Tag Archives: peter cushing

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

≈ 2 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: The Curse Of Frankenstein (1957)

17 Saturday Sep 2022

Posted by in retrospective

≈ 5 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: Tales From The Crypt (1972)

07 Monday Mar 2022

Posted by in retrospective

≈ Leave a comment

Tags

, , , , , , , , , , , ,

During the early 50s, EC Comics ran a successful horror series known as Tales From the Crypt of which 27 issues were produced on a bi-monthly basis. When co-founder of Amicus Productions, Milton Subotsky came into the position of securing the rights to produce a movie-length feature based on the comics he loved as a kid, he didn’t hesitate.

For me, criminally, I would blur the lines of recollection between this and Creepshow, both franchises having a crypt keeper / the creep taking on hosting or segway duties. It’s iconic status however was not lost on me and for those who have followed my writings or musings through the Surgeons of Horror podcast may know, I’m a huge fan of Peter Cushing’s work, especially with the Hammer Horror scene. Here he teams up with director Freddie Francis, who has been attached to films by both Hammer and Amicus in their history, and another creative with whom I admire. Francis does incredibly well with the 5 segmented stories, all drawn from the TFTC archives. And Cushing actually turned down the initial role offered to him from the script, which was part of The Monkey’s Paw inspired tale, “Wish You Were Here”, instead taking on the role of Grimsdyke in “Poetic Justice”.

The segments are weaved together with 5 souls trapped in a state of purgatory to face up to their evil deeds, by The Crypt Keeper (Ralph Richardson). One by one we witness these individuals recount their tales which lead to their death, from Joan Collins as Joanne Clayton in “…And All Through The House” in a Christmas inspired murder of a woman killing her husband and trying to hide the evidence form her daughter only to be sprung from a psychotic killer on the loose dressed as Santa.

Then there’s “Reflection of Death” where Carl Maitland (Ian Hendry) tries to run away from his family life with his lover, Susan (Angela Blake) only to crash in his car and be taken on a living nightmare where he believes he survived, only to find out that this is far from the truth. This is followed by the aforementioned segment with Cushing, where he plays the loveable, elderly figure Grimsdyke, who is the subject of jealousy by his neighbour James (Robin Phillips) believing him to be a waste of space, and bringing down the neighbourhood. When he takes action to strip down Grimsdyke’s life to bare minimum, he doesn’t expect the repercussions that occur beyond the grave.

The fourth segment, “Wish You Were Here” as stated before is heavily inspired by The Monkey’s Paw and the ramifications when you are not careful or specific about what you wish for when presented with three wishes. The last segment, “Blind Alleys” has Nigel Patrick as a self-entitled Major who gets his razor sharp comeuppance in a dog-eat-dog world where he attempts to rule the roost over the occupants in a home for the blind. The residents also include Patrick Magee hamming it up as always.

There’s a certain appeal to this anthology movie that lures you into each tale. Yes there are some obvious flaws but these can be forgiven for the atmosphere created by the creative team and the actors that give substance to the tales from the crypt.

  • Saul Muerte

Retrospective: Twins of Evil

03 Sunday Oct 2021

Posted by in retrospective

≈ Leave a comment

Tags

, , , , , , , ,

This movie will always have a strong place in my heart, and quite possibly in my loins if you’ll forgive me for being so crude. 

It would have been late night on BBC 2 or Channel 4 when I first began to discover Hammer Horror films in my adolescent years and my earliest memories were of Mary and Madeleine Collinson decked in the yellow dresses or their negligee that would reveal so much to this impressionable mind.

The Collinson’s would go on to become the first twin playmates to stir the sense of male youth and this was the perfect recipe for young horror fans that Hammer Film productions were hoping to lure into their cinematic fold. It clearly worked on this writer and I became enraptured and was intrigued by the whole virtuosity vs temptress component that these twins of evil were to portray.

It helped that this film would also feature Peter Cushing, who for those who know me well understand that I had developed some kind of man-crush on the dignified English Gent, Cushing alongside Christopher Lee would become synonymous with Hammer films and even though Lee would be absent in this feature, Cushing more than holds his own as the Matthew Hopkins inspired witchfinder, Gustav Weil. This tyrant of a figure, Weil is hellbent on steering everyone to his purtiancial ways and ridding the world of sinners and those who practice in the dark arts. Struck by his passionate beliefs, Weil with his Brotherhood will drive out the women fallen to sin and burn them at the stake. His main prize though is towards Count Karnstein (Damien Thomas), a man who is drawn to the dark arts and enticed by one of his ancestors, Mircalla (Katya Wyeth).

