Writer Ted Fletcher (a solid and likable performance by Edward Albert) and his wife Laura (a fine and appealing portrayal by the ever-scrumptious Susan George) move into a house in Kyoto, Japan that turns out to be haunted by the unrestful spirits of two lovers as well as the angry man who killed both of them before committing suicide himself.Director Kevin Connor, working from an incredibly asinine script by Robert Suhosky, treats the silly premise with jaw-dropping misguided seriousness: Starting out with a breathtaking bloodbath done in balletic Sam Peckinpah-style slow motion, highlighted by such gut-busting moments as a pasty face materializing in a bowl of soup and an absurd attack by vicious giant crabs grunting in Japanese (!), and capped off by a surprisingly grim'n'gory ending, this gloriously ridiculous rubbish rates as loads of campy fun to watch. The hokey (not so) special effects further add to the overall kitschy allure. Both Jacques Haitkin's sharp cinematography and Ken Thorne's spare spooky score are up to par. As a yummy extra treat, the delectable Mrs. George bares her tasty wares in a couple of sizzling love sex scenes. (Doug McClure as amiable diplomat Alex Curtis also shows some of his backside for the ladies.) A complete trashy hoot.

Over a century ago a samurai kills his wife and her lover before committing suicide, so it moves to modern times where a Western family moves in to the home where it happened. Soon they find themselves under the influence of these spirits. After a beautifully presented opening consisting of tragedy, this haunted house tale just never gets off the ground becoming quite uneventful (as it seems to lull about) with its lightly scripted narrative and randomly silly supernatural circumstances (rambling crabs?!). Even from what develops, it shows a real lack of reasoning about certain characters' judgements. Its frenzied finale is risible, but effectively executed. However at least it was brave to go out on a powerfully bleak note. Director Kevin Connor resourcefully sets it up with certain crispness thanks to the lyrical shape of the camera-work and the pacing is rather restrained with its slow-burn styling. The exotically picturesque Japanese backdrop projects another dimension to the fold. But there's no disguising its formulaic nature and stage-bound set, despite its change of culture and folklore. Although I did like how the malevolently restless spirits manifested, waltz, conspire and interacted with the occupants of the house. Where they went about trying to repeat the re-enactment of their own harrowing ordeal. How they go about pulling their stings is toying around with possessions, manifestations and causing a mess by throwing things about. The cast is dependable, but sometimes look a bit out of sorts. Susan George remains pleasing, but Edward Albert and Doug McClure (who had work with director Connor many times before) are practical with their performances. It should have promised much more than what transpired, but this handsome production consisted of strange ideas amongst its standard clichés."I hate this house!".

~Spoiler~ The House Where Evil Dwells has an interesting premise, but a bad execution. In 1840 Kyoto, Japan, a samurai returns home to find his wife in bed with another lover. He slaughters them both and then commits harikiri. In present day 1983, Edward Albert and Susan George move into this same house and become the victims of a haunting where the ghosts are trying to recreate the events of 1840. Doug McClure is a family friend living in Japan who got them the house and he takes over the role of the lover. Oddly enough, the film's premise isn't entirely different from the wildly popular Ju-on series. So you have to give it some due, even though Ju-on improves upon the story tenfold. Perhaps Takashi Shimizu was influenced by this film? It has a good set-up and it's different that we actually see the ghosts "jump" into the living to take them over and set the affair in motion. But there comes a point in the middle of the film where I found the whole thing to be absolutely laughable. One of the ghosts manifests itself in the daughter's bowl of soup and makes ridiculous faces at her. She says "Unnnnn...There's an awful face in my soup!" I rewound and watched that scene five times, laughing like a b*stard every time. After this scene, the whole movie becomes campy and full of unintentional humor, mostly coming from the ghosts. For example, the ghosts are exorcised by a monk but come running back into the house when Albert opens the door. Were they just never allowed to open the door after that? That's kind of a cheap exorcism. And when Albert and McClure finally face off, the ghosts are watching them and cheering them on like they were at a wrestling match. It's hysterical. But the best moment, other than the bowl of soup, is when the ghosts possess McClure and Albert. Up until this point they have been brawling, but when the ghosts do their "Quantum Leap" in they start using the worst martial arts in screen history. Old white guys doing swing kicks and karate chops is not graceful when they don't know what they're doing. But it is quite funny. And who can forget those awful crabs! That scene speaks for itself. I can see how this flick could be a guilty pleasure, but watch Ju-on: The Grudge for a better take on a similar plot.

This Movie is a must for both Susan George fans and those who just love Ghost Stories.Don't be fooled by this Movie's lack of recognition by the critics, or its small budget.The Movie is introduced by a very romantic and tranquil beginning with the history of a Japanese house and a love story set in the middle of the nineteenth century that turns tragic. The house is then bought by a married couple with one child in the present day (when the film was made) 142 years later in 1982.Slowly the film progresses, and the Viewer is not only left in suspense, but one could never imagine the shocking twist and climax that comes right at the end!Stay with this one, should you get a little bored (some impatient Viewers may do)I originally sought this Movie out for one reason; I'm a huge Susan George fan, and not because of her 'Sex Appeal'; George is so under-rated (or can be) like others of her type, who most Viewers see only as a 'Sex Pot'. She's been one of Britain's greatest actresses, and any Movie she made is worth watching.Many will remember that Susan George was never off the Silver Screen during both the 1960s and 70s.Great Movie! Pity it's not been done on DVD yet, and you will have to search to find a Video copy - and very rare to find in good condition. Top marks!