The Haunting (1963 film)
Theatrical release poster
|Directed by||Robert Wise|
|Produced by||Robert Wise|
|Screenplay by||Nelson Gidding|
|Based on||The Haunting of Hill House
by Shirley Jackson
|Music by||Humphrey Searle|
|Editing by||Ernest Walter|
|Running time||112 minutes|
|Box office||$1,200,000 (US/ Canada)|
The Haunting is a 1963 British psychological horror film by American director Robert Wise and adapted by Nelson Gidding from the novel The Haunting of Hill House by Shirley Jackson. It stars Julie Harris, Claire Bloom, Richard Johnson, and Russ Tamblyn. The film, about the conflict among a team of paranormal investigators and the house in which they spend several nights, received positive reviews. The film was remade in 1999.
The film begins with a voiceover by Dr. John Markway (Richard Johnson). Hill House was constructed by Hugh Crain as a home for his wife. She died in an accident as she approached the house for the first time. Crain remarried. His second wife died after falling down the stairs. Crain's daughter, Abigail, lived in the house the rest of her life, never moving out of the nursery. She died calling for her absent nurse-companion. The companion inherited the house, but hung herself in the library. Mrs. Sannerson inherited Hill House. It has stood empty for some time. The voiceover ends.
Dr. Markway is investigating paranormal activity. He wins permission from Mrs. Sannerson to occupy the house, but must take Luke Sannerson (Russ Tamblyn) (her heir) with him. Markway chooses two individuals to accompany him. One is the psychic, Theodora (Claire Bloom), who is also known as "Theo". The other is meek Eleanor "Nell" Lance (Julie Harris). Eleanor spent her adult life caring for her invalid mother, and her recent death left Eleanor feeling severe guilt.
Two caretakers—Mr. Dudley (Valentine Dyall) and his wife (Rosalie Crutchley)—care for the house. The large, maze-like mansion contains few right angles, perspective is off, and doors open and close by themselves. The house has a library with a spiral staircase and a conservatory with some eerie statues. Eleanor feels at home at Hill House as well as unsettled by it. That night, Eleanor and Theo are terrified by ghostly occurrences outside of Theo's bedroom door. In a well-known scene, supernatural forces bang loudly on the door as if trying to gain entry.
The team explores Hill House the next day, discovering a cold spot and encountering other supernatural phenomena. Dr. Markway reveals more about the hauntings which have allegedly occurred at Hill House. The team discovers the words "HELP ELEANOR COME HOME" on a wall. Eleanor becomes mentally unstable. Something grips Eleanor's hand tightly in the night, terrifying Eleanor and Theo. The following day, Mrs. Grace Markway (Lois Maxwell) arrives at Hill House to warn her husband that a reporter has learned of Dr. Markway's investigation of Hill House. The doctor is concerned when his wife announces that she plans to join the group for the duration of the stay. She demands a bed in the nursery despite her husband's protests that it is unsafe. That night, Grace Markway disappears. Eleanor's mental instability worsens as she falls further under the spell of Hill House. She goes into the library where she climbs the metal spiral staircase. In a critical scene, Grace Markway appears unexpectedly from a trapdoor at the top of the staircase and Eleanor almost falls to her death. Dr. Markway climbs the unstable staircase and rescues her.
Dr. Markway, Luke, and Theo become frightened as Eleanor becomes separated from the group and Grace cannot be found. When they locate Eleanor, Dr. Markway insists that she leaves Hill House at once. He asks Luke to drive her away but before Luke can get in the car Eleanor drives off without him. As she speeds down the road to the front gates, something takes control of the steering wheel and the car starts driving erratically. Eleanor pleads with the supernatural entity to stop as she tries to drive the car. Suddenly, Grace Markway steps out from behind a tree and appears in front of Eleanor's car. Eleanor swerves to miss her, hits a tree, and dies. When Dr. Markway, Luke and Theo arrive at the crash site on foot, Dr. Markway asserts that something was in the car with Eleanor. He notes that the tree that claimed Eleanor's life was the same one that killed the first Mrs. Crain. The doctor says "There was something in the car with her, I'm sure of it. Call it what you like but Hill House is haunted." As the members of the group look back at the ominous abode, Luke remarks "It ought to be burned down and the ground sown with salt."
