Interrogation time! Where were YOU the night of October 27, 2018? If you had any sense, you would have been snugly wrapped in a blanket on your sofa with your TV tuned to MeTV. That Saturday night in question, Svengoolie, America’s beloved comedic horror movie host, was showing William Castle’s entertaining movie 13 Ghosts. I’ve brought up Svengoolie several times at this blog. Several of the classic haunted house films I’ve reviewed I first saw on his show, including The Uninvited , The Ghost and Mr. Chicken , Hold that Ghost, and several more. But of course you know that, since you are a regular visitor of his page, isn’t that correct, reader? (The interrogation continues!)
Truth be told, I don’t always have the kind of sense I called for in the preceding paragraph. I did not tune into Svengoolie on the date in question. I was at a Halloween party . But us folks in the Chicago area get to watch a rerun of his show the following week on Saturday morning. It was at this time that I turned on Svengoolie and watched 13 Ghosts. I had already seen the movie and had written about it (See 13 Ghosts review)but it was worth a revisit. Especially since I am writing about it once again.
During the show, Svengoolie brought up the 2001 remake of the movie. He showed viewers a promo picture from the film and invited his audience to check it out, mentioning something positive about it, but I can’t remember his exact words. Is this modern incarnation, titled and Thir13en Ghosts (note the unique spelling!) worthy of his praise? I say “no”, but who am I? And Sven is too nice, in my opinion, to trash anyone’s work.
Here is a synopsis that can be applied to both films. A father/patriarch is having serious trouble making ends meet. In a stroke of timely luck, his long lost Uncle passes away (whoopie! Yay!) and Dad inherits a mansion. He can move his family into the new home. Oh but there is a “catch”, or several “catches” – The dead uncle was a collector of ghosts and these apparitions come with the new house. He caught them from various places around the world. Either eleven or twelve ghosts inhabit the house depending on the version of the movie (this discrepancy will be explained later). By and large, these ghosts are invisible, but the dear old dead uncle discovered a way to make these ghosts more sightly. He developed these special glasses that, when worn, allow the mundane living human being to see these scary phantoms.
Now, I have mentioned that the number of ghosts range from 11-12. So, why are these films called “13 Ghosts/Thir13en Ghosts?” It is the thirteenth ghost that spawns the mystery of these films. There is “the prediction” that “there will be” a thirteenth ghost by each film’s end. Whether this prediction comes true varies with each film.
So, what are the differences between the films? On the one hand we have an old fashioned, kooky film with an old school Leave it to Beaver type family with a Ward Cleaver type of dad, a housewife mother, and teenage daughter and curious little boy. On the other, we have a modern family, with a widower raising his young boy and teenage daughter with the help of a sassy African American babysitter. The ghosts in the original film are cartoon animations superimposed on the screen. The ghosts in the remake film are actors made over in ghoulish and gore-ridden get ups. The second film has state of the art production . Not so with the first film. The original movie was shot in black and white, the modern in color. Finally, the 1960 flick uses that old fashion ghostly groan that grandpa might use to scare his grandchildren (ooooooooooo! Groooooooan) and the 2001 movie shows viewers a lot of state-of-the-art blood and guts.
These are just some of the differences between the films. Let’s go further and get into the nuts and bolts of plot and style. Once we do so, we will see that these are two very different films.
13 Ghosts (1960)
WARNING: SPOILERS ARE COMING!
As previously mentioned, both movies feature a special pair of glasses that allow its characters to see the ghosts. But it was the original film that gave the movie audience the same opportunity. Back in the day, theater attendees were given a “ghost viewer.” It had two lenses, on blue and one red. Periodically, the screen would turn blue. This was an indication that ghosts were about to appear on the screen. Or were they? See (or not to see), the film begins with a short commentary spoken by Director William Castle. He speaks to the audience members that do not believe in ghosts and tells them to look through the blue lens. When doing so, they would not see any ghosts. However, he instructs those moviegoers who do believe in ghosts to gaze through the red lens. They would see the ghosts. So basically, the audience had to look through the red lens to see the ghosts that haunted the house in the film.
Here is the intro to the film:
This whole nifty ghost-viewing experience was the main point of this film. It was a kind of audience participatory art form, and of course, a marketing gimmick, for which William Castle was the master. The plot takes second place to this. But it’s not such a terrible plot! It’s not all that great either, but….hey! The film has ghosts! Boo! Yay!
Benjamin Rush, the attorney for the late Plato Zorba, the Dead Uncle who bequeathed his estate to his nephew, takes care of the property transfer and brings the nephew and his family into their newly inherited home. He warns them about the ghosts but the family doesn’t believe him…until they witness the ghostly activities for themselves. Objects move on their own accord. Through the special glasses, they see the ghosts. Quite the variety these specters are! There is an Italian chef that likes to toss knives around in the kitchen. There is a ghostly lion that comes equipped with a headless lion tamer. There’s a fiery skeleton and many others. As to the whys and wherefores regarding Plato Zorba’s collection (just what in the heck did he want to do with these ghosts?), the details are unclear as the movie never fully explains this. But never mind, remember: plot is second to the ghost-viewer gimmick.
