
The Haunting
A remake of the classic 1963 movie "The Haunting" about a team of paranormal experts who look into strange occurrences in an ill-fated house. Through the course of the night some will unravel, some will question, and all will fight for their lives as the house fights back.
Despite a significant budget of $80.0M, The Haunting became a box office success, earning $177.3M worldwide—a 122% return.
4 wins & 14 nominations
Plot Structure
Story beats plotted across runtime


Narrative Arc
Emotional journey through the story's key moments
Story Circle
Blueprint 15-beat structure
Arcplot Score Breakdown
Weighted: Precision (70%) + Arc (15%) + Theme (15%)
The Haunting (1999) exemplifies precise narrative architecture, characteristic of Jan de Bont's storytelling approach. This structural analysis examines how the film's 15-point plot structure maps to proven narrative frameworks across 1 hour and 53 minutes. With an Arcplot score of 6.8, the film balances conventional beats with creative variation.
Structural Analysis
The Status Quo at 1 minutes (1% through the runtime) establishes Eleanor tends to her dying mother in a cramped apartment, her life consumed by caretaking. She is isolated, invisible, and trapped in obligation—a woman without a life of her own.. The analysis reveals that this early placement immediately immerses viewers in the story world.
The inciting incident occurs at 14 minutes when Eleanor receives acceptance into Dr. Marrow's insomnia study at Hill House. A chance to escape her empty life presents itself—an invitation that will change everything.. At 12% through the film, this Disruption aligns precisely with traditional story structure. This beat shifts the emotional landscape, launching the protagonist into the central conflict.
The First Threshold at 28 minutes marks the transition into Act II, occurring at 25% of the runtime. This demonstrates the protagonist's commitment to The gates lock behind the group as the Dudleys leave for the night. Eleanor chooses to stay despite her unease—there is nothing for her to return to. She commits to remaining in Hill House., moving from reaction to action.
At 57 minutes, the Midpoint arrives at 50% of the runtime—precisely centered, creating perfect narrative symmetry. Significantly, this crucial beat Eleanor discovers she is a descendant of Hugh Crain's second wife. The haunting becomes personal—she realizes the children's spirits are calling specifically to her, and the house's evil wants her. False defeat: the danger is far worse than a sleep study., fundamentally raising what's at risk. The emotional intensity shifts, dividing the narrative into clear before-and-after phases.
The Collapse moment at 85 minutes (75% through) represents the emotional nadir. Here, Hugh Crain's ghost fully manifests and attacks. Eleanor is pulled into the supernatural realm, seemingly possessed. The group is separated and helpless against the house's fury. Death feels imminent—the house appears to have won., demonstrates the protagonist at their lowest point. This beat's placement in the final quarter sets up the climactic reversal.
The Second Threshold at 90 minutes initiates the final act resolution at 80% of the runtime. Eleanor realizes her purpose: she must free the children's souls. Her lifetime of caretaking was preparation for this moment. She chooses to confront Hugh Crain directly, transforming from victim to protector., demonstrating the transformation achieved throughout the journey.
Emotional Journey
The Haunting's emotional architecture traces a deliberate progression across 15 carefully calibrated beats.
Narrative Framework
This structural analysis employs a 15-point narrative structure framework that maps key story moments. By mapping The Haunting against these established plot points, we can identify how Jan de Bont utilizes or subverts traditional narrative conventions. The plot point approach reveals not only adherence to structural principles but also creative choices that distinguish The Haunting within the fantasy genre.
Jan de Bont's Structural Approach
Among the 5 Jan de Bont films analyzed on Arcplot, the average structural score is 7.0, demonstrating varied approaches to story architecture. The Haunting takes a more unconventional approach compared to the director's typical style. For comparative analysis, explore the complete Jan de Bont filmography.
Comparative Analysis
Additional fantasy films include Thinner, Ella Enchanted and Conan the Barbarian. For more Jan de Bont analyses, see Speed, Twister and Lara Croft: Tomb Raider - The Cradle of Life.
Plot Points by Act
Act I
SetupStatus Quo
Eleanor tends to her dying mother in a cramped apartment, her life consumed by caretaking. She is isolated, invisible, and trapped in obligation—a woman without a life of her own.
Theme
Eleanor's sister tells her "You need to get a life, Nell." The theme is stated: Eleanor must find her own identity and purpose after a lifetime of being defined by caring for others.
Worldbuilding
Following her mother's death, Eleanor faces eviction by her cruel sister and brother-in-law who claim the apartment. She is rootless, desperate for somewhere to belong, and responds to Dr. Marrow's sleep study advertisement.
Disruption
Eleanor receives acceptance into Dr. Marrow's insomnia study at Hill House. A chance to escape her empty life presents itself—an invitation that will change everything.
Resistance
Eleanor drives to Hill House and arrives at the imposing Gothic mansion. She meets fellow subjects Theo and Luke, and the caretakers Mr. and Mrs. Dudley deliver ominous warnings about the house. Eleanor debates whether to stay.
Act II
ConfrontationFirst Threshold
The gates lock behind the group as the Dudleys leave for the night. Eleanor chooses to stay despite her unease—there is nothing for her to return to. She commits to remaining in Hill House.
Mirror World
Eleanor and Theo form an immediate bond as outsiders. Theo—bold, sensual, confident—represents everything Eleanor is not, offering friendship and challenging her timidity. Their connection provides emotional grounding amid the horror.
Premise
The group explores the magnificent and terrifying Hill House. Strange phenomena begin: doors slam, temperatures drop, and Eleanor hears children's voices. She discovers murals of children and learns of Hugh Crain's dark history with the house.
Midpoint
Eleanor discovers she is a descendant of Hugh Crain's second wife. The haunting becomes personal—she realizes the children's spirits are calling specifically to her, and the house's evil wants her. False defeat: the danger is far worse than a sleep study.
Opposition
The supernatural attacks intensify. Hugh Crain's malevolent spirit targets the group. Dr. Marrow's deception is revealed—this was a fear study, not insomnia research. Luke is nearly killed by the fireplace. Eleanor's connection to the house deepens dangerously.
Collapse
Hugh Crain's ghost fully manifests and attacks. Eleanor is pulled into the supernatural realm, seemingly possessed. The group is separated and helpless against the house's fury. Death feels imminent—the house appears to have won.
Crisis
Eleanor wanders the house in a trance-like state, communing with the children's spirits. She learns the full horror: Crain murdered children and trapped their souls. Theo and the others search desperately for her, fearing she is lost.
Act III
ResolutionSecond Threshold
Eleanor realizes her purpose: she must free the children's souls. Her lifetime of caretaking was preparation for this moment. She chooses to confront Hugh Crain directly, transforming from victim to protector.
Synthesis
Eleanor confronts Hugh Crain's ghost in the grand foyer. She declares the children are not his and refuses to be afraid. The house turns against Crain—the gates of Hell depicted in the fireplace open and drag him down. Eleanor sacrifices herself to ensure the children's freedom.
Transformation
Eleanor's spirit ascends with the freed children, finally finding the family and belonging she always craved. The survivors witness her peaceful departure. In death, she found her purpose and her home—she finally matters.










