The House in Nightmare Park (1977)

I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

Good films always raise compelling questions, whether the format is fiction or documentary fact.

The best films of this genre always show a path and provide a takeaway for being a better person.

Exactly the movie you think it is, but not the movie you want it to be.

How much you enjoy this film depends on how much you like Frankie Howerd, the silly comedian famous for his roles in UP POMPEII and the CARRY ON series. If you hate him, then deduct a star from the rating. If you're a great fan of his, then add on a star. Although most of the film largely hinges around Howerd's character, there is also much more to savour. The plot is essentially that of a haunted house mystery, and digs up all the old clichés of moving statues of armour and the like. The bickering family, murderous over a will, is also an old chestnut and it's safe to say that there aren't many chills (apart from the mad old woman at the end taking her veil off) or surprises to be had when watching this contrived film.However the costumes and scenery, including the authentic Victorian house, are very nice to look at, and there is also a good ensemble cast, the acting honours going to Hugh Burden as Reginald, whose trademark catchphrase "swine" manages to be repeatedly funny, and Ray Milland as a seemingly polite but inherently psychotic host. With a good, spooky score to keep things moving along, a lively screenplay by Terry Nation (DR WHO) and above-average direction by Peter Sykes (TO THE DEVIL A DAUGHTER), THE HOUSE IN NIGHTMARE PARK is an atmospheric piece which sufficiently retains the viewer's interest to the very end. However, comedy also plays a main part in the film, and while being variable at times (including some sniggering humour about breasts), it's rather good, but I may be biased in saying this.There are two scenes which stand out in sheer hilarity terms, the first being the dinner table scene where Howerd is unable to get any breakfast, and the second being the 'dance of the dolls', where three respected actors dress up in white makeup and pretend to be mannequins. It's certainly something you won't see anywhere else. Frankie Howerd is immensely likable in the central role, but whether you find his jokes funny or not, well that's up to you. Let's just say they're of the usual variety and he essentially plays himself. I found that while there weren't many laugh-out-loud moments there were certainly lots of smiling, knowing humour, including a blatant reference to PSYCHO. THE HOUSE IN NIGHTMARE PARK, hampered by a clichéd, average plot, nevertheless turns out to be a fairly enjoyable hour and a half of thrills and chills.

Frankie Howerd had a successful but oddly variable career. A big name comedian/comedic actor from the '50's to the '70s then a decline. His career though ended on a triumphal high as a national treasure in the 1990s when a new and discerning audience showed their appreciation for his unique comic talents, the last in a line which extended back to the high traditions of the Victorian Music Hall. For those who appreciate Frankie Howard, this film was never equalled. Somehow the script, the direction and the other players combined to give him the best of platforms for his talents. And even the respected supporting players, playing their typical roles, were at their very best: Hugh Burden the blustering ex-soldier, Rosalie Crutchley of the dark, forbidding look (I received a warmer version once) even John Bennett. All were at the top of their games and allowed space to individually shine.The presence of a real Hollywood star is often a bolt-on affair, done to get entry into the American market, the rest of the cast crushingly obligated to flatter the star's ego. Here though the great Ray Milland positions himself almost as a supporting player, amused, tongue-in-cheek, observing others fully blossom. The final blessing was a script which had Frankie Howerd as a rather hammy actor who made a living out of Dickens readings. It gave him the perfect platform for his considerable talents.I had never seen the film before, seemingly its only airing on the most obscure of British satellite channels. But these channels have become the only place where excellent British films that would otherwise disappear without trace, their very existence unsuspected, can be seen. Our self-regarding public service broadcasters for some reason serve up a mixture of 30% Westerns, 20% war films, 20% endlessly repeated famous old British classics and modern British clone violent heist films - all in continuous loop. Wit, charm and talent are rare. The best of British post '60s even to as recent as 2011 meanwhile is reduced to appearing on obscure channels looking to fill their schedules as cheaply but as interestingly as possible. It is as if the best of British film have been condemned only to be found in the manner of remaindered books in a high street bargain book shop. By an odd coincidence where some of the best books are to found.

