“I hate this river,” says the nosy Mrs. Ambrose (Ann Shoemaker) as the tide of the water circles “that filth” (the carcass of a dead cow it appears) around her house for what is probably the umpteenth time, to which her next-door neighbor, frustrated writer Stephen Byrne (Louis Hayward), replies, “It’s people who should be blamed for the filth, not the river.” And with that Fritz Lang and screenwriter Mel Dinelli neatly unpack House by the River’s theme of moral responsibility a mere three minutes into the picture. This hand-holding is widespread in many of Lang’s later work (The Blue Gardenia and Clash by Night being the most egregious examples), but it’s the sort of thing that’s easily absolved given the many fascinating ways the filmmaker visually extended his themes.
Made in 1949 for Republic Pictures, House by the River not only shows its modest origins but the frustration of its maker. Lang wanted to cast a black woman in the role of Emily Gaunt (the part eventually went to Dorothy Patrick), the maid Hayward’s character accidentally kills mere moments after trying to seduce her, but the suits at Republic recoiled at the idea. Ironically, the very fear of miscegenation the director wanted to address—call it the elephant in America’s living room (or the one floating around its house)—frustrated his ambitions. Unable to subversively work a critique of America’s racial problems into the film’s fabric as he had done for Fury, Lang had to settle for building House by the River’s routine melodrama into a snappy commentary on moral depravity and eye-for-an-eye retribution.
Stephen convinces his brother John (Lee Bowman) to help him dump Emily’s body in the river outside his home. The man’s relief that his indiscretions—adultery and murder—appear as if they’ll go unpunished considerably strokes his ego, to the point that he begins to channel the whole affair into his latest unpublished novel. (Early in the film, Mrs. Ambrose advises that he make his stories “racy” and, later, some woman makes an off-the-cuff comment about writers doing their best work when they channel the truth.) But when Emily’s body floats to the surface and begins to circle the house he shares with his wife Marjorie (Jane Wyatt), it’s not just the plot of his novel that thickens. It’s here that Stephen’s moral crisis begins to take on new angles; the film’s 88 minutes isn’t nearly enough time to flesh them out individually (or connect them in a truly meaningful way), but Lang’s visuals pick up some of the slack.
Lang too often tries to belie his low budget, which usually exposes his sham (he grafts what sounds like audio from a 100-person reception onto a nine-person party scene), and though he’s unable to give the logic by which the titular river circulates around Steven and Mrs. Ambrose’s house a truly expressive visual justification, it doesn’t matter given how splendidly he equates the river to a floating id of primitive, unconscious fears and desires. The director’s chiaroscuro imagery sinisterly evokes Stephen’s bourgeoning madness, from the parallels between Marjorie and Emily’s entrances in the film to the maddening links between Emily’s hair as it swivels in the water and the curtains inside Stephen and Marjorie’s house. Stephen gets his due, and when he does, Lang evokes it as a case of beyond-the-grave retribution. Mrs. Ambrose might say, “What comes around, goes around.”
Image is unimpressive given the constant specks and, far worse, the nasty scratches that flash across the screen, but that’s forgivable considering the rarity of the film.
An interview with celebrated producer and cineaste Pierre Rissient, who helped resuscitate the film from obscurity, and a gallery of images.
The clean-up job is serviceable, but this is a rare Lang that’s probably seen in any condition than in no condition at all.