The House with Laughing Windows (1976) User Reviews (75)

Unsettling and atmospheric

[benquinn1 · 7/10 · 17 May 2007]

'No nudity and very little gore, and consequently, no suspense'. Quite apart from not knowing how commas work, the previous reviewer also appears to have been off sick from Idiot Film School the day they covered 'Suspense'.

This is a curiosity, sure, and won't be to everyone's taste, but I wouldn't dismiss it as a potboiler because it doesn't reach the dizzy artistic heights of Nightmare on Elm Street IV. The film effectively builds up a sense of dread through the central character's isolation and growing unease in a bleak village surrounded by featureless salt marshes. The supporting cast are thoroughly creepy from the garrulous dwarf mayor through to the pale beauty who mysteriously hooks up with the hero but who seems to know more than she is letting on. There are some touches of unsettling imagery that evoke David Lynch; the snails in the fridge, the blood red car and motorcycle and the house of the laughing windows itself. The camera-work adds to the whole, peering from darkened rooms and from behind creaking shutters - there is rarely a moment when you feel the hero is safe.

Sharing some of the mood of Don't Look Now (as indicated by Barry Norman below), the film also bears comparison with The Wicker Man, dealing with the same theme of an innocent slowly discovering the horrifying secrets of a community consumed by evil.

Stick with it until the end.

[coldwaterpdh · 8/10 · 1 January 2008]

"The House With Laughing Windows" is a very European film. Unlike the gialli of, say, Argento, this film is not 'Americanized' at all. It reminds me more of films like "Don't Torture a Duckling" in that it takes place out in a small town in the Italian countryside. It adds to the ambiance and I really like that.

The plot is very slow-moving. I'm not even sure if I'd call this film a giallo, but reading other reviews on here, it seems that it is in fact classified as such. It was hard for me to watch this for the first hour or so. I was wondering when it was going to pick up. Not many people get killed. But, I stuck with it and I recommend doing so. If you can stick with it, the ending is freakin' awesome. I was shocked by it; it really delivers. And it gets nice and bloody too. I had no idea who the killer was, and by the time I found out, my head was spinning from the progression of the final few scenes. It ends abruptly and it feels great. It more than made up for the sluggishness of the first 2/3 of the film. It's not unlike many of the newer Asian films in that regard: it moves very slow but the last few minutes are like a twisting train wreck.

In short, I recommend this film to those of you who have patience and enjoy Italian horror.

8 out of 10, kids.

Not your typical Giallo film

[drdebacle · 8/10 · 19 September 2006]

Pupi Avati's 'The House With Laughing Windows' follows the character of Stefano, a painter who travels to a remote Italian village on a job to restore an unfinished painting depicting the persecution of St. Sebastian (who was a real Saint, by the way, only he was actually killed by arrows being shot into him, not by being stabbed with knives like the painting in the movie portrays). Upon arriving in the village, Stefano discovers that there is a lot more behind the mystery of the painting than he originally thought, and that someone will stop at nothing to make sure that Stefano does not complete the painting, further revealing the true mystery behind the town's bizarre secrets.

The movie opens with graphic, sepia toned imagery of a man being tortured in the exact same way as St. Sebastian is depicted in the painting. The genuinely creepy piano music that plays during the opening just further sets the unsettling mood for the mystery that lies ahead. The opening credits lead one to believe that the film is an all out blood bath, however, this is not the case. In fact, the most violently unsettling part of the film is the opening, that's not to say that the rest of the film doesn't contain violence, it just doesn't exist on the same level or extreme as the opening.

The rest of the film is a rather competent mystery done in true giallo fashion, and will keep you wondering what's going to happen next until the climactic finale. There are a few story elements in this movie that were either unexplained or not elaborated on, but I don't know if going as far as to call these incidents 'plot holes' would be completely correct. For instance, there is a girl Stefano is seeing at the beginning who just leaves town (disappears?) without a word. This had me thinking the whole movie that she was murdered and that her body would turn up at some point, when in fact you find out later in the film that she just simply left town, and was replaced by Stefano's next love interest, Francesca.

The movie is pretty tame in comparison to many giallo flicks like 'Tenebrae' or 'The New York Ripper', but the twists and turns should interest most fans of this sub-genre. Also, unlike most giallos, the film contains only a brief bit of nudity, but there is a scene where a woman is being forcefully molested that seems more exploitative than most scenes depicting nudity.