The family treats these ghosts as a nuisance, albeit a dangerous annoyance. But what can they do? They have nowhere else to go, so they are forced to put up with Uncle Zorba’s collection of eleven ghosts. Ah, but there is another ghost in the house. It is the spirit of Uncle Zorba himself. It is revealed that ghosts remain on earth when they have unfinished business. Plato Zorba certainly has some loose ends that need tying. For one thing, he didn’t just die, he was murdered! He needs his revenge. The murderer is to be “the 13th Ghost” He or she will die in this house. Now who could it be?
As it turns out, Dear ol’ dead Uncle Zorba left an enormous amount of cash behind. It is hidden somewhere in the house. The murderer wanted the money. And s/he is still hunting for it. Could the murder be the spooky ol’ witchy maid? She too comes with the house. And she is played by Margaret Hamilton, most famous for her portrayal of The Wicked Witch of the West in The W izard of Oz. She leads a séance at one point as the family tries to contact the spirit of Uncle Zorba. A prime suspect, don’t you think? If you think so, you are wrong. It is the lawyer, Benjamin Rush, who is the murderous villain. And he will get what’s coming to him. No, not the money. He will die in the house and become the 13th ghost.
In the end, the family finds the money and they are happy. Uncle Zorba is no longer earthbound, since he has his revenge. From that point on, the house is clean of ghosts. Why the rest of the ghosts pass on is anyone’s guess. Remember: Ghosts before plot. Keep repeating that: Ghosts before plot -Ghosts before plot -Ghosts before plot -Ghosts before plot.
Thir13en Ghosts – 2001
WARNING: SPOILERS ARE COMING!
The ghost hunter, a.k.a the rich uncle, goes by the name of Cyrus Kriticos in this movie, which begins not with the family that is about to inherit his house, but instead kicks off by showing the great extremes to which Cyrus and his team of merry ghost hunters go to in order to capture a ghost. Cyrus is not dead yet, but he will be after the ensuing carnage (Or will he be?). This carnage take place in a junkyard. This ghost is like a wild animal and he resists the hunt. There are explosions, shouts, zaps, flashing lights, giant walls of cars that come tumbling down. In the end, the ghost is caught. But oh no, Cyrus dies in the aftermath of the hunt. (Or does he?)
Arthur is the down on his luck nephew. Just like in the original film, a lawyer by the name of Ben informs Arthur that his Uncle Cyrus has died and that he has inherited his house and all his wealth. Yay! Arthur moves his family to the new home, and what a home it is! It resembles the kind of structure Indiana Jones might encounter – there are chambers and hallways everywhere and they are separated by glass panels that open and close via a machine involving wheels, gears and levers. Lawyer Ben is there to show them around, to get final papers signed, etc. Oh yeah, there’s this annoying “Dennis” dude there as well. He is posing as a power company inspector, but he is really an “empath” that is super sensitive to the presence of ghosts (he screams ever so annoyingly when he encounters them). He used to work for Cyrus and he is there to warn the family of the 12 ghosts that haunt the house.
The ghosts are locked in glass wall prison cells down in the basement. There are phrases written in Latin inscribed on the glass panels which, due to some kind of magic, act as barriers and prevents these ghosts from passing through the glass. Now, remember how I mentioned that in the original film, there were sacks of cash hidden in the house that the lawyer wanted to steal? That was a major plot point that moved the story toward its finality. Well in this movie, the cash is also there and Lawyer Ben wants it just as much as Lawyer Ben in the original film, but this is a mere subplot that gets resolved in the first 30 minutes. Ben wanders to the basement, finds the cash while inadvertently striking some lever or button which releases the ghosts from their prison cells.. He meets a quick end when a sheet of glass slides down from the ceiling and cuts him in half. Bye Ben, your screen time is done.
Meanwhile, the house seals itself off and the occupants are trapped inside. Annoying Dennis explains that “this isn’t a house, it is a machine”. It was designed for a grand ritual that will take place at the movie’s end. The ritual involves a spinning platform, shifting walls and panels, ghosts and so much more – oh my! The family ends up in the basement, and the horrific looking ghosts chase them, fight them, and kill poor Dennis. And guess what? Uncle Cyrus is there too! No, he’s not a ghost – he never died! He had faked his death for some very nefarious reasons.
Uncle Cyrus wants his nephew to be the 13th Ghost. Now why does he want something like that to happen? Well, it’s all part of a plan. As an occultist, he follows the Black Zodiac. The 12 Ghosts represent each Zodiac sign, which is vastly different from the signs we learned from astrology. Instead of Pisces the fish and Taurus the bull, the black Zodiac gives us Torso , a ghost with missing legs, or The Angry Princess – the ghost of a young woman who commits suicide. All 12 are needed, plus one more – in order to open the gates of Hell, or achieve some sort of hellish power. The 13th ghost must come from someone who is willing to sacrifice his life for the love of others. And so…..at the end, all 12 Ghosts are lined up obediently on the edges of a spinning circular platform. Arthur’s children are caged in the middle of the circle. To free them, Arthur must sacrifice himself. Gears are turning, walls are shifting.
