Am I the only person who loves this film? It's the ultimate macho man adventure, with Patrick Allen as a superstud special investigator who has adventures finding and fighting aliens whilst at the same time *beep* beautiful women. There's an exciting musical score, plus aerial scenes with parachutists, and great photography.
What more could film fans ask for?
I loved it.
In answer to the first question: no. I love this movie as well. Patrick Allen plays his special investigator part brilliantly without trying to be a wiseguy like the James Bond character. Every scene with Hilary Dwyer was great IMO and I wish there were more of them. The ending is quite laughable but seems to fit the tone of the rest of the movie, which reminded me very much of an extended episode of THE AVENGERS (particularly the opening scene, which was highly reminiscent of an episode opening in this series).
In answer to the second question: nothing. Hence the reason why I am baffled as to its seeming unpopularity.
Hey - how are all of you seeing this?!? I haven't seen this film since I was a kid, and would love to see it again/get a copy. Tell me, please!!
shareThe movie was included in a DVD boxset entitled "The Tigon Collection". It is a coffin-shaped box that also includes VIRGIN WITCH, HAUNTED HOUSE OF HORROR, WITCHFINDER GENERAL, THE BEAST IN THE CELLAR and THE BLOOD ON SATAN'S CLAW.
Here is the link to the page on Amazon:
http://www.amazon.co.uk/Tigon-Collection-DVD-Vincent-Price/dp/B0006TL98M
The boxset is now out of print but you may be able to find one on an auction site or somewhere else online.
Very cool. Thanks for the info.
shareTHIN AIR hasn't been seen on the airwaves for decades, but it used to be a regular on CHILLER THEATER for a few years. Tigon doesn't get the kind of attention that Hammer or even Amicus receives, and their output was certainly erratic. THIN AIR was relatively painless compared to some of the others. My favorite will always be THE BLOOD ON SATAN'S CLAW, superior to WITCHFINDER GENERAL in my opinion. George Sanders and Maurice Evans get top billing in small roles, but I would agree that it does come off as very AVENGER-like (I prefer Patrick Allen in NIGHT OF THE BIG HEAT, one of the four Planet titles). THE VIRGIN WITCH was only worthwhile for its beautiful AVENGERS veteran Patricia Haines, THE HAUNTED HOUSE OF HORROR was distinguished more by what should have been, as the casting of Boris Karloff and David Bowie failed to happen, and THE BEAST IN THE CELLAR seemed to be another nail in Tigon's coffin (everything revealed in the title). Even bad films make for good conversation, as I've remained a huge fan of Britain's Golden Age, and particularly its stars, Peter Cushing and Christopher Lee.
"I take pleasure in great beauty" - James Bond
I prefer Patrick Allen in NIGHT OF THE BIG HEAT as well. That one is another one that has been bashed by so many, but which I happen to be rather fond of.
I agree with what you said about VIRGIN WITCH and THE HAUNTED HOUSE OF HORROR. It would have been great to see Boris Karloff or David Bowie in the latter. As for the former, I admit that I was captivated by Patricia Haines's performance. The beautiful setting and scenery was nice to look at as well. Neil Hallett is great to watch on this rare occasion as well. And I guess the ritual scene where the characters are naked is funny in a "so-bad-it's-good" sense.
THE BEAST IN THE CELLAR was a real turkey, but the bar was raised by the good performances of Beryl Reid and Flora Robson, who played off against each other well.
It's a great shame about Tigon. They never got the attention Hammer and Amicus received. Maybe they are a "hit and miss" production firm. But I take a great liking to some of their lessor works, THE BODY STEALERS being perhaps the most prominent example. There was also a very cheap sex comedy called ZETA ONE, which I happen to like very much, made by them as well.
I am a huge fan of Britain's Golden Age myself. This is reflected in the reviews I wrote about movies from Britain's horror heyday, and also in the scathing review I wrote for a feeble attempt at revival, said movie being KNIFE EDGE. The last truly great British horror was HOUSE OF THE LONG SHADOWS. But Hammer did have a few modest successes on the small screen in HAMMER HOUSE OF HORROR and HOUSE OF MYSTERY AND SUSPENSE, however. Indeed, the latter of those series took a more serious approach to horror, mystery and suspense than the movies themselves!
Christopher Lee and Peter Cushing are the greatest horror actors this country has produced IMO. I am delighted that Christopher finally got his knighthood. I miss the late great Peter Cushing very dearly. I'm not one for going out much to social occasions, but if someone held a convention or something dedicated to Mr. Cushing's life, I'd be very tempted to go.
I was rather disappointed by the two HAMMER teleseries, apart from Peter Cushing's turn in "The Silent Scream." Of all the imported American stars, I was pleasantly surprised to find Cristina Raines one of the rare survivors, most of them came to a bad end. On the other hand, I also have 1968's JOURNEY TO THE UNKNOWN, similar in format, 17 episodes in all. I wrote a review for Planet's "Island of Terror" on IMDB, perhaps I should add my thoughts on "Night of the Big Heat" as well (if Terence Fisher really disliked science fiction, why do we enjoy them so much?) Just the other day, we viewed "House of the Long Shadows," and it still holds up. John Carradine's last decade was marked by performances in lower budgeted features where he was obviously reading from cue cards, while here, surrounded by other legends of his profession, he rose to the occasion with a finely etched characterization (for once, he had a decent script to work with). Vincent Price clearly relished each line of dialogue, while Peter Cushing was perhaps the one cast against type. I loved his Frankenstein and Van Helsing, strong characters that are always in charge of every situation, but here he plays a timid man with a lisp, drinking to cover his fear, and winding up with more screen time than the others. As of this writing, the only Cushing features that have eluded me are 1940's "Laddie," 1967's "Some May Live" (last aired in the 80's), and 1981's "Black Jack" (1962's "The Man Who Finally Died" is available, but I haven't got it yet). After Cushing and Lee, how about Michael Gough, Andre Morell, Clifford Evans, Noel Willman, Andrew Keir, and Rupert Davies, these actors simply cannot be replaced. Andre Morell can go from "The Giant Behemoth" to "Ben-Hur" without blinking, but it was Cushing and Lee that became the fixtures in British horror, with only occasional ventures in other genres. And all on a message board for "Thin Air!"
"I take pleasure in great beauty" - James Bond
Both HAMMER TV shows were "hit and miss" IMO. But IN POSSESSION from MYSTERY AND SUSPENSE is simply one of the scariest things I've seen. It's an absolutely brilliant concept with perfect direction and a solid performance from Bernard Kay. Lighting, camera angles, camera motion, sound effects, editing, you name it - it's brilliant.
Regarding THE SILENT SCREAM, I have to part company on this one. I thought this was Cushing's most forgettable performance. I don't blame him for it. He gave his full commitment as always but the script and characterisation were just too dull for my tastes. His talents were wasted IMO. But VISITOR FROM THE GRAVE, now that was one scary offering from HAMMER HOUSE OF HORROR, until the ending anyway.
Moving on to HOUSE OF THE LONG SHADOWS, I agree with everything you have said about John Carradine. He's a brilliant orator. Who wouldn't feel a little fearful walking through a dark place, only to be suddenly confronted by John Carradine holding a candle asking "what is your business here?". I thought it was great to see Peter Cushing in a more tender role than usual. He was absolutely fantastic to watch and I think this is one of his best roles. I am also probably one of the few people who actually loved Desi Arnaz Jr's performance - it fit the characterisation perfectly. Director Pete Walker's movies are not known for happy endings, so I always felt there was a risk that Arnaz Jr's character would not make it to the end. The movie as a whole was a fitting end to Britain's Golden Years of Horror.
You mentioned WITCHFINDER GENERAL in an earlier post. I'm not exactly the number one fan of that, either. It's good, but not great IMO. But I thought Michael Reeves' earlier movie, THE SORCERERS was absolutely brilliant. Ian Ogilvy played a more suitable role and Boris Karloff was delightful to watch. It was a shame Mr. Reeves died at such a young age, he was just a few months older then than I am now.
You mentioned quite a few actors there. But what about Donald Pleasance? How about Ralph Bates? Or Sheila Keith? Charles Gray, maybe? Whilst Pleasance became famous as a result of HALLOWEEN, the remaining people I've mentioned are ones I look upon as the unsung heroes of British horror. None of them are as memorable as Cushing or Lee, but they all made their mark.
And we must never, ever forget Boris Karloff.
I'll say a few words about the actors you mentioned.
Michael Gough is a fantastic actor IMO. His best role is an obscure flick called THE CORPSE (or CRUCIBLE OF HORROR in the US). It's so similar to LES DIABOLIQUES that it could be considered a remake. But a very good piece of work in its own right it is, thanks to Michael Gough. Michael Gough also played an interesting role in DR. TERROR'S HOUSE OF HORRORS. He was very much cast against type in that one. But his sad emotions and tears at one point in the short story he was in almost made me cry too. He really was that good.
I haven't seen many flicks with Andre Morell in them, but THE MUMMY'S SHROUD is my favourite one out of those I've seen.
As for Clifford Evans, I think his finest moments were on the small screen. His two appearances in THE AVENGERS were some of the best episodes IMO. But when I think of his name now, the first thing that comes into my mind is an episode of RANDALL AND HOPKIRK: DECEASED, in which he played a psychiatrist.
I don't know who Noel Willman is.
Andrew Keir's finest performance is QUATERMASS AND THE PIT. He really came into his own there. Without him, I don't think it would have come anywhere near close to the 9/10 rating I've given. But on the other hand, I'm probably in a small minority of his fans when I say that I think his performance as Father Sandor in DRACULA: PRINCE OF DARKNESS was a rather bland one. Again, I don't blame the actor. There were a few great moments, but the script and characterisation did not play to Keir's abilities. He just seemed cast as a replacement for Cushing's Van Helsing.
Rupert Davis will perhaps be remembered by most who have seen him for MAIGRET. Ironically, I've never seen it. But Rupert Davis was great as the Monsignor in DRACULA HAS RISEN FROM THE GRAVE and in Pete Walker's FRIGHTMARE. You mentioned BLOOD ON SATAN'S CLAW in an earlier post. I think the part played by Patrick Wymark should have gone to Rupert Davis. I'm not a great fan of Patrick Wymark at all. I thought he was sub-par in BLOOD ON SATAN'S CLAW, even worse in CROMWELL and instantly forgettable in WITCHFINDER GENERAL. The only Wymark performance I liked was his brief appearance as a slimy landlord in REPULSION. Bringing me back to Rupert Davis, I thought his talent was wasted in WITCHFINDER GENERAL.