All in all I must say I was surprised at the quality of movie I saw. Not only was it a surprise that I haven't heard of this movie sooner, but it was also amongst some of the better plot driven giallo films I have personally seen. This movie was well paced, consisted of great camera-work and scenery, had great acting (to a non-speaker of Italian, anyway), and had a truly creepy and original plot. I recommend this film to anyone that is really into the Italian giallo sub-genre, as it may not hold the interest of the casual horror movie fan.

I'm the person who was St. Sebastian in the painting being restored

[vesuvian · 11 February 2011]

After 35 years of anonymity, I want to state that I was asked by the director, Pupi Avati, and his brother Antonio to model for the painting. It took place one May day outside of Rome, and I was paid 35,000 lire (about $50) to have them photograph me for eventual conversion into a painting. I show up at the seven-second mark at the beginning of the film, and I know it's me, not only because I have two slides from the shoot, but because the scars on my knees were faithfully recreated by the (uncredited) artist.

I have been attempting to get listed in the credits here on IMDb and would appreciate any advice as to how I can move from an anonymous role to seeing my name in the cast list. It's not much...though it would go a long way to realizing my dream of being in the movies.

Are you all on Crack?!!

[grendel-37 · 6/10 · 26 October 2006]

"Masterpiece" "Brilliant" "Greatest"?!? IMDb exaggerators do it again. So I had to post my review to hopefully save others from being led astray.

Drumroll please....

THE HOUSE WITH LAUGHING WINDOWS- After much hype I got the chance to see Pupi Avati's THE HOUSE WITH WINDOWS THAT LAUGH, the new Euroshock uncut DVD, and put simply the film doesn't live up to the hype.

The movie isn't bad, just rather overlong, and not very engaging. Or more precisely it does engage, it builds some moments of real atmosphere, and tension, but seemingly fails to follow through on the atmosphere.

The ending is equal parts interesting and ridiculous. And I found the protagonist more infuriating and stupid than anything else.

(possible spoiler)

Yes leave your girlfriend alone in a house of killers after she begs you to take her away. He's a scumbag.

(end of spoiler alert. see that wasn't that bad)

A movie almost immediately dismissible. Worth a look if its on, but not worth making any effort to find. save your money. C-.

One of my Favourite Giallos of all Time

[Lucabrasisleeps · 10/10 · 21 November 2008]

Yesterday I watched one of the my favourite giallos of all time. The House with the laughing windows(1976) was directed by Pupi avati. I have to admit my ignorance of Pupi avati as a director. I only know he has directed some other cult movie called Zeder. Judging by this movie, he was destined for great things but that potential was never fulfilled.

The plot goes like this. Stefano is a restorer comes to an island in order to rescue the fresco depicting the suffering of St.Sebastian. The artist(now dead) was known to be a disturbed individual who painted scenes of death and suffering. He is somehow given a place to live by a somewhat mentally challenged individual. From this point onwards, he notices the sinister behaviour of the villagers. He doesn't understand it and decides to get to the bottom of the mystery that haunts the village.

This giallo is unique and quite different from other giallos because unlike other giallos, there is not much gratuitous violence or sex to keep the viewer interested. There are no scenes which would shock the viewer or anything like that. That is one reason why giallo aficionados might not appreciate this movie completely. It does not have the usual gimmicks and over the top acting performances that are generally expected from giallo actors and actresses. The leading man(Lino capollichio) is amazingly capable of carrying the whole movie on his shoulders with a restrained performance of a man who is puzzled and somewhat disturbed by the village and its environment.

The ending is one of best aspects of the film. It is the perfect payoff for patiently building the atmosphere throughout the movie. Another aspect is the creepy atmosphere throughout the movie. It is almost downright scary sometimes. In this aspect, this movie is similar to a movie like Don't look now or Japanese horror than generic giallo films or slashers.

The negative aspects that may turn off some giallo lovers is that it is quite slow but the slow buildup in fact increases the tension and that makes the ending all the more worthwhile. The best scene(according to me) is the scene in the dark room where the hero walks through the room slowly. There is absolute silence in the room which is very unlike other giallo films.

Final rating: 10/10. Yes, it may seem very high but it is worth the high rating. Anybody lucky enough to be able to get a copy of this movie should watch it.

The laughing windows

[jotix100 · 6/10 · 11 June 2006]

Having admired Pupi Avati's films, and having no clue about what this film was about, it was interesting to find this movie in DVD format. We don't recall if this film, a giallo, as far as genres go, ever was released commercially in this country, although, we can't recall that it was ever shown here. This horror picture was a collaboration between Pupi Avati and his brother Antonio.

