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“The Beast Must Die: A Masterful Blend of Whodunit Mystery and Supernatural Thrills”

09 Tuesday Jul 2024

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“The Beast Must Die,” directed by Paul Annett and released in 1974, is a unique gem in the horror genre that brilliantly marries the classic “whodunit” mystery with the supernatural intrigue of a werewolf thriller. This film stands out not only for its innovative approach to storytelling but also for its exceptional cast, who deliver performances that elevate the material to memorable heights. Over the years, “The Beast Must Die” has garnered a well-deserved cult following, and a retrospective look reveals why it remains a beloved classic.

At its core, “The Beast Must Die” is a murder mystery with a twist: one of the suspects is a werewolf. The film follows Tom Newcliffe (Calvin Lockhart), a wealthy big-game hunter who invites a group of guests to his secluded estate, convinced that one of them is a lycanthrope. The film cleverly incorporates elements of the classic “whodunit” genre, keeping the audience guessing and engaged as Newcliffe conducts his investigation. The added layer of supernatural suspense amplifies the tension, creating a gripping narrative that keeps viewers on the edge of their seats.

One of the film’s most innovative features is the “Werewolf Break,” a 30-second pause near the climax where viewers are invited to guess the identity of the werewolf. This interactive element is both charming and effective, adding a unique participatory aspect to the viewing experience. It underscores the film’s playful yet suspenseful tone and has become one of its most iconic features.

The success of “The Beast Must Die” is largely due to its remarkable ensemble cast. Calvin Lockhart shines as Tom Newcliffe, bringing charisma and intensity to the role of the determined hunter. His commanding presence drives the narrative forward, making his character’s obsession with uncovering the werewolf both believable and compelling.

Peter Cushing, a veteran of the horror genre, delivers a typically strong performance as Dr. Lundgren, a knowledgeable and mysterious figure who adds depth to the story. Cushing’s nuanced portrayal adds gravitas to the film, grounding its supernatural elements in a sense of scholarly authority.

The supporting cast, including Charles Gray, Anton Diffring, and Marlene Clark, also contribute significantly to the film’s appeal. Each actor brings a distinct personality to their character, creating a tapestry of suspects that enriches the mystery. Their interactions are filled with tension and suspicion, enhancing the film’s “whodunit” allure.

“The Beast Must Die” excels in creating a tense and atmospheric setting. The secluded estate, surrounded by dense forest, provides a perfect backdrop for the unfolding mystery. Annett’s direction, combined with effective use of lighting and music, heightens the sense of isolation and danger. The film’s pacing is expertly handled, maintaining a steady build-up of suspense that culminates in a thrilling climax.

The Prognosis:

“The Beast Must Die” is a standout film that masterfully blends the intrigue of a classic murder mystery with the supernatural thrills of a werewolf tale. Its innovative “Werewolf Break,” engaging narrative, and outstanding cast make it a unique and memorable entry in the horror genre. Over the years, it has earned its place as a cult favorite, and a retrospective viewing only deepens appreciation for its creativity and execution. Paul Annett’s direction and the exceptional performances of Calvin Lockhart, Peter Cushing, and the rest of the cast ensure that “The Beast Must Die” continues to captivate and entertain audiences, proving that the hunt for the beast is as thrilling now as it was upon its release.

  • Saul Muerte

Retrospective – Ganja and Hess (1973) 50th anniversary

20 Thursday Apr 2023

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Actor Duane Jones deserves an accolade for his work on screen, having made his mark in zombie folklore as Ben for George A. Romero’s Night of the Living Dead, he would once again appear in another significant feature five years later. Ganja and Hess would be a vital and symbolic feature in American-African culture had initially been greenlit by producers Quentin Kelly and Jack Jordan as a response to replicate the formula generated by Blaxploitation feature Blacula. Thankfully the director charged with creating Ganja and Hess had a more sophisticated tale in mind, and one that would mark an integral voice for African-Americans in the celluloid world. Bill Gunn was most noted as a playwright, novelist and actor, would produce a feature that examined the impact of Christianity on African culture in a modern setting, infusing gothic elements as its guise. 

This vampire tale would centre on Dr. Hess Green (Jones), a black anthropologist, with money to guide his research into an ancient African nation of blood drinkers. Hess’ path takes a dark turn however when he attempts to save the life of George Meda (played by Gunn) who flips proceedings by stabbing Hess with a ceremonial dagger and commits suicide. Hess survives the ordeal but takes up the practice of his studies, drinking the blood of Meda, transforming him into a vampire. 

Ganja and Hess is also a character piece that is told with no clear drive from its protagonists, not necessarily guided by love or power, but by their ancestral history, tying them to their roots, shackled by their past, yet striving to break free. This is perfectly captured by the closing scene on the film when a young man is revived in his new frame and leaps gallantly in his birth suit (a symbol of rebirth) towards the camera.

The journey on the way to the climax fluctuates through the actions of Hess, and poignantly the arrival of Ganga (Marlene Clark – (Night of the Cobra Woman), Meda’s estranged wife who becomes entangled in Hess’ affairs, succumbing to vampiric charms, the two then entice others into their spiritual wake. 

These activities are formed in juxtaposition to the Christian perspective, led by the films’ narrator and head of the Christian church Rev. Luther Williams (Sam Waymon), a man who strives to lure Hess towards his values. With Ganja carrying this heavy burden following Hess’ demise, this balance of perspectives is delicately poised and Gunn leads the audience to surmise their own thoughts on which way, (if any) that the pendulum should swing. 

  • Saul Muerte. 

Retrospective: Night of the Cobra Woman

31 Friday Dec 2021

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https://www.youtube.com/watch?v=i8Vfl2JaIdE

It may fall short in the screenplay department but unfortunately can’t rest on the laurels of acting prowess of it’s cast. The film feels like a dodgy soft porn film in places, especially with the soft focus presentation in the copy I watched it on.

There are moments of discomfort on display in the representation of women through the male gaze, and rapey content. With smarter writing the filmmakers could have leveraged this perspective using what is essentially a cool premised despite being dubbed as ‘silly’ by some critics.

Through mythology, snakes have often been viewed as mystical and deadly creatures that tie in with transformation, healing and immortality. This combined with the sexual ties to both birth and fertility.

Marlene Clark is simply devine as the troubled Lena, a woman who is bitten by a cobra in the Philippines and is given the unique ability of defying age and the ability to transform into a snake in order to take down young men. Clark would go on to define herself in black horror film history the following year in the magnifient Ganja and Hess.

Here though, her presence isn’t enough to lift the weak, predictable script. The subjectification of her character is handled poorly throughout and is unfortunately indicative of the time the film was made.

It’s a shame as the premise was a great one and Hammer productions film The Reptile starring Jacqueline Pearce springs to mind in handling the story element in a far more effective fashion and was released 6 years prior to NotCW. I would love to see this re-envisioned in a modern setting and placing more power in the hands of the snake priestess Lena.

  • Saul Muerte