And this allows me to tie in all this with THE BODY STEALERS/THIN AIR. The lovely Hillary Dwyer is always captivating to watch. She has a dull damsel-in-distress role in WITCHFINDER GENERAL but she's still great to watch. THE OBLONG BOX saw her play a somewhat "back-seat" role. Now I can suspend disbelief as much as anyone but the idea of her character in that flick being married to Vincent Price just didn't work. Price did seem a bit fed up during some scenes, a lot different compared to SCREAM AND SCREAM AGAIN just a few months later. But Hillary's elegance and modesty helped to save THE OBLONG BOX from being a total disaster. And this of course brings me to what you have probably predicted by now. I think THE BODY STEALERS is the best Hillary Dwyer flick. I just wished she had more scenes. Her elegance, charm and respectability really stand out. She plays off against Patrick Allen very well. And it makes a change to see an actress in a Tigon flick actually keep her clothes on most of the time!
Thought provoking comments, to which I cannot disagree. In fairness to the actors you named, the ones I mentioned were the rare few who were top billed in Hammer horrors where neither Cushing nor Lee was available. Clifford Evans starred in both THE CURSE OF THE WEREWOLF and THE KISS OF THE VAMPIRE, the latter featuring Noel Willman as the cult leader/vampire Count Ravna (he would later star in THE REPTILE). Andre Morell was an actor my father recognized from THE BRIDGE ON THE RIVER KWAI and BEN-HUR, but he did several features with Peter Cushing- THE BLACK KNIGHT (Alan Ladd), NINETEEN EIGHTY-FOUR (TV, also with Donald Pleasence), THE HOUND OF THE BASKERVILLES (as Doctor Watson to Cushing's Holmes), CONE OF SILENCE, CASH ON DEMAND, and SHE. Morell also starred in two Hammers, THE SHADOW OF THE CAT (Barbara Shelley) and THE PLAGUE OF THE ZOMBIES (with another great villain, John Carson, so good in THE AVENGERS' "Dial a Deadly Number"). His reaction when Steed fiddles with his watch is one of my favorite moments from the show. Patrick Wymark's character in SATAN'S CLAW was a rather smug justice that needed to study the problem before he could act on it, and since the script was initially written as a three part anthology, it can be forgiven that he disappear for the middle third, since director Piers Haggard did an excellent job trying to even out the narrative. SCREAM AND SCREAM AGAIN is another title I enjoy trying to decipher, which I believe is easier to accept once the viewer is aware that Price, Lee, and Cushing have small roles (kudos to Alfred Marks, who displays his acting chops with droll wit "is it murder? don't be so bloody stupid!")
"I take pleasure in great beauty" - James Bond
The episode of THE AVENGERS you referred that John Carson guest-starred in is "Dial a Deadly Number". That is one episode Clifford Evans was also in and is one of my favourites. I agree that John Carson makes for an excellent villain, which makes me wonder why Hammer decided to cast him as a victim in TASTE THE BLOOD OF DRACULA instead of writing a henchman-like role instead. I think he would have done well with the Lord Courtley role for example.
I know that Clifford Evans was in some of the earlier Hammer works, but I haven't seen the ones you referred to. My experiences with early Hammer are restricted to Frankenstein or Dracula entries. Ironically, I think the most competent work from Hammer was actually a thriller rather than horror - THE NANNY starring Bette Davis and Wendy Craig. James Villiers was in it as well. He's always good to watch.
I have seen Hammer's rendition of THE HOUND OF THE BASKERVILLES. It's not my favourite adaptation but it's a competent effort IMO. Andre Morell's interpretation of the Dr. Watson character is certainly closer to Conan Doyle's original works but Nigel Bruce will always be Watson in my eyes. And in the same way Basil Rathbone will always be Holmes.
I've seen many of Hammer's mid to late 1960s works when most fans consider output quality to be at its best. THE GORGON, RASPUTIN: THE MAD MONK, THE DEVIL RIDES OUT along with the Dracula and Frankenstein series are familiar to me.
Latter Hammer entries are perhaps my favourites. Some Hammer fans would say that quality of output slipped back in the 1970s. Well it is true that I didn't care for THE HORROR OF FRANKENSTEIN, DEMONS OF THE MIND or THE VAMPIRE LOVERS. But DR. JEKYLL AND SISTER HYDE, FEAR IN THE NIGHT and DRACULA A.D. 1972 are amongst my favourites of the Hammer collection. And I'm probably one of the few Hammer viewers who finds LUST FOR A VAMPIRE a preference over THE VAMPIRE LOVERS and TWINS OF EVIL. This is probably due to Yutte Stensgaard. There's nothing she appeared in during her seemingly brief career as an actress that I didn't like. It is due to her great erotic performance in LUST FOR A VAMPIRE that has made me want to read the famous novel, Carmilla, on which it is based.
And then there are the final works of Hammer. I find THE LEGEND OF THE SEVEN GOLDEN VAMPIRES to be amongst the worst British horrors ever. Lee was right to refuse the Dracula role in this one. And it was a real embarrassment to Cushing in my view. He gave everything he got but he couldn't save it and Julie Ege took on what is easily the worst role of her career as well. Ege should have stuck to comedy and probably would have done if more offers had come her way. She was adorable, sexy and played off brilliantly against well-known comedy actors.
And then there is TO THE DEVIL A DAUGHTER. Many would look upon this as the bottom of the Hammer barrel. I didn't care for it much but don't see it as the worst. Lee as always was great in the villain role. I certainly would like to read the novel that the movie was an adaptation of.
SCREAM AND SCREAM AGAIN contains one of Vincent Price's finest performances IMO. But Alfred Marks steals the show as Supt. Bellaver. He's absolutely fantastic. You've hit the nail on the head with the dry wit observation. Where else would you hear a line like "that bloody chicken wasn't killed, it died of old age!"? Michael Gothard also gives the best performance of his limited career in this. Christopher Lee's brief scenes held my attention. The movie as a whole is very disjointed, with the narrative all over the place, but is certainly a favourite of mine. I love the car chase sequence. What would have made the movie a bit better, however, would have been to see Lee casted in the role played by Marshall Jones and Cushing playing the role that went to Lee. Cushing is wasted in the role he got and it's clear he was only cast so his name could be used on the advertising posters and trailers.
BLOOD ON SATAN'S CLAW was certainly a disappointing Tigon effort for me. I've already expressed my views about Wymark. But my disappointment with this flick goes beyond that. Michele Dotrice was far better in AND SOON THE DARKNESS and Barry Andrews was far better in DRACULA HAS RISEN FROM THE GRAVE. And every role I've seen Linda Hayden play has been rather bland IMO. But it was interesting to see the director speak about the movie on a recent BBC documentary. Ironically, he looks back at the rape scene and in retrospect thinks he went too far with it. With all the shocking exloitation works that came from America and Italy in the following decades, it's hard to think of the rape scene in BLOOD IN SATAN'S CLAW to be anything but tame in comparison.
I've spoke about Tigon and Hammer but not said anything about Amicus. Whilst Hammer and Tigon both had hits and misses, I love just about everything Amicus produced. All eight anthologies, I MONSTER, THE BEAST MUST DIE and MADHOUSE are all works I cherish in my horror collection. AND NOW THE SCREAMING STARTS and THE SKULL could have been better IMO but are by no means terrible. And this brings me on to another point - I think Amicus made much better use of Cushing than Hammer did. FROM BEYOND THE GRAVE, TALES FROM THE CRYPT, MADHOUSE, THE BEAST MUST DIE and DR. TERROR'S HOUSE OF HORRORS taken together provided a lovely variety of roles for Cushing.
What amazes me about British horror more than anything is the positive reception it is now getting from horrors fans who are American or come from other parts of Europe. I wasn't alive at the time that anything from the Golden Age first came out but from what I can gather, Americans and our European neighbours looked down on our horror works in a snobbish-like manner at the time.
THE NANNY was excellent, and I've always loved Jill Bennett, who played a much smaller role as Peter Cushing's wife in THE SKULL (but not as small as sexy Anna Palk's appearance as the maid, never forgot her in TOWER OF EVIL). Amicus is remembered most for their anthologies, while their features have received less notice. THE BEAST MUST DIE was never a favorite of mine, and their attempts at science fiction were feeble (THE TERRORNAUTS, THEY CAME FROM BEYOND SPACE, the two Dr. Who films). The only anthology without Cushing, due to his shooting SCREAMING STARTS, was THE VAULT OF HORROR, and his presence was definitely missed. DEMONS OF THE MIND is a difficult film to watch, but it's the one Hammer film to star Patrick Magee, a name we've neglected to mention, and another fine AVENGERS villain. I've always liked THE HORROR OF FRANKENSTEIN, but feel I'm in the minority (Dennis Price and Kate O'Mara in particular). Christopher Lee's smiling villain in TO THE DEVIL A DAUGHTER is one of his most beguiling, but THE DEVIL RIDES OUT is clearly superior (Nike Arrighi was most beguiling). I really enjoyed Hammer's 70's output, most of which saw little distribution in America, but saw exposure on Pittsburgh's CHILLER THEATER, hosted by Bill "Chilly Billy" Cardille (who played himself in 1968's NIGHT OF THE LIVING DEAD). Nice to see you mention both Linda Hayden and Yutte Stensgaard, perhaps my favorite starlets from that period. Yutte enjoyed her best role in LUST FOR A VAMPIRE, a film that has had few defenders over the years, but her angelic-looking vampire was absolutely irresistible. She was described as giving a "blank-faced" performance, but that was only true when she was under the hypnotic control of Mike Raven's Count, who needed Christopher Lee's eyes to pull it off! Yutte was also in SOME GIRLS DO (Richard Johnson as Bulldog Drummond), SCREAM AND SCREAM AGAIN, ZETA ONE, and BURKE AND HARE (her last film). She appeared at a horror convention in 1999-2000 with Ingrid Pitt and Suzanna Leigh, and still looked terrific! I was born in 1964, but have read that kids and young adults always looked forward to the latest Hammer horror at the local cinema, because their films were more adult in nature than other current releases, plus they looked much more expensive than they actually were, Britain always delivered more bang for your buck. I did see THE HOUSE THAT DRIPPED BLOOD in theaters on a double bill with WILLARD, and ASYLUM under its rerelease title, HOUSE OF CRAZIES, at the drive-in. Any thoughts about the individual titles in Hammer's most famous series, FRANKENSTEIN and DRACULA?
"I take pleasure in great beauty" - James Bond
Here goes for what is perhaps the longest message I've posted on IMDb...
