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I Don’t Want to Be Born (1975) – 50th Anniversary Retrospective

01 Sunday Jun 2025

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The devil came to the pram—and brought a Hammer cast with him.

Also known by several more sensational titles—The Devil Within Her, Sharon’s Baby, and It’s Growing Inside Her—Peter Sasdy’s I Don’t Want to Be Born is one of the stranger, more uneven horror offerings of 1975. Half supernatural shocker, half demonic soap opera, the film boasts a surprisingly strong cast and a deeply odd premise that has earned it a peculiar kind of cult status over the past fifty years.

Set in a heightened, almost surreal version of London, the film sees Joan Collins’ character give birth to a monstrously violent baby—seemingly possessed by the vengeful spirit of a spurned dwarf lover. What follows is a bizarre series of deaths, each more absurd than the last, all linked by the ominous presence of a pram and its pint-sized occupant.

Though the concept teeters on the edge of parody, Sasdy—who brought genuine Gothic flair to Hammer productions like Taste the Blood of Dracula and Countess Dracula—attempts to play it mostly straight. His direction tries to keep the tone grounded, but the outlandish plot frequently undercuts any attempt at gravitas.

Joan Collins, in full glam-horror mode, commits admirably to the madness. Her co-star Ralph Bates, with whom she previously appeared in Hammer’s Fear in the Night, provides a steadying presence. The cast is stacked with familiar faces from British genre cinema—Donald Pleasance as a soft-spoken doctor, Eileen Atkins as a nun with spiritual insight, and the ever-iconic Caroline Munro in a brief but welcome turn.

Despite its flaws—and they are many—the film’s connections to Hammer’s waning golden age give it an air of familiarity. In many ways, I Don’t Want to Be Born feels like a last gasp of the studio’s supernatural melodrama, though filtered through the grittier, more sensationalistic lens of mid-‘70s exploitation cinema.

The Prognosis:

On its 50th anniversary, it’s fair to say that I Don’t Want to Be Born is more curiosity than classic. But for devotees of Collins, Sasdy, and the weird crossover space between Hammer horror and post-Exorcist hysteria, it’s an oddly compelling footnote in British horror history.

  • Retrospective Review by Saul Muerte

Phenomena (1985): A Quirky, Eerie Gem from Argento’s Thrilling Catalogue

30 Thursday Jan 2025

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Celebrating 40 Years of Insect-Infused Mystery and Murder

In 1985, Dario Argento gifted audiences another slice of his signature blend of horror, mystery, and striking visuals with Phenomena. While it may not soar to the heights of Suspiria or Deep Red, this supernatural murder mystery remains a fascinating entry in the Italian maestro’s filmography. On its 40th anniversary, Phenomena continues to captivate viewers with its audacious concept, atmospheric cinematography, and unforgettable performances.

A Tale of Creepy Crawlers and Murder

Phenomena centres on Jennifer Corvino (a young Jennifer Connelly), a teenager with the extraordinary ability to communicate with insects. Transferred to an elite boarding school in the Swiss Alps, Jennifer quickly finds herself drawn into the chilling mystery of a series of brutal murders. Partnering with entomologist Dr. John McGregor (the legendary Donald Pleasance), Jennifer’s unique talent becomes a vital tool in uncovering the killer’s identity.

The narrative combines Argento’s hallmark elements—gruesome murders, dreamlike visuals, and labyrinthine storytelling—with an offbeat twist: the inclusion of insects as both allies and plot devices. It’s a bizarre but oddly compelling concept that lends Phenomena its unique identity within Argento’s oeuvre.

Connelly and Pleasance Shine Amid the Macabre

At the heart of the film is Jennifer Connelly, whose natural charisma and vulnerability anchor the story. Despite being relatively new to the screen, her performance carries a maturity and magnetism that make Jennifer Corvino an engaging protagonist.

Donald Pleasance, no stranger to horror audiences, brings gravitas and warmth to his role as Dr. McGregor. His character’s endearing partnership with a chimpanzee (a truly Argento-esque touch) adds a surprising layer of charm amid the grisly murders. Together, Connelly and Pleasance elevate the material, keeping the audience invested even when the plot veers into outlandish territory.

