Tag Archives: hammer films

Retrospective – The Man Who Could Cheat Death (1959)

11 Saturday Mar 2023

Posted by in retrospective

≈ 1 Comment

Tags

, , , , , , , ,

To conclude the decade, following a string of successful hits in the horror genre, Hammer Films would produce an oft neglected feature when placed alongside their showpieces, The Curse of Frankenstein, Dracula and The Mummy, possibly as a result of poor distribution in the States. It’s a shame as it bears all the hallmarks of Director Terence Fisher’s classic traits that made such an impression on moviegoing audiences, and stars Christopher Lee as our potential hero and romantic love interest.

The stage is set in Paris at the turn of the century where we meet a doctor named Georges Bonnet (Anton Diffring, who for years I thought was the same guy who played Decker from the A-Team (Lance LeGault) Where Eagles Dare). Bonnet harbours a disturbing secret however, the secret to eternal youth, using a procedure that belies his 104 years of age. The only way that he can maintain this is through a surgical operation on the glands, and needs the assistance of long time accomplice Dr. Ludwig Weiss (Arnold Marle) and the use of human fluid. Not exactly something that is available on tap, and so Bonnet resorts to murder, all in the name of immortality.

When Ludwig’s age becomes a hindrance though, Bonnet must seek alternative means, perhaps in Pierre (Lee) a fellow surgeon with a high degree of promise. Bonnet is also slipping up however when a model Margo (Delphi Lawrence) goes missing in mysterious circumstances, and Janine (Hazel Court – The Curse of Frankenstein) continues to pursue his love interests. How long can Bonnet hide his secret? And will Pierre (who also has an adoration towards Janine in this macabre love triangle) find out the truth and put an end to Bonnet’s evil doings?

Initially based on a play by Barry Lyndon called The Man in Half Moon Street and starred both Diffring and Marle in their respective roles in an anthology tv series, in which an adaptation was scripted by Jimmy Sangster. Hammer would garner the rights to a movie adaptation peppered with their current look and feel through Fisher’s more than capable hands. Initially if Producer Anthony Carreras had his way, another Lee, Cushing vehicle would have been produced but Cushing would have to step aside due to illness, a move that infamously had Carreras fuming and seeking legal action against the high profile actor.

Some may feel that there is more style than substance on show here, which I can see their position but despite this and the dialogue heavy sequences, both Diffring’s performance and the effects when the ageing process starts to take effect, make this a worthy watch.

  • Saul Muerte. 

Retrospective – The Mummy (1959)

24 Friday Feb 2023

Posted by in retrospective

≈ 1 Comment

Tags

, , , , , ,

Within the last three years of the 1950s, Hammer Films had reshaped the Universal Classic monsters canon with The Curse of Frankenstein, Dracula and The Revenge of Frankenstein, bringing into full glorious and gory colour for a then, modern audience, With it, Hammer would also unite one of celluloid history’s greatest co-stars in the horror genre in Peter Cushing and Sir Christopher Lee. Before the turn of the decade, the British production house would turn their attention to yet another Universal offering, The Mummy, and keep that winning formula of Cushing, Lee and film director Terence Fisher. Cushing played the dashing hero, and Lee subjected to the ‘monster’ character and hidden behind full make up for the last time with Hammer. It was a tortuous and gruelling affair for its two leads, and would lead Cushing to the hospital following a scene gone awry. Cushing would also become more bold in his acting choices and in cementing his character traits on screen and guiding his director in some of teh action sequences.

The familiar tale of the mummified High Priest Kharis (Lee) resurrected under the power of Mehemet Bey (George Pastell) to seek revenge for disturbing Princess Ananka’s tomb, is given the Hammer treatment. Here Cushing plays the part of John Banning, one of the doomed expedition crew. His father, Stephen (Felix Aylmer) has been driven mad and escorted to the asylum with his prophecies of the forthcoming mummy. Initially scoffed at and ridiculed, the subject takes a dark and sour turn when Stephen is killed by Kharis’ bandaged hands.

Kharis would also be moved by his lost love, Ananka, whose appearance is uncannily similar to John Banning’s wife, (Yvonne Furneaux) and thus brings about our damsel in distress theme.

Jimmy Sangster would once again herald the screenplay writing duties, fusing Universal’s The Mummy; The Mummy’s Tomb; and The Mummy’s Ghost to puff out his take on the story for Hammer. 

Upon its cinematic release, the name Hammer was starting to cause quite a stir among moviegoers, and The Mummy became a big success for the company. It even surpassed its successors in the box office and in some ways is a more solid feature in its narrative, and effects. Despite the climatic ending where Kharis played by go to stuntman Eddie Powell sinking into the depths of the quagmire, the British Film company was rising to new heights. And it was all in the name of horror.

  • Saul Muerte. 

