The House That Would Not Die
The House That Would Not Die

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- 56/100 based on 907 votes

This movie centers on Ruth Bennett and her niece Sara Dunning. They move into the house of Ruth's recently deceased aunt and shortly thereafter they learn the house is possessed by two ghosts of the original owners who were from the time of the Revolutionary War. Shortly after arriving Ruth discovers a family Bible hidden in a secret compartment of a roll top desk. Contained within is the name of the original owner which includes the name of his deceased wife and also a name ... (Full plot summary below)

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Actors in The House That Would Not Die:

Barbara Stanwyck
Richard Egan
Michael Anderson Jr.
Kitty Winn
Doreen Lang
Mabel Albertson

Full Plot Details

This movie centers on Ruth Bennett and her niece Sara Dunning. They move into the house of Ruth's recently deceased aunt and shortly thereafter they learn the house is possessed by two ghosts of the original owners who were from the time of the Revolutionary War. Shortly after arriving Ruth discovers a family Bible hidden in a secret compartment of a roll top desk. Contained within is the name of the original owner which includes the name of his deceased wife and also a name that has been crossed out in ink. As the movie progresses we learn the identity of this person and the reason for it being obliterated through the possession of niece Sara and Pat McDougal.

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Movie Reviews

User Review - 8/10 by Blais EExtremely effective, early made-for-TV movie, with ample shocks and truly-frightening scenes. The acting by the small cast is uniformly fine, & suitably amped-up once the petulant poltergeists are discovered. Barbara Stanwyck as always gives a good, natural performance, and burly Richard Egan really comes alive as one of the possessed. A really scary, old-fashioned ghost story short on action but long on chills.
User Review - 4/10 by Robert BThe House that Would Not Die (John Llewellyn Moxey, 1970) If you don't know the name of Argentine-born director John Llewellyn Moxey, you're not alone. While he directed episodes of some of the world's most beloved television shows (from the British soap Coronation Street to American detective fare like Murder, She Wrote, his last regular gig before he died; he directed eighteen of them), he worked in relative obscurity until 1970. It was then that he made the acquaintance who would shape the rest of his career: he met mega-producer Aaron Spelling, who was already a superstar, with hits like The Smothers Brothers Show and Burke's Law under his belt. Spelling had a property, the rights to a novel written by an obscure novelist named Barbara Michaels, called Ammie, Come Home. (Michaels, the pen name of Egyptologist Barbara Mertz, would, of course, go on to literary superstardom, both as Michaels and as her other pan name, Julie Peters.) He had someone to adapt it already, Henry Farrell (who wrote the novel Whatever Happened to Baby Jane? and adapted Hush...Hush, Sweet Charlotte, so he could do mystery), but needed a director. Enter Moxey. It proved such a success, in Spelling's terms, that the two of them would work together extensively in the following years; Spelling started tabbing Moxey for his current series smash, The Mod Squad, in 1971, then when that went south, for what was, arguably, the biggest hit either of them ever worked on: Charlie's Angels. But we're getting way ahead of ourselves. If you've read Barbara Michaels, the setup will seem very familiar to you. Lovely young thing inherits an old, Gothic-style house where there are supernatural goings-on. The lovely young thing part, Sara, was the debut of Kitty Winn, who would later go on to the Exorcist franchise; can't go wrong there. The maiden aunt who accompanies her, Ruth, is played by Barbara Stanwyck, and did she really need the money that badly coming off The Big Valley, which had been hugely successful in the late sixties (and is still in syndication forty years later)? But never mind that. They get to the house, coincidentally run into two very eligible bachelors (The 300 Spartans' Richard Egan and Logan's Run's Michael Anderson Jr.), and the four of them, with a bit of help from the community, set about getting the house un-haunted. Or something. It's all a great deal better when Ms. Mertz, a wonderful novelist, is writing it. The difference between novel and screenplay is, in this case, characterization; Barbara Michaels novels are remarkable for how well-drawn and realistic her characters are (though one would think that eventually you'd find one who didn't disbelieve the ghost stuff for way too much of the book), while Farrell's screenplay-or, one suspects given his earlier work, Spelling's editing of Farrell's screenplay-has characters about as deep as the Persian rugs on the drawing room floor. It's a letdown, to be sure, even more so because the principal cast is usually pretty darned good at what they do. Here they spend their time flailing about, trying to solve a mystery that's never fully fleshed. One does have to lay a bit of the blame for this on Michaels' novel, which is an early specimen (it was her third, published in 1968; she would publish the first Julie Peters book and her first nonfiction under her real name that same year) and is nowhere near her best, but still, it's acres better than this movie. Worth watching for Stanwyck, and a couple of effects that still come off kinda creepy, but otherwise you can give it a pass. **