Argento’s Visual and Sonic Flair

True to form, Argento infuses Phenomena with his inimitable visual style. The Swiss landscapes are simultaneously idyllic and foreboding, while the boarding school exudes an oppressive, otherworldly quality. The film’s murder scenes are as graphic as they are meticulously crafted, blending beauty and brutality in a way that only Argento can achieve.

Adding to the film’s atmosphere is its eclectic soundtrack, which combines Goblin’s pulsating score with unexpected heavy metal tracks from Iron Maiden and Motörhead. The result is an auditory rollercoaster that amplifies the film’s eerie, high-energy vibe.

A Mixed Bag, but Unforgettable

While Phenomena showcases many of Argento’s strengths, it’s not without its flaws. The pacing can feel uneven, and the plot occasionally descends into absurdity. However, these quirks are part of the film’s charm, making it a uniquely bizarre experience that has aged into a cult favourite over the decades.

A Legacy of Weirdness and Wonder

Forty years on, Phenomena stands as a testament to Dario Argento’s audacity as a filmmaker. It may not achieve the perfection of his greatest works, but its bold premise, striking visuals, and memorable performances ensure its place in the pantheon of cult horror classics. Whether you’re drawn to its insectoid oddities, its murder-mystery thrills, or its unapologetic weirdness, Phenomena remains a fascinating watch that showcases Argento’s ability to push the boundaries of genre filmmaking.

For those revisiting Phenomena or experiencing its peculiarities for the first time, the film remains a darkly magical journey into the mind of a horror visionary.

  • Saul Muerte

Shadows and Secrets: Eye of the Devil’s Haunting Descent into Gothic Horror

07 Thursday Nov 2024

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Eye of the Devil, directed by J. Lee Thompson, is an atmospheric Gothic thriller that dives into the shadows of rural France with a sophisticated mix of suspense, mystique, and ritualistic undertones. Adapted from the novel Day of the Arrow by Robin Estridge, the film is a hypnotic journey into the arcane—a chilling portrait of an ancient family curse lurking beneath a veneer of nobility. As the last black-and-white film released by MGM, Eye of the Devil serves as a haunting swan song for monochrome thrillers of its kind, delivering a visually striking experience.

The film’s magnetic pull begins with its stellar cast, headed by Deborah Kerr and David Niven, whose portrayal of a nobleman bound by ancient family duties brings both gravity and dread. Kerr, as the resolute yet vulnerable Catherine de Montfaucon, brings nuanced intensity, grounding the film’s surreal moments with an emotional weight that feels real and human. Niven, always a master of restrained expression, gives one of his most haunting performances, adding a foreboding edge to his noble character.

Rounding out the remarkable ensemble are Donald Pleasence, David Hemmings, and John Le Mesurier, each delivering layered performances that enhance the eerie atmosphere. Pleasence stands out in his role as a creepy village priest, an unsettling presence who is quietly complicit in the town’s disturbing traditions. Hemmings and Sharon Tate, in one of her earliest roles, exude an ethereal quality as brother-and-sister keepers of dark secrets. Tate, especially, captivates with a bewitching mix of innocence and menace that underscores the film’s ominous tone.

One of the film’s greatest strengths is its cinematography. Shot in crisp black-and-white, Eye of the Devil takes full advantage of its shadows and contrasts, imbuing each scene with a sense of haunting elegance. The off-kilter tone, aided by this stark visual style, reflects the otherworldly nature of the story and lends the film an unsettling beauty. The rural landscapes and gothic architecture frame the narrative with a sense of isolation and timelessness, allowing audiences to feel as if they, too, are trapped within the same ancient, oppressive traditions as the de Montfaucon family.

The film’s pace may feel unusual, but its deliberate nature only deepens its eerie pull. Eye of the Devil is not a straightforward thriller; it’s a study in atmospheric horror that never rushes to reveal its secrets, instead drawing viewers deeper into its seductive darkness. For anyone who appreciates horror that unnerves through performance, tone, and imagery rather than jump scares, Eye of the Devil is a timeless gem of the genre.

  • Saul Muerte

Retrospective: From Beyond The Grave (1974)

25 Tuesday Jun 2024

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From Beyond the Grave (1974) is an anthology horror film produced by Amicus Productions and directed by Kevin Connor. It features a series of macabre tales linked by an antique shop run by Peter Cushing’s enigmatic proprietor. While the film showcases the hallmark traits of Amicus’s anthology style and benefits from Milton Subotsky’s vision, it falls short of achieving the lasting impact of some of its predecessors. This retrospective review will examine the film’s place in the horror anthology subgenre, the effective production work of Amicus Productions, and the influence of producer Milton Subotsky.

