Even though the majority of his movies haven't gone on to win vast acclaim or classic status, any fan of cinema would have to admit that British horror maestro Pete Walker is one of the most fascinating directors of the seventies. House of Mortal Sin follows the common Pete Walker theme of hypocrisy in an institution; and this time it's the church that gets lampooned. The film does feel like an all too obvious attempt to drum up some controversy, but it's all so well done that it's easy to ignore this fact and just enjoy the twisted imagination of Pete Walker and scriptwriter David McGillivray. Catholic priests are always above suspicion due their high moral ground in society, and so the idea that one of them could go off the rails and abuse his privileges is as intriguing as it is frightening. The story follows Father Xavier Meldrum; a priest who tapes the confessions of his parishioners and then uses them for blackmailing purposes! And he isn't content to stop there, as if the blackmail doesn't go to plan - he isn't morally above murder!
The film is a little overlong and slightly overindulgent at times; but Pete Walker paces the plot well, and although at least ten minutes could have been shaved from the movie; it never gets boring. Walker is great at creating atmosphere, and through ugly cinematography and downbeat locations, the director ensures that there is nothing pleasant about the movie. The murder scenes are graphic in a typically seventies fashion, although the talented director never lets the blood overtake the plot, and the murder scenes are an event within the movie; rather than the plot being tied around the gore. The film takes influence from a range of sources, including the slasher sub-genre (most notably Psycho), as well as the Italian Giallo (the black gloves towards the end being a particular highlight) and even Walker's own previous efforts. As usual, Walker pulls great performances out of his older actors. Anthony Sharp is suitably sinister in the lead role, and also manages to retain his edge of authority. Hilda Barry gives the film the right amount of horror as the mother, while Walker regular Sheila Keith rounds off the cast in a convincingly macabre role. On the whole; this may not be as great as House of Whipcord, but House of Mortal Sin is further proof that Pete Walker really knows how to make his audience think and comes recommended.