The final words in the movie are a narrative by Eleanor:
Hill House has stood for 90 years and might stand for 90 more. Within, walls continue upright, bricks meet...floors are firm, and doors are sensibly shut. Silence lies steadily against the wood and stone of Hill House. And we who walk here walk alone.
- Julie Harris as Eleanor "Nell" Lance
- Claire Bloom as Theodora "Theo"
- Richard Johnson as Dr. John Markway
- Russ Tamblyn as Luke Sannerson
- Fay Compton as Mrs. Sannerson
- Rosalie Crutchley as Mrs. Dudley
- Lois Maxwell as Grace Markway
- Valentine Dyall as Mr. Dudley
- Diane Clare as Carrie Fredericks
- Ronald Adam as Eldridge Harper
- Pamela Buckley as First Mrs. Crain (uncredited)
- Amy Dalby as Abigail Crain - Age 80 (uncredited)
- Rosemary Dorken as Abigail Crain's Nurse-Companion (uncredited)
- Verina Greenlaw as Dora Fredericks (uncredited)
- Claude Jones as Garage Attendant (uncredited)
- Freda Knorr as Second Mrs. Crain (uncredited)
- Howard Lang as Hugh Crain (uncredited)
- Janet Mansell as Abigail Crain - Age 6 (uncredited)
- Paul Maxwell as Bud Fredericks (uncredited)
- Susan Richards as Nurse (uncredited)
Robert Wise called The Haunting one of his top 10 or 12 favorite films he made, and that it was his favorite experience among all the movies he made.
Director Robert Wise was in post-production on West Side Story when he read a review in Time magazine of author Shirley Jackson's novel, The Haunting of Hill House. Wise read the book and found it frightening. He passed it to screenwriter friend Nelson Gidding, with whom Wise had worked on the 1958 film I Want to Live!. Gidding did a full story treatment for Wise before proceeding to work on the adaptation. As Gidding crafted the screenplay, he came to believe that the novel was not a ghost story at all, but rather the insane thoughts of the lead character, Eleanor Lance. Lance was having a nervous breakdown, he theorized: Hill House is the hospital where she is held; Markway is her psychiatrist; the cold, banging, and violence are the results of shock treatment; the opening and closing of doors was the doors of the hospital opening and closing. Wise and Gidding traveled to Bennington, Vermont, to see Jackson to discuss this idea with her. Although Jackson thought it was a good idea, she said her novel was definitely about the supernatural. Nonetheless, elements of the insanity concept remained in the script, so that the audience was left wondering whether the supernatural events in the film were in Eleanor's mind or whether they were real. It was also during their visit with Jackson that Wise and Gidding chose the title for the film. They did not want to keep the book title for the film, and they asked Jackson if she considered an alternative title. Jackson suggested The Haunting, which Wise and Gidding immediately adopted.
Writing the screenplay took about six months. During this period, Gidding worked alone. Although he passed some of his work to Wise to assure him that the screenplay was progressing well, he and Wise did not otherwise collaborate on or discuss the screenplay. The screenplay made other changes to the story as well. The number of characters was cut down, the back story was significantly shortened, most of the supernatural events depicted in the novel were kept off-screen, and the greater part of the action was set inside the house to heighten the audience's feeling of claustrophobia. Eleanor's role as an outcast was also emphasized. The character of Theodora was given a sharper, slightly more cruel sense of humor in order to make her a foil for Eleanor but also to heighten Eleanor's outsider status. The role of Luke was made more flippant, and Dr. Markway (Montague in the novel) was made more sure of himself. The screenplay was finished just after Wise completed work on West Side Story.
Wise approached United Artists with the project, but after much delay they turned him down. Wise's agent then suggested that, since Wise owed Metro-Goldwyn-Mayer (MGM) a film under an old contract, Wise should take the project there. MGM agreed to do the film, but would only give Wise a $1 million budget. Wise knew he could not do the film at MGM's Culver City Studios (now the Sony Pictures Studios). But the United Kingdom might be different. The Eady Levy gave tax breaks and financing to films made in the United Kingdom as a way of subsidizing and promoting the British film industry. Someone suggested to Wise that he approach MGM's Borehamwood Studios subsidiary. Wise had been asked to come to the United Kingdom for a Royal Command Performance of West Side Story, and during the trip made the financing pitch to MGM Borehamwood. They offered a budget of $1.050 million. With the Eady Levy support, this allowed the film to go forward with a production in the United Kingdom.