Horror anthologies have a unique appeal, offering audiences multiple stories within a single film. From Beyond the Grave adheres to this format, presenting four distinct tales of supernatural and psychological horror. Each segment explores different themes and horror elements, ranging from cursed objects to malevolent spirits. This variety can be a double-edged sword: while it provides a diverse viewing experience, it can also lead to uneven storytelling and inconsistent scares.

In the context of horror anthologies, From Beyond the Grave stands as a competent but not groundbreaking example. The segments vary in quality, with some delivering genuine chills and others feeling formulaic. The anthology format allows for a quick pace and frequent shifts in tone, but this also prevents any single story from achieving the depth and development of a standalone feature. Compared to earlier Amicus anthologies like Tales from the Crypt (1972), From Beyond the Grave lacks the same level of memorable horror moments and narrative cohesion.

Amicus Productions, known for its series of horror anthologies throughout the 1960s and 1970s, brings its trademark style to From Beyond the Grave. The film benefits from high production values, with well-designed sets, atmospheric cinematography, and effective use of practical effects. The antique shop setting serves as a compelling and eerie backdrop, providing a unifying thread for the disparate stories.

The film features a strong cast, including horror veterans such as Peter Cushing, David Warner, and Donald Pleasence. Their performances add gravitas and credibility to the stories, even when the scripts fall into predictable territory. Cushing, in particular, excels as the mysterious shopkeeper, imbuing the character with a sinister charm that anchors the film.

Despite these strengths, the production occasionally feels constrained by budgetary limitations. Some segments lack the polish and imaginative flair that could have elevated them, resulting in a final product that, while competent, doesn’t fully capitalize on its potential.

Milton Subotsky, co-founder of Amicus Productions, was instrumental in shaping the company’s horror anthology format. His vision for From Beyond the Grave is evident in the film’s structure and style. Subotsky’s influence ensures that each story adheres to a tight, episodic format, with a clear beginning, middle, and end.

Subotsky’s preference for blending supernatural horror with psychological elements is also apparent. The stories often explore themes of guilt, retribution, and the consequences of one’s actions, aligning with Subotsky’s penchant for morality tales. However, this approach can sometimes lead to predictable plot twists and moralistic conclusions, reducing the overall impact of the horror elements.

While Subotsky’s vision brings coherence to the film, it also reveals some of its limitations. The anthology format, while effective in providing variety, can feel repetitive when each story follows a similar moralistic pattern. This repetition diminishes the sense of surprise and suspense, key components of effective horror.

The Prognosis:

From Beyond the Grave (1974) is a solid but unremarkable entry in the horror anthology subgenre. It showcases the strengths of Amicus Productions, including effective production work and strong performances, particularly from Peter Cushing. However, the film’s impact is diluted by uneven storytelling and predictable narrative structures. Milton Subotsky’s vision provides coherence and thematic consistency, but it also imposes limitations that prevent the film from achieving the lasting impact of more innovative horror anthologies. For fans of classic horror and anthology films, From Beyond the Grave offers a competent, if not exceptional, viewing experience.

  • Saul Muerte

1960s Horror Retrospective: The Flesh and the Fiends (1960)

20 Saturday Apr 2024

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Having journeyed through the rise and fall of Universal Classic Monsters during the early thirties and the passing of the baton to British Film production company Hammer Films in the mid-fifties, it’s time to switch my celluloid gaze upon the 1960s and the twists and turns that the decade would take in the name of horror. 

To begin, my focus falls upon a feature that at the time struggled to get deserved recognition, both in production and when it eventually hit the screens, but has since gone on to become a cult film in its own right.

Directed by John Gilling (who would go on to call the shots for a few Hammer Films later in the decade) The Flesh and the Fiends would be a re-working of a previous feature called The Greed of William Hart penned by Gilling, but suffered at the hands of the British Board of Film Censors. The request that all references to the real-life murderers, Burke and Hare be removed would be rectified for TFATF, with the opening title displaying, “”[this] is a story of vice and murder. We make no apologies to the dead. It is all true.” 