Watching the film recently, it has a faded look, even in the well restored transfer to DVD. The prologue, as the titles begin to offer a vision of a mad man as we hear his voice mumbling about his colors as someone is stabbed in front of our eyes, which should have played without the titles over what we are watching. We realize it's the voice of the painter whose fresco Stefano has been commissioned to restore. The opening titles are a distraction and one wonders if the Avatis did it on purpose, or was just an oversight.

The film has some interesting ideas and it's creepy enough to send chills up one's spine. We realize from the start that the mad painter and his sisters were more demented and connected than really meets the eye. Stefano, the young fresco restorer that arrives in that rural community, should have insisted in staying in the hotel, where he is forced from, without explanation. Staying in the creepy haunted house where the old woman is bound to her bed, should have been avoided at all costs, but without that, there wouldn't have been a film!

"The House of the Laughing Windows" must have looked better when it was originally released. The plot, as a whole is uneven; we sense what will follow, but we are not prepared for the conclusion at the church where Stefano realizes he is completely helpless and has been trapped by the same forces he was trying to fight.

Pupi Avati has grown artistically since he directed this film, which should be seen as part as his growing and maturing as a director but only offers some minor surprises.

A Gothic horror film made terrifying by a foreboding atmosphere and genuinely surprising revelations in the plot.

[Schwenkstar · 8/10 · 20 November 2007]

The film is not a categorical giallo as it is often suggested as being, but rather it's more of a entry into the Gothic horror canon, with a incredibly strong sense of mystery that keeps the viewer intrigued even when the pacing becomes sluggish. The film is not exploitative (as most giallo films are) but mature, intelligent, and effective. Indeed, there is no nudity and little violence is present as the picture's primary focus is its complex, labyrinthine mystery that truly surprises the viewer with its unexpected turns of the plot. The film is also heavy on atmosphere, artfully directed by the award-winning Pupi Avati (of "The Story of Boys and Girls" and "Incantato" fame), which really intensifies the mystery, making it not only it spellbinding by also horrific and terrifying at times(especially near the end). The debits I perceive is that the narrative is a tad drawn out and some of the characters aren't as developed as one would hope, but the mystery is so good that it's easily to look past all these minor quibbles. Highly recommended to those who liked slow-burning Gothic mysteries such as "Don't look Now".

Spoilers follow ...

[parry_na · 6/10 · 23 February 2017]

In a sea of disconcerting images, the most unpleasant must be the fridge full of snails, bathed in their own excrement. It is something that happens without fanfare and is treated without hysteria, either by lovely new teacher Francesca (Francesca Marciano) or hero Stefano (Lino Capolicchio). There are quite a few disconcerting images like this, some occasional gore and an overriding atmosphere of perversion and unknown horror.

The story involves Stefano's deployment to an isolated village (always the best kind) to restore a decaying mural in the local church. He takes up residency in the house owned by the original, deceased artist's two sisters. Whilst carrying out the restoration, his casual investigations reveal that the original artist was an insane murderer, who used his nefarious activities as 'inspiration' for his art.

Amidst the chilling night-time whispers of 'purify' and the eerie dilapidation of the titular house, Stefano's affair with doe-eyed (yet hirsute) Francesca is a welcome touch of tenderness. You just know that something unspeakable is going to happen to her.

It's a heady concoction of sinister characters and unnerving set-pieces. The surprise revelation at the end of the film is very satisfying and in part, pretty gruesome. Although the film may never quite live up to its glorious title, it provides an entertaining addition to the Italian 'giallo' cinema.

A Dark Film Developed In a Creepy Nightmarish Atmosphere

[claudio_carvalho · 8/10 · 23 May 2011]

The restorer Stefano (Lino Capolicchio) is hired by the Mayor Solmi (Bob Tonelli) of a small village nearby Ferrara to restore a painting of St. Sebastian, made by the mentally disturbed painter Buono Legnani in the local church. Stefano was recommended by his friend, Dr. Antonio Mazza (Giulio Pizzirani), and he learns that Legnani was known as "The Painter of the Agony", since he used to paint near-death people. Further, he was presumed dead many years ago but his body has never been found.

Stefano works in the church, where he meets the weirdo Lidio (Pietro Brambilla), and he has one night stand with the local nymphomaniac teacher (Vanna Busoni) that is leaving the village. Meanwhile Antonio investigates the life of Buono Legnani and tells Stefano that he had found a dark secret about the painter and the villagers. However, Antonio dies before meeting Stefano and the police conclude that he committed suicide.