Retrospective – The Hound of the Baskervilles (1958)

24 Friday Feb 2023

Posted by in retrospective

≈ Leave a comment

Tags

, , , , , , ,

Before Benedict Cumberbatch donned the deerstalker hat for Moffat and Gatiss’ modern interpretation of Sir Arthur Conan Doyle’s infamous detective, another British icon had made an impressionable mark for Hammer Film Productions’ The Hound of the Baskervilles. Having already portrayed literature icons Baron Frankenstein and Van Helsing, it was time to turn his head towards Sherlock Holmes for one of his greatest adventures. 

His Doctor Watson would be ably performed by Andre Morell (The Plague of Zombies) who himself would become a Hammer staple, but it would be the casting of Sir Chrisopher Lee as Sir Henry Baskervilles (once again unite Hammer’s most memorable duo on screen) in the first representation of the tale in colour surrounding the dreaded curse and the beast the walks the moors.

Hammer would look to sensationalise or create drama that was absent from the initial storyline, including the tarantula scene. Probably the hardest trick was to produce a larger than life hound for the film’s climax; a tough act considering Lee’s stature, but Hammer found their answer with a Great Dane called Colonel. 

It was initially conceived to be the gateway to many more Sherlock Holmes’ adaptations, but would be the only occurrence, much to the company and cinephiles’ dismay. It would have been interesting to see Cushing take on the role in numerous other stories. 

The great Terence Fisher who had stamped his signature vision; and one that became synonymous with the Hammer style with The Curse of Frankenstein and Dracula, would wield his take of the action from the Director’s chair. With the talent in front of the screen from which to mould the narrative, Fisher had created a feature that stands alongside these Gothic treatments that made Hammer Horror’s name, so it’s a shame that there weren’t more chances to delve within Conan Doyle’s world.

  • Saul Muerte

Retrospective: The Snorkel (1958)

13 Sunday Nov 2022

Posted by in retrospective

≈ Leave a comment

Tags

, , , ,

1958 would prove to be an eventful year for Hammer Film Productions. Having hit the early half of the year with the iconic Dracula aka The Horror of Dracula starring Christopher Lee in the titular role, and then releasing the sequel to The Curse of Frankenstein, equally projecting their franchise with Peter Cushing returning as Baron Frankenstein having escaped the guillotine in The Revenge of Frankenstein. To round out their trilogy of cinematic releases, Hammer would work with Columbia Pictures to distribute the feature as part of a double bill contract with wartime feature The Camp On Blood Island.

The Snorkel plays out like an Alfred Hitchcock feature with its elaborate murder and macabre dealings by the murderer himself, twisting and turning to achieve his goal in financial gain. There is an element of gaslighting at play too as Paul Decker (Peter Van Eyck) who is masterful in his manipulation, wields his power over his step-daughter Candy (Mandy Miller). Candy continuously questions Paul, convinced that he is responsible for the death of her mother. The issue is that all the evidence points to suicide, not homicide.

The writing by Hammer staple Jimmy Sangster and Paul Myers from a story by Anthony Dawson (Dial M For Murder – another Hitchcock connection) is cleverly played out for melodramatic purposes but lacks in dialogue in places.

It has some choice moments and hesitantly dangles the idea of a questionably dark ending before tying up loose ends. It also had a higher budget than Hammer had dealt with but this was primarily due to shooting on location in an Italian villa. This actually plays in the films favour and grounds the narrative. 

The Snorkel has been a little forgotten over the years, masked by the Gothic features that Hammer released at the time, but warrants further attention as it’s a fun little tale of murder and suspense.

– Saul Muerte

Retrospective: The Revenge of Frankenstein (1958)

13 Sunday Nov 2022

Posted by in retrospective

≈ 1 Comment

Tags

, , , , , , , , ,

Hot off the tails of Hammer’s iconic release of Dracula aka Horror of Dracula, the British Film production company would look to follow up on the success of their other Gothic feature, The Curse of Frankenstein. That film as noted at the time had the titular Baron played by Peter Cushing (returning once more here) heading for the guillotine. His resurrection would be a simple enough with Frankenstein paying off his executioner and escaping to form an alternate identity as Dr. Victor Stein set up his own successful practice in Carlsbruck. His alias is soon uncovered however by fellow doctor and admirer of Frankenstein’s work, Hans Kleve (Francis Matthews). Hans teams up with Frankenstein, eager to learn his methods and the two set work in picking up where he last left off, with the creation of life.

As part of these scientific methods, Frankenstein is accompanied by a hunchback, Karl (Oscar Quitak) who volunteers his brain in the promise of a new body (Michael Gwynne). It wouldn’t be a Hammer film without its share of drama and conflict which comes at the hand of Karl being beaten by a janitor damaging his brain and transforming his personality into a cannibalistic, decaying frame. From here, Frankenstein’s demise is on the cards and the town will awaken to his dark deeds.

