What makes the film so effective is not so much the slightly sinister characterisation of the generally neurotic group, but the fact that Wise makes the house itself the central character, a beautifully designed and highly atmospheric entity which, despite the often annoyingly angled camerawork, becomes genuinely frightening.
An undeniably effective adaptation of the Shirley Jackson novel and one of the best haunted-house movies.
So it looks as though this film simply makes more goose pimples than sense, which is rather surprising and disappointing for a picture with two such actresses, who are very good all the way through it, and produced and directed by the able Robert Wise.
In this movie version, directed by Robert Wise, the specter is slightly censored—what's left is just the usual commercial spirit. Whenever it appears, the violins on the sound track start to didder, doors open and shut by themselves, people stare about in terror and squeak: The house, it's alive! The picture, it's dead.
From a potentially creaky, cliche-filled premise (a gaggle of stereotypes are invited to a spooky old house where all is not as it seems), director Robert Wise leads us on a brilliantly unsettling journey.
It's one of the most highly-wrought (indeed, overwrought) films ever made, with art direction, editing, sound effects, weird camera angles and lighting orchestrated to fill every frame with hints of the unsettling.
Sound effects, disorienting camera work, expert editing, and Humphrey Searle's discomfiting score all suggest, without showing, a horrible presence waiting in the wings. Though parts of The Haunting are talky, even that works in the film's favor, as Tamblyn's glib dismissals and Johnson's calm professorial tone are unable to clear up the mystery at its core. After all, the specters that can't be seen, classified, or otherwise contained are the scariest of all.
Robert Wise's 1963 black-and-white 'Scope translation of Shirley Jackson's The Haunting of Hill House was pretty effective when it came out, aided by Wise's skill as an editor.
The artful cinematic strokes of director Robert Wise and staff are not quite enough to override the major shortcomings of Nelson Gidding’s screenplay from the Shirley Jackson novel (The Haunting of Hill House).
适合中国宝宝体质的恐怖片，没有出现鬼，都是人心里有诡。导演在处理女主精神状态时，有不少有意思的视听设计，什么时候看都不会过时。
1.无意识地戏拟厄运的“传统”，令人战栗的被覆写和统合的体验，如同溺水般丑陋而舒服。Eleanor是女看护和Abigail的变体和合体：长期被责任拴在病母身边，既是“失职”的看护者，又如那个从孩童到垂老都在育婴室的女性般不自由；女看护纵欲，女主被剥夺爱和被爱的权利，与一生未婚、从小被父亲撰写的书灌输禁欲思想的Abigail异曲同工。她和Theodora的关系又是一段与在家时如出一辙的注定布满伤痕和裂隙的姐妹情仇。 2.令我深恶痛绝的东西，正是我能拥有的最好的东西；困住我的东西，便是我寻找的自由；被房子控制，便是拥有房子；戏剧性的厄运，至少也是命运的青睐；生而为女看护，至少死而为女主人（并非上吊，而是车祸）。 3.像活物一般从死者窗户俯冲过来、使人眩晕险些坠楼的凝视，广角镜头的扭曲拉伸，重力错乱和空间错觉，雕像和镜像的窥伺。
记得之前有人拿本片和无辜的人对比，因此来了兴致，可过了这么久看，确实还是挺失望的。虽然说导演在气氛方面做的挺不错，但是缺点不少，女主角的独白戏很没有必要，就算是为了达到原著奇诡的效果也显得画蛇添足，而人物登场后大量的生硬对白也显得很没有临场感，恐怖效果大打折扣，更不用说对峙的感觉几乎没有，导演通过精致构图模糊角色距离的方式虽然带来了美感，也使得惊悚效果很疲惫。
鱼眼镜头、超广角镜头、倾斜画面、翻转镜头等视听语言渲染了山中小屋的恐怖氛围和人物内心的恐惧，给观众带来同样的惊悚体验。只是真的不喜欢神经质人物作为主角在全片絮絮叨叨，严重消解了恐怖感。还以为结局是她活着，其余人都死了，没想到结果相反。
8/10。太喜欢这种哥特式恐怖了。导演利用前后景人物的对角线构图、俯拍与仰拍的交替对比建立深度空间，从而展现巨大而幽深的古堡内每个角落（高耸的塔尖，又长又直的走廊，厚重的木头雕刻，房门紧闭），将置身此地的人类衬托得孤独无力，无处不在的镜子经常占据构图中央，镜中扭曲怪异的世界表现了灵异势力对人意志的侵蚀，高潮无疑是马克威医生拯救被困于螺旋楼梯的埃莉诺，楼梯摇摇欲坠险些把人摔得粉身碎骨，令人捏一把汉，结尾埃莉诺在鬼魂诱使下驾车撞向老树，靠近镜头的翻倒车辆填满画面右侧，让人一下子掌握视觉焦点，形成影像的张力，独白运用也揭示了古堡如何将无依无靠的女人引向深渊的恐惧。
画外音独白强有力地破坏了镜头本身构筑起的叙事张力，太可惜。
《鬼玩人》很多情节直接照搬本片，山姆·雷米“开创性”的镜头运用其实也大多可以在本片中找到原型，但《鬼玩人》中直观的血腥暴力在这部63年的老片中显然无迹可寻，导演苦心营造的恐怖氛围今天看来太清淡了些
罗伯特·怀斯的经典恐怖片，老宅与神经质老处女的设定契同《无辜的人》，虽然故事如今看很老套也不太吓人，但技术上足够出彩。影片采用倾斜画面、翻转镜头、大量广角与鱼眼镜头、镜像、主观视角、两极分镜剪辑、鬼魅音效及多种诡异机位来营造空间扭曲和心理压迫感，高潮部分引人入胜。（8.0/10）
还真实诚，找个既不漂亮又不年轻的演员来演这个性格一点儿都不讨好的女主
7.6/10 中间过程太过缓慢，所幸结尾气氛十足，光影比较精致，恐怖、恐惧和鬼是三个不同概念，本片意在恐惧。
黑白映画，摄影很棒，没有血腥没有特效，但诡异的气氛营造的不错，只是内心独白有些过多，削弱了张力~
节奏好慢，不过最后终于有些许惊喜
与无辜的人很相似，都是大宅子。无辜的人倾向于用景深和低调缓慢的运动镜头营造空间完整感，给观众一种鬼有可能藏在任意角落的引导和暗示；本片更多地使用不平衡的构图、诡异的镜头角度、大量广角、主观性视角来造成空间的极度扭曲感，给观众视觉与心理的压迫性和冲击力更强，造成鬼屋本身是活着的感觉
4.7 鏡頭漂亮，動起來很美。又是黑白很漂亮啊...但是看演技很好的Julie Harris在裡面的一系列神經質表演很倒胃口。心裡話太多了,忒能意淫啊.......
心中有鬼。 PS·不喜欢Eleanor，神神叨叨的。
心理描写与摄影的完美结合令人看得喘不过气
这样来说吧，被haunted的是人，而不是屋子。作为精神不稳定不正常的自闭女人，还是不要轻易尝试走出与世隔绝的状态。
【高清】猛鬼屋 1963
渐入佳境
Vertigo式的旋转楼梯，摄像机设计而上，快速旋转表现时光流逝（剪辑），摄像机视点（对准墙面，墙外似乎就是Monster），墙面花纹。
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