Stefano is intrigued by the mystery surrounds Legnani and decides to investigate more about the deranged painter. However, he in evicted of his hotel room and Lidio brings him to the isolated house of a paraplegic woman (Pina Borione) where he lives. Meanwhile, he meets the teacher's substitute Francesca (Francesca Marciano) and they have a love affair. Francesca moves to Stefano's room and they are affected by the strange atmosphere of the place.

When the restoration is damaged by acid, Stefano decides to leave the village with Francesca. However, he meets the alcoholic driver Coppola (Gianni Cavina) that decides to disclose to him the secret of the house of the laughing windows. But now it seems to be too late to move out of the mysterious village.

"La Casa Dalle Finestre Che Ridono" is a dark film developed in a creepy nightmarish atmosphere and visibly inspired in "The Wicker Man". The lead character seems to be trapped in his morbid curiosity of discovering the hidden secret of the village and never leaves the spot. Like many Europeans movies, the plot has many open questions, maybe with the intention of discussing them among friends or in forums and board like the one in IMDb. After watching the film, it is worthwhile reading the interpretations of other Users to improve yours or find some missing detail. Last but not the least, the beauty of Francesca Marciano is really impressive. My vote is eight.

Title (Brazil): "A Casa com Janelas Sorridentes" ("The House with Laughing Windows")

"My colours take me into the yellow decay"

[hwg1957-102-265704 · 7/10 · 9 September 2017]

A man called Stefano goes to a remote village to restore a church mural depicting St. Sebastian and starts receiving phone calls telling him to desist and to get out of town. He begins to find out about Buono Legnani, the strange and possibly mad painter of the mural and this leads to danger and suspense and murder. Directed by Pupi Avati this is a good mystery story with twists and turns and a chilling finale. Perhaps it is a bit too long. The romance with the schoolteacher holds proceedings up rather. There are some minor plot problems but apart from that it is an entertaining and memorable film.

Lino Capolicchio as Stefano is the main lead and he acts well, portraying his mounting unease that leads to terror convincingly. There is a supporting cast of eccentrics that give atmosphere to the film.

Praise must be given for the excellent cinematography by Pasquale Rachini and the choice of locations giving the movie a mood of sadness and decay. The 'House of the Laughing Windows' itself when fully revealed is colourful but creepy and the thing in the wardrobe disturbing. Not quite a giallo but a gripping film nevertheless.

Superlative Italian horror

[Red-Barracuda · 8/10 · 26 July 2006]

Right from the opening credits we know that we are in for something a bit different. An ensnared man is repeatedly stabbed by unknown assailants. The scene is shot in a series of close-ups in a fuzzy monochrome. Simultaneously, a male voice narrates weird musings about his 'colours' and how they run through his veins. It's a standout opening that promises something a bit odd.

Directly after this, we are introduced to the central character, Stefano an art restorer, who is travelling by boat to a remote south Italian community. He is met at the quayside by the mayor Solmi, a midget who resembles a squashed John Saxon. The inhabitants of this community seem to be a bit strange. Stefano is taken to the local chapel where he is shown a recently discovered fresco that he has been tasked with restoring. It's a disturbingly graphic depiction of the sacrifice of St. Sebastian, painted 40 or so years earlier by the mysterious local painter Legnani, known as the 'painter of agony' such was his predilection for capturing images of death. Stefano subsequently receives a number of anonymous threatening phone calls suggesting that he should abandon his work and leave. His friend, the local doctor, takes him aside and warns him that he has discovered something ominous about the community, centring on a 'house with laughing windows' but before he is able to elaborate further he is interrupted. His friend is murdered shortly afterwards in mysterious circumstances. Stefano is eventually driven away from the local hotel and winds up staying in a remote house with a retarded odd job boy from the chapel and a bed-ridden old woman. He also finds an old tape-recording that contains the very sinister narration from the opening credits. I won't spoil the fun by revealing more.

The title and release date of this movie suggests that it will be a typical giallo. But this simply is not the case. Despite adopting some of the conventions of the genre – the mystery maniac and tragic back-story – this is not a body-count movie and there is no black-gloved assassin. The horror is more subtle but, crucially, a lot more frightening than the average giallo. This really is a scary movie. It fuses the aforementioned giallo elements with the weird rural community horror seen in films like The Wicker Man. Although the inhabitants are less weird here, the setting does have a similarly unsettling feel. It's the menacing atmosphere of the film that really sets it apart from most. It's the little details that make the difference, for example, the haunting tape-recording is particularly well used.