Ettington Hall (now the Ettington Park Hotel) and its grounds in the village of Ettington, Warwickshire, United Kingdom, was used for exterior shots Hill House. According to actor Russ Tamblyn, Wise approached a society which kept track of British haunted houses, and they gave him a list of such places. Production designer Elliot Scott was sent around the country to look at each house. Wise selected Ettington Hall. Some of the cast and crew were housed in Ettington Hall during exterior shooting. The location did not sit well with Harris and Bloom. When they arrived at Ettington Hall, they thought the house "scary looking outside", and Wise had to reassure them. Interior sets were constructed and shot at the MGM-British Studios in Borehamwood, Hertfordshire, in the United Kingdom. The interior sets were designed by Elliot Scott. Wise credits Scott as a "major contributor" to The Haunting. The sets were designed to be brightly lit, with no dark corners or recesses, and decorated in a Rococo style. All rooms also had ceilings, to create a claustrophobic effect on film. Actor Richard Johnson said the sets created a subdued feeling among cast and crew.
Wise says that his contract with MGM specified that the picture could only be shot in black-and-white, which Wise preferred for this genre of film. Wise attempted to make Ettington Hall look more sinister through various lighting effects and camera settings, but this failed. Wise and Boulton then hit on the idea of using infrared film for establishing shots of the house. Infrared film stocks were quickly rushed to the location shoot from Belgium. The new film worked. Wise felt the infrared film brought out the "striations of the stone" and made the mansion look like "more of a monster house". Wise very much wanted to make The Haunting a tribute to Val Lewton, the producer and writer under whom Wise had directed his first film (the supernatural horror picture Curse of the Cat People). Wise says that Lewton's theory of horror was that people were more afraid of the unknown than things they could see. The decision to show little that was supernatural was made very early in the picture's preproduction. Wise and cinematographer Davis Boulton also wanted to make distances in the film (such as hallways) look longer and darker than the audience would anticipate. Wise approached the Panavision company, and wanted an anamorphic, wide-angle lens. The only lens Panavision had was a 40mm. Wise learned that the company was working on a 30mm lens, but it contained distortions and was not ready. Wise kept pressing, and eventually Panavision turned over the 30mm lens—but only if Wise signed a memorandum in which he acknowledged the lens was imperfect. Wise and Boulton also planned shots that kept the camera moving, utilized low-angle shots, and incorporated unusual pans and tracking shots. This led to some of the most active camera movements in Wise's film career. To accentuate the feeling that the house was alive, exterior shots were filmed so that the windows appeared to be eyes.
Casting and performances 
Although Susan Hayward was reported to be in the running for one of the two female leads, Julie Harris was chosen for the role of Eleanor Lance. Wise had seen Harris on stage, and felt she was right for the part of the psychologically fragile Eleanor. Harris agreed to do the film in part because the role was complex and the idea of the house taking over Eleanor's mind was interesting. But she also chose it because she had a long-standing interest in parapsychology. English actress Claire Bloom was cast as Theo. In part, however, the decision to cast Bloom and Johnson was because of Eady Levy requirements that the cast be partly British. To make Bloom's character appear more bohemian, beatnik clothing designer Mary Quant was hired to design mod clothing specifically for the Theodora character.
Richard Johnson, under contract to MGM, was cast as Dr. Markway. Wise saw Johnson in a Royal Shakespeare Company production of The Devils. Impressed with his acting he offered him the role. Johnson later said he received invaluable film acting advice from Wise. Wise told him to keep his eyes steady, to blink less, and to try not to time his acting (Wise said he would take care of that in the editing room). Johnson also credited Wise with helping him to craft a much more natural acting performance.
Russ Tamblyn, also under contract with MGM, turned down the role because, although he thought the script was very good, he felt the character Luke was "a jerk". The studio forced him to reconsider, threatening him with suspension. Tamblyn told the British cinema magazine Film Review in 1995 that while reading the script a second time, he realized the character was much more interesting. "This is the ironic part," he said, "it turned out to be one of my favourite films that I've been in!"