THE CURSE OF FRANKENSTEIN was the first in its series I saw. In my mind, it contains undoubtedly one of Cushing's best performances. Whilst Karloff's interpretation of the monster will be the one most would prefer, I have to admit to liking Lee's interpretation. With his tall stature and unsurpassed abilities to convey cold emotion or evil intent, he was certainly foreboding and memorable. Hazel Court, more famous for her roles in THE RAVEN and THE MASQUE OF THE RED DEATH, is excellent as Elizabeth. Having seen Robert Urquhart prior in much later works of his career, it seemed rather strange to imagine him playing Victor Frankenstein's mentor and later, assistant. But he pulls it off perfectly! THE CURSE OF FRANKENSTEIN is a better Hammer flick than THE HORROR OF DRACULA IMO. The Golden Age started here.
The Frankenstein series is an interesting franchise for the many twists and turns that took place as it progressed.
It was certainly necessary to suspend disbelief upon the discovery that Frankenstein had escaped death in THE REVENGE OF FRANKENSTEIN, but it was a good continuation of the saga. Francis Matthews performs excellently as his new assistant. But I didn't like the scene where Frankenstein was attacked by the patients near the end. It seemed overly violent for a Hammer flick of the time and out of place with the overall tone.
I've only seen THE EVIL OF FRANKENSTEIN once (about 14 years back or so) and can't really remember much about it. I anticipate a second viewing sometime in the future.
FRANKENSTEIN CREATED WOMAN is the second best in the series IMO. It was a conceptually excellent and, IMO, successful experiment in allowing a different character to be the focus. Susan Denberg was fantastic as Christina Cleve. I really rooted for her as she took revenge on the three men. Her suicide at the end was a very moving scene with an excellent reaction from Cushing's Frankenstein.
I was surprised to find FRANKENSTEIN MUST BE DESTROYED has a high rating on IMDb as I really didn't like it at all. Veronica Carlson is sexy as always, but her best role was certainly in THE GHOUL (again alongside Cushing and a highly underrated flick IMO). Watching Cushing's Frankenstein raping her was completely out of character and I wasn't surprised to discover how badly he felt after filming the scene. Thorley Walters was miscast as the inspector, Simon Ward was too bland and Freddie Jones was wasted. Only Maxine Audley seemed to leave this one with any dignity.
I've never seen FRANKENSTEIN AND THE MONSTER FROM HELL. From the trailer, it does look better than its predecessor but I won't go in expecting a classic if I decide to see it any time soon.
Now over to Dracula.
THE HORROR OF DRACULA is best viewed as a stand alone flick rather than an adaptation of Stoker's novel, not least because it is a long way departed from the original source material. It's usually the case that I look upon maligned (or ones that some may consider "second-rate") interpretations of famous characters as being better than the way envisaged in the original source material. In other words, I think Basil Rathbone is the best Sherlock Holmes, Margaret Rutherford is the best Miss Marple, Peter Ustinov is the best Poirot, Ralph Bates is the best Dr. Jekyll and so on. But Dracula is a character who I can accept multiple interpretations of more easily on their own merits. Lee is the most aristocratic and charismatic, Louis Jourdan is the most sinister and Lugosi is the most foreboding from my perspective. I feel the same way about Van Helsing. And on a rare occasion, I prefer the novel and the BBC adaptation of it (which Louis Jourdan starred in) over THE HORROR OF DRACULA as a story about this interesting Count. For this reason, I choose to look upon THE HORROR OF DRACULA as a stand alone movie, on which level I find it entertaining in its own right.
I used to like DRACULA: PRINCE OF DARKNESS when I was younger but look upon it as a strictly average 6/10 picture today. I'll watch it when it comes on ITV 4 but am not in such a hurry to get the DVD. As I mentioned in a previous post I didn't like Andrew Keir's character at all, although the interpretation was accurate. Barbara Shelley seemed rather bland in this one, very much different to her role alongside Keir in QUATERMASS AND THE PIT. Charles Tingwell is seriously miscast, I can't look at him without thinking of his superior role as Inspector Craddock in the Miss Marple flicks. On the plus side, Suzan Farmer gives the best performance of her rather mediocre career. She's pretty and delightfully "innocent", but doesn't have the sex appeal or charisma of other Hammer actresses. Francis Matthews elevates the movie far above where it otherwise would be from my perspective. And Philip Madoc makes for a superb sinister manservant.
DRACULA HAS RISEN FROM THE GRAVE is definitely better than its predecessor IMO. It's been at least a decade since I last saw it. The DVD is still lying around unopened in my collection. I remember with clarity how Lee is much better used in this flick. Michael Ripper has an excellent supporting role, Veronica Carlson makes for an excellent leading lady, Barbara Ewing is very alluring (unlike her dull role in Amicus's TORTURE GARDEN) and Barry Andrews gives a surprisingly good performance as the young protagonist. And of course, Rupert Davis leaves a mark as the Monsignor. But honourable mention should go to Ewan Hooper, whose performance as the Priest is my favourite in this.
TASTE THE BLOOD OF DRACULA is good but needed a little more work in order to be great IMO. In '09 I saw it for the first time in many years. Some of the reasons why I thought it was a bit lacking came back to me. Lee is massively underused and Dracula's motivation (revenge on those who murdered one of his worshippers/servants) is inconsistent with the rest of the series. Geoffrey Keen's performance is somewhat mixed. In the scenes where the focus is on his character's strict parent persona, he's energetic and captivating to watch. He puts in the level of dedication evident elsewhere in his career. But in many of the scenes where he shares with Peter Sallis and John Carson, he looks absolutely bored as hell. Peter Sallis is perfectly cast as one of the three men seeking "pleasures" but as I mentioned in my previous post, John Carson should have been allocated a villainous role. Ralph Bates ultimately steals the show as Lord Courtley. He delivers one of my favourite lines "if it's to be swords or pistols I have neither". My favourite Bates role is Dr. Jekyll in the highly underrated DR. JEKYLL AND SISTER HYDE but he's on top form as Lord Courtley and this is the sole reason I'll watch TASTE THE BLOOD OF DRACULA again many times before the end of my time.
THE SCARS OF DRACULA has always been a mixed offering. In its favour, Lee is given the chance to properly shine in the Dracula role, which was a great move. The aristocrat and hospitable host from the first entry is restored as far as characterisation goes. Christopher Matthews makes for an excellent protagonist in the first half before his character is "done in". But Dennis Waterman and Jenny Hanley are bland. Waterman definitely matured as an actor as his career went on. This is evidenced by his work on the small screen, particularly MINDER. But his early roles are dull IMO and the character of Simon Carlson sadly falls into that category. Hanley on the other hand is an actress I look upon as having potential if placed in a better role. That's one of two reasons why I want to see THE FLESH AND BLOOD SHOW either this year, or failing that, next year. Patrick Troughton is terrible as Klove. I'm not sure whether the Klove character from the earlier Dracula entry was re-written or whether this bloke was his brother or something but it was dire. Michael Ripper's character was mean and not likable at all, unlike his role in the earlier entry, along with his role in THE MUMMY'S SHROUD. Michael Gwynn's role as the priest was also very dull and probably the least memorable of his rather varied career.
DRACULA A.D. 1972 is my favourite in the series. It's a "so-bad-it's-good" effort today and was probably viewed by people, particularly the young, in that sense when it first came out. But everything fits together and those playing the straight, serious roles come out with dignity retained IMO. As I'm writing this, I find that concept so bizarre yet true. Usually those playing serious roles in a movie filled with such silliness would convey (unintentionally) a sense of embarrassment. But that's not the case here at all. Cushing made a welcome return (and very much at ease), Stephanie Beacham (who always plays characters that seem far maturer than her age as an actress suggests) is an excellent leading lady and Michael Coles is decent enough as the inspector. But Christopher Neame steals the show as Johnny Alucard. The only thing wrong was the under-utilisation of Caroline Munro, who came into her own in an unusual choice of roles - the leading lady in an 80s slasher - SLAUGHTER HIGH. And SLAUGHTER HIGH is one of my favourite slashers from the 80s slasher era.
I hated THE SATANIC RITES OF DRACULA when I first saw it 14 years or so back. Believe it or not I saw this one before A.D. 1972 so this brief review may seem a little strange. Some Hammer fans still sense the "kitsch" feel of DRACULA A.D. 1972 but not me. Director Alan Gibson seemed to have dropped the ball. The opening score was awful, the sacrifice scene was out of place, Freddie Jones's character is killed off far too early and Michael Coles's character was misguidedly re-written compared to the previous entry. William Franklyn and Richard Vernon seem rather embarrassed but do what they can to cover it up. And Patrick Barr overacts terribly. On the plus side, Lee's Dracula is given a great disguise as a corporate executive - D.D. Denham. The scene in the office block with Cushing is one of the best they have shared. Dracula's wider motivations of destroying humanity in addition to his usual motivation of revenge on the Van Helsing family allow Lee to elevate his sinister acting persona to boiling point. Joanna Lumley (someone who I admire not only as an actress but have great respect for as a person) makes for an adequate replacement for Beacham, but is a long way departed from her superior role as Sapphire in SAPPHIRE AND STEEL. Finally, the showdown between Dracula and Van Helsing is a suitably memorable finale. Why the DVD hasn't come out I don't know. I read somewhere that a release is due this year. I'll get the DVD safe in the knowledge that I'll know what to expect when I view it in a different frame of mind. When first viewed, this would have been a 3, perhaps 4 out of 10. If viewed today from my altered perspective, it would probably gain a 5 or 6.
OK, I've said a lot about Frankenstein and Dracula. Now's the time to turn to the other very interesting issues you've raised.
Amicus's Dr. Who flicks are terrible I agree. But it was nice to see Roy Castle and Bernard Cribbins fooling around once again.
Yes we did neglect to mention Patrick Magee - a highly distinguished actor. Amicus gave him three perfect roles - one in ASYLUM, one in TALES FROM THE CRYPT and one in THE MONSTER CLUB. The man is brilliant in all three. And for this reason it's a shame that he embarrassed himself so badly in the absolutely wretched THE FIEND. THE FIEND is not even in the "so-bad-it's-good" league. It's a serious contender for the title of "worst British horror ever" IMO. And when it's being compared to garbage like INCENSE FOR THE DAMNED or THE LEGEND OF THE WEREWOLF that is no mean feat!
Nike Arrighi certainly is beguiling I agree. THE DEVIL RIDES OUT is definitely one of the best British horrors. Charles Gray is one of the best actors to play a villain in a British horror. And of course Mocata is one of the best villainous characters devised for a horror flick. Sarah Lawson has a suitably respectable role and Patrick Mower shows that he can act (something that may seem remarkable if one views INCENSE FOR THE DAMNED prior). Leon Greene may not have been the best choice for Rex Van Lyn but he works well with Lee. But Paul Eddington was miscast IMO - he's better at comedy.
