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”
Some of Those Responsible: Edward de Souza
October Hammershow: The Phantom of the Opera (1962)
Hammer’s version of The Phantom of the Opera may not look it at first, but it is a very significant film in the history of cinema. There have been many, many adaptations of Gaston Leroux’s Le Fantôme de l’Opéra — the most famous being the Andrew Lloyd Webber musical from 1986. But this film, from two and a half decades earlier, was the first Phantom adaptation to feature the phantom playing Bach’s Toccata and Fugue in D minor. That simple decision on the part of the filmmakers to have the phantom banging away on an organ in one scene was the birth of a trope that has crept up in movies, television, and even videogames on a regular basis. Whenever a viewer sees a shadowy figure hunched over an organ and it spits out Bach, it’s all because of this movie. Continue reading “October Hammershow: The Phantom of the Opera (1962)”