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Curse of the Crimson Altar (1968) – A Star-Studded but Stumbling Occult

21 Friday Mar 2025

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By the late 1960s, British horror was riding the wave of gothic indulgence, and Curse of the Crimson Altar (also known as The Crimson Cult) fit right into that mold—on paper, at least. Featuring an enviable cast of horror icons, including Boris Karloff, Christopher Lee, and Barbara Steele, the film promises an eerie descent into black magic, secret rituals, and sinister family secrets. However, despite its intriguing setup and legendary names, Vernon Sewell’s film struggles to leave a lasting impression, failing to weave its disparate elements into something truly chilling.

The story follows Robert Manning (Mark Eden), who arrives at a countryside estate in search of his missing brother. Greeted warmly by his host Morley (Christopher Lee) and drawn in by his flirtatious niece Eve (Virginia Wetherell), Manning soon realises that something sinister lurks beneath the surface. At the heart of the mystery is Lavinia Morley (Barbara Steele), the legendary Black Witch of Greymarsh, whose influence still seems to haunt the house. Boris Karloff, in one of his final roles, plays Professor Marsh, adding a layer of authority to the film’s occult themes.

While the premise suggests a brooding supernatural thriller, Curse of the Crimson Altar never quite capitalises on its potential. The film’s pacing is uneven, bogged down by awkward tonal shifts and a reliance on hallucinatory dream sequences that, while visually interesting, fail to generate true suspense. The script meanders between traditional gothic horror and psychedelic surrealism, yet never fully commits to either. Some moments feel inspired—particularly the ritualistic scenes featuring Steele’s striking presence—but the film lacks a cohesive narrative drive.

That’s not to say there aren’t pleasures to be found. Karloff, despite his declining health, delivers a dignified performance, and Lee once again exudes effortless menace, even if his role is underwritten. The gothic atmosphere is well-crafted, and the concept of a lingering ancestral curse is one with rich potential. Unfortunately, the execution is middling, leaving Curse of the Crimson Altar feeling like a missed opportunity. As a late-era gothic horror, it’s worth a watch for genre completists, but it ultimately fails to cast a truly lasting spell.

  • Saul Muerte

Retrospective Review: Berserk! (1967) – Joan Crawford’s Circus of Madness

14 Saturday Dec 2024

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Berserk! (1967) is a campy murder-mystery-slash-horror hybrid that stands as a curious artifact from the later career of Joan Crawford. Known for her commanding performances and status as a titan of Hollywood’s golden age, Crawford’s presence elevates what might have otherwise been a forgettable schlockfest into something undeniably watchable. While it’s not a masterpiece, Berserk! offers enough intrigue and melodrama to keep audiences entertained, even if its thrills are more tame than terrifying.

Set in the colourful yet sinister world of a traveling circus, the film wastes no time diving into its macabre premise. A series of gruesome murders rocks the troupe, leaving circus manager Monica Rivers (Crawford) to navigate the chaos while safeguarding her business—and her secrets. Crawford, in her early sixties at the time, commands the screen with her trademark mix of icy authority and simmering vulnerability. Her Monica is as ruthless as she is enigmatic, and Crawford’s sheer charisma ensures she remains the centre of attention in every scene.

That’s not to say the rest of the cast doesn’t try. Ty Hardin brings a certain swagger as the hunky new high-wire act, and Diana Dors oozes campy charm as a jealous rival performer. Yet, their characters often feel like mere pawns in a game that Crawford is orchestrating. Her ability to dominate the narrative, even in a low-budget thriller like this, is a testament to her enduring star power.

The film itself is a mixed bag. Director Jim O’Connolly crafts an entertaining but uneven narrative, often veering into melodramatic territory. The murder sequences, though strikingly staged for their time, lack the visceral edge to fully capitalise on the horror elements. Similarly, the “whodunit” aspect doesn’t quite deliver the nail-biting suspense it promises, culminating in a finale that feels more absurd than shocking.

However, Berserk! does succeed in delivering a gaudy, vibrant aesthetic that captures the circus milieu. From the bright costumes to the dramatic performances under the big top, the film revels in its setting, creating an atmosphere that is as unsettling as it is ostentatious. It’s a shame the plot can’t fully match the energy of its lead and setting, often succumbing to formulaic beats.

The Prognosis:

Berserk! is not a great film, but it’s an oddly fascinating one. Its appeal lies less in its plot and more in the chance to witness Joan Crawford embracing the genre with gusto, proving she could still mesmerise audiences even in her later years. For fans of campy horror and classic Hollywood, it’s worth a watch—if only to see the legendary Crawford working her magic under the circus tent.