It's nice to meet a fellow fan of Yutte Stensgaard. On the subject of LUST FOR A VAMPIRE, I've something else to add. Maybe I'm the only person on Earth who takes this view but I actually think Mike Raven is a good actor. He can't hold a candle to Lee as a Count but I did like his role in I, MONSTER. And he single-handedly saves CRUCIBLE OF TERROR, a very maligned (unfairly IMO) British horror.
It's nice to hear your thoughts about THE HORROR OF FRANKENSTEIN. I never liked Dennis Price when I was younger. He always seemed to have a rather smarmy expression on his face in just about everything I saw and I didn't like it at all. But my outlook has changed. Having seen some really awful flicks like VENUS IN FURS (the Jess Franco one) or strictly average works like THE HAUNTED HOUSE OF HORROR or TWINS OF EVIL, it does seem to me (upon reflection from a more experienced viewpoint) that his inclusion raises the bar quality-wise. HORROR HOSPITAL was another example. Oh, and I saw TOWER OF EVIL about 7 or 8 years back. He's on the credits list here at IMDb but I don't remember seeing him. It's just like HORROR HOSPITAL, I have this memory in my head of Robin Askwith (known of course for the CONFESSIONS sex comedy series) fooling around in what is supposed to be a horror flick.
Every Hammer fan knows that Kate O'Mara is one of the most recognisable actresses, second only to Ingrid Pitt. But her roles in THE HORROR OF FRANKENSTEIN and THE VAMPIRE LOVERS were nothing much to write home about IMO. The potential was there for her to have a performance on her CV that I would have cared for, but sadly her career up until DYNASTY seems somewhat like a legacy of forgettable roles, mostly on the small screen. I did, however, see on more than one occasion part of what I think is the first episode of the heavily-maligned soap, TRIANGLE. She's on a cruise liner in the North Sea, where of course it's freezing cold. But seeing her lying down half-naked did admittedly make me feel "hot under the collar".
This brings me on to Ingrid Pitt, who I mentioned in the previous paragraph. She may be the most famous Hammer starlet but I have never really understood the appeal. Perhaps her interpretation of Carmilla Karnstein is closer to the original novel than that of Yutte Stensgaard. But I very much prefer Yutte's interpretation and LUST FOR A VAMPIRE as a movie. In addition, Ingrid's role in THE HOUSE THAT DRIPPED BLOOD (again as a vampire) was also bland and forgettable IMO. I do believe that a gothic horror role is what would have suited her best and perhaps it is because I didn't find THE VAMPIRE LOVERS appealing that I feel so apathetic towards her. In other words, I might like Ingrid in a similar role but one with a better script and pacing, and which provides her with more screen time. And it is for this reason that I intend to see COUNTESS DRACULA. Perhaps I may be converted to being an Ingrid Pitt fan rather than being a sceptical viewer who wonders what the appeal is. Oh, and if I see COUNTESS DRACULA, I'll get to see the alluring Nike Arrighi once more. With the DVD price having come down considerably since I last checked, I just might order it some time this week.
I've not seen BURKE AND HARE. But any chance to see Yutte Stensgaard is one worthy of serious consideration. Imagining Derren Nesbitt as Burke seems like a no-brainer, but I'll go in with an open mind. I monitor the BBFC website carefully because the classification listings provide a good indicator to what's being released on DVD in the near future. BURKE AND HARE was on there recently. My favourite Burke and Hare big screen translation is THE FLESH AND THE FIENDS, which Cushing played Dr. Knox in. Donald Pleasance was great as Hare and the movie as a whole seems years ahead of its time in terms of violence (and I'm only referring to the UK version, there is a more explicit and meaner European version as well!). Highly recommended viewing!
It's nice to meet a fellow fan of THE NANNY. Ironically, it is the only Hammer flick to which I have awarded 10/10 on IMDb. The pacing, structure, performances, dialogue, acting, direction and camerawork is flawless IMO. I agree with what you said about Jill Bennett. I enjoyed her performance in the darkly comic BRITANNIA HOSPITAL. I was really saddened when I discovered she committed suicide later in life. One of the most interesting elements of THE NANNY is the way in which the protagonist role shifts from the character of Wendy Craig to that of Jill Bennett. It's a Hitchcock-like masterstroke, but one which provides a very interesting contrast between the two characters.
Upon closer reflection, there is one very significant advantage Hammer had over Amicus, this being the casting of attractive and alluring actresses like Yutte Stensgaard, Veronica Carlson, Nike Arrighi, Martine Beswick, Dawn Addams or Valerie Leon, or actresses capable of deep interpretation like Barbara Shelley, Judy Geeson or Hazel Court. I know Amicus casted some glamourous and/or attractive actresses like Barbara Murray, Sylvia Syms, Charlotte Rampling, Beverly Adams, Ciaran Madden, Adrienne Corri (who also did some work for Hammer), Lesley Anne Down and Nyree Dawn Porter. But IMO Hammer was more successful in playing to the best characteristics of the actresses it chose to cast than Amicus was with the ones it chose. Hillary Dwyer (who I focussed on at the start of this thread) did no work for either, which is a great shame since she is undoubtedly one of my favourite actresses and ideally suited for the genre. But Tigon and AIP had the (*ahem*) pleasure each on more than one occasion.
The critics of British horror always love to draw attention to the low budgets. In contrast, I agree with you that British horrors seem much more expensive than the budgets state. This is for several reasons I think. Firstly, Britain is home to a number of exquisite manor houses and stately homes that make excellent settings for the genre. Secondly, we Brits are very proud of our small villages, rural pubs and we have here what I consider to be the most beautiful countryside in Europe (and I love the French countryside among others as much as anyone). Third, British actors show a far higher degree of dedication than their counterparts elsewhere in Europe or in America. Fourth, scriptwriters also gave far more dedication. Fifth, producers for the most part relied less on gimicks like gore, sex or silly special effects, and concentrated instead on the story, the characters and the actors. As a result of all these factors, viewing the best examples of British horror is an immersive experience that only the experience of playing PC adventure games have come anywhere near close to for me. All the positive factors I mentioned completely draw my attention away from the standard of the sets, the quality of the effects or camerawork, any production goofs or any implausibilities raised by the plots. British horror as we know it is long gone but its memories will remain in our hearts and minds for a long time to come. I believe there are fans of the Golden Age of British horror yet to be born, and this gives me a faint glimmer of optimism that there may be a successful revival of traditional British horror during my lifetime.
I ask for a few comments, and I get a novel! I have been criticised for some of my lengthier comments because I don't know how to break it up into paragraphs, but I don't mind reading extensive viewpoints conceived in such a thoughtful and considerate fashion. Let's begin at the beginning, THE CURSE OF FRANKENSTEIN, which introduced color into 50's horror, and saved Warner Brothers from financial ruin. Peter Cushing was Britain's greatest TV star, coveted by Hammer for many years, and when he heard that they were about to do a new version of the Mary Shelley novel, his agent contacted them to offer his services. This was the first time audiences were invited to root for the nominal villain, but Cushing's performance made this character a fascinating anti-hero worthy of five sequels. Christopher Lee and Bernard Bresslaw were the only actors cinsidered for the Creature, and by a stroke of fate, Lee displayed a gift for mime like Karloff before him. Despite only 7-8 minutes of screen time, he succeeds in expressing the Creature's anger at being born. The Baron had murdered Professor Bernstein for his brain, and when his creation opens his eyes and sees his own killer right there, it's perfectly understandable that he would recognize him and exact revenge. Lee wanted to display its lack of coordination, a brain working in an unfamiliar body, and when he is unceremoniously shot in the eye, with the leaves swirling around him, its a sad yet sublime moment. THE REVENGE OF FRANKENSTEIN is my second favorite, Cushing's Baron even better than in the first, displaying both a caring manner towards Karl and Hans, and wittily deflating the pompous medical council that tried to run him out of town when he refused to join them three years earlier. One of Le's comments about Cushing's masterful use of props is illustrated to perfection as he carves a chicken during his introduction to Hans, who marvels, "a masterful dissection Dr. Stein!" ("you must forgive this intrusion." "must I?") You can see how well he fits in with the 19th century, and his most colorful laboratory features its share of surprises, especially when Otto the chimp is revealed to have turned cannibal after receiving the brain of an orangutan ("he ate his wife!" "ate another monkey?" "what else would he be married to?") Michael Gwynn, like the later Michael Sarrazin, is initially a perfect physical specimen, who unfortunately comes to a bad end, courtesy of the meddling Richard Wordsworth, whose broom pusher never uses soap. Ironic that his assistant succeeds where Frankenstein does not, becoming his own creation! THE EVIL OF FRANKENSTEIN was helmed by Freddie Francis, who believed that a Frankenstein movie needed a great laboratory to succeed, but he was saddled with the weakest script of the entire series, the first from John Elder (aka Anthony Hinds). Basically a Universal story completely contradicting the events in prior entries, it's best to be viewed first. Cushing tried to make the character resemble his, but it was a struggle. The Creature was a nondescript Karloff clone with square head, played by New Zealand wrestler Kiwi Kingston, whose only other appearance was in Hammer's HYSTERIA, with Robert Webber. FRANKENSTEIN CREATED WOMAN seems to have only two critics, those who love it, or those who don't, perhaps one reason being that Cushing has less screen time than in any of the others, plus it's rather sad to know that Hammer would soon be leaving Bray after the next production, THE MUMMY'S SHROUD. Susan Denberg was such a refreshing presence that her all too brief career is shrouded in mystery, but she is still alive today, despite rumors to the contrary. I have her PLAYBOY spread of that year, but was certainly disappointed that the publicity photos showing a bikinied Denberg with Cushing were never a part of the movie itself. It's easy to get caught up in Christina's story, and the three actors who played her tormentors were all excellent, Peter Blythe, Barry Warren, and Derek Fowlds. My father, for one, had no idea how the film would play out, and we loved it (I rank it third). FRANKENSTEIN MUST BE DESTROYED is my favorite, as well as director Terence Fisher's, who acknowledged that no one else seemed to like it, at least in his lifetime. Cushing starts out wearing a mask that makes him appear to be The Monster, and is alternately charming or ruthless as the situation demands, reducing all the other characters to simple pawns in his ultimate chess game, truly one of his greatest ever performances. We still laugh as he again deflates the pomposity of others, as Anna's guests gather together after dinner to discuss that mad Baron from Bohemia- "excuse me, I didn't know that you were doctors!" "doctors? we're not doctors!" "I beg your pardon, I thought you knew what you were talking about!" Freddie Jones, so wonderful as Steed in "Who's Who???"