Despite having a rushed script, the final cut would do well for Hammer, pulling in enough income at the box office and would be commended for a well handled screenplay ably supported by Jack Asher’s cinematography along with Terence Fisher’s directing. This is Cushing’s film though and his poise and acidic portrayal is one that lifts The Revenge of Frankenstein marking a successful franchise return and arguably one that is seen by some as better than its predecessor.

– Saul Muerte

Retrospective: Dracula (1958)

06 Sunday Nov 2022

Posted by in retrospective

≈ 4 Comments

Tags

, , , , , , , , , ,

It’s 1958 and Hammer Films has slowly been making its mark on the horror celluloid scene, but they are about to cement their place forever with their iconic take on Bram Stoker’s Dracula as part of a deal between Seven Arts and Universal International. Iconic in that they would produce one of the most infamous images of the titular character thanks to the commanding presence of Christopher Lee. It would also see Lee don the fangs a total of seven times for Hammer, the last being The Satanic Rites of Dracula in 1973. His blood red eyes and performance as a sexual predator would set the image of modern Dracula up for life, but it would also be one that would irk Lee over time, becoming tiresome of the watered down versions he would ultimately play.

To add weight to the original feature (entitled The Horror of Dracula in the US as Universal wanted to distinguish the British version from their own 1931 feature starring Bela Lugosi), Hammer would cast Peter Cushing to play Dracula’s foe Van Helsing. A worthy and notable performance once again which would see Cushing insisting on performing his own stunts throughout.

It would once again herald Jimmy Sangster on writing duties, and the ever-dependable Terence Fisher in the directors chair following his success with The Curse of Frankenstein.

Upon review, the film still holds up well with solid performances throughout and the sexual undertone lays heavy with palettes of red, producing some well-handled effects. It’s also of note, the omission of key character Renfield from the novel, and the amalgamation of Jonathan Harker (John Van Eyssen) and Arthur Holmwood’s (Michael Gough) role in the storyline too.  

Upon release, the film did well despite heavy criticism from certain avenues of the media, dubbing the X certificate a pale option and cries for a new classification to be ordered. Either way it didn’t stop the punters from going to see it, and paved the bloody path for Hammer to walk along for another two decades.

– Saul Muerte

Retrospective: The Abominable Snowman (1957)

25 Sunday Sep 2022

Posted by in retrospective

≈ 1 Comment

Tags

, , , , , , ,

Hammer Films trio of features to be released in 1957 would be complete with The Abominable Snowman. The heightened success of The Curse of Frankenstein and Quatermass 2 had made people sit up and take notice of this British film production company. TAS would see Director Val Guest team up again with one of his lead stars Peter Cushing, a formula that would be successful for this fictionalised expedition in search of the snow dwelling yeti. 

Nigel Kneale would once again take on writing duties that would pen Cushing as botanist John Rollason who agrees to join the party led by Tom Friend (Forrest Tucker), only to discover that the true intentions behind the enterprise is to capture the ape-like creature for commercial gain. 

The group are attacked by a yeti one night but one of the trappers is able to kill it, and in turn they try to use the creature to lure others of its kind to them. All of this goes against Rollasons’ moral integrity and he soon comes to believe that the yeti may indeed be of vastly greater intelligence to humankind. It is possible that they are hibernating in the mountains, waiting for humanity to reach its natural decline, before taking over as our planet’s chief primate.
The narrative will now see a turn of the tables, and the expedition must try to survive their ordeal before the terrain or the yeti’s bring about their ruin.

For a feature set in the vast open spaces through sets created by Bernard Robinson based on existing photos of shots taken in the French Pyrenees and built in the now famous Pinewood Studios, there is enough eeriness conveyed. This despite the lack of fear from the little seen yetis. It’s a strong movie with a decent plot that deserves more attention and a chance to rise out of the shadows left by The Curse of Frankenstein. The next horror feature to be released would forever cement Hammer Films’ place in the genre movie scene…

  • Saul Muerte

Retrospective: Quatermass 2 (1957)

24 Saturday Sep 2022

Posted by in retrospective

≈ 1 Comment

Tags

, , , ,

Hammer Films swift follow up feature to The Curse of Frankenstein released in the same month of 1957 would be a sequel to the previously successful The Quatermass Xperiment. Continuing with the exploits and investigations of Professor Bernard Quatermass, this time around would see the brash scientist look into the strange goings on at Winnerden Flats following a high amount of meteorite falls. What he uncovers though is a lethal toxin being experimented on and an alien infiltration that could lead to disastrous consequences for the human race.

Based on the BBC production, this time around screenwriter Nigel Kneale would oversee writing duties for the feature but much to his chagrin would see American actor Brian Donlevy take on the lead role for the second time. Kneale was much aggrieved that Quatermass was portrayed by an American, a man very much considered to be British, but also by a man that he would describe as…

a bully whose emotional range ran from annoyance to fury

Marcus Hearn & Alan Barnes – The Hammer Story: The Authorised  of Hammer Films.

