It Never Forgives Or Forgets

An ancient curse has turned their lives into a nightmare of lust and revenge.


Based on a novel by James Hardiman, this routine haunted-house scenario is enhanced a bit by its lush Eastern setting. The story opens in an elaborate Kyoto abode, wherein a cuckolded samurai brutally murders his wife and her lover before committing ritual seppuku. Their restless spirits remain trapped in the house until the present, where the story continues with an American couple (Edward Albert and Susan George), the house's newest owners, whose minds soon begin to fall under the ghosts' powerful psychic influence. After the arrival of a family friend, visiting diplomat Doug McClure, a curious re-enactment of the original tragedy unfolds, and even the intervention of a Buddhist monk (Henry Mitowa) fails to dispel the evil. The filmmakers seem more concerned with the sex than horror, as indicated by frequent nudity (particularly from George) and numerous sweaty clinches, paying short shrift to the great potential offered by the Asian setting -- an aspect only hinted at in the Buddhist exorcism scenes.


The House Where Evil Dwells is a 1982 American/Japanese horror film that stars Edward Albert, Susan George and Doug McClure about an American family that moves into a reputed haunted house in the hills of Japan. It was directed by Kevin Connor and produced by Martin B. Cohen. It was based on a novel by James Hardiman and turned into a screenplay by Robert Suhosky.


Vincent Canby of The New York Times wrote, "The House Where Evil Dwells... should satisfy all but the most insatiable appetites for haunted-house movies..."[1]
TV Guide said, "The film has more nudity than chills, but it does have some quirky humor, especially in the exorcism scene."[2]
J.C. Maçek III of WorldsGreatestCritic.com wrote, "Sadly, this film does end up coming off as another Amityville "homage" either because of director Kevin Connor's best efforts, or in spite of them. In truth, though, it's not all that bad. The acting doesn't particularly suck, and while the ideas don't seem to spring fully formed to the screen, those ideas are at least good, and relatively unique."[3]