(THE AVENGERS), is completely sympathetic playing this film's monster (as all of Fisher's monsters were), but what distinguishes this from any other is his relationship with wife Maxine Audley, a mature damsel in distress, what Fisher loved best about it. Although she almost kills him, he allows her to leave unharmed once his trap is set for Frankenstein (the Baron's most spectacular demise). FRANKENSTEIN AND THE MONSTER FROM HELL may be the weakest entry since EVIL, but I could not imagine a more fitting finale for Cushing's most famous character. Shane Briant, already a Hammer veteran from DEMONS OF THE MIND, STRAIGHT ON TILL MORNING, and CAPTAIN KRONOS:VAMPIRE HUNTER, plays a devotee of the Baron, sentenced to an asylum for practicing sorcery, only to find the Baron himself presiding over things as resident physician Dr. Karl Victor. Madeline Smith is at her most luminous as Sarah, the mute assistant aptly called 'The Angel' by the inmates, and David Prowse returns from THE HORROR OF FRANKENSTEIN as the Monster, this one a hairy, full body suit that was quite hot to wear for short periods. I won't spoil it since you have yet to see it, but I have to say, the final sequence brings everything full circle in exquisite fashion, especially as it was Terence Fisher's last film (he and Cushing collaborated on 14 features). HORROR OF DRACULA would be my choice for Hammer's undisputed masterpiece, with Cushing getting top billing with his second most famous role, simply the best Van Helsing of them all, wisely played as he was, an athletic, dashing hero (ala Errol Flynn) who needed every ounce of strength to defeat the most cunning and deadly Dracula of them all, Sir Christopher Lee. Audiences at the time no doubt choked on their popcorn once he appeared with blood smeared fangs, quite a contrast from the aristocratic nobleman they were introduced to at the top of the stairs, striding directly into the camera's eye to reveal a handsome visage, keeping viewers titally off balance (it helped that Lee himself was quite the aristocrat, his mother being an Italian countess). The justly celebrated climactic showdown simply could never be bettered in future Dracula films, but for me, my favorite is when Michael Gough, low key but still effective, finds his undead sister returning to her tomb with little Tanya, gliding in his direction to give him a kiss... I still get goose bumps just thinking about it! Cushing was, if anything, even better in THE BRIDES OF DRACULA, which suffers not at all without the title character, as David Peel's Baron Meinster displays the same deadly charms as his predecessor, and succeeds in an attack on Van Helsing, which Dracula failed to do, leading to a grueling sequence with VH using a red hot poker to burn the vampire's kiss from his neck (what a superb actor!). To actually vampirize his own mother was also a first, as was her reluctance to be a member of the undead, shyly hiding her fangs so as not to reveal what she's become. DRACULA-PRINCE OF DARKNESS, the last of Terence Fisher's three entries, can't help but feel like a disappointment, as Lee returns for his shortest outing, just 7 minutes screen time, and without any lines (either he refused to speak them, or there weren't any scripted to begin with, take your pick). Barbara Shelley easily stands out, but her only competition is Philip Latham as Klove, manservant to Dracula, who finally makes his appearance 47 minutes in. Andrew Keir is good, but the character is clearly no match for the missing Van Helsing. DRACULA HAS RISEN FROM THE GRAVE is the best of the period sequels, and I truly love everyting about it. Lee has more screen time, and even a few lines, and Rupert Davies carries the early portions so that we are always aware of the evil but not impatient for the Count's arrival (can't figure out how the girl's corpse got into the church bell however). Ewan Hooper, unfortunately dubbed by another actor, allows Dracula to regain some of his deadly force, if the vampire can enslave a priest, there seems no limit to his power. Making the hero an atheist who cannot destroy Dracula because he lacks the faith in God, is unexpected but forgiveable, considering it was never used again (it certainly made for a startling surprise, as Dracula incredibly removes the stake from his heart, momentarily stunned as he regains his senses, one of Lee's most brilliant moments in the role). TASTE THE BLOOD OF DRACULA was originally scripted for Lord Courtley instead of Dracula, but Warner Brothers insisted on Lee's participation, so he reluctantly signed on for little more than another cameo performance, on the heels of his starring role in Jess Franco's Spanish COUNT DRACULA. 9 minutes on screen in this one, terrific cast, but it's Ralph Bates who plays the more interesting part. The last period entry, SCARS OF DRACULA will perhaps remain the most maligned, or most underrated, really a standalone picture like its cofeature THE HORROR OF FRANKENSTEIN. Lee enjoys his largest role, all of 14 minutes, and the actresses are all beautiful. I liked Patrick Troughton as Kinky Klove, touching on aspects of his relationship with his master that no other entry addressed. The climax was intriguing, but poorly done with an obvious stunt double in place of Lee (for all these years he had insisted that this was the worst of the sequels, but his recent commentary for the DVD found him pleasantly surprised by it). DRACULA A. D. 1972 is usually regarded as the low point of the series, and I agree, entirely due to the studio's reluctance to actually use Lee or the character, again reduced in stature and also screen time (11 minutes this time). Johnny Alucard does everything for Dracula, whose menace is nonexistent following his revival, when Caroline Munro was truly mesmerized by Lee's charismatic presence. The long awaited return of Peter Cushing proves to be a mixed blessing, as he has to carry the film until the climax, while Stephanie Beacham must be one of Hammer's most breathtaking beauties, and works very well with her grandfather, one of the more rewarding aspects. The terrible music score seems more dated than the fashions, really dragging down the climactic battle, with Dracula's defeat never in doubt (you weren't supposed to feel sorry for him, but this modern Dracula never had a chance to spread his bat wings and fly). THE SATANIC RITES OF DRACULA is certainly a long way from HORROR OF DRACULA, even though only 15 years had passed. Probably the most divisive, love it or hate it, but it's the last time Lee and Cushing would ever face each other as adversaries. I never cared for the drawn out ritual that never seemed to end, but once Cushing enters, it's like coming home again. His mastery of props is on display while serving tea and biscuits, each line rolling off his tongue between carefully exhaled puffs of smoke. When he meets Dracula, in silhouette but easily recognizable, it's truly an electrifying moment, allowing Lee to pay tribute to Bela Lugosi using a vaguely Hungarian accent "foolish man, a bullet cannot harm me." The final showdown is disappointing, with the lone novelty being the Hawthorne tree, and the vampire dissolving the same way we'd seen before. THE LEGEND OF THE 7 GOLDEN VAMPIRES was a bold departure, but a waste of Dracula, in the less than imposing person of John Forbes-Robertson, who had played the Man in Black in THE VAMPIRE LOVERS. Cushing made his fifth and last appearance as Van Helsing, and was really the only good thing on screen, unless one has a fondness for kung fu. His next film, CALL HIM MR. SHATTER, was also filmed on location in Hong Kong, a strange place to bow out from a 20 year career for Hammer Films. This back and forth can be exhausting, but time flies by when you're having fun. Happy viewing!
"I take pleasure in great beauty" - James Bond
No worries about not breaking up the comment into paragraphs. Content matters to me more than structure. And there is much insightful content in your post. You have a much better understanding of the history and making behind Hammer's most esteemed productions than I do.
We have vastly differing views on the individual entries in Hammer's Dracula and Frankenstein entries. In fairness to us both, I think we can each make our own powerful case for arriving at those viewpoints.
Having faith in God or not isn't really an issue when it comes to facing a demon. Although an athiest certainly would fail to understand the importance of the crucifix amongst other religious elements. DRACULA HAS RISEN FROM THE GRAVE addresses this in an intelligent manner. Lee's death scene in this one is one of his best ever scenes I agree. The continuity between the end of this one and the beginning of TASTE THE BLOOD OF DRACULA where Roy Kinnear's character witnesses the demise of Dracula is seamless, and a minor masterstroke.
Warner Bros, like many other American distributors, didn't seem to give a monkeys about the quality of the production. All it saw was dollar symbols over everything it touched, and the only interest it had was in making quick bucks, very much like today's Hollywood. It's a shame that Hammer had to rely on companies like this to distribute its work globally.
Cushing's Frankenstein was undoubtedly an anti-hero. The mocking of others in the medical profession is another theme Cushing took on in THE FLESH AND THE FIENDS, which I mentioned in my previous post. It's easy to side with Cushing as he defends himself against four rather pompous fellow practitioners.
The insight you provided into Lee's interpretation of the Frankenstein monster is one that I couldn't have expressed better myself. It's absolutely spot on and a reminder of why I look upon Lee's interpretation as the best.
Hammer may have left Bray studios in 1966/67 but I think this had little bearing on the quality of future output. There's nothing wrong with Pinewood or Elstree Studios, or those at Borehamwood. And if I'm correct, THE DEVIL RIDES OUT was done entirely on location without studio shooting at all. Yet it's one of Hammer's best. The only sad thing, if anything, is that Elstree Studios is now used for the operations of the BBC, with garbage like EastEnders being made there. Only one decent contemporary production IMO has been made there, and that is EXAM.
Susan Denberg in a bikini is surely worth seeing. Thanks for the information on the PLAYBOY spread.
Maybe Terence Fisher thinks FRANKENSTEIN MUST BE DESTROYED is his best contribution to the series but I couldn't disagree more. IMO, that honour surely belongs to THE CURSE OF FRANKENSTEIN. THE CURSE OF FRANKENSTEIN is probably so appealing to me because I prefer it over Shelley's novel. Outside of this particular series, my favourite flick Fisher directed is NIGHT OF THE BIG HEAT, which we have both mentioned and is very much-maligned.
It may be true that Victor Frankenstein operates what you refer to as a "chess game" between the characters in FRANKENSTEIN MUST BE DESTROYED. But this is not the way I like to remember the character, nor do I think Cushing is dignified in portraying characterisation like this. The fact that Cushing aplogised to Veronica Carlson after the rape scene was completed partly vindicates my view. As for Sir James Carreras, the big chief at Hammer, who thought the movie lacked "sex", well he's just an idiot IMO. Anything with Cushing centre-stage doesn't need "sex" and I think it's very insulting to him to imply that somehow it does.
