Here’s a blogathon that will enlighten you about many truly wonderful artists, actors, & filmmakers who proudly hail from the Great White North country of Canada! Kristina of Speakeasy  and Ruth of Silver Screenings are paying tribute to Canada… So this New Yorker is doing her part to join in with a classic ghost story that will give you the ‘pip and the whim whams!’ After all even Martin Scorsese thinks this film is one of the 11 scariest films he’s ever known!

I’m always grateful when I’m asked to join in on one of these marvelous celebrations, and my gratitude continues, so without further ado…

O Canada & The Changeling — IMDb trivia tid bits- The house seen in the movie in real life doesn’t and never actually did exist. The film-makers could not find a suitable mansion to use for the film so at a cost of around $200,000, the production had a Victorian gothic mansion facade attached to the front of a much more modern dwelling in a Vancouver street. This construction was used for the filming of all the exteriors of the movie’s Carmichael Mansion. The interiors of the haunted house were an elaborate group of interconnecting sets built inside a film studio in Vancouver.

The name of the history group was the Seattle Historical Preservation Society. The name of the campus where Dr. John Russell ( George C. Scott ) taught music was the University of Seattle though interiors set there were filmed at the University of Toronto in Toronto, Canada.

Though predominantly filmed in Canada, the picture was set in Seattle, USA where establishing shots were filmed. These included the Rainier Tower, the SeaTac Airport, the University of Washington’s Red Square, and the Lacey V. Murrow Memorial Bridge. Some location filming was shot in New York. Most of the movie was filmed in Vancouver and its environs in British Columbia with Victoria in the same Canadian province also used. Interiors set at the university were shot in Toronto in Canada’s province of Ontario.

THE CHANGELING (1980)

Minnie Huxley: “That house is not fit to live in. No one’s been able to live in it. It doesn’t want people.”

The Changeling was produced by Lew Grade who tried to start up his own production company that never quite made it, however, during this time he was responsible for releasing Boys From Brazil 1978 and On Golden Pond 1981 and our featured ghost story The Changeling. The story is by Russell Hunter and the screenplay was written by William Gray and Diana Maddox. Directed by Peter Medak (The Ruling Class 1972, The Krays 1990, Romeo is Bleeding 1993)

Director of Photography John Coquillon (The Impersonator 1961 The Conqueror Worm 1968 Cry of the Banshee 1970, Straw Dogs 1971, Cross of Iron 1977, Absolution 1978, The Osterman Weekend 1983) Coquillon has a magical touch of creating environments that seemed closed in whilst surrounded by the vast natural world. Because the players are about to implode from too much-twisted pathology & secret sin eating, his camera work translates a tense universe on screen so well, that it elevates the narrative to a more uncomfortable level.

Rick Wilkins is credited for the film’s stunningly haunting score, but that effectively poignant yet eerie music box theme was composed by Howard Blake as part of a work called Lifecycle which is a collection of 24 piano pieces using only 24 keys.

The film stars George C. Scott as John Russell a tragic figure of loss, Trish Van Devere as Claire Norman, Melvyn Douglas as Senator Carmichael, Jean Marsh as Joanna Russell, Barry Morse as the Parapsychologist, John Colicos as Captain DeWitt, Madeleine Sherwood as Claire’s mother, and Ruth Springford as the Historical Society’s creepy secretive Minnie Huxley.

The Changeling (1980) is one of those rare masterpieces that fall into the cerebral tale of otherworldly & supernatural torments that are defined as ‘intimate drawing room’ ghost stories. Much like The Uninvited (1944), Dead of Night (1945), The Innocents (1961), The Haunting (1963), Ghost Story (1981), Lady in White (1988),  and The Others (2001).

The Changeling is a SUPERIOR ghost story permeated with moody angst, atmosphere, and some of the most chilling moments in classical haunting/ horror cinema. It is said that the movie is based on actual events that took place at a mansion called the Henry Treat Rogers Mansion not in Canada but in Denver Colorado. Writer Russell Hunter claims he witnessed these events while living in the house during the 1960s. IMDb trivia tells us that ‘The Chessman Park neighborhood in the movie is a reference to Cheesman Park in Denver, where the original haunting transpired.’

