House of Mortal Sin

Final chapter of the “anti-establishment” trilogy produced and directed by Pete Walker comes across as a scathing indictment of the established order.

The ecclesiastical hierarchy, specifically the Catholic Church with its rules and precepts, runs the risk of creating genuine monsters (delicate topics such as obligatory clerical celibacy are touched on, for example). Walker’s critique, however, quickly branches out to include the family institution as well as the medical profession (“You’ll find no ally here, or anywhere!” the insane priest sneers sardonically in response to Jenny’s pleas for help from the hospital staff), painting the profession as filled with moronic psychiatrists making absurd hypotheses and latching onto laughable psychoanalytic interpretations.

Psychological introspection becomes the main focus of David McGillivray’s screenplay, as it probes the motivations and feelings of an assorted range of characters, the most memorable of which is unquestionably Father Xavier Meldrum, a neurotic and sexually frustrated man whose soul is constantly buffeted by antithetical needs. Driven by a feverish religious fanaticism while simultaneously devoured by never-ending desires of the flesh, the ill-fated priest ends up becoming a despicable merchant of death and suffering. Peter Jessop’s cinematography is pitch-perfect, alternating icy, shadowy interiors with rainy exteriors pervaded by an eerie desolation.

An extraordinary cast: Anthony Sharp is utterly convincing as the repressed priest, the legendary Sheila Keith once again hits the mark as the bitter, one-eyed priest’s housekeeper, and even girl-next-door Susan Penhaligon is marvelous as the appointed victim.

Still highly relevant today.