  • Saul Muerte

Dr. Terror’s House of Horrors (1965) – A Star-Studded Anthology with Chilling Charms

30 Friday Aug 2024

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Dr. Terror’s House of Horrors is a prime example of the horror anthology format at its most entertaining, blending eerie tales with a rich atmosphere and a roster of legendary stars. Directed by Freddie Francis and produced by Amicus Productions, this 1965 film capitalises on the anthology craze of the time, delivering a package of five macabre stories wrapped in a sinister framing device that keeps the audience on edge from start to finish.

The film’s plot revolves around five men sharing a train compartment, each of whom has his fortune read by the mysterious Dr. Schreck (Peter Cushing), using a deck of tarot cards. Each card reveals a terrifying glimpse into their potential future, serving as the springboard for five distinct stories, each with its own unique flavour of horror.

The stories range from tales of vengeful plants and werewolves to voodoo curses and vampire lore, offering a diverse mix that keeps the film engaging. While not all segments are equally strong, there’s a consistency in tone and execution that makes the entire anthology satisfying as a whole. The direction by Freddie Francis, a seasoned cinematographer and director known for his work with Hammer Films, ensures that even the weaker segments are visually compelling and atmospherically rich.

The star power in Dr. Terror’s House of Horrors is one of its biggest draws. Peter Cushing is superb as the enigmatic Dr. Schreck, imbuing the role with just the right mix of menace and mystique. He is the glue that holds the anthology together, and his presence is felt in every story, even when he’s not on screen. The supporting cast is equally impressive, featuring Christopher Lee, Donald Sutherland, Michael Gough, and Roy Castle, each of whom brings their own charisma and gravitas to their respective segments.

Christopher Lee, in particular, shines as a snobbish art critic who finds himself at the mercy of a vengeful painter, while Donald Sutherland’s turn as a newlywed doctor who suspects his wife might be a vampire adds a chilling twist to the film’s final tale. These performances elevate the material, ensuring that even the more outlandish plots are delivered with conviction.

While the film is undeniably fun, it does have its limitations. Some of the stories feel a bit predictable by today’s standards, and the special effects, though effective for the time, may come off as quaint to modern viewers. However, these are minor quibbles when set against the film’s many strengths. The pacing is brisk, with each story moving swiftly to its inevitable twist, and the film never overstays its welcome.

The real charm of Dr. Terror’s House of Horrors lies in its ability to create an unsettling atmosphere with minimal resources. The film relies on suggestion, shadows, and the power of storytelling to evoke fear, rather than on gore or shock value. This restraint is refreshing and gives the film a timeless quality, making it a must-watch for fans of classic horror.

The Prognosis:

Dr. Terror’s House of Horrors stands as one of Amicus Productions’ finest contributions to the horror anthology genre. It’s a film that understands the appeal of a well-told tale, and while it may not be the most groundbreaking of horror films, it remains an enjoyable and memorable experience, especially for those who appreciate the genre’s golden era.

  • Saul Muerte

Retrospective: Dracula (1958)

06 Sunday Nov 2022

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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: Konga (1961)

21 Wednesday Jul 2021

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Now I’m as much a fan of B-Movie horror films as the next guy and am not averse to the cheap budget and effects on show. If anything I welcome the discrepancies of these kinds of movies, not afraid to show its flaws which almost become a character in the film.

Konga was something of a passion project for American producer Herman Cohen, the man responsible for the successful 1957 feature I Was A Teenage Werewolf, and was keen to unite this idea with a colour version of King Kong, hence why the production was initially going to be called I Was A Teenage Gorilla. The chance would come when American International Pictures would collaborate with Anglo Amalgamated to work on an exploitation film together.

The problem I have with Konga is that it relies too heavily on the premise and both character and plot are neglected. There’s not a lot that British veteran Michael Gough can bring to the film to lift it out of this quagmire of a poorly written script. It is a little too familiar and formulaic to resonate in any way.

Gough would play Dr. Charles Decker, a man who has survived living in a remote part of Africa, believed to have died, and through his study of botany has come across an amazing discovery where he can grow animals and plants to an enormous size. Gough slips easily into the magnanimous scientist role and projects the God-like narcissist manner of a man, who believes he is greater than all he encounters.
This characteristic is heightened when he is able to use a serum that turns a chimpanzee into a ferocious gorilla, and when anyone crosses his path, has a perfect killing animal at his will.

Of course things inevitably go awry when love intervenes, and Decker persues one of his students, Sandra (Claire Gordon) which ignites jealousy from his colleague, Margaret (Margo Johns). Margaret then enacts revenge by injecting the chimpanzee with a huge dose of the serum, transforming the ape into Kong-like proportions and carnage ensues.

There is no hiding the flaws though, especially when you have a man dressed up as a giant-sized gorilla supposedly bringing the house down. 

Mark this down as a curious entry into the horror scene and one that doesn’t necessarily hit the right points and takes a big plunge off Big Ben into obscurity.

  • Saul Muerte