User Review - 4/10 by Larry YBarbara Stanwyck brings dignity to this haunted house chiller but it's still a standard 70's TV movie.
User Review - 4/10 by Richard CThe House that Would Not Die (John Llewellyn Moxey, 1970) If you don't know the name of Argentine-born director John Llewellyn Moxey, you're not alone. While he directed episodes of some of the world's most beloved television shows (from the British soap Coronation Street to American detective fare like Murder, She Wrote, his last regular gig before he died; he directed eighteen of them), he worked in relative obscurity until 1970. It was then that he made the acquaintance who would shape the rest of his career: he met mega-producer Aaron Spelling, who was already a superstar, with hits like The Smothers Brothers Show and Burke's Law under his belt. Spelling had a property, the rights to a novel written by an obscure novelist named Barbara Michaels, called Ammie, Come Home. (Michaels, the pen name of Egyptologist Barbara Mertz, would, of course, go on to literary superstardom, both as Michaels and as her other pan name, Julie Peters.) He had someone to adapt it already, Henry Farrell (who wrote the novel Whatever Happened to Baby Jane? and adapted Hush...Hush, Sweet Charlotte, so he could do mystery), but needed a director. Enter Moxey. It proved such a success, in Spelling's terms, that the two of them would work together extensively in the following years; Spelling started tabbing Moxey for his current series smash, The Mod Squad, in 1971, then when that went south, for what was, arguably, the biggest hit either of them ever worked on: Charlie's Angels. But we're getting way ahead of ourselves. If you've read Barbara Michaels, the setup will seem very familiar to you. Lovely young thing inherits an old, Gothic-style house where there are supernatural goings-on. The lovely young thing part, Sara, was the debut of Kitty Winn, who would later go on to the Exorcist franchise; can't go wrong there. The maiden aunt who accompanies her, Ruth, is played by Barbara Stanwyck, and did she really need the money that badly coming off The Big Valley, which had been hugely successful in the late sixties (and is still in syndication forty years later)? But never mind that. They get to the house, coincidentally run into two very eligible bachelors (The 300 Spartans' Richard Egan and Logan's Run's Michael Anderson Jr.), and the four of them, with a bit of help from the community, set about getting the house un-haunted. Or something. It's all a great deal better when Ms. Mertz, a wonderful novelist, is writing it. The difference between novel and screenplay is, in this case, characterization; Barbara Michaels novels are remarkable for how well-drawn and realistic her characters are (though one would think that eventually you'd find one who didn't disbelieve the ghost stuff for way too much of the book), while Farrell's screenplay-or, one suspects given his earlier work, Spelling's editing of Farrell's screenplay-has characters about as deep as the Persian rugs on the drawing room floor. It's a letdown, to be sure, even more so because the principal cast is usually pretty darned good at what they do. Here they spend their time flailing about, trying to solve a mystery that's never fully fleshed. One does have to lay a bit of the blame for this on Michaels' novel, which is an early specimen (it was her third, published in 1968; she would publish the first Julie Peters book and her first nonfiction under her real name that same year) and is nowhere near her best, but still, it's acres better than this movie. Worth watching for Stanwyck, and a couple of effects that still come off kinda creepy, but otherwise you can give it a pass. **
User Review - 4/10 by Brody MNot good, Not great but way better then any Made For TV Halloween movies made nowadays
User Review - 4/10 by Jeff BKind of boring made for TV movie from the 70s starring Barbara Stanwyck as a woman who inherits an old haunted house and moves in with her niece. It's a short film, only about 75 minutes or so, and I felt it tried to be too realistic and not have enough scares in it. Way too much of the film involved the characters being "possessed" and thus having the characters just act evil, the trick was used too much throughout and just got dull after a while. To be honest, I wasn't really paying attention the whole time, so it may have been a little better than I thought it was, but I don't plan on watching it again to see if it was.
User Review - 2/10 by William RThis 70's TV horror movie didn't age well. It looks and feels so dated I had a difficult time getting into it. I know the times were vastly different back then, but when doors that open by themselves and strong winds are the sum total of your special effects, you know no money was spent on this. The story is very tame by today's standards, and I'd be hard-pressed to imagine that anyone was scared by this or found it the slightest bit creepy even back then.

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