Based on the macabre events set in the 1820’s when the 19th Century medical doctor, Robert Knox would purchase corpses for medical purposes from the afore-mentioned Burke and Hare. Knox, brought to the screen by another Hammer alumni, fresh from his rise to fame as Doctor Frankenstein, Peter Cushing, who noted the similarities between Knox and the Baron, “The minds of these exceptional men were driven by a single desire: to inquire into the unknown. Ahead of their time, like most great scientists, their work and motives were misunderstood.”

Cushing was magnificent in this role, even going to significant measures to enact the same droopy eye that Knox bore from contracting smallpox when he was young. 

Cushing is not the only standout though as both Burke and Hare are magnificently portrayed by George Rose and Donald Pleasance, adding some offbeat humour amongst the gruesome scenes, especially in some of the murders that take place. The finest example of this coming when Burke (Rose) suffocates Aggie (Esme Cameron) while Hare (Pleasance) is dancing a jig, perfectly juxtaposing the brutality on show.

Cinematographer Monty Berman also provides some striking images, a master pf black and white photography, he managed to capture the dank and dismal scenes in 19th Century Edinburgh. This along with Gilling’s knack to take the action scenes by the horns with his own unique bruteish fashion, is one that left a compelling mark on the genre, kick-starting the decade in style. While it was impactful in British cinemas, it went without a trace Stateside and was considered a failure. It does deserve greater recognition, outshone as it was by the likes of Hammer’s style and substance, The Flesh and the Fiends, the mood of the piece was a grim and tormentous affair.

– Saul Muerte

Movie review: Dracula (1979)

04 Saturday Mar 2017

Posted by in Universal Horror

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IT WOULD BE forty-eight years before Universal would look to reboot the Dracula franchise for the silver screen. 

A lot had changed in the world since then and because of that we’re presented with a much more sexually charged Dracula.

A far cry from Bela Lugosi’s representation.

I’d never seen this version before writing this review and upon watching this version, I saw so many images that were reflected twenty years on with Bram Stoker’s Dracula directed by Francis Ford Coppola, including Gary Oldman’s hair.

But this was 1979 and Coppola’s version was not yet on his radar. 

He was knee deep in Apocalypse Now terrain at the time.

In this instance, directorial duties fell to British-American John Badham (Saturday Night Fever, Blue Thunder, WarGames, Short Circuit).

His leading man would be Frank Langella, (Skeletor folks!!) who seems to carry such sinister presence on screen, whether he is portraying Nixon, Boris Balkan, or in this case, Dracula himself.

There’s actually a lot like in this version of the Dracula story.

With the Tagline “A Love Story”, the focus on romance suited Langella’s dashing stature alongside Kate Nelligan as Lucy, (not Mina in a decision where these roles would be switched from the novel).

The film would dive straight into the action too, jumping straight on board the ship Demeter, as it crashes of the coast of Whitby.

There is a lot of focus on Dracula’s transformative states, be it wolf or bat, to great effect for its time.

There are great support roles too with Trevor Eve’s stoic Jonathan Harker, Lawrence Olivier’s restrained performance of Van Helsing, and the always brilliant, Donald Pleasence as Dr Seward.

Yes it does take liberties with some of the choices narratively speaking but it’s an enjoyable movie all the same that comes highly recommended from the Surgeons team.

  • Paul Farrell

LINKS:
Dracula Movies on Hammer Horror Productions

Podcast: Halloween franchise: Halloween II (1981)

31 Monday Oct 2016

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Just three years after the original hit our screens, Michael Myers would return to Haddonfield, transporting him from Horror icon to legendary status.
Along with it, the Halloween franchise was born.

John Carpenter would vacate the director’s chair for Rick Rosenthal, but would still play an active role in the screenwriting and production of the movie, alongside Debra Hill.

Also returning to the franchise would be Donald Pleasance as Dr Sam Loomis and Jamie Lee Curtis as the ever-troubled Laurie Strode.

Interestingly set over the course of the same Hallows Eve of the previous movie as Myers continues on his killing spree.
But does Halloween II fall under the curse of movie sequels, doomed to live in the shadows of its successful predecessor?
Or does it stand out in its own right, a successful addition to the Halloween series?

The team at Surgeons of Horror dissects the movie in question to try and answer these questions and more.

Listen below to our thoughts and opinions in the first of our Halloween franchise discussions.

  • Saul Muerte
https://player.whooshkaa.com/episode?id=150555