The photography is fine and really maximises the locations, which themselves are very well selected, the interior of the mysterious house where Stefano lodges is very effectively used. The music is particularly good, especially the brooding piano piece that accompanies the suspense scenes. The acting, too, is a notch above the average Italian horror. And the gore is kept to a minimum but, as a result, when it does show up it has a stronger effect. I would go so far as to say that this relatively unheralded film is one of the best Italian horror movies. It's an essential DVD for any Euro horror collection.

Creepy classic of Italian horror works despite unpleasantries

[Wheatpenny · 7/10 · 8 August 1999]

It's considered a classic in Italy, and it's not hard to see why. It's got a great locale, a creepy premise, and good acting. The mood (playing off Italians' stereotypes of their southern regions the way 2000 Maniacs and Texas Chainsaw Massacre play off Americans' ideas of the Deep South) is one of foreboding throughout, and you really start to feel something ominous coming, despite the fact that not much happens till the end. The big "surprise" at the end is pretty jaw-dropping, despite the fact that it's been ripped off by a high-profile US movie since, which takes away some of its thunder. The movie's biggest debit is a very graphic, disturbing and completely unnecessary rape/murder scene that I found despicable, destroying a lot of the faith I had in the movie up to it; it ranks with I Spit on Your Grave as the most hateful and cruel rape scene in cinema, and is beyond any justification.

Unremarkable potboiler, unworthy of critical attention

[Libretio · 3/10 · 11 March 2005]

THE HOUSE OF THE LAUGHING WINDOWS (La Casa dalle Finestre che Ridono)

Aspect ratio: 1.85:1

Sound format: Mono

A young artist (Lino Capolicchio) is summoned to a church in a remote Italian village to restore a crumbling fresco depicting the horrific martyrdom of St. Sebastian. But the man who originally painted the fresco - long believed dead - appears to have been psychologically disturbed, and Capolicchio stumbles on a murderous secret concealed by powerful factions within the village itself...

Long unavailable outside Italy, and highlighted by a glowing review in Phil Hardy's seminal reference work 'The Aurum Film Encyclopedia: Horror' (published as 'The Overlook Film Encyclopedia: Horror' in America), Pupi Avati's THE HOUSE OF THE LAUGHING WINDOWS enjoys an exalted reputation amongst fans of Euro-horror. However, the film is a huge disappointment, a horror movie for people who don't really like horror movies, directed by an acclaimed filmmaker whose early work routinely embraced elements of fantasy and horror (BLOOD RELATIONS, THOMAS AND THE BEWITCHED, ZEDER, etc.) before he abandoned the genre and dedicated himself to the successful pursuit of 'upmarket' material (NOI TRE, THE STORY OF BOYS AND GIRLS, BIX, etc.).

Photographed by regular Avati collaborator Pasquale Rachini on bleak but picturesque Italian locations, the film strives to evoke an atmosphere of dread through languid pacing and deliberate camera movements, but poor post-synch Italian dubbing and weak performances by most of the supporting cast makes it difficult for viewers to engage with the narrative's emotional dynamic (when a number of major players are killed toward the end of the film, the effect is almost negligible). The climactic sequences contain a number of genuine surprises, but the build-up leaves much to be desired, and Avati's creative ambitions are scuppered by funereal pacing and a lack of interesting characters. There's no nudity and very little gore, and consequently, no suspense. Too commercial for the Art-house crowd and too pretentious for trash aficionados, THE HOUSE OF THE LAUGHING WINDOWS fails on all counts, and barely warrants a second glance. Those who prefer the likes of DON'T LOOK NOW to THE TOOLBOX MURDERS (for example) may enjoy it, but everyone else will be bored rigid by this unremarkable potboiler.

(Italian dialogue)

Oh Sisters, Where Art Thou?

[SJSondergaard · 17 March 2008]

*Minor plot details, no actual spoilers*

Antonio, recently reacquainted with his friend Stefano who has come to renovate a fresco in the local church depicting the Martyrdom of St Sebastian, has discovered something he shouldn't. Something is rotten in the Italian backwater, but before he can divulge his suspicions he finds himself on the wrong side of a top floor window and plummets to his death while a shadow lurks behind the curtains. So far, so giallo. The gruesome work of art is apparently key to uncovering some secret harboured by the town's residents, so the bulk of the film is then devoted to delving into the bloody back-story of the deceased Artist and his two insane sisters. The main problem here is that the film finds the central mystery much more mysterious than it actually is, and doesn't seem to realise it's given most of the details away. As the Painter's story unfolds - murky as it is - the important stuff (that the gruesome acts depicted in the artist's work might be real) is either implied by the promotional blurb, the opening credits sequence or already anticipated by our over-active imaginations.