There is nothing new about the old dark house routine...the family members gathering on a stormy night and some hidden treasure in the mix...The House in Nightmare Park, however, manages to escape the cliché and turns out to be perfect...I wouldn't change anything about the film.Struggling ham actor and general vain coward Foster Twelvetrees is invited to give some of his "inimitable renditions" (as he calls them) at a remote Gothic country mansion by head of the family Stewart Henderson (Ray Milland)After being dumped some distance from the house and his bags thrown at him Foster makes his way to the sinister looking mansion. We are shown how well Foster copes with scares when he hears a scream and takes off like a scalded cat. Also note some very good lighting and close ups with the lightning effects as Foster firsts sees the house. Very well done. Ray Milland is faultless in his portrayal of Stuart Henderson. Some of his looks of disbelief at Foster's acting are priceless.What ensues for the rest of the film is an amazing blend of comedy (sometimes subtle sometimes blatant) superb camera work and lighting and of course first class acting from all concerned. Another star of the film that must be acknowledged is the interior set used. The imposing Oakley court was used for the exterior shots so the interior had to be equally intriguing. The film is set in 1907 and the interior of the Henderson home captures the faded charm of the recently ended Victorian era. The wall paper, carpets, fire places all pay tribute to this era as well as conveying it in a slightly run down format. The well worn look has been very well dealt with. Finishing touches such as damp running down the wall near Foster's bedroom at to the effect. The Henderson family having spent a number of years in India have converted to the Hindu faith and brought back statues of the goddess Kali. This aspect worked very well and added a new dimension.Things don't get any easier for our cowardly hero Foster as more of the Henderson family turn up in the middle of the night under mysterious circumstances, a bed ridden Henderson is discovered..Or is he? , and to top it all a deranged old lady hidden in the attic offers him tea and then tries to end his ham acting career with a meat clever. Some excellent comic moments are shown between Hugh Burden as Reggie Henderson and Howard. Reggie takes an instant dislike to Foster and a series of mini stand offs come and go. These range from a battle over the last egg at breakfast (complete with antique silver in true mansion style) to Foster being called a swine endlessly. Another attempt on Foster's life comes in the form of a third Henderson brother named Ernest. Ernest and his wife Agnes are more switched on than Reggie and I dare say a lot more murderous. After quickly working out Foster is the key to finding a missing fortune in diamonds they try to bump him off with an injection of poison to the gums! Ernest is posing as a dentist while actually a vet! Kenneth Griffith turns in a top notch performance as Ernest if a bit short on air time.The Henderson family and their "dance of the dolls" routine is a mix of the bizarre with hilarity and sinister over tones added. The camera work is again top notch and you get the effect like looking in the back of the spoon.I first taped this film many years ago on VHS late one night. It never seems to be shown on TV so I had a long wait until it was realised on DVD. The wait was worthwhile. The quality is excellent; visually it looks like it was made yesterday. Director Peter Sykes had already directed a hammer horror film prior to The House In Nightmare Park so you get his amazing use of odd camera angles and creepy lighting shown off to the max. I don't believe the horror element would have worked as well if a director with no horror film experience had been hired. Sykes also does another brilliant thing... He keeps Frankie Howard's performance from getting to over the top and too full of ooooo aaaaa's the balance is great. I once read that Howard thought this was his best film. I certainly believe it is.I hope you enjoy this film as much as I do; it seems to have a timeless charm. Ps, spare a thought for poor Foster Twelvetrees as he's left alone on his newly acquired bleak estate digging for diamonds. I wonder if he ever found them.

Frankie Howard got few chances on film to showcase his comedic talents. Nightmare Park(AKA House of the Laughing Dead) is probably his best effort to do so on film. Like Benny Hill, only not quite as blatant, Howard is walking innuendo. We see through his eyes and speech an almost endless stream of one-liners, albeit rather tame by today's comparisons. Howard is funny in the main role of a third-rate entertainer who loves himself that has been invited to a mysterious mansion in the English countryside. The rest of the cast is comprised of the inhabitants of the house, a strange lot indeed with Ray Milland as the head of the family. The story is whimsical, and utterly absurd, but through the efforts of Howard, Milland, et all, and the fairly atmospheric direction of Peter Sykes, the film comes off quite well as a somewhat gothic comedy.