Thank you for reminding me about Freddie Jones's top-notch performance in the episode "Who's Who" in THE AVENGERS. It's certainly one of my favourite episodes of the series. And honourable mention should go to Patricia Haines (who we discussed earlier), whom Jones plays alongside with. Both are fantastic and work together brilliantly. I think Freddie Jones had great talent for less serious roles, and I think it's
In defense of FRANKENSTEIN MUST BE DESTROYED, the gratuitous sequence showing the rape was indeed imposed by James Carreras, and Cushing and Carlson had dinner the night before to discuss the shoot, but they admitted that nothing could make it easier. What I tried to convey in Cushing's performance was the dichotomy in his character, which few other actors could hope to achieve. He appears outwardly charming when you first meet him, but he does such inhuman things in his obsession to achieve what he considers a humane experiment. Even as he is repulsed by the Baron's methods, Simon Ward's reluctant assistant still can't help marvelling at the skills he never believed anyone of the time would possess. I too think of Peter Cushing as heroic, so I can understand how someone would dislike this film because of its relentlessly bleak atmosphere. I usually pair off THE FLESH AND THE FIENDS with CORRIDORS OF BLOOD, as both are black and white evocations of the same grimy filth that existed when doctors were still probing into the unknown. Cushing was superb in the former, while none other than Boris Karloff starred in the latter, as a surgeon trying to process an effective means of anasthesia, showing the grueling task of conducting an operation during the 19th century. Francis de Wolff, Adrienne Corri, and Yvonne Romain also star with Karloff, but it's Christopher Lee as the black-clad grave robber who steals it (he was finishing this film when he joined Cushing for the American premiere of HORROR OF DRACULA in New York City, in May 1958). Let's turn to Tom Blakeley's Planet Films, whose output was a mere 4 features. I've never seen the crime thriller THE MARKED ONE, which ran barely an hour, while 1965's DEVILS OF DARKNESS is remembered, if at all, as Britain's first modern vampire film, as opposed to the Gothic style perfected by Hammer. It was done in color and starred William Sylvester and Carole Gray, but I've only seen it once and wasn't impressed. The last two Planet productions are among my all time favorites, ISLAND OF TERROR and NIGHT OF THE BIG HEAT, both helmed by Hammer's own Terence Fisher, not a fan of science fiction. Both star Peter Cushing, both are set in isolated island communities, and both have terrific supporting actors that ably portray the desperate situations at hand. In ISLAND OF TERROR, Cushing's co-star is Edward Judd, star of 1965's INVASION, a black and white sci fi about a hospital captured by aliens of Asian appearance. Judd takes center stage much of the time, but it is fascinating to watch Cushing playing an expert scientist whose courage is occasionally lacking, but his humor is always present (even after his hand is crudely chopped off by Judd, saving his life). Two underrated actors are introduced first, Sam Kydd's police constable, and Eddie Byrne's island physician. A frightened Kydd calls on the doctor to report a dead body that he thinks is Ian Bellows, and describes it thusly: "there was no face, just a horrible mush...with the eyes sittin' in it." Little moments that emphasize the human drama help elevate the more fantastic proceedings to come. Carole Gray supplies eye candy and little more, and Niall MacGinnis shows up as the island's leading citizen. NIGHT OF THE BIG HEAT has been criticised for its special effects, but since the creatures are only revealed in the last five minutes, I felt no such disappointment. This too was a character driven storyline, and Christopher Lee has the main supporting role, with Patrick Allen playing the lead, and his real life wife Sarah Lawson playing the same part on screen. Jane Merrow supplied a great deal more eye candy than Carole Gray did, and it's atmosphere is so effective that it's really difficult to believe the film was actually shot in a cold February! Cushing has a much smaller role, but being the gentleman he truly was, keeps his business suit on as the heat continues to climb. I must say, discussing these movies can be almost as enjoyable as viewing them, but admittedly, I've spent nearly 30 years buying or recording them, and bought every book about them as well, something akin to a human sponge. Your previous post gives me a few more ideas, so I must ponder.
"I take pleasure in great beauty" - James Bond
Thank you for expressing your wider view of Cushing's performance in FRANKENSTEIN MUST BE DESTROYED. You make a powerful case in defence of the producer's intentions and I understand your perspective. I didn't mean to imply that Cushing should never play a villain at all. On the contrary, I enjoyed his performance in THE GORGON and I thought he made for a superb Sheriff of Nottingham opposite Richard Greene's Robin Hood in SWORD OF SHERWOOD FOREST. It's just that I can't feel comfortable with what is portrayed in the said Frankenstein entry.
I have seen CORRIDORS OF BLOOD, to which you referred. Boris Karloff plays a very different role compared to any other entry in his career. But a highly interesting one. Christopher Lee is great as the grave-robber and leaves a more memorable mark than his limited screen time would imply. I think this is the only role Lee played where he tries to rape a woman. It's very bizarre and almost unbelievable in concept. But he doesn't come off undignified as an actor due to the clear characterisation established in prior scenes. Francis Matthews also gives another nice turn as Karloff's assistant. It's only been two and a half years since I last saw this flick but I really can't remember Adrienne Corri's role in this one. And this is very strange since I happen to like her performances elsewhere. The always reliable Francis De Wolff is a great addition. I'm surprised how I neglected to mention him sooner. His interpretation of Dr. Mortimer in Hammer's own rendition of THE HOUND OF THE BASKERVILLES, along with his interpretation of the Ghost of Christmas Present in SCROOGE are perhaps my favourite interpretations of the said characters.
As with THE FLESH AND THE FIENDS, CORRIDORS OF BLOOD certainly delves into the darker side of the medical profession, along with the seediest elements of Victorian England. The latter is a good effort IMO but the former is infinitely more powerful. Cushing provided a deep interpretation of a doctor turning a blind eye as he buys what he knows are the corpses of people who were murdered by Burke and Hare. Dr. Knox's guilt, the sadness and the seeming despair in the scene near the end will stay with me for the rest of my days. The sheer brutality of Burke and Hare as they murder Daft Jamie (a character who was so likable), played by Melvyn Hayes, is one of the most disturbing and effective killing scenes I've seen. The Region 1 DVD I have contains both the UK and European versions of this flick. The latter version contains an even more prolonged and sadistic focus on the killing of Daft Jamie, among others. Even though Burke and Hare commit such terrible crimes, I still can't help but feel disturbed by the mob's revenge on Hare (burning his eyes out with a torch) after turning King's evidence whilst Burke was hanged.
I've never seen or heard of THE MARKED ONE.
I did see DEVILS OF DARKNESS about 14 years back. It was on Channel 4 on a Friday or Saturday night (or in the small hours). I thought it was a very bland effort. But Hubert Noel made for a superbly sinister villain as I remember.
I've not seen ISLAND OF TERROR. I know Edward Judd is in it. He played an instantly forgettable role in the fourth story in Amicus's THE VAULT OF HORROR. I don't remember seeing him in anything else on the big screen. I remember Carole Gray from an episode of THE AVENGERS. The said episode was more overtly played for laughs than others, but is effectively entertaining nonetheless. Like so many actresses of the era, she had a lovely, glamorous hairstyle. And like many actresses, she gave up her acting career at a very early age. And she was very beautiful.
It's nice to see NIGHT OF THE BIG HEAT mentioned again. This one really is a little gem. I'll never tire of speaking about it. From the opening scenes, I knew I was in for a treat. Christopher Lee has some great scenes walking through the countryside planting cameras all over the place. I love the rather mean, apathetic manner in which his character behaved in the first half. It's a brilliant contrast with the others. One scene in particular where he asks Sarah Lawson whether a package has been delivered is a good case in point. He coldly walks off upstairs with his camera - a superb moment IMO. Patrick Allen shines as the leading man. I absolutely hate stereotypical heroes and as such it was fantastic to see Mr. Allen give a proper, real, human interpretation of an interesting, flawed character who it was easy to look upon as a protagonist. More interesting is the fact that he's not really a hero at all in this one because it was rain that destroyed the creatures at the end. Jane Merrow is superb eye candy. I've "captured" still shots of her in that bikini from the DVD and like to look at them from time to time. She's very seductive but also brings the dedication to the portrayal of her character that is in the finest traditions of Britain's horror starlets. It didn't matter whether Jane was interacting with Patrick Allen or Sarah Lawson because every scene with both was absolutely captivating and didn't in any way at all slow down the pace. Cushing takes on the supporting role with dignity and dedication. He's not playing Van Helsing here, nor does he pretend he is. But like Van Helsing, his character has both courage and strength. His character is also a true gentleman and this makes his death scene all the more powerful. Kenneth Cope delivers the strangest performance of his career here. Given Merrow's alluring qualities, Cope's character's increasing sexual frustration given the inexplicable rising temperatures seems very realistic rather than tacked-on as an exploitative addition. The tension the other characters face in the circumstances also makes for captivating viewing. I too was surprised to discover this flick was made in a February. It is a testament to the excellent scripting, characterisation, acting and direction that deceive the audience so effectively into believing the temperature is rising to over 100 degrees Fahrenheit (108 at one point I remember Allen's character state!). Seeing Lee's character get killed at the end was something I really never saw coming - a masterstroke.
It is more likely than not that I'll look upon NIGHT OF THE BIG HEAT as being a "one-hit wonder" from Planet Film Productions.
It is ironic that anyone reading the list of reviews I've posted here on IMDb to date could easily miss my passion for British horror. It is true that my interests in recent years have expanded to American and Italian horror (particularly giallos). But my childhood was blessed and greatly enhanced by the Golden Age of British horror. As such, it will always have a special place in my heart, right until my final days. Whilst other kids around me were playing football with their mates, fooling around abandoned places or immersing themselves in the latest Playstation or Nintendo games, I was occupied with British horror. The most polite, courteous and intelligent characters in British horror probably gave me a greater education of human values such as decency, tolerance and self-respect than anything else. Cushing and Lee are the best actors to have portrayed such characters. And even beyond my childhood, whether it be through good times or bad, British horror has provided me with some of the most immersive experiences of my life. And for that I will always be truly thankful.