I saw The Changeling upon its theatrical release in 1980 and believe me when I say that those ‘frightening’ jarring moments are as effective as they were 36 years ago, they can still cause that jump-out-of-your-seat reflex!. The house used in The Changeling is as imposing and chills-inspiring on its own. “The house was totally created by set designers and you won’t forget its eerie corridors, stairway, and dark rooms.” -John Stanley from Creature Features Movie Guide. As Stanley figures, this memorable ghost story operates on 3 though I count 4 different levels.

1) as a pure ghost story 2) as the journey of John Russell’s struggle with loss 3) as a morality tale about good vs evil. And 4) a tale of murder, power and greed.

George C Scott plays John Russell a concert pianist/ music professor who is haunted by the vision of witnessing both his wife (Jean Marsh in a tiny flashback role before she is killed) and daughter dies in a freak car accident. The film opens with this tragic event, in order to set the pace for Russell’s unbounded grief and inconsolable trauma. Russell decides to pack up the Manhattan apartment, including little Kathy’s red rubber ball, and moves to Seattle (Canada) where he has taken a new teaching job. The atmosphere is grim and rainy, cold and alienated as we understand how heartbroken John Russell is. Waking in the middle of the night sobbing, he cannot fathom, living in this world without his beautiful wife and daughter. John needs a large house that is removed from everything so that he may compose without being bothered by neighbors. The realtor Clair Norman (Trish Van Devere- Scott’s wife at the time. This would be their 8th film together) who is an agent for the Historical Preservation Society shows him the old Chessman Park House which has been unoccupied for twelve years.

John is curious about the reasons behind the house being empty for so long, but Claire being fairly new to the society can’t give him an answer, except that the society hasn’t tried to find a new tenant for the house. Curiouser and curiouser. She also explains that there had once been plans to renovate the house and turn it into a museum. She thinks the house would be a perfect place for John to compose because of its sizable music room. So John moves in and begins teaching at the university, his classes become a big hit, with students accepting the SRO conditions.

As John gets settled in, he is invited to a cocktail party/fundraiser for the Historical Society where he sees Claire again, also meeting Mrs. Norman her mother played by Madeleine Sherwood. Senator Joseph Carmichael (Melvyn Douglas) who is on the board and one of the Historical Society’s biggest donors is making a speech…

At six a.am. Russell is aroused from bed by a loud pounding noise echoing through the house, reminiscent of the sonic assault that Clair Bloom and Julie Harris experienced in The Haunting 1963. It is one of the first moments that clue us in that something is wrong with the house. John assumes it’s the old pipes and so forgets about the incident.

John has a quartet of students over to work on a chamber piece. After they leave, he hears what sounds like dripping water, or someone taking a bath. The kitchen sink tap is running, so he shuts it off, but he can still hear running water from somewhere in the house. He follows the noise up to the 3rd floor. In a truly frightening moment. In the bathroom, he sees a tub filled with water and the faucet still running. As he shuts off the water, he sees for a brief second the face of a little boy peering up at him from under the water… It is still one of THE most frightening scenes that I can recall.

John sits at the piano working on a beautifully simple melody that he is recording on his reel-to-reel tape recorder. One of the keys is sticking, and with John not being able to find the rest of his new melody yet, stops playing.

The handyman Mr. Tuttle (C.M. Gamble) comes in to tell John that he’s got a replacement water heater for the one that’s been banging on the walls with cannon balls, John leaves the piano and sees to the job. the lone key that would not depress while John was playing intones as if an unseen finger has pressed it. This eerie moment is the second cue that John is not alone in the house

Claire comments while John is listening back to his composition that it sounds like a lullaby. She also finds the little rubber ball that was Kathy’s. A token of her John chooses to keep as a reminder of his little girl. Claire realizes that this has hit him hard, and so invites him to come horseback riding with her since it’s a lovely day.

John has flashback nightmares of the day his wife and daughter were killed. He wakes up sobbing. But what is peculiar is that it is once again at 6 am and the eerie pounding is reverberating through the house once more. Mr. Tuttle is once again called in to look the boiler over again, it’s most likely trapped air in the pipes. Tuttle tells John, “A furnace is like anything else. It’s got habits. It’s an old house. It makes noises.”

John is now drawn into the mystery of the house, the noises, and the vision of the little boy. He visits the Historical Society in order to find out if there have been accounts of ghostly sightings with previous owners. Clair chalks up John’s anxiety to the trauma he’s been through losing his family believing it to be all in his head. But Miss Huxley (Ruth Springford) one of the eldest Society members pulls John to the side and lays it on the line. He should never have been allowed to rent that house, and that Claire had business circumventing the Society’s rules. “That house is not fit to live in. No one has been able to live in it. It doesn’t want people. “ Huxley just confirms John’s suspicions that there has been something tragic connected to the house and it is indeed haunted.