What the film sorely needs in the absence of any real action is some clarification as to what it is we're actually supposed to be intrigued by while we wait for the body count to rise. There is a throwaway line later in the film which goes a long way to informing the story as a whole, and cements in our minds the very real danger at hand, but it comes a bit late in the day. Used earlier it would have given Stefano's amateur sleuthing some much needed impetus (Antonio's is too mundane and isolated a death and seems forgotten almost immediately). What lies at the heart of the film then, once the back-story has been told (and after a lot of to-ing and fro-ing) is Stefano's failure to deduce the identity of the sisters and the consequences therein. So everything depends on the final reveal. These are obviously characters we've already met - that's how these things work - but a real rapport needed to be established between Stefano and the peripheral players to give the nature of the revelation (which has been sketchily sign-posted) a much greater emotional punch when it comes. As a result the effect is diluted. Ultimately the biggest mystery is why the town is keeping its secrets in the first place.

On the plus side, coupled with the brooding atmospherics, it is lovely to look at. The camera work isn't overly elaborate but understated works in the film's favour. There are some nice shots - one in particular where Stefano walks round the side of a house with his back to it, so we discover, a moment before he does, that the title isn't simply a metaphor. A palette of greys and smoky blues blends with the thin winter light, with sparing splashes of crimson and orange ochre (emulating the look of Hitchcock's Frenzy). The artist's monologue which accompanies a retrospective sepia-tinged slaughter during the opening credits and used again later on is effectively lurid (you'll need a shower afterwards, followed by dinner and flowers) and the full extent of one haunted local's involvement with the murderous trio some thirty-odd years earlier lends the film some much needed emotional resonance. Most of all Avati deserves credit for the St Sebastian reference. It seems a pretty innocuous stylistic choice, but there is a significance here which, though not essential, provides one of the true, subtle revelations of the entire film. Provided you put two and two together and know your saints.

The House with Laughing Windows was for so long the 'lost giallo' and consequently it seems a bit of giallo envy has bolstered its reputation as a forgotten masterpiece. In terms of pure film-making that's short of the mark. There are too many uneven moments. Characters disappear ominously, then reappear without acknowledgement. Things go bump in the night which we discover second hand rather than getting to witness, and there's a curious did they/didn't they? (have it off) tryst between Stefano and the town's departing school teacher (if they did he apparently likes to keep not only his socks on but his entire dapper three-piece). That isn't to say it's a total bomb by any means either. It depends how invested you find yourself in the Painter's story, and to some extent how prepared you are to suspend disbelief. If you approach with expectations suitably tempered it'll probably do the business. Just sit back and soak up the quietly unsettling atmosphere without thinking too much, but be warned, a great time is not assured.

Decent

[BandSAboutMovies · 6/10 · 11 September 2021]

Pupi Avati made Zeder, the zombie movie that really isn't a zombie movie, so I was excited to see his take on the giallo, basing it on a story he heard about a priest being exhumed in his childhood.

The Valli di Comacchio area has a fresco on the rotting wall of a church that may be the martyrdom of Saint Sebastian. Painted years ago by the long-dead and always mysterious Legnani, it is being restored by Stefano, who is also living in the home of the painter's sisters. Those very same sisters - according to town legend - assisted their brother in torturing and killing people so that he would have inspiration for his artwork.

No one wants Stefano to fix this painting. People start dying and the secret behind the murders may be in the very painting that our lead is fixing.

I love when the giallo moves out of Rome and into the small cities, such as Fulci's masterful Don't Torture a Duckling and Antonio Bido's The Blood Stained Shadow. Why should the metro locales have all the deep, dark secrets and horrific murders, right?

Don't go in expecting sleaze and gore. Do expect to be surprised and delighted by the world and mood that this movie creates. This one needs to be unearthed and celebrated by way more than know it now.

Very Good Italian Rarity

[osloj · 8/10 · 24 November 2003]

*** This review may contain spoilers ***

*Plot and ending analyzed*

This is a very good film directed by the man who also did "Zeder: Voices of the Dead". Although similar in tone, this film explores a man's quest to solve an illogical mystery and it is more provincial, thus regulating us to the ominous and desolate village landscape, such as the canal, the empty houses and the isolated stretches of land.