I didn't mean to imply that Peter Cushing shouldn't have been cast in a more villainous light, but I did think it a noteworthy switch for him to go from his most heroic Baron to his most diabolical from FRANKENSTEIN CREATED WOMAN to FRANKENSTEIN MUST BE DESTROYED. His earliest villain was in 1954's THE BLACK KNIGHT, easily outshing the nominal hero, Hollywood import Alan Ladd. My father hated seeing Ladd in a medieval setting, but Cushing's Sir Palamides was the first of his numerous bad guys. Examining THE GORGON, it's a case of admiring the actor's performance but disliking the character. Not really an evil man, only misguided, which is how Cushing himself described Namaroff. And the lone scene between Cushing and Lee, with enough tension in the air to cut through with a knife, is yet another example of how well they complemented each other on screen. More often than not they played adversaries on opposing sides, but there's always HORROR EXPRESS and even NOTHING BUT THE NIGHT to satisfy the urge to watch the two working as a team. Oliver Reed gets to stab Cushing's Sheriff to death in SWORD OF SHERWOOD FOREST, not a great idea (A CHALLENGE FOR ROBIN HOOD would be Hammer's last stab at the merry men). No, I haven't seen THE MARKED ONE either, and had to look it up to get the title, but "bland" is definitely the right word to describe DEVILS OF DARKNESS. If you've seen Don Sharp's 1965 CURSE OF THE FLY, you would have witnessed the incredible sight of Carole Gray, alas in black and white, breaking through the window of her room, and escaping in nothing but a bra and knickers (nothing else quite came close to it). Nike Arrighi's appearance as a gypsy in COUNTESS DRACULA is unfortunately quite brief, but Lesley-Anne Down has a larger role. I never knew that Jill Bennett had committed suicide, the same fate as Michael Gothard, who hanged himself in 1993 (they appeared together in FOR YOUR EYES ONLY). Barbara Shelley made her British debut in 1957's CAT GIRL, a retread of 1942's CAT PEOPLE, demonstrating star quality by rising above her material. It helped that her character apparently sleeps in the nude, plus she shows off her luscious bare back, which she would repeat nearly 10 years later opposite Christopher Lee in RASPUTIN-THE MAD MONK. Adrienne Corri was a redhead I first saw in A STUDY IN TERROR and MADHOUSE, before I was exposed (in more ways than one) to her equally beautiful features in THE HELLFIRE CLUB (opposite Cushing) and A CLOCKWORK ORANGE (totally nude at age 40). Speaking of CLOCKWORK, Virginia Wetherell, Mrs. Ralph Bates, certainly wasn't shy about her exposure, in other titles like THE CRIMSON CULT, DR. JEKYLL AND SISTER HYDE, DEMONS OF THE MIND, DISCIPLE OF DEATH, and DRACULA (Jack Palance). Martine Beswick, two James Bond films, three Hammers (including SLAVE GIRLS, played entirely in a prehistoric bikini), and many American features (check out THE HAPPY HOOKER GOES HOLLYWOOD, appearing topless at age 39). Her features looked somewhat harsh in early years, growing lovelier as time passed. We agree on the merits of DR. JEKYLL AND SISTER HYDE, my one complaint is that it needed to be longer to flesh things out more (some films are so enjoyable you just don't want them to end). Martine's opponent in FROM RUSSIA WITH LOVE (I had a tough time telling them apart, MB in green, AG in red) was Alizia Gur, former Miss Israel of 1960, who had a starring role as the vampire queen Merissa in THE HAND OF NIGHT, aka BEAST OF MOROCCO. William Sylvester again heads the cast, but Terence de Marney, former co-star with both Karloff and Lugosi, steals it as her undead servant Omar. This is an example of a film that I hadn't seen in 30 years, yet the climax, with Omar desperately trying to escape from the rising sun, was etched in my mind exactly how it appears today. Aah, nostalgia! Now if you'll excuse me, I feel the need for a cold shower (it's better than a cold shoulder).
"I take pleasure in great beauty" - James Bond
Thank you for the reminder about the great scene with Cushing and Lee in THE GORGON. I still look upon Cushing's character as the villain in this one, albeit one of course as you have pointed out as "misguided" in his actions. Lee has too little screen time in this one. But Michael Goodliffe has a great role IMO.
Thanks for mentioning HORROR EXPRESS. This is the only Lee and Cushing collaboration I have awarded 10 out of 10 on IMDb. It truly is one of the greatest horror movies in my collection and a personal favourite of mine. Alberto de Mendoza is captivating as the priest and really scary when he becomes the host of the creature near the end of the movie. He's still every bit as effective as when I first saw this flick at the age of 11 or 12. Sylvia Tortosa is a suitably glamorous and attractive actress, and one who keeps her clothes on, which is surprising considering this is a Spanish flick. But Julio Pena steals the show as Inspector Mirov. This bloke is absolutely brilliant, stealing every scene he's in. His mastery of cunning, subtle menace is marvellous to watch. When the creature's psyche passes into him, making him its host, he becomes one of the most foreboding villains I've ever seen in a horror flick. I was saddened to discover Mr. Pena died just a few months (five I think) after filming was complete. Cushing and Lee working together rather than playing adversaries is what makes for a pleasant change. It's great to see Lee doing a little swashbuckling with the zombified Russian soldiers at the end. Cushing has the best line - "Monster? We're British you know". Absolutely riveting!
NOTHING BUT THE NIGHT is, however, a very different kettle of fish altogether. This was a misguided project for Lee to produce IMO. It's got to be the worst collaboration between him and Cushing, and one of the dullest flicks to fall into the category of British horror. I don't remember much about it because it's a long time since I've seen it. I fell asleep during the first viewing and my memories from the second are fuzzy. Keith Barron made for an awful protagonist as I remember, which is a shame because I loved a few of his performances elsewhere. He made for a great villain in an episode of RANDALL AND HOPKIRK: DECEASED for example. I can't remember what Diana Dors does in this one. She's done a few roles in horror elsewhere, my favourite of which is in the masterpiece, THEATER OF BLOOD, alongside Vincent Price.
I saw RASPUTIN: THE MAD MONK only once. It was nice to see most of the cast of DRACULA: PRINCE OF DARKNESS again but the flick was instantly forgettable for me. I don't remember seeing Barbara Shelley show any flesh in this, but then again I've never looked upon her in a sexual context so I probably wasn't paying attention at the time anyway.
I don't like Kubrick's work outside of A CLOCKWORK ORANGE. I'm in the minority of people who, with a passion, absolutely hate his version of THE SHINING. I've only seen bits and pieces of A CLOCKWORK ORANGE over the years. It's really bizarre stuff. And watching John Clive (so much better at comedy) punching Malcolm McDowell several times very aggressively, without even the slightest semblance of humour, even dark humour, was like seeing something through a bizarre nightmare. Don't get me wrong, I have no trouble watching ultra-violent works. I've seen THE LAST HOUSE ON THE LEFT, I SPIT ON YOUR GRAVE, MURDER-SET-PIECES, the first six SAW flicks and a whole host of sleazy exploitation flicks. But seeing British actors, particularly those who shine so brilliantly in less serious roles, taking part in stuff that fits into the "exploitation" category, is something I really dislike. Anthony Sharp, also in A CLOCKWORK ORANGE, is one of the few exceptions to this rule. Having seen him in a few comic roles, I was overwhelmed by his performance as Father Meldrum in Pete Walker's THE CONFESSIONAL MURDERS. His performance was chilling, yet felt realistic given the depth of the characterisation as the movie progressed.
On to Virginia Wetherell. It's interesting that you mention her actually, as early this morning I was doing a Google image search for the topless scene she has in CURSE OF THE CRIMSON ALTAR. I had no success in finding the best image I recall from memory, so I'll get the DVD out and "capture" the frames. Virginia is another alluring actress, with a nice figure, amongst other (*ahem*) "qualities". CURSE OF THE CRIMSON ALTAR is itself another unfairly maligned flick but one I couldn't stop watching when I was in my teens. Barbara Steele is truly riveting to watch in this. She's another alluring, seductive starlet, better known for her work in Italian horror, and of course alongside Vincent Price in THE PIT AND THE PENDULUM. But the role of Lavinia Morley is one of my favourites and elevates the flick even higher than the solid standard established by other factors. Steele's character is a great contrast to that of Wetherell and this makes for more effective entertainment IMO. Lee spends most of the flick doing his usual "polite host" routine before immersing himself in a bit of villainy towards the end. Karloff is on top form. His reaction to Mark Eden's line "yeah, it's good stuff!" (Karloff: "Good stuff?") is an all-time classic. Speaking of Eden, he plays a surprisingly good protagonist, which is a bit strange since he's usually cast as the bad guy. The only performance I disliked was Michael Gough, who plays a timid servant to Lee. Gough is always better as a stronger-willed character, whether it be protagonist or villain. This role was the wrong one for him IMO.
DR. JEKYLL AND SISTER HYDE is one of the best Hammer flicks ever IMO. I could speak all day about this. I'm glad we share views on the merits of this one. I've done a review for it here on IMDb. Bates gives the best performance of his career here as a doctor faced with a terrible dilemma. Martine Beswick is just as good as Sister Hyde. Cunning, seductive and evil at the same time, Sister Hyde is quite possibly the best female antagonist in a Hammer flick. Gerald Sim is riveting to watch as the lecherous professor. And Lewis Fiander makes for a better supporting actor than most Hammer chose to cast during this period. Susan Broderick's character is an excellent contrast to Sister Hyde. Paul Whitsun-Jones, always good to watch, has a few great scenes with Sim. Viriginia Wetherell is a great addition, who I wish had more screen time. Ivor Dean, better known for his role as Inspector Large in the fantastic TV series, RANDALL AND HOPKIRK: DECEASED, does an excellent interpretation of Burke. The bloke playing Hare is quite good as well, but couldn't hold a candle to Plesance in THE FLESH AND THE FIENDS. It's a great shame that the full, uncut version of this flick may no longer survive. Despite the interfering BBFC's unjustified demands for edits to the murders, the director utilises an excellent workaround. I just hope the lost footage still survives in some form, because I think the murder scenes in this are superb and highly effective.
I too wish DR. JEKYLL AND SISTER HYDE had been longer. I'd have easily took another half-hour without once staring at the elapsed running time. It's so well scripted and thought out, it's almost an epic. I wanted to see Sister Hyde on screen more often.
I'll make it a point of checking out those other Martine Beswick flicks you mentioned. She's a real seductive stunner who I love to see over and over again. I'm not really a Bond fan to be honest. I can't stand stereotypical heroes as I've mentioned before. But I like the original CASINO ROYALE, which works as a fairly effective (if at times overly silly) spy spoof. Ironically, my favourite spy spoof to date is ZETA ONE, which I mentioned in previous posts. This one is really a cheap sex comedy in disguise, but has got so many great things in it.
I've never heard of DISCIPLE OF DEATH. Thanks very much for mentioning it. I've just looked up its entry on IMDb. Mike Raven and Ronald Lacey from CRUCIBLE OF TERROR are working together again I observe. Now that's got to be worth seeing. Both were brilliant in the aforementioned flick IMO. And like CRUCIBLE OF TERROR, it was filmed on the Cornish coast. I've just ordered the Region 1 DVD of this flick now as I'm writing this. The transfer will probably be terrible but I am very keen on seeing what this little curiousity has to offer. Thanks again for pointing this one out, it's much appreciated.
I'm not in a hurry to do so but at some point in the future, I'll check out Jack Palance's rendition of DRACULA. I've heard of it and anything with the name "Richard Matheson" attached has got to be worth the effort of seeking out. I have mixed feelings about Dan Curtis's TRILOGY OF TERROR and DEAD OF NIGHT. Matheson's story, "Bobby", adapted in the latter, was so much better in TRILOGY OF TERROR 2 with Lysette Anthony. And I'm probably in a minority of people who thinks TRIOLOGY OF TERROR 2 is infinitely superior to the first movie, with Lysette Anthony being a far better actress than Karen Black. My favourite Palance role so far is in THE CRAZE, an extremely low-budget obscure British flick, that Diana Dors also plays a small role in. Palance's combination of charm and sinisterism make for compelling viewing. I've come to admire his role in TORTURE GARDEN more and more as time as gone on as well.
