequences were particularly difficult to film, requiring custom lighting rigs and careful choreography to maintain the sense of disorientation. Judith Anderson, known for her stage work, brought theatrical intensity to her role as Ellen Morgan, often staying in character between takes.

Visual Style

The cinematography by Bert Glennon employed innovative techniques for the period, including extensive use of deep focus to create a sense of depth and isolation in the forest scenes. Glennon used low-angle shots to make the red house appear menacing and dominant in the landscape. The film's distinctive look was achieved through careful color grading that made the red house appear to pulse with menace. Night scenes were shot using special blue filters to enhance the otherworldly atmosphere of the woods. The camera often采用了subjective angles to reflect Meg's growing paranoia and obsession.

Innovations

The film pioneered several technical innovations in psychological filmmaking. It was one of the first to use subjective camera angles to represent a character's psychological state. The sound design included innovative use of echo and reverb to create the sense of the forest as a character in itself. The lighting techniques used to make the red house appear to change color were groundbreaking for the time. The film's editing style, which increasingly fragmented as Pete's mental state deteriorated, influenced later psychological thrillers.

Music

Miklós Rózsa's score was groundbreaking in its use of leitmotifs to represent psychological states rather than characters. The main theme, built around a haunting four-note motif, became increasingly distorted as the film progressed to mirror Pete's deteriorating mental state. Rózsa incorporated unusual instruments including the theremin to create the film's unsettling atmosphere. The score was one of the first to use music to represent repressed memories, a technique that would become standard in psychological thrillers. The soundtrack was later released as a recording and became popular among film music enthusiasts.

Memorable Scenes

• The scene where Meg first approaches the red house at dusk, with the building appearing to glow ominously through the trees
• Pete's nighttime confession scene, where he finally reveals the truth about what happened in the red house years ago
• The sequence where Meg and Nath get lost in the woods, with the forest seemingly changing around them
• The final confrontation in the red house, where all the secrets are revealed in a dramatic climax

What Critics Said

Contemporary critics praised Edward G. Robinson's performance against type, with many noting it as one of his most nuanced roles. The New York Times called it 'a genuinely spine-chilling melodrama' while Variety praised its 'atmospheric direction.' Modern critics have reevaluated the film as an underrated masterpiece of psychological cinema, with many noting its influence on later horror directors. The film's cinematography and use of psychological tension have been particularly highlighted in retrospective reviews as ahead of their time.

What Audiences Thought

The film was a moderate commercial success, particularly popular with audiences who appreciated psychological mysteries. Its word-of-mouth success was driven by its reputation as a genuinely frightening film, unusual for the period. Many contemporary viewers reported being genuinely disturbed by the film's psychological themes and atmospheric tension. Over time, it has developed a cult following among classic film enthusiasts and horror aficionados who appreciate its subtle approach to psychological horror.

You Might Also Like