Twins of Evil also rounds out the Karnstein Trilogy (The Vampire Lovers, Lust of a Vampire) that Hammer had focused on through Mircalla and finding inspiration from the Camilla story by Joseph Sheridan Le Fanu.
What I particularly liked about this feature beneath the thinly-veiled sexual exploitation, is a story that paints its characters in grey rather than black and white. As puritanical as Weil is in his mission, he is conflicted by his own dedication to his cause and that of the notion that his nieces could have fallen prey to evil temptation. It is his blinded view of the world that leads him to his own ruin.
The twins would be the symbolic pendulum between what is deemed good and evil, each representing the yin and yang in this equation. Count Karnstein is deeply entrenched in sin but also shows signs of uncertainty when tempted by Mircalla before ultimately being consumed by darkness. And the local school teacher, Anton (David Warbeck) would also display signs of weakness, who despite his pure values is tempted by Frieda’s wilder streak before realising that it is Maria’s innocence that needs protecting.

There is a nice conclusion to the piece too which sets up mistaken identity, before pitting the two actual twins of evil in The Count and Weil against one another. Twins of Evil, directed by John Hough would mark an important step in Michael Carreras trying to reinvent Hammer Horror for a new generation and arguably succeeds in this instance. It would set up the tone for the 70s and the last great hurrah for the British film company that brought Dracula and Frankenstein onto the screens again in the 50s. 

There are certainly some misses more than hits during this time, but I at least enjoy succumbing to the visuals and narrative that is embedded throughout this feature and it is one that I find that I am drawn to time and time again.

  • Saul Muerte

Retrospective: The House That Dripped Blood (1971)

01 Thursday Apr 2021

Posted by in retrospective

≈ Leave a comment

Tags

, , , , , , , , ,

It seems crazy to me that as a Brit and lover of Horror, that I am only now writing my first article on an Amicus Productions, a company that became notorious over their 15 year span between the early 60s and late 70s, and much like their counterpart Hammer Horror, boasted Peter Cushing and Christopher Lee as their key stars.

The House That Dripped Blood which celebrates its 50th Anniversary this year, was released at the height of their success not only lays claim to these fine British actors but also stars fellow actors Denholm Elliott, Ingrit Pitt, and Jon Pertwee.
To top it off, the four stories that make up the anthology in this film were originally penned by Robert Bloch (Psycho). 

Each of the tales are strung together by Inspector Holloway from Scotland Yard who is investigating the disappearance of film star Paul Henderson (Pertwee) from the titular house, which harbours some strange events over the years.

The first tale, Method For Murder sees Denholm Elliot as a horror writer, Charles who moves into the country abode with his wife Alice.  Whilst there, Charles throws himself into his work where he comes up with a menacing psychopath Dominic. When he starts to see visions of the murderous strangler, Charles begins to question his sanity. Is Dominic really a figment of his imagination or part of Charles’ split personality manifested to enact his inner and darkest thoughts.

The second tale, Waxworks stars Cushing as a recently retired stockbroker, Philip who stumbles upon a wax museum in his local town that contains a mannequin that strikes an uncanny resemblance to a woman that he once loved.
Philip automatically senses that there is something evil about the museum and swears never to return, but when his friend Neville (Joss Ackland when he had hair) arrives, both find themselves drawn once again into the spiritual domain and its maniacal owner, Grayson (Wolfe Morris).

By the third tale, Sweets to the Sweet featuring Christopher Lee as a widower, John, comes around, it is obvious that there is something untoward about the house and the power it has over its occupants. John is typically reserved and apparently over protective of his daughter, Jane. When a former teacher Ann moves in to be the young girl’s Governess, she at first suspects John of cruel and malicious treatment, but it soon becomes clear that there is more to Jane than meets the eye.

The last tale, The Cloak comes full circle and picks up with Paul Henderson (Pertwee) a brash and unlikable actor, who believes that he is above all those around him. Unhappy with the set design and costume department of his low budget feature, Paul takes it upon himself to get his own costume, namely a vampire cloak. The cloak though contains a dark energy though that slowly turns its wearer into a creature of the night. 

At first I was a little unsure of the anthological approach to the movie but each of the stories involved are solid and compact, held together by fantastical elements and strengthened by a bloody good cast. They may stretch into the melodramatic, but I for one enjoyed every minute of it, especially its conclusion and the breaking down of the fourth wall.

  • Saul Muerte