Its plot concerns a deranged priest who takes it upon himself to punish his parishioners for their moral transgressions. well-executed and maintains a dark interest throughout, supported by interesting performances (especially Sheila Keith as Meldrum's devoted love). When Jenny Welch (Susan Penhaligon) goes to confession and tells Father Meldrum that she has had an abortion, he decides that all those involved should be punished. One other intriguing detail caught my eye: the junior priest drove around in the rain in a car with a missing windscreen wiper; was this deliberate?

When Father Cutler confronts Father Meldrum about the tape, Meldrum plays another tape that makes Jenny look like she is lying.If you have any information regarding this production, the locations or, even better, some comparison shots please contact us. In 1983, when Cushing acted in Walker's final film, The House of Long Shadows, Walker learned that Cushing actually liked the script, but had other film commitments. That night, while Jenny is out, Meldrum gains entry to her flat and assaults her friend Robert, believing him to be Terry. Then our star "Jenny" (Susan Penhaligon) meets up with her old school buddy (Norman Eshley) who is now a priest. His style is certainly there, and his own Catholic background comes to the fore to caricature the church (via a dangerously repressed cleric) rather than (as many lapsed Catholics do) attack it.

House of Mortal Sin (also known as The Confessional and The Confessional Murders) is a 1976 British horror slasher film directed and produced by Pete Walker. The script relies too much on mild sacrilege for its effects, instead of concentrating on more interesting aspects of religious repression. All through the film there are some lovely touches - Sheila Keith is awesome as Meldrum's one-eyed housekeeper, threatening his infirm mother ("He's gone out again, I'm afraid… you're all alone again… with me") and simply raising one eyebrow on surveying the scene following the rosary bead strangulation. Having had a crack at the judiciary it was time for Pete Walker to turn his sights on the Catholic Church. Jenny, understandably hurt by this behaviour, decides to go to confessional (oh-oh), where she wastes no time in telling all to a Father Meldrum: "He doesn't care about my feelings, he's got other girls…" But she soon gets scared by the priest's overbearing attitude ("There's no need to be embarrassed discussing sexual matters with me…") and runs away, straight into the arms of Bob, a man with a bad jacket and an Italian sports car.The 103 third parties who use cookies on this service do so for their purposes of displaying and measuring personalized ads, generating audience insights, and developing and improving products.

He always came across as kindly and genteel, but with an undercurrent of perversion, as if he almost certainly would've been caught masturbating in public, but into a pressed silk handkerchief or something. They all had stories that suggested that people in authority (especially in the Catholic Church) will more than likely abuse that authority and abuse it in such an underhanded way as to cause the deaths of the people they are supposed to be protecting.Pete Walker’s gory, violent horror in which a priest becomes obsessed with a girl that confesses to him and will stop at nothing to get her.

It does drag a teensy bit toward the end and a couple of plot points seem a bit stretched but the final 10 minutes are actually quite unpredictable and wrap things up quite nicely. This one's got a nice oversized region 2 art insert with lovely art on the other side that can't be seen through the neat black case.Jenny leaves Bob in her flat fr a moment when she realises that she's not only lost her keys but left her cigarettes in a phone box as well, and by he time she gets back he's been slapped about by an unseen assailant and had boiling coffee thrown in his face (an act that causes his face to explode into a bloody mess, for some reason).