Hammer wasn’t the only production company making gothic horror films in England in the mid-20th century. Amicus productions dipped a few toes into the waters, as did Tigon, the company behind The Blood Beast Terror.
Released in 1968, Terror is all-but indistinguishable from contemporary Hammer productions, all the way up to its star, Peter Cushing. The only thing I could find that really separates this film from a Hammer production is that this film had a lower production quality. Hammer didn’t exactly break the bank when it came to financing their pictures, and one has to have a strong suspension of disbelief to watch them. Those familiar with Hammer films will know to what I’m referring. For everyone else, this film’s production issues are apparent in the questionable quality of the film stock, the poor sound quality of the rerecorded dialogue, and the plainness of the set decoration. It never feels as if this film inhabits the distant past, especially in moments when horse-drawn carriages trundle over asphalt pavement. Continue reading “October Horrorshow: The Blood Beast Terror”
Filmmaker Eugène Lourié must have thought that his 1953 film, The Beast from 20,000 Fathoms, was just practice — a full dress rehearsal, of sorts. How else to explain Lourié directing what is, essentially, a remake of that film?
The Giant Behemoth, released in 1959, comes to viewers from Hollywood Poverty Row stalwart Allied Artists, the studio behind such classics as Attack of the Crab Monsters and House on Haunted Hill. There are conflicting stories floating around on the internet about today’s film. Either Allied demanded script changes that resulted in a film that aped 20,000 Fathoms, or Lourié had enough creative control to take the film in that direction. He is listed as one of the screenwriters, after all. Without digging into the documentary history of a long-dead movie studio, there really can’t be an answer. But considering Lourié shared directing credits for this film with Douglas Hickox, that points to the moneymen having control over this film, despite Lourié getting a screenwriting credit. Who knows? Continue reading “Giant Monstershow: The Giant Behemoth”
Here we are. October 31st. Halloween. The end of the October Horrorshow. The final film in this look back at Hammer Film Productions is a departure from type. If there’s one thing I’ve picked up on from watching 31 Hammer films in a row, it’s that Hammer basically made the same film over and over and over again. That’s not negative criticism on my part. Hammer had a style, in the same way that a musician like John Lee Hooker had a style or an artist like Willem de Kooning had a style. Listen to an album or see a painting hanging on a wall and it becomes immediately clear who is responsible. Hammer films followed a theme. They developed over time into something that was very much their own. Towards the end, though, they began to switch things up in search of a new formula. Such is the case with today’s film. Continue reading “October Hammershow: The Satanic Rites of Dracula”
Hammer saw much success with its version of Dracula in 1958. Of course they wanted to cash in further. For reasons beyond the scope of this review, they couldn’t nail down Christopher Lee for a sequel until 1965. But that didn’t stop Hammer. In 1960 they released The Brides of Dracula, which featured neither Dracula nor any vampire that appeared with him in the previous film. It was misrepresentation, plain and simple. In watching it, it becomes clear Brides was meant to be a Dracula film, with Lee in it, but the script had been reworked to put a different baddie in the lead. The Kiss of the Vampire has similar origins, although with this film Hammer had the decency to release it without a false pedigree. Continue reading “October Hammershow: The Kiss of the Vampire”
This is somewhat of a melancholy review for Missile Test. Not only is this the last film of this year’s Horrorshow to be directed by Terence Fisher, it is also the last film he directed, period. He directed films for a quarter of a century, sometimes putting out three or four in a year. Before I began this Horrorshow, I had never heard of Terence Fisher, but what I discovered was a workaday director who could be counted on to helm a film with care, attention to detail, and strong pace. He was in no way innovative, and his films display the difference between craft and art. Terence Fisher was a craftsman, and his trade was directing movies to make his producers money. He was very good at that, and he was very good at keeping me entertained. Continue reading “October Hammershow: Frankenstein and the Monster from Hell”
I feel like American audiences have been sold a false bill of goods with Night Creatures. The title implies quite a different movie than what we got. While today’s film was titled Night Creatures for the American market, its original title in the UK and elsewhere is Captain Clegg. That title isn’t exactly the best, either, as it makes the movie sound like something Disney would have cranked out for kids, and it’s not that. Continue reading “October Hammershow: Night Creatures, aka Captain Clegg”
So long, Peter Cushing! After five films over 12 years, Hammer decided to go in a different direction with 1970’s The Horror of Frankenstein, replacing the iconic, and aging, Cushing with Ralph Bates, who was an entire generation younger. Hammer also decided not to continue the jumbled and confused continuity of the previous films, going for a complete reboot of the franchise. That phrase, ‘reboot of the franchise,’ is decidedly anachronistic when applied to a film from almost fifty years ago, but it is an accurate description of what Hammer did. It’s just a new term for a practice as old as film itself. Continue reading “October Hammershow: The Horror of Frankenstein”
These Hammer Dracula films are showing serious signs of franchise fatigue. Scars of Dracula is the sixth film in the series, and I can’t be sure that anyone involved cared one whit about the project. Unlike the Frankenstein films, which had their ups and downs, there was still great care in producing a viable film. But Scars of Dracula looks and feels cheap. Continue reading “October Hammershow: Scars of Dracula”
Terence Fisher directing, Jimmy Sangster writing, and Christopher Lee in a supporting role. The Man Who Could Cheat Death, one of Hammer’s efforts from 1959, should have been among the best films in this month of reviews. But it’s not, and that’s because while three of Hammer’s top names appear in the credits, a fourth, Peter Cushing, does not. He had been set to star in this film, but the lead role instead went to Anton Diffring, who was not equal to the task. Continue reading “October Hammershow: The Man Who Could Cheat Death”
The title of this film is apt. The character of Frankenstein has gone through many metamorphoses from film to film in the Hammer series. In the first two, The Curse of Frankenstein and The Revenge of Frankenstein, he was an obsessive driver, unable to see that his experiments were beyond the bounds of ethics. He wasn’t an evil man, but nor was he good. He was somewhat sociopathic, oblivious to the offenses his work caused. In The Evil of Frankenstein he was a weak copy of the Frankenstein from the Universal films, which was no coincidence, as Universal distributed the film. In Frankenstein Created Woman, Frankenstein was almost benevolent, using his experiments, though twisted, to restore life to a pair of unfortunate lovers. But in today’s film, Frankenstein Must Be Destroyed, Frankenstein is evil to the core. He extorts, kidnaps, imprisons, murders, and rapes the poor people whom he encounters. Indeed, a person like that needs to go. Continue reading “October Hammershow: Frankenstein Must Be Destroyed”