The man in question is an art restorer who is called to the small village of Palerma Southern Italy to restore a fresco painted by a degenerate artist. As he is led by the hunchback dwarf mayor, the man begins to assume that there is a mysterious air about him, namely that people are hiding something in the village. His suspicion is further activated when he finds that the artist who painted the scene in the old church, was a maniac and pervert.

More and more he slowly uncovers strange rumors and ghastly pieces of evidence, including a dicto-graph voice tape and a journal from the 1930's.

His visit to the old house where the artist lived uncovers peculiar mouths painted on the windows. There are also two eerie sisters who contributed to the artist's suicide and they were followers of a reclusive cult that was situated in South America.

Most of the film has a sense of unnerving atmosphere, and it is very unusual and pleasant to learn that one does not know what premise will be laid out next.

The ending was a surprise because one can only assume what occurred. A very engaging and effective film.

Throw a baseball through this window

[Tender-Flesh · 6/10 · 19 December 2009]

I wanted to like this film. I'd heard some good things about it, and, as with most gialli, it does have some very good points. Director Pupi Avati knows how to build tension and use light and shadow to some very exceptional ends. But the look of the film stock seemed like it was shot on video instead of film. This seems to be another one of those horror films where everyone is in on the plot except our hero.

An art restorationist arrives in a small town to work on an aging fresco depicting the murder of Saint Sebastian. He works in a church where the fresco is located and rents a small set of rooms in a strange villa on the outskirts of town. An old woman is his only other house mate and she is bedridden. But, our hero hears creaking floors at night and finds a strange recording of the fresco artist's voice talking riddles and madness. The artist is presumed dead as his body was never recovered, and although he had two sisters, no one seems to want to be forthcoming with the information as to their whereabouts. And some people end up dead, yada yada.

The plot seems to be forcing itself on you and wants to make the overall feel of the movie more menacing than it really is. The direction is good but the material leaves you wanting. For gialli lovers only.

Superb!!!

[bensonmum2 · 10/10 · 18 February 2005]

The House with Laughing Windows is about as close to perfection as I've seen. The movie filled me with an uneasy sense of dread like few movies are capable. The story involves an artist, hired to restore a painting in a church. The more he learns about the paining and the original artist, he becomes obsessed with discovering even more. He receives threatening phone calls telling him to leave. Soon, his only friends in town begin to disappear or worse, die. What's behind the mystery of the painting that scares the locals so? Anymore of the story would be far too much.

The direction and editing in this movie are sublimely perfect. As far as I'm concerned, there is not a wasted scene. Every moment serves to push the plot along at an enjoyable, leisurely pace until the movie just drips with atmosphere and dread. The acting was, for the most part, a notch above the standard Italian fare from this period. And, whoever scouted and found the locations used in this movie should have received some type of award. You couldn't have done any better if you had the money to build the sets from scratch. This movie is an absolute must for fans of Italian horror.

I've watched the Region 1 subtitled version. The image is very good and the sound is clear. This DVD features a nice "making of" featurette with the director.

Slow, atmospheric suspense-thriller.

[Amyth47 · 6/10 · 28 December 2018]

My Rating : 6/10

'The House of the Laughing Windows' has one spectacular ending which I loved but apart from those final 20 minutes or so, it's slow and takes some getting used to.

One of the more sensible giallo movies out there and worth checking out if you're looking for a slow-burning niche arthouse horror movie.

A Superbly disturbing film full of foreboding atmosphere

[Prof-Hieronymos-Grost · 9/10 · 17 February 2005]

Casa dalle finestre che ridono, La (1976)Pupi Avati First Viewing Stefano a restorer of old paintings and frescos is commissioned to try and save a disturbing fresco of the suffering of Saint Sebastian by the apparently mentally disturbed artist Legnani….known locally as the The painter of Agony because of Legnani's penchant for painting people in the throws of death.. After visiting the fresco in the local church which boasts scenes of real pain and agony Stefano is drawn into an increasingly nightmarish community of strange characters and soon finds his presence is not really wanted in this sleepy village which seems to be hiding some dark secret. Avati's film would seem to mirror American and Italian fear and perception that all things from the south are not quite right. Right from the start I was creeped out by this film…..the opening credits are very eerie with their scenes of torture and the really disturbing chanting male voice that accompanies them….They are immediately followed by scenes of Stefano arriving in the village to bright sunshine and very beautiful countryside… a very extreme contrast indeed but it works. There is a real sense of foreboding in this film which crawls along at a very slow pace…..You just know something nasty is just around the corner.Tomassi's superb score adds to the building dread.... This is one of those films that has you still talking about it days after you have seen it. To say too much about the plot might ruin it for others……If you like fast paced thrillers/slashers…stay well clear of this film...but if you like the slow build up of atmosphere tension and dread then go get this movie today.