During the shoot, Harris suffered from depression. Bloom, Johnson, and Tamblyn, she felt, did not take the film as seriously as she did. At times, Harris would cry in her makeup chair prior to the day's shoot. But the actress tried to incorporate her depression into her performance. Claire Bloom did not speak to Harris while filming continued, which worsened Harris' depression. Afterward, Bloom told Harris that the lack of interaction had helped Bloom build her own performance. The two women reconciled. Wise heightened the sense of character conflict by having the characters "step on one another's lines". That is, one character would begin talking before the other character had finished. At times, characters simply talk at the same time.
To enhance the actors' performances during scenes in which they react to off-stage voices or sounds, Wise and his sound editors created a "prescored" soundtrack of voices and noises. These were played back during filming, and Wise says they greatly enhanced the acting performances. Although some sounds were replaced during post-production, the "prescored" sounds were left on the soundtrack just as the actors heard them. Sound editors collected and created sounds in an empty manor house for a week to create the prescore. Some of the sounds are very low in the bass range, which can cause physical sensations at high volume.
Effects and editing 
Some effects were achieved in not immediately obvious ways. In one scene, a supernatural force pushes against the parlor door and bends it inward repeatedly. Though the door appears to some viewers to have been made of latex, it was in fact made of laminated wood (with a strong crew member pushing a piece of timber pressed hard against the door). Two physical effects were used to make the spiral staircase in the library appear frightening. In one scene, the camera appears to ascend the staircase at a rapid rate. But the point of view is backward, looking down the staircase. This effect was created by using the staircase's handrail as a dolly track. The camera was lowered slowly down the staircase by a wire. When run in reverse at high speed, the effect was frightening. In another scene, the staircase appears to become unstable and give way as Luke Sannerson ascends it. Later, Eleanor ascends the staircase in a trance-like state. She is rescued by Dr. Markway, even as the staircase seems ready to collapse. The collapsing staircase effect was designed by a metalworker at the Borehamwood studios. This effect was created by tying portions of the steps and railing to a cables that ran inside the staircase's central pole. When the cable was slackened, these elements moved freely. When tightened, the staircase appeared solid and stable. The effect was so frightening to the cast that Robert Wise had to ascend the staircase while it was shaking in order to prove it was safe.
Other effects also relied on simple cinema tricks. Early in the film, the audience sees Abigail Crain lying in bed, aging from a young child to an old woman. A camera was fixed over the bed, and four different actresses (each a different age) posed in the bed beneath the camera. Dissolves were used to show the aging process. In another scene, the characters come across a "cold spot" in the haunted mansion. To show the physical effect on the characters, the makeup department applied special makeup to the characters which appeared invisible in normal light. To show the effect of cold on the skin, filters were gradually drawn over the lights on the set, revealing the "cold effect" makeup.
Stunt performer Connie Tilton appears twice in the movie. She portrays the death of the "Second Mrs. Crain" by flinging herself backward down a flight of stairs. Uncredited actress Freda Knorr is seen in shots before and after the fall; it is her face audiences associate with the "Second Mrs. Crain". Tilton also appears when Abigail Crain's Nurse-Companion hangs herself at the top of the spiral staircase in the library. Although uncredited actress Rosemary Dorken is seen climbing the stairs and going past the camera, it is Tilton's body that suddenly appears in shot again as the Nurse-Companion hangs herself.
The camera work and editing in the film work together to further heighten the frightening qualities of the film. Eleanor is often viewed from overhead, and in one scene the camera closes in so tightly on her that she is forced backward over a railing. Eleanor's viewpoint is often juxtaposed with eerie views of the house, as if both viewpoints were the same. Many of the editing choices in the film are also used to heighten the audience's discomfort. There are a number of rapid cuts in the film which throw off the viewer's sense of spatial orientation, and Dutch angles are used to imply that reality is off-kilter. Cutting on action—showing the characters exiting a room to the right, only to show them entering the next room from the left—is often violated, so that the viewer cannot get a clear sense of what rooms and hallways are connected to one another. The audience also lacks temporal clues as well. There are few shots in which the audience can see out a window to determine whether it's night or day. When Eleanor is rescued by Dr. Markway on the unstable spiral staircase, some of the windows nearby show strong sunlight streaming in, while others show darkness outside.
