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House Of Mortal Sin

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Valerie's mum gets fed a poisoned communion wafer, and another main character gets strangled with rosary beads. With films like FRIGHTMARE, HOUSE OF WHIPCORD (both 1974) and SCHIZO (1976) under their belt (THE FLESH AND BLOOD SHOW [1972] and THE COMEBACK [1977] are two of the very few of Walker's 70's horror films that McGillivray did not work on), each dealing with dark secrets and a hint that the Church may have too much power over everyone's life (both moral and professional), Pete Walker and David McGillivray made thinking-man's horror films of the 70's, even though they didn't skimp on the gore.

For some strange reason, I always thought this was an alternate title for House of Whipcord so I never bothered to seek it out. there are more pros than con with " House of Mortal Sin," but Walker feels constipated with this effort, unsure if he wants to court controversy or make a cracking chiller. With a wretched priest on a war path believing himself to be an avenging angel it dives into a pool of religious hypocrisy and mad mental puritan delusion.Jenny leaves Bob in her flat fr a moment when she realises that she's not only lost her keys but left her cigarettes in a phone box as well, and by he time she gets back he's been slapped about by an unseen assailant and had boiling coffee thrown in his face (an act that causes his face to explode into a bloody mess, for some reason).

After finding out that Meldrum tapes his confessions and uses them for blackmail, Jenny runs away (again), and is overjoyed (? To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Having had a crack at the judiciary it was time for Pete Walker to turn his sights on the Catholic Church. The script relies too much on mild sacrilege for its effects, instead of concentrating on more interesting aspects of religious repression.

First the boyfriend is beaten with an incense burner and then buried alive in a grave, then poor unlucky Bob is smothered in his hospital bed, Meldrum found reading him his last rites after doing the dirty deed. Walker fails to bring any sensibility, other than the merely exploitative, to the grotesque material, this must be considered pretty irredeemable stuff, even for a horror film. Pete Walker’s House of Mortal Sin follows his familiar theme of institutional hypocrisy—using extortion, sexual perversion, and giallo-esque shock murders to lampoon the church like only Pete Walker can.

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