It doesn’t help that Donlevy was allegedly on the sauce throughout filming and apparently read off what is commonly known as idiot boards to recite his lines.

The film itself feels remarkably different from its predecessor, tapping into a more action, thriller style of exposition and one that in my opinion, goes against the grain of my high-held expectations. In this instance, I identify with Kneale’s plight about the casting of Quatermass, and find little to connect to, but admittedly I may be being biassed, as I much prefer Andrew Keir’s take in follow up Hammer film, Quatermass and the Pit.

Val Guest however does cut a fine take as director to the government, alien conspiracy flick, tying into the paranoia surrounding a post-war paranoia. It’s the beating heart of the feature and one that led some to believe that it was ahead of its time.

  • Saul Muerte

Retrospective: The Curse Of Frankenstein (1957)

17 Saturday Sep 2022

Posted by in retrospective

≈ 6 Comments

Tags

, , , , , , , , ,

For me, The Curse of Frankenstein would mark the official change of the guard in horror films from Universal to Hammer. Not only did it revamp the now stagnant monster franchise, but propelled a new identity in the Gothic scene thanks to the vision of its director Terence Fisher; its two leads Peter Cushing in stoic form as the titular Baron Frankenstein and the heavily made up Sir Christopher Lee as the creature; but also the X factor charged with and championed by the films’ producers, setting a tone that would be replicated for another couple of decades to come. It also would have in its company writer Jimmy Sangster and composer James Bernard, who would both be part of Hammer’s signature. Above all else though, it would be Hammer’s first colour creature feature; one that would highlight all the blood, gore, and extravagant costumes with a vibrancy not seen on the big screen before.

Cushing and Lee would also prove to be a formidable duo before the camera for Hammer, for another 7 times with varying degrees of success. Lee would have to endure two to three hours in the makeup chair as Phil Leakey crafted the final, repulsive look from mortician’s wax, cotton wool, and rubber. The look deliberately steered away from Universal’ previous incarnation due to legal rights, allowing Hammer to present a unique spin on Mary Shelley’s classic tale. 

The narrative is told in flashbacks as Baron Frankenstein awaits a trip to the gallows,  but never wavers from his pursuit of achieving and creating life beyond the grave. What is starkly different from its predecessor is the cold and meticulous manner that Frankenstein’s actions are driven to in order to attain his goal. It is this characterisation and Cushing’s portrayal that offers a darkly disturbing version and one that is explored further throughout the various instalments that follow, most notably Frankenstein Must Be Destroyed which Cushing and fellow star Veronica Carlson believed crossed the boundaries of good taste.

The British press would initially turn up their noses to Hammer’s adaptation, with a general feel that it was purely for sadists. Both the British and American public would lap it up, which may or may not say something about our society. Regardless, it was enough of a reaction that was considered huge for its time that it would cement the foundations for Hammer Films and pave the way for their success to follow. It would also spawn a cult following and be an inspiration for many filmmakers to come. 

  • Saul Muerte

Retrospective: X: The Unknown

14 Sunday Aug 2022

Posted by in retrospective

≈ Leave a comment

Tags

, , , ,

As we stride into the second hand half of the 1950s, Hammer Film Productions were taking significant steps towards iconic horror territory. Straight off the back of their successful release of The Quatermass Xperiment, the British horror film company were looking to repeat their success. Initially this was to involve bringing back Professor Quatermass into the fold but his creator Nigel Kneale was none too eager to comply after the way Hammer had treated his character.

So in steps, Jimmy Sangster currently working with Exclusive at the time with an idea to turn the current trend for science fiction on its head away from outer space and to inner space where something comes bubbling beneath the Earth’s surface. Producer Anthony Hinds then gave Jimmy the go ahead to write a script.

The combination that they were aiming for was that blend of science fiction, human endeavour and exploration into the unknown and a menacing presence that would then take over the local town and threaten humanity.

The result was something a little underwhelming as far as the creature in question was concerned but the formula and tension created on screen in the lead up to the climax.

Those with keen eyes would have noted two directors attached to the feature, the first, Joseph Losey (The Go-Between) who had been residing in Britain after being ostracised from Hollywood due to his political ties with the Communist Party USA. It’s not quite clear why he didn’t complete the picture but there have been strong whispers that it may have been due to star Dean Jagger, who strongly opposed this position.

With its notable fears around the threat that the Cold War posed, X: The Unknown managed to capture this on screen and the impact it had on even small town in Scotland. 

The ingredients that were mashed together would be play a significant role along with the Quatermass films to complete the trilogy, raise interest from across the pond and pave the way for history to unfold.

  • Saul Muerte