The Haunting is notable as well for its lesbian character, Theodora. Although the character's lesbianism is subtly mentioned in the novel, the film makes it explicit. The film is also one of the few Hollywood motion pictures to depict a lesbian as feminine and not predatory. Theodora's lesbianism helps to create conflict in the picture. Had Theodora been heterosexual, Eleanor's growing attraction to Dr. Markway would not have threatened her. But with Theodora a clear lesbian, Markway becomes a threat which causes conflict between the psychic and the investigator. Originally, Gidding's script contained a scene early in the film in which Theodora is shown in her apartment in the city. It is clear from the context that she has just broken off with her female lover: "I hate you" is written on the mirror in lipstick, Theodora is yelling curses at her out the window, and more. However, Wise agreed that this scene should be cut from the film. It was, he said, too explicit for a film which worked hard to make things implicit. According to Julie Harris, film censors demanded that Theo never be shown to touch Eleanor, in order to keep the lesbianism less obvious.
The Haunting was released on September 18, 1963. Audiences were frightened by it. Film critic Dora Jane Hamblin related how four of her female friends, expecting a ho-hum film, took out make-up during the film's first few minutes with the intention of fixing their faces. The film proved so frightening, she said, that the women were jumping out of their seats and losing their items. In Houston, Texas, a local cinema promoted the film as so frightening that it held a contest to see which of four patrons could sit all the way through a midnight screening. (The prize was $100.) Despite incidents such as these, The Haunting did only average box office business.
The Haunting opened to mostly positive reviews. Variety called the acting effective, Davis Boulton's cinematography extraordinarily dexterous and visually exciting, and Elliott Scott's production design of the "monstrous" house "most decidedly the star of the film." But the unnamed reviewer felt Gidding's screenplay had "major shortcomings": The plot was incomprehensible at points, and the motivation for the characters poor. Writing in The Atlantic magazine, critic Pauline Kael called the film "moderately elegant and literate and expensive", but criticized Russ Tamblyn for being "feeble [and] cowardly-comic". Bosley Crowther, writing in The New York Times, thought the film was an "antique chiller" with plenty of scares but that the plot made no sense. He did praise Julie Harris and Claire Bloom for being "very good all the way through".
The film's stature and following has grown steadily since its original release. Director Martin Scorsese placed The Haunting first on his list of the 11 scariest horror films of all time. The Guardian newspaper ranked it in 2010 as the 13th best horror film of all time. Richard Armstrong in Rough Guide to Film (2007) called it "one of the most frightening films ever made", and said Julie Harris' performance is played "with an intensity that is frightening in itself". Lee Pfeiffer in The Complete Idiot's Guide to Classic Movies (2006) said it was "the most terrifying movie ever made". It has subsequently gained widely acknowledged cult movie status. Richard Johnson says that Steven Spielberg considers The Haunting one of the "seminal films" of his youth, and Robert Wise says that Spielberg told him The Haunting was "the scariest film ever made!" Not all praise has been so high. Critics Yoram Allon and Neil Labute call the film "frankly overrated". Professional filmmaker Russell Evans notes that the film was widely considered not very scary. As of November 2012, the film had an 86 percent (7.9/10) rating on Rotten Tomatoes and a 7.7 out of 10 on the Internet Movie Database.
In 2010, Cinema Retro magazine hosted a screening of the film at Ettington Hall. Richard Johnson was a special guest at the event and participated in a Q&A prior to the screening. Johnson said that he had never actually stepped foot in the hall during filming, and that this was the first occasion he had actually been inside the premises. The movie was mentioned in Dan Simmons' 2002 novel A Winter Haunting.
A remake of the film was attempted in the early 1990s by noted horror author Stephen King. King pitched the project under the name Rose Red to Steven Spielberg. The project went into turnaround and a complete script was written, but Spielberg demanded more thrills and action sequences while King wanted more horror. King and Spielberg mutually agreed to shelve the project after several years of work, with King buying back the rights to the script. King returned to the project in 1999, completed a revised script, and successfully pitched the script to producer Mark Carliner. King's revised script aired as a miniseries titled Rose Red in 2002, but bears only superficial resemblance to The Haunting.
