The House In The Woods

The main plot of this minimalist psychological thriller from 1957 is acted out in a remote house in the woods – just as the title suggests. With only three main protagonists playing out a cat and mouse game, and in one place at that, one is inclined to think that this can be little else but boring. Wrong!

When author Geoffrey Carter (Michael Gough) and his charming wife Carol (Patricia Roc) grow tired of city life, they decide to escape the country in search of inspiration and for peace and quiet’s sake. How convenient then that artist Spencer Rowland (Ronal Howard) has just decided to rent out his remote house in the woods. At first, Geoffrey and Carol are delighted with the place and their joy is heightened by the seemingly cheap rent that Spencer charges the couple. As he explains, his beloved wife has passed away some years ago and he simply can no longer live with the painful memories, hence his decision to rent out the house. Until the contract is finalized, and until Spencer has finally packed his things, he plays the perfect host to his new tenants… whipping up breakfast and dinner while pointing out that the pair should never stray into the deep, dark woods. The scenario couldn’t be more idyllic… until Geoffrey accidentally comes across some documents which state that Spencer’s wife didn’t die some years ago, but merely some weeks ago.

When Carol laughs off her husband’s concerns and putting all down to an overactive imagination, he temporarily gives the matter a rest. However, as the days go on Geoffrey stumbles upon further evidence that suggests that his landlord’s wife died only just recently. When he confronts the artist, he explains that it’s all a mistake and the mixed up dates have something to do with his deceased wife’s last will, stating that if she would have died aged 25 plus, then he would have gotten her money. But because she died years ago he didn’t, hence he is now forced to rent out the place. Despite the explanation, something doesn’t seem to add up, least of all as far as the apparent wrong dates of the artist’s dead wife are concerned. Suddenly, Geoffrey has a terrible suspicion: the recent documents stating the passing of Spencer’s wife never were intended for her in the first place… in fact, they are fakes and are intended for Carol! If she gets killed, then Spencer can lie to the authorities about the identity of the dead woman and claim his wife’s inheritance after all… which is why he instructed the couple not to go into the woods: the body of Spencer’s wife has never been claimed by the authorities and instead lays buried in the woods. Once again, Carol laughs off Geoffrey’s suspicions by remarking that his apparent overactive imagination definitely got the better of him this time. It’s only when the couple realize that their car has deliberately been sabotaged by Spencer, and the telephone cable – the only connection to the outside world – has been cut, that Carol begins to agree with her husband’s worst suspicions…

Despite some flaws in the script (written by director Maxwell Munden, after the short story ‘Prelude To Murder’ by Walter C. Brown), and despite the lack of action (until the end that is), The House In The Woods nicely and gradually builds up the tension. Although this somewhat old-fashioned film gives the impression that it would have worked just as well as a stage play (perhaps even better), its three main players perfectly manage to anchor the goings-on.

Part of the ‘British Film Collection’, The House In The Woods is presented in a brand-new transfer and in its as-exhibited theatrical aspect ratio. Although they have been corrected as much as possible, there are still some issues with the soundtrack. The DVD offers no bonus material.