So Sue Me For Being Immature

[ferbs54 · 7/10 · 21 October 2007]

"The House With Laughing Windows" (1976) is an unusual kind of giallo thriller that may very well suit the bill of discriminating horror fans looking for something different. Despite a truly unsettling and gruesome title sequence, depicting the explicit stabbing of a manacled victim, whilst a seemingly deranged psycho intones some sick-sounding gibberish offscreen, the picture soon after settles down, and remains relatively violence-free...that is, up until its unforgettable final 20 minutes or so. The film tells the story of Stefano, who's come to a small Italian village in a very crumbling and desolate-looking part of the country, in the 1950s, to renovate the final church fresco of an artist named Legnani, who was obsessed, 20 years earlier, with painting models who were in the process of dying. The film is very languidly paced, but nevertheless conveys an increasingly palpable sense of dread. This mounting sense of unease is engendered not only by that disturbing title sequence, but also by some first-rate direction by Pupi Avati and some truly eerie organ music by Amadeo Tommasi. Tommasi's love theme in the picture is very sweet, but his horror theme will surely make your spine tingle. The film culminates with some sick, sick stuff right out of the looney bins, certainly repaying the viewer's required patience with the picture's deliberate pace. And oh...I know it's very un-PC to make fun of other people's names, not to mention immature, and I'm not certain if the director's name is pronounced Poopy or Puppy (the former, I believe), but either way, deep inside me, there's a 4th grader who's feeling pretty giggly right now...

A masterpiece of Italian horror!

[HumanoidOfFlesh · 10/10 · 17 July 2003]

Pupi Avati's "House with the Windows That Laugh" is certainly one of the best Italian horror movies ever made.Set in a small Italian village the film concerns an artist named Stefano(Lino Capolicchio)who has been commissioned to restore a fresco in a little church:the fresco portrays the suffering of Saint Sebastian,and is the last known work of mad painter Buono Legnani.Our protagonist quickly realises that there is a sinister and ominous atmosphere in the village."House with the Windows That Laugh" is a pretty slow-moving film which offers plenty of creepy atmosphere.The conclusion is so extremely surprising that it truly knocked me out of my seat.The acting is excellent and there is enough tension to keep horror fans intrigued.A masterpiece that easily gets 10 out of 10!

A bit on the slow side but with a great ending.

[timothydodson-34504 · 6/10 · 28 May 2019]

Went into this one with high hopes. I'm a big fan of the giallo genre (I would not call myself an expert) having watched a good number of these over the years. I recently read some reviews about this one and found an inexpensive dvd copy online. Another reviewer compared some of the imagery in this film to the work of David Lynch and I would have to agree. Just don't go into this one expecting Twin Peaks. The definition of "slow burner" House With The Laughing Windows may have a little too much set up for its own good. Very atmospheric and at times creepy. I loved the fresco painted on the church wall and how the crazy artist responsible for depicting human "agonies" in various paintings hung over the entire proceeding in spirit like some bad dream. The films runs a little on the long side but if you can stick with it the ending is a huge payoff. Don't Look Now came to mind while watching this; even the protagonist looks a little like Donald Sutherland. I would recommend this one to die hard fans of the genre but less patient movie buffs may want to throw on something a little faster paced.

Perhaps as a student film this would have been acceptable.

[Athanatos · 1/10 · 11 January 2007]

The plot of this story lacks coherence. We are given no indication why the townspeople should find it in their interests to conceal the crimes which underlie the story, let alone why they should provide a certain degree of positive co-operation with the perpetrators. A work of art is destroyed by someone who ought to regard it as priceless if not indeed sacred.

The story requires that its more protagonistic characters refuse to communicate with each other, for no discernible reason or reasons, and that the principal repeatedly postpones investigating obviously key aspects of the puzzle with which he is ostensibly obsessed.

The revelation of the identity of one character is underlined by an act of physical exposure effected ex nihilo, and made ignoring the fact that the character is elderly.

The cinematography is like that of an American made-for-television movie of the late '60s or '70s. A study of the work of Carl Theodor Dreyer might have led to better results.

Since the alleged brilliance of an artist is essential to the story, the artwork used should have been something more than mediocre; instead, it is something less.

And no one in the film notes that St Sebastian, depicted by the central painting as being knifed to death, was in fact shot with arrows, and survived that experience (though not the subsequent beating).