The Haunting was formally remade in 1999 under the same title. Legendary horror director Wes Craven initially worked on the project, but abandoned it. The 1999 film, directed by Jan de Bont and starring Liam Neeson, Catherine Zeta-Jones, Owen Wilson, and Lili Taylor, was widely panned. Allon and Labute derisively say the film proves that modern filmmakers think that only gore and glossy special-effects can scare audiences.
Home media 
In 1990, media mogul Ted Turner announced he would begin colorizing black-and-white motion pictures to make them more pleasing to audiences watching his cable networks. The announcement generated extensive controversy. Touring Turner's colorization facilities as a member of the Directors Guild, Wise learned that Turner was colorizing The Haunting. Wise was able to prevent the colorization by pointing to his contract, which stated the picture could only be in black-and-white.
Warner Home Video released the film on VHS in pan-and-scan format in 1998. It was released on DVD in its original screen format in 2003. The DVD release included voice-over commentary from Wise, Gidding, Bloom, Harris, Jackson, and Tamblyn.
- "Top Rental Features of 1963", Variety, 8 January 1964 p 71. Please note figures are rentals as opposed to total gross.
- Bansak, p. 482.
- Rigby, p. 120.
- Marriott, p. 1959
- Gidding and Weaver, p. 65.
- Gidding and Weaver, p. 64.
- Gidding and Weaver, p. 64-65.
- Sloane, p. 22.
- Keesey, Pam (January 2002). "The Haunting and the Power of Suggestion: Why Robert Wise's Masterpiece Continues to Deliver the Goods to Modern Audiences". MonsterZine. Accessed 2012-10-07.
- Bansak, p. 481.
- Bansak, p. 481-482.
- Rigby, p. 121.
- Sloane, p. 22-23.
- Sloane, p. 23.
- Wise and Leemann, p. 175.
- Szebin, Frederick C. "The Sound of Screaming". Cinefantastique, 29:4/5 (October 1997), p. 141.
- "How Do You Photograph Nothing? Robert Wise Finds the Unique Solution". The Haunting. Pressbook. Metro-Goldwyn-Mayer, 1963, p. 2. Accessed 2012-10-07.(via Turner Classic Movies)
- Silver and Wise, p. 133.
- Sloane, p. 24.
- Wise and Leemann, p. 177.
- Busch, p. 41.
- Gidding and Weaver, p. 66.
- Kutner and Wise, p. 57.
- Scheuer, Philip K. "Julie Harris Seen as 'Haunting' Hit". Los Angeles Times. December 11, 1962. Accessed 2012-11-12.
- "In Review: 'The Haunting'". Cinefantastique. 35:4 (2003), p. 68.
- Kutner and Wise, p. 58.
- Ahlzen and Song, p. 162.
- "'Dying' Can Be A Living in Movies". The Haunting. Pressbook. Metro-Goldwyn-Mayer, 1963, p. 2. Accessed 2012-10-07 (via Turner Classic Movies).
- Castle, p. 246, n. 15.
- White, p. 78-91.
- Szebin, Frederick C. "The Sound of Screaming". Cinefantastique. 29:4/5 (October 1997), p. 140.
- Hamblin, Dora Jane. "Great New Scary Film". Life. August 30, 1963. Accessed 2012-10-08.
- Welling, p. 281.
- Bansak, p. 479.
- "Film Reviews: 'The Haunting'". Variety. 31 December 1962.
- Kael, Pauline. "Are Movies Going to Pieces?". The Atlantic. November 1964.
- Crowther, Bosley. "An Old-Fashioned Chiller: Julie Harris and Claire Bloom in 'Haunting'." New York Times. September 19, 1963.
- Scorsese, Martin (28 October 2009). "11 Scariest Horror Movies of All Time". The Daily Beast. Retrieved 15 November 2009.
- Heritage, Stuart (21 October 2010). "The Haunting: No 13 Best Horror Film of All Time" UK:The Guardian. Accessed 2012-10-07.
- Armstrong, p. 609.
- Pfeiffer, p. 223.
- Allon and Labute, p. 129
- Evans, p. 219.
- "The Haunting (1963)." RottenTomatoes.com. No date. Accessed 2012-11-12.