I've always been attracted to women with red hair, hence the reason why I like Adrienne Corri. But, IMO, she played a very poor role in MADHOUSE. This is a shame because I like the movie itself. Price and Cushing are fantastic together and Robert Quarry is far better as the slimy movie producer than his bland protagonist role in DR. PHIBES RISES AGAIN (one of the worst sequels to a horror classic in living memory IMO). The integration of footage from Price's other works is a masterstroke. The suspenseful background music when Natasha Pyne's character is killed complements the photography beautifully, making this one of my all-time favourite murder scenes. Natasha Pyne (better known from FATHER DEAR FATHER) is herself great in this, even better than Linda Hayden, and should have had more screen time. She's particularly good with Quarry. Hayden's role was sadly, like her others, somewhat forgettable IMO. But it was a slight improvement over her previous ones from my perspective. Overall, MADHOUSE is an underrated flick who some Cushing or Price fans are too quick to attack.
Back to Corri, my favourite role of hers is in RANDALL AND HOPKIRK: DECEASED, not least in part because a bit of flesh is exposed at the end. Her "naughty bits" are covered by newspaper (this is a family TV show remember) but I like looking at her bare neck and shoulders. She was great in the "so-bad-it's-good" MOON ZERO TWO, one of hundreds of flicks to get a bashing on the TV series, MYSTERY SCIENCE THEATER 3000. Dudley Foster was very funny in both. I've not seen THE HELLFIRE CLUB but now you mention it, this another flick I want to check out when I have a moment.
I have mixed feelings about A STUDY IN TERROR. Perhaps I'm in the minority but I think the idea of Sherlock Holmes versus Jack the Ripper is a no-brainer, so much so that I don't even want to buy the PC game that utilises the concept in addition to other flicks on the same subject. John Neville does well as Holmes. He'll never hold a candle to Rathbone in my eyes but he does well. The same can be said of Donald Houston as Watson. And together, Neville and Houston make a fine duo that carry the movie well. But there is so much wrong with this one IMO. Barbara Windsor is hopelessly out of place. She should have stuck to comedy. John Fraser was infinitely superior in REPULSION. Robert Morley was underused as Mycroft. And Frank Finlay's Lestrade can never come anywhere near close to the one so perfected by Dennis Hoey in Rathbone's Holmes flicks, but is still forgettable even in his own right. The killings are overall very tame and the Jack-the-Ripper theme was done so much better in DR. JEKYLL AND SISTER HYDE.
I had already guessed Nike Arrighi's role in COUNTESS DRACULA would be a brief one, but look upon her presence as a welcome addition to my primary motivation for viewing it. I really want to see it because, as mentioned prior, I felt very underwhelmed by Ingrid Pitt's performances elsewhere and wanted to see if I would be converted to being a fan of her. The plot synopsis seems promising enough. With the price down to £6.99, I ordered a copy yesterday.
I've never heard of THE HAND OF NIGHT. The idea of William Sylvester playing another leading role is not exactly appealing to me. And having seen Alizia Gur through an image search on Google, I don't find her that hot to be honest. However, the plot of the movie does sound interesting so I'll give it some consideration.
Many women become more attractive with age IMO. Even though I'm only 25 (coming up to 26 next month), I'm attracted to many women much older than myself, some well into their 40s. And I still find the 50-plus Michelle Pfeiffer very sexy. I'm rarely attracted to contemporary women of a similar age to myself, even though I greatly admire actresses playing roles in movies when they were of a similar age at the time of these performances to what I am now (Hillary Dwyer for example). I'm the one who really needs to take a cold shower I think.
I got round to seeing COUNTESS DRACULA. It was a very disappointing flick. Ingrid Pitt's finest role here was the finest of her career IMO. She carried her scenes brilliantly. But sadly this solid, uplifting performance was lost in a script that an IMDb review describes as "dull-as-dishwater". I must agree with that said review.
Nigel Green was particularly impressive in his role, and along with Maurice Denham and Peter Jeffrey, he saves the movie from being a complete failure. Green's character was the most interesting, probably due to its inconsistency. In some scenes, the character was strong and able to resist the "charms" of the Countess, but in others he succombs too easily. I like male characters who can resist the charms of women, they are always interesting to watch and set a good example to the rest of us.
Nike Arrighi's appearance as the gypsy was an excellent addition, complete with a great death scene. But her "blink and you miss it" moment was an ultimate waste of this beautiful lady's talent.
Susan Broderick has an equally forgettable role, and one that just reminded me of her infinitely superior role in DR. JEKYLL AND SISTER HYDE.
Like Barbara Windsor in A STUDY IN TERROR, Andrea Lawrence is far better suited to comedy than to horror. But unlike Windsor, Miss Lawrence tries to salvage something out of a forgettable role. Andrea Lawrence is best remembered in the two of the three ON THE BUSES flicks in which he appeared.
But the biggest waste of talent in this flick is Sandor Eles, whose role as a gallant, heroic lieutenant was not suited to him. He was far better in AND SOON THE DARKNESS, where he played what I consider to be his finest role.
I didn't know this at the time, but DAUGHTERS OF DARKNESS, which I bought last year also bases its story on the real Countess Bathory, who has a very interesting life story IMO. I'll have to get round to seeing that one. It's surely better than COUNTESS DRACULA. But I better not bet any money on that...
I was saddened to hear of the recent death of Michael Gough at age 94. He made his film debut in BLANCHE FURY in 1947, the same year as Christopher Lee, who debuted in CORRIDOR OF MIRRORS. Winner of two Tony awards for hia work on Broadway, his movie career consisted of supporting roles in all types of genres, and starring roles in low budget horror films (from 1959 to 1976). Several of these were for American producer Herman Cohen, who had emigrated to Britain after success in Hollywood at American International Pictures- I WAS A TEENAGE WEREWOLF, I WAS A TEENAGE FRANKENSTEIN, BLOOD OF DRACULA, and HOW TO MAKE A MONSTER. Beginning with 1959's HORRORS OF THE BLACK MUSEUM, Cohen continued to hire Gough on a regular basis (probably due to his co-starring role as Arthur Holmwood in HORROR OF DRACULA), in many similar features, KONGA, BLACK ZOO, BERSERK, and TROG (the last two opposite Hollywood legend Joan Crawford). He also starred in three independent horrors that have received scant attention over the years, 1969's CRUCIBLE OF HORROR, 1973's HORROR HOSPITAL, and 1976's SATAN'S SLAVE. CRUCIBLE OF HORROR was also noteworthy because he appeared with his son Simon Gough, who played his on screen son, and Simon's wife Sharon Gurney (Michael's daughter-in-law), who played Simon's sister (1972's DEATH LINE, with Donald Pleasence and Christopher Lee, was her one other notable horror title). His supporting roles in the genre were numerous- 1951's THE MAN IN THE WHITE SUIT (Alec Guinness), 1956's ILL MET BY MOONLIGHT (Christopher Lee), 1957's THE HOUSE IN THE WOODS, 1961's NO PLACE LIKE HOMICIDE, 1962's CANDIDATE FOR MURDER and THE PHANTOM OF THE OPERA, 1964's DR. TERROR'S HOUSE OF HORRORS, 1965's THE SKULL, 1967's THEY CAME FROM BEYOND SPACE, 1968's THE CRIMSON CULT, 1973's THE LEGEND OF HELL HOUSE, 1978's THE BOYS FROM BRAZIL, 1981's VENOM, 1984's TOP SECRET! (Peter Cushing), 1987's THE SERPENT AND THE RAINBOW, and 1999's SLEEPY HOLLOW, his final on screen appearance. What an amazing career, which I have followed since "Famous Monsters of Filmland" did a major article on his horror career in 1978, which encouraged me to go out and see him on the big screen in THE BOYS FROM BRAZIL (later on, I also caught SATAN'S SLAVE and VENOM). Michael Gough 1916-2011
"I take pleasure in great beauty" - James Bond
I too was saddened to hear about this.
I am even more saddened to read the press reports that keep going on about his role in Tim Burton's BATMAN, along with others in that series. He should not be remembered for playing Alfred Pennywood.
Instead, Mr. Gough should be remembered for his fine work in the horror genre, which he was far better suited to, and for which he never received proper recognition.
Michael Gough's finest role in my mind will always be CRUCIBLE OF HORROR (aka THE CORPSE), where as you pointed out he starred alongside his son, Simon, and Simon's wife, Sharon Gurney. It's a much-maligned movie, with just about everyone bashing it as a rip-off of LES DIABOLIQUES. But I love it. This was Mr. Gough's finest hour. A UK DVD release is long overdue.
HORRORS OF THE BLACK MUSEUM was also a solid role for Gough. Although the movie as a whole was undermined by pacing problems and a script that needed a little more work.
Michael Gough's Holmwood in HORROR OF DRACULA is probably the best interpretation I have seen. Although I don't remember any references to the character's official title - Lord Godalming.
I already mentioned DR. TERROR'S HOUSE OF HORRORS in a previous post. In the fourth story, Michael Gough plays an artist whose paintings are constantly criticised by Christopher Lee's character, an art critic. After Gough's character loses his hand and comes out of hospital, there is a very sad scene where he comes to realise that his career as an artist is over. It's one of the most emotive scenes committed to celluloid IMO.
It's nice to see you mention SATAN'S SLAVE. This was, IMO, the weakest of Norman J. Warren's four movies (the other three being TERROR, PREY and INSEMINOID) in the Anchor Bay boxset. Gough elevates this one, without a doubt. And with repeat viewings, it feels more and more entertaining. The twist ending may be predictable for some, but I find it highly effective nonetheless.
I don't like HORROR HOSPITAL. But that may be because on previous viewings, I looked upon it in a serious frame of mind. Maybe if I went in expectations adjusted I might like it. Gough has a great role in this one as I remember, and along with Dennis Price, elevates it to a status it would not otherwise have.
I already mentioned that Michael Gough's role in CURSE OF THE CRIMSON CULT was not the right one for him. He played a timid, weak-willed sidekick. He is best when playing stronger-willed characters.
RIP Michael Gough - 1916-2011 - one of the greatest actors Britain ever had.
Ok, ok...but would someone talk about THE BODY STEALERS instead of writing pages on other Tigon films!
It's unpopular because it's garbage, garbage that has been left out in the sun too long and is stinking to high heaven.
Nice stars giving uninspired performances, but even on bad day they are better than most.