House by the River was a modestly budgeted film made during an apparent low point in Fritz Lang's film career here in the US for "poverty-row" studio, Republic Pictures. Set in late Victorian times, House details the story of one man's slide from unsuccessful writer to inadvertent murderer and his mostly successful efforts to cover it up. The film shows Lang's continuing interest in mentally disturbed but compelling villains. Stephen Byrne, the villain of House is in a long line of Langian sociopaths, psychopaths and individuals driven mad from injustice from Mabuse, Rottwang the scientist in Metropolis, Peter Lorre in M, Spencer Tracy in Fury among others.
While other commentators have pointed out the superb cinematography that puts this film in the film noir/Gothic story genre, what seems to have been missed is the jet black humor with which this film is shot through. Mordant humor is present when Stephen discovers he's becoming a better writer through his crimes. Comments are made by other characters in the movie about how a writer should only write what he knows about. That takes on a dark, ghoulish tone when the audience becomes aware that Stephen's newest book is entitled, Death on the River and that it has a compelling narrative indeed. In fact, Stephen shows he really enjoys the notoriety of being involved in the disappearance of the servant girl, Emily, as well as her death. He even sends a picture of himself to the newspaper investigating the story. They print it along with the story and Stephen uses the publicity generated to boost his book sales. This film is a good example of Lang as a brilliant yet very dark satirist of human ambition and folly.
In sum, not a perfect film (the conclusion especially feels rushed), but compelling and unexpectedly funny. In some ways, Stephen's mad writer vaguely anticipates Stephen King's equally mad writer, Jack Torrence of The Shining.
While other commentators have pointed out the superb cinematography that puts this film in the film noir/Gothic story genre, what seems to have been missed is the jet black humor with which this film is shot through. Mordant humor is present when Stephen discovers he's becoming a better writer through his crimes. Comments are made by other characters in the movie about how a writer should only write what he knows about. That takes on a dark, ghoulish tone when the audience becomes aware that Stephen's newest book is entitled, Death on the River and that it has a compelling narrative indeed. In fact, Stephen shows he really enjoys the notoriety of being involved in the disappearance of the servant girl, Emily, as well as her death. He even sends a picture of himself to the newspaper investigating the story. They print it along with the story and Stephen uses the publicity generated to boost his book sales. This film is a good example of Lang as a brilliant yet very dark satirist of human ambition and folly.
In sum, not a perfect film (the conclusion especially feels rushed), but compelling and unexpectedly funny. In some ways, Stephen's mad writer vaguely anticipates Stephen King's equally mad writer, Jack Torrence of The Shining.
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