- "Cinema Retro's Movie Magic Tour Reunites Richard Johnson with Hill House". CinemaRetro.com. 8 May 2010. Accessed 2012-10-08.
- Simmons, Dan (2003). A Winter Haunting. New York: Harpertorch, p. 138.
- McGarrigle, Dale. (4 January 2002). "The Haunted House That Could". Bangor Daily News.
- Wiater, Golden, and Wagner, p. 402.
- Murphy, Kim (27 January 2002). "House Master". Los Angeles Times. Retrieved October 20, 2012.
- Rahner, Mark (31 October 2000). "Miniseries Reveals Scary Side". Seattle Times.
- Muir, p. 33-34.
- Bowker's Complete Video Directory, p. 565.
- Haflidason, Almar. "Films - Review - 'The Haunting' DVD". BBC.co.uk. 29 September 2003. Accessed 2012-10-08.
- Allon, Yoram and Labute, Neil. Contemporary North American Film Directors. 2d ed. London: Wallflower, 2002. ISBN 1903364523
- Ahlzen, Lars and Song, Clarence. The Sound Blaster Live! Book: A Complete Guide to the World's Most Popular Sound Card. San Francisco: No Starch Press, 2002. ISBN 1886411735
- Armstrong, Richard B. The Rough Guide to Film. New York: Penguin Putnam, 2007. ISBN 9781843534082
- Bansak, Edmund G. Fearing the Dark: The Val Lewton Career. Jefferson, N.C.: McFarland, 1995. ISBN 089950969X
- Bowker's Complete Video Directory. New York: R.R. Bowker, 1998.
- Busch, Justin E.A. Self and Society in the Films of Robert Wise. Jefferson, N.C.: McFarland, 2010. ISBN 9780786459155
- Castle, Terry. The Apparitional Lesbian: Female Homosexuality and Modern Culture. New York: Columbia University Press, 1993. ISBN 0231076525
- Evans, Russell. Practical DV Filmmaking. 2d ed. Florence, Ky.: Focal Press, 2005. ISBN 9780240807386
- Gidding, Nelson and Weaver, Tom. "Nelson Gidding". In I Was a Monster Movie Maker: Conversations With 22 SF and Horror Filmmakers. Jefferson, N.C.: McFarland, 2001. ISBN 0786410000
- Kutner, C. Jerry and Wise, Robert. "Somebody Up There Likes Me: Robert Wise". In Action! Gary Morris, ed. London: Anthem Press, 2009.
- Marriott, James. Horror Films. New York: Random House, 2012. ISBN 9780753512531
- Muir, John Kenneth. Wes Craven: The Art of Horror. Jefferson, N.C.: McFarland, 2004. ISBN 0786405767
- Pfeiffer, Lee. The Complete Idiot's Guide to Classic Movies. New York: Alpha Books, 2006. ISBN 1592575579
- Rigby, Jonathan. English Gothic: A Century of Horror Cinema. London: Reynolds & Hearn, 2000. ISBN 1903111013
- Silver, Alain and Wise, Robert. "Robert Wise (1914- )". In Film Noir Reader 3: Interviews With Filmmakers of the Classic Noir Period. Robert Porfirio, Alain Silver, and James Ursini, eds. New York: Limelight, 2002. ISBN 0879109610
- Sloane, Judy. "Callsheet." Film Review. June 1995, pp. 21-24.
- Welling, David. Cinema Houston: From Nickelodeon to Megaplex. Austin, Tex.: University of Texas Press, 2007. ISBN 9780292717008
- White, Patricia. Uninvited: Classical Hollywood Cinema and Lesbian Representability. Bloomington, Ind.: Indiana University Press, 1999. ISBN 0253336414
- Wiater, Stan; Golden, Christopher; and Wagner, Hank. The Complete Stephen King Universe: A Guide to the Worlds of Stephen King. Rev. reprint ed. New York: Macmillan, 2006. ISBN 0312324901
- Wise, Robert and Leemann, Sergio. Robert Wise on His Films: From Editing Room to Director's Chair. Los Angeles: Silman-James, 1995. ISBN 187950524X
- The Haunting at the Internet Movie Database
- The Haunting at AllRovi
- The Haunting at the TCM Movie Database
- The Haunting at Rotten Tomatoes