There is a scene afterward where John is leaving the Chessman Park house and a tiny stained glass window blows out from the inside leaving the shards on the ground in front of him. Something is definitely trying to get his attention and hold it. So he goes back inside back up to the third floor and opens a door that at first seems to be merely a linen closet.
But he discovers that the shelves are covering up a hidden bedroom. The ungodly pounding begins once again while John hammers at the lock until it breaks, Pushing his weight against the door, he cannot open it. Once John gives up, the door creaks open on its own leading into a darkness that exudes a fowl shadowy heaviness.
He walks up a decrepit cobwebbed staircase that leads to a time-forgotten dust-covered attic room. There he sees an old-fashioned wooden wheelchair small enough to be a child’s. The wheelchair seems to embody a kind of foreboding terror. Why?

Aside from the fact that everything in this child’s attic room seems petrified, the wheelchair acts as a symbol of a child who might have suffered in that house. For whatever primal spark the chair ignites in us fear chills. John finds a child’s desk with a notebook dated January 1909, which has the initials C.S.B. There is also a music box, that when opened mysteriously plays the exact melody John has been wrestling with at the piano. Like an old tune, he’s heard before but can’t remember the rest of the notes. He has been directed to this room, by the pounding, the window pane shattering, the vision of the little boy in the bathtub, and from the beginning the melody that underscores Johns’s consciousness. All trying to lead him to a dark secret that needs to get out and be exposed to the light of day.

John plays the music box lullaby for Claire swearing he had never heard the melody before in his life then he proceeds to show her his reel-to-reel recording of the song he thought he was composing. The two are identical… it is a poignantly creepy moment, as it somehow binds John to the house in a way that feels precious and imminent- showing how the house is influencing him in much the way certain events controlled Eleanor (Julie Harris) in The Haunting.

While the coincidence isn’t necessarily frightening…  All the while it gives me the ‘pip and the whim whams’ ( heard David McCallum use that line in an episode of Marcus Welby. Been waiting to find a place to use it…)

Claire has researched the house back in 1920 but can find no record of anything significant happening that would make sense of the experiences John is having. He begins to realize that the house isn’t trying to drive people out, more importantly, something or someone is trying to reach out for help.

John shows Claire the attic room. Then the two go to the Historical Society to look up any records of the immense yet lonely house. They find out that the last people who occupied the house left there after only two years. back in 1967. That’s when the Society took control of the old Chessman Park House with a grant bestowed by the Carmichael Foundation representing Senator Carmichael ( Melvyn Douglas) Oddly, there are no files for the house prior to 1920, they are missing! So John and Claire ask Miss Huxley about the records of who lived there around 1909. She tells them that a man named Bernard lived there with his son and daughter but sold the house a year later after a terrible tragedy.

Once John and Claire go through library newspaper records they find a story about a Dr. Walter Bernard, whose seven-year-old daughter Cora died from injuries sustained by being hit by a coal cart. Could the initials C.S.B. stand for Cora Bernard? John and Claire then go to the family cemetery to visit the graves of Cora, her brother, and her parents. John wonders if Cora is reaching out to him because he lost his own daughter and she sees him as a kindred spirit. Claire encourages John to leave the house no matter what the reason. That his suffering is linked to the house now.

John reminisces about his lost wife and daughter by looking at old photographs. Suddenly the pounding begins again. When he goes to investigate, he sees Kathy’s little red rubber ball, bouncing down the long staircase, thump thump thump thump. This moment is yet again, one of THE most frighteningly memorable scenes in classical horror history. On the outward level because it is inexplicable, yet it is also heartbreaking because it tears at the wound John is already bleeding from about losing his little girl. Terrifying and sad is a potent combination and makes for a superior ghost story.

John takes the little ball and drives to a nearby bridge and throws the tiny object into the water below. But… when he returns home, the little red ball which is now wet from the river, bounces down the long staircase yet again!!! The scene just amplifies the shock from the prior scene and does so in a way that isn’t cliché.

The wonderful character actor Barry Morse plays a parapsychologist from the university who sets up a séance with mediums Leah and Albert Harmon (Helen Burns & Eric Christmas) Once at the house, they already sense a presence there, which leads Leah who is psychic up toward the creepy attic room.

They begin to hold the séance John, Claire and her mother and the Harmons. Leah Harmon begins to ask questions of the spirits. She begins doing automatic writing by scribbling on a piece of paper, hoping that messages will appear through the written scrawlings. “The spirit is that of a child not at peace.”
But it is not Clara who had been killed by the coal cart. It is that of a young boy named Joseph. who died in that house and is begging John to help him. Leah keeps repeating the question, “Did you die in this house? Did you die in this house, how did you die?

Leah is in a deep trance, asking the little boy how he died with no audible answer. The camera swings around the house leading from the third floor down the staircase following the invisible presence as it moves toward the gathering. It’s an effective use of camerawork as what is unseen to us is made quite palpable. A glass and a few other trigger objects such as the tin tube that are on the table, fly into the air across the room and shatters to pieces.

Once everyone leaves, John listens back to his reel-to-reel tape recording of the séance and begins to hear the faintest voice of a child answering Leah’s questions. Words are imprinted on tape like -‘ranch’ ’Sacred heart”  ‘well’ ‘Can’t walk’ and “medal.” John psychically connects with past events, he sees the vision of the boy and how he came to an end in the house. A little boy is being drowned in his bathtub by his father in that attic room. The music box is playing the song until he succumbs and the box is turned over. The source of the pounding is now represented by the boy’s little fists pounding against the tub as he struggles against drowning. The last words John hears on the tape recording is “My name is Joseph Carmichael.”

Claire listens to the tape and cries. She recognizes Sacred Heart as an Orphanage that used to operate in the area. Claire is frozen in terror, as she looks upstairs. When John goes to look, we see the child’s wheelchair at the top of the stairs. Yet another chilling moment well paced and placed.

The secretive and nefarious Miss Huxley fills Senator Carmichael in on John and Claire’s nosing around the house’s past. He’s afraid they will find out that he was born in the old Chessman Park house in 1900, his mother dying during childbirth.

There is a great mystery, tragedy, and evil deeds surrounding the Senator, the little ghost child Joseph. If I give away too much of it, it would spoil the story and ultimately the climax.

Without giving away too much, another frightening sub-plot is when John and Claire track down the ranch house belonging to Mrs. Grey (Frances Hyland) whose daughter had frightening visions that same night as the séance.
She dreamt of an impish boy, almost wicked in his appearance as he tried to reach up through the floorboards and stare at her.

Mrs. Grey worried about her daughter Linda’s night terrors. She starts sleeping in her mother’s room, so she allows John and Claire to dig up the bedroom floor, which sits atop an old well. A few nights later, Linda in a somnambulist state wanders into her bedroom and sees the image of the little boy floating under the water staring at her. The Changeling continues to employ moments that are starkly frightening. John digs up the floor down to the bottom of the well, where he not only finds a little boy’s medal that comes up from the dirt like a flower shoot popping out of the mud. John also finds the bones of a child.

John and Claire call the police but only give them limited information about how they knew to look under the floorboards of Mrs. Grey’s house, and they have no suspicions as to the identity of the skeleton.

John Colicos plays Captain DeWitt a friend of Senator Carmichael who is dauntless in his investigation to get to the truth behind John and Claire’s meddling and what the connection between the skeleton in the well, an old medal, and Senator Carmichael who thinks they are trying to blackmail him.

I’ll leave the rest of this phenomenal ghost story/murder mystery for those who haven’t seen it yet. But perhaps I’ll add just this last bit of shock treatment to entice those who aren’t faint of heart…

HIDDEN HORROR-
written by Don Sumner for the section on The Changeling (1980) in Hidden Horror edited by Aaron Christensen and William Lustig.

“It is interesting that The Changeling should be a Hidden Horror rather than a recognized household classic. The film swept the Canadian Genie Awards, winning Best Picture, Actor, Actress and several technical awards, and returned fair U.S. box office receipts $12 million against it’s approximately $600K CAN production budget. Still, it under-performed when compared to other 1970s Canadian horror efforts and remains lesser known. than its brethren to this day… For example, that same year’s Prom Night had the benefit of rising scream queen Jamie Lee Curtis while David Cronenberg’s Scanners featured a game-changing head explosion. “

As far as I’m concerned The Changeling will forever remain one of the most captivating cinematic ghost stories that has retained it’s haunting quality after all these years.

This is your EverLovin’ Joey saying ‘It’s been a ball’