But this ritual fails in the end. Cyrus dies, the children are freed, huggies and kissie for everyone, and the maid ends the movie on a sassy note, saying something to the effect of “I don’t get paid for this shit! Dealing with all these ghosts, I quit!” Ha Ha Ha Ha Ha Ha Ha Ha!! Let’s laugh again, Ha Ha Ha Ha Ha Ha Ha Ha!!
What “those other” folks might say
So, which film is better? For me it’s the classic William Castle version. But many will disagree. I have seen a comment somewhere out there in Internet Land that the original film “hasn’t aged well.” I’m guessing many viewers agree. I suppose the superimposed cartoon-style ghosts look too silly for modern viewers. There are scenes where objects float in the air, and yes, this type of antic is used in many comedy films such as Abbott and Costello Meet (Whoever). In other words it looks more funny than scary, and 13 Ghosts was never intended to be a comedy. Perhaps the family that is at the center of the plot is too hokey with their “Leave it to Beaver” style camaraderie and their unrealistic reactions to the situation. They treat the whole affair as if their house was infested with insects instead of ghosts.
The modern film moves faster, that’s for sure. Its ghosts look more deadly, more real. It is filled with non-stop action and a whole lot of pizzazz. Many viewers like this sort of thing and so it would be the second film that strikes their fancy. Filmed in high tech color with bright red blood, it is more entertaining for hue-spongy eyes than a screen of “dull” black, whites and grays.
Here’s what I say!
Sure the original film is hokey, as are most William Castle films to some degree. But gosh darn it, it is a fun film, just like Castle’s “House on Haunted Hill” is a fun but hokey film! I didn’t mind the dated technology that made these ghosts possible. Cartoonish – yes. Scary – for me, a little bit! Although today’s viewers, myself included, are deprived of what Castle called “The Illusion-O Effect” (wearing the glasses to see the ghosts on the screen), I still like the concept. What a fun and creative way to promote and deliver a movie! I’m not saying that 13 Ghosts is a great film, but it is good. And it’s fun!
Now how about this 2001 remake? I was annoyed at the very beginning and this annoyance progressed like a building headache. Too much motion, too much action, too many flashing lights, too much damn noise – all within the first few minutes. This trend continues with the “machine house” and its jump-scare ghosts. While they look gory and scary, they are always accompanied by flashing lights and loud jolting noises. Watching this film is like being inside a pinball that crashes against bumpers and lighted alarms as it travels the downward slope toward the gutter. I don’t want be trapped in a pinball machine when I watch a movie.
In my review of the modern House on Haunting Hill film, I am a bit forgving for its excessive flare and over-the-top style. One of the reasons for my pardon is that the film is a remake of a movie that was never intended to be a cinematic masterpiece, so any deviations from the original style are not that unwelcoming. In the end, both films were exercises in entertainment and do not take things seriously. Does Thir13en Ghosts 2001 take itself seriously? No. Is the original film a cinematic masterpiece. Definitely not. So I should apply the same standards for this critique, right? Answer – NO! If the modern film had turned down the noise, did away with a third of the flashes, and just slowed the fuck down, then maybe I could enjoy it better for what it is – a jump-scare, special effects extravaganza, which is not necessarily a bad thing when done right. But here it is done wrong. Too much, too much, too much!
There is one scene that moves at an appropriate pace. A teenage girl is in the bathroom and she calmly reflects in the mirror. The ghost of The Angry Princess stands next her but goes unseen (teenage girl is not wearing her ghost viewing glasses). The ghost does not like what the mirror shows her. She sees a disfigured face. In the bathtub, the teenager refreshes herself with clear, cool water. The Princess sees only a tub of blood. This scene, while bloody and gory, is good. It allows the viewers to feel something, to absorb some of the story. If only the rest of the film was like this.
As for the plot, I enjoy the simple story of the original movie.. I don’t know why these modern remakes insist upon explaining the hauntings with over complicated plot devices. A machine house designed to somehow extract “something” from 12 spirits that will somehow unlock some dark secret power, all by using machinery with a design that would stump the greatest of engineers – this is just absurd and I would rather have the cartoon ghosts just appearing here and there to say “boo!”
Here is how I grade these two films:
13 Ghosts (1960) – C+
Thir13en Ghosts – 2001 – F
Now, let’s see how Rottentomatoes.com scores these films:
13 Ghosts (1960) – Critics Score: 36% / Audience Score: 41%
Thir13en Ghosts (2001) – Critics Score: 15% / Audience Score: 48%
While both the critics and the audience give low scores to both films, the audiences tend to favor the modern version over the original. For the critics, it is the opposite. I guess it’s “the audiences” that might agree with what I wrote in the section “What “those other” folks might say” while maybe the critics would agree with what I wrote in the section “Here’s what I say!’
If you have not seen these films, go ahead and do so, compare them, and make up your own mind as to which film is better.
And so, this article ends my October theme: Classic Haunted House Movies and Their Remakes – Just How Bad are These Modern Modifications? As predicted by the biased article title, I ended up enjoying the classics more than the remakes in all three cases. But some of the remakes weren’t super duper bad. Thir13en Ghosts was that bad though. I’ll let Juliette Lewis say it: