Cinema Sunday: Nightmare (1964)

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Title: Nightmare

Distributor: Hammer/Universal Studios

Writer: Jimmy Sangster

Director: Freddie Francis

Producer: Jimmy Sangster

Starring: David Knight, Moira Redmond, Jennie Linden, Brenda Bruce

Released: April 19th, 1964

MPAA: UR

 

Here we are with another Cinema Sunday, and of course, another fantastic movie! This week, we’ll take a look at another one of Hammer Studios psychological thrillers in – Nightmare! This film is much more intense than last week’s offering, but in a slightly different way. You still get a good mystery, but in this film, you also get some vicious murder scenes, as well. The cast was very small, but I think after you’ve seen the film for yourself, you’ll realize it isn’t a bad thing. Okay, let’s disperse with the clouds and get right down to this one!

 

The film begins with a girl wandering around a sanitarium. She hears a voice calling out to her, and is frightened. The voice calls for help, and then Janet (Jennie Linden), hears the voice tell her that she knows where to find her. Janet then proceeds down a hallway and enters a padded room. Standing in the corner, is a woman, begging for help. The door swiftly slams behind Janet, and the woman laughs insanely. Janet begins to scream, and then we see this is only a dream, and Janet awakens in bed, at her prep school. One of her teachers, Mary Lewis (Brenda Bruce) comes in and settles her down, and she goes back to sleep.

 

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The next day, Janet is approached by the same teacher from the previous night, and she tells her that the faculty wants Janet to see a doctor. Janet tells her that she’ll refuse any appointment. She also tells her teacher that she wants her guardian, Henry Baxter (David Knight), to come and get her from school. She gets her wish, and John the butler/driver (George A. Cooper), picks her up, along with Mary Lewis, as the school believes Janet could use some guidance on the journey home. Once they reach home, Mrs. Gibbs (Irene Richmond), greets Janet, and she seems elated. They enter the home, and Mary is going to stay the evening, and go back to the school tomorrow. Janet is surprised to see a woman, Grace Maddox (Moira Redmond), in the house. Mrs. Gibbs tells Janet that her guardian, Henry, thought that Janet might like someone to spend time with at the house, instead of being alone.

 

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Janet goes to bed after dinner, and Mary and Grace talk. Mary asks Grace why Henry asked her to stay with Janet, and she tells her that it’s because Henry is worried about her, and she’s a nurse, so he believes she can help out. Grace then heads to bed for the evening, and Mrs. Gibbs and Mary have a talk. Mrs. Gibbs tells Mary that the reason Janet seems mentally imbalanced is because she saw her mother murder her father when she was eleven years old. She had a nervous breakdown after that, and has always worried that she might have inherited some of her mothers wickedness. Mrs. Gibbs tells Mary that even if didn’t inherit any of those traits, that even the persistent thought could drive a person insane. Mary goes to bed, and Mrs. Gibbs is tidying up, when she hears a sound near the library. She’s surprised by Mary, who claims to have come downstairs to get a book.

On her way back to her room, Mary notices that Janet’s bedroom door is open. She investigates, and finds Janet missing. She creeps down the hallway to looks for her, and then she’s surprised by Janet, who silently turns the corner right in front of her. Janet seems like she’s in a daze or perhaps sleep-walking. Mary talks to her, but gets little answers other than the fact that Janet seems to think she either saw someone or dreamed that she saw someone. Mary shows her back to her room, and then goes to sleep, pondering what might be happening. As Janet walks slowly into her room, she notices someone on the bed. It’s her mother (or so she thinks), and there’s a knife sticking out of her chest, and the birthday cake from Janet’s eleventh birthday (the same day her father was killed) on the table. She freaks out, and runs off, but is then stopped by Grace, who slaps her a few times to get her to snap back into reality.

 

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The next morning, Janet has been sedated by the local physician, and he recommends to Henry that she be institutionalized. Henry then checks in on Janet, who, upon seeing him, pulls him in, and kisses him passionately. He pulls back, and then apologizes for not being able to meet her at school. Janet asks if the reason is his wife, and he tells her that she (his wife) doesn’t like being alone. He makes his apologies, and tells Janet he must travel to London, and then leaves. As day turns into night, Janet’s mind begins to unravel. She thinks she sees someone trying to open her bedroom door, so she calls out and asks who’s there. She gets no answer, and then gets up to investigate. She looks down the hallway but sees no one at first, but after a moment, she does witness a shadow down at the end of the hall. She walks down slowly, and keeps following where the shadow leads. Eventually, she comes upon a bedroom, and she hears the voices of herself and Mrs. Gibbs from the day she saw her father killed. She runs off to her bedroom, and sees the corpse of her father, lying in her bed. She goes berserk, and falls down a staircase, and George and Grace find her there unconscious.

 

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Another day, and Grace is feeding Janet her pills, supposedly from the doctor. Grace asks her what happened, and Janet tells her that some woman is plaguing her dreams. Grace tells her to get some sleep, because it’s her birthday tomorrow. A new day comes, and Janet finds herself being confused after the last few night’s activities. She then heads out to see who is around, but only finds a strange woman in a hospital gown creeping around the house. The woman vaguely resembles her mother, but we know that she’s locked up in a sanitarium, right? Janet then returns to her room, looking completely unhinged. She then smashes her mirror, and uses a shard to slit her wrist. Henry, and Grace are speaking with the doctor in the next scene, and wondering what to do about Janet. As Janet comes out from her bedroom to see Henry, she sees the back of a woman, who is introduced to her by Henry, as his wife. As the woman turns around, Janet recognizes her face as the woman who has tortured her. She then snaps mentally, picks up a knife, and brutally stabs Henry’s wife to death!

 

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I’m not going to go any further because I’d have to go into crazy spoiler territory, and because things get slightly convoluted as well! Suffice to say that the killing doesn’t end here, and by the end of the film, there’s more than one person that’s gone off the deep end!

OK here are my thoughts:

This flick is a good one, but definitely inferior to Paranoiac. It is more grisly, and that’s pretty cool, but the twists and suspense aren’t as powerful as the aforementioned film. As I said above, it does also get a bit wacky at the end as well. This being my first viewing might have something to do with that, but I honestly don’t think so. There is another scene towards the end of the film, where Henry and Grace slap each other. It’s quite a shock to see especially for 1964.

The actors/actresses are quite good in the roles that they play. Janet’s character was played by Jennie Linden, and was a late replacement. She did a god job for someone stepping in at the last-minute. David Knight, and Moira Redmond also were very good. Both gave convincing performances. The music score was by Don Banks, and definitely worth noting. He did a good job setting a good tone, and a couple of thunderous interludes when it was right. The set was absolutely gorgeous, and up to the Hammer standard for sure. Check this one out if you haven’t yet, because it’s worth the watch!

 

Watch the trailer here!

Cinema Sunday: Taste of Fear (1961) (A.K.A. Scream of Fear)

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Title: Taste of Fear (Scream of Fear – U.S.)

Distributor: Hammer/ Columbia

Writer: Jimmy Sangster

Director: Seth Holt

Producers: Jimmy Sangster, Michael Carreras

Starring: Susan Strasberg, Ronald Lewis, Ann Todd, Christopher Lee

Released: Jan. 1961

MPAA: PG

 

If you thought Hammer Studios was only about horror flicks, think again! They made films in many genres (even comedies!), and some that are absolutely amazing in the psychological thriller category, like Taste of Fear! This one is a testament to the writing ability of Jimmy Sangster (and Michael Carreras), and definitely let people know that Hammer Studios was here to stay. The performances were great, and this movie being in black and white gives it an old school look to it that is perfect.

In 1961, Hammer was already starting to build up its horror library with hits like Horror of Dracula and Curse of Frankenstein, and more psychological thrillers would follow (Paranoiac, Nightmare, etc.). Some of the content in these films really pushed the envelope, just like Hammer horror did when it got rolling, and that wasn’t just schlock to get people in the seats. Hammer knew they had commodities with Cushing and Lee, so it was only a matter of adding some good character actors (Michael Ripper) most of the time, and they had a winning formula. OK, enough talk, let’s get down to business!

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The film opens up as a boat with two men aboard, search for something in the water. A policeman and another man in plain clothes fish out the body of a girl, as more policemen watch from the shoreline. After the credits roll, we see a beautiful young woman, Penny Appleby (Susan Strasberg) getting off of an airplane, and a chauffeur pick her up. The young lady is in a wheelchair, and apparently a paraplegic.  The chauffeur (Ronald Lewis) drives the girl to her ancestral home, and tells her that her father is away on business. He then arrives at the house where we see her step-mother, Jane Appleby (Ann Todd), and they have a rather interesting first meeting. You see, Penny has lived abroad, and never net her father’s new wife (she’s been away for ten years). She settles in, and then has a look around.

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Later, at dinner, Penny tells Jane that she didn’t come around because her parents got divorced, and her mother and her moved to Italy. Her mother passed away a few years ago, and she came back because her father wrote to her, asking her to come home for a visit. They have some small talk, but then Penny excuses herself, and goes to bed. Later that night, Penny awakens to a slamming noise outside of her bedroom. She gets into her wheelchair to investigate, and sees that it’s just a loose door. She also sees a light on in the window of the summer-house. As she scans the room, she sees her father, sitting in a chair, motionless. He appears to be dead, so she shrieks in horror, then flees the summer-house. On her way out, in a panic, she falls into the pool and begins to drown. She wakes up to realize that she was saved by Bob, the chauffeur, and is being cared for by the family doctor, Dr. Gerrard (Christopher Lee). She demands to be taken back to the summer-house, and Bob carries her there, but nothing is out-of-place, and her father is not there either.

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The next day, Jane leaves for a while, and Bob looks after Penny. They go to the beach for a bit, and they talk about many things, and especially about her disability. She tells Bob it was a horse riding accident. Bob then tells her that some funny things have gone on lately. He tells Penny that her father left in the middle of the night, and took the small car, one that he didn’t care for at all. They head back to the house, but Penny wants to inspect the summer-house again. Before she can search around, Jane interrupts her, and tells her that she has a surprise for he in the house. Her father is on the telephone, and asks her how she’s doing. The look on her face is one of suspicion, and she speaks for only a minute, then Jane takes the phone and talks. Dr. Gerrard tells Penny that she should calm down and not stress herself out, or she might have a nervous breakdown.

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As the creepiness continues, Penny then checks out the garage, and sees that the small car her father supposedly was driving on a business trip, was back in the garage. Jane tells her that it couldn’t be, because her father hasn’t returned yet. She also hears someone playing the piano, but when she investigates, she sees no one in the room. Once again she notices a light in the summer-house, and heads over to check it out. The chair that her father was sitting in is empty this time, but then she goes over to her room, and sees her father sitting by her bedside. He slumps over, and Penny screams. Bob comes running, and then Jane as well. She gets the feeling she’s being set-up, so clams up about what she saw, and tells them she’s OK.

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At dinner, Dr. Gerrard suggests that maybe Penny is mentally stopping herself from walking again. She gets very defensive, and tells them she doesn’t want to talk about it anymore. As everyone heads to bed, Bob agrees to help Penny with her sleuthing, and they theorize that maybe her father was murdered, and she might be next. They think the body might be being stored in a freezer in the kitchen (one of those large industrial type freezers). They investigate, but find nothing. The following morning, Bob and Penny head to the beach to plan more of their investigation. As Bob picks her up to take her back to the car, the two share a kiss, and watching from the cliff above, very creepily, is Jane. Back at the house, Jane attempts to hook Penny up with a few local gentlemen, but she refuses.

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That afternoon, Penny looks out her window and realizes there is one more place they can look for the corpse. The swimming pool would be the perfect hiding place, so Penny asks Bob to check it out. Bob jumps into his speedo (seriously), and jumps into the pool. Within minutes, he comes to the surface and tells Penny that the body is down below at the bottom. Penny and Bob believe that Jane has something to do with this foul play, because she can’t get her hands on the fortune that Penny’s father has amassed. Bob takes Penny in the car to get the police, but they see Jane broken down on the side of the road. Bob pulls over, and gets out to see what’s going on. Before you know it, the car begins to creep forward, and it seems Bob forgot to set the parking brake. Penny tries to reach for the steering wheel, and sees her father’s corpse lying in the front seat! She can’t get to the wheel fast enough, and the car plunges over the cliff towards the icy waters. I’ll stop here because to go further would give too much away!

 

OK, here are my thoughts:

This film has a certain charm to it that very few non-horror Hammer films have. Maybe it’s the mystery, maybe it’s that it’s in black and white, or just the memorable performances by the cast. Either way, the ending is shocking, and the twists and turns are quite phenomenal. You really think you know what’s going on, and then the rug gets pulled out from under you. Christopher Lee is outstanding in the few scenes he has in the film. Don’t let that foo you though, as Lee gives an incredible performance. Susan Strasberg is also fantastic, and really deserves a lot of credit.

The sets are on par with the normal Hammer goodness, and so is the script. The music score isn’t really anything grande but hits the spots it needed to. The production of the entire film is very high for 1961 (Bernard Robinson – production design), and looks like a higher budget film that what it actually was (allegedly $50,000). Hammer has had many beautiful ladies in their films over the decades (Susan Denberg, Ingrid Pitt, Veronica Carlson, etc.), but I have to admit, Susan Strasberg is absolutely gorgeous in this film (Carlson and Denberg are my usual favorites!). It’s rare to have a leading lady that is this stunning and a high-grade actress as well. Typically Hammer just wanted beautiful women to get the male demographic in the seats with their ladies, but in this case you get it all!

 

Watch the trailer here!

Cinema Sunday: The Revenge of Frankenstein (1958)

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Title: The Revenge of Frankenstein

Distributor: Columbia Pictures (Hammer Studios)

Writer: Jimmy Sangster

Director: Terence Fisher

Producer: Anthony Hinds

Starring: Peter Cushing, Francis Matthews, Eunice Gayson, Michael Gwynn, Michael Ripper

Released: June 1st, 1958

MPAA: UR

 

In what basically is a direct sequel to The Curse of Frankenstein, this film has a unique twist to the tale of the Frankenstein Monster. With the usual cast of characters, and production stalwarts, some consider The Revenge of Frankenstein to out-do the first film. I wouldn’t go that far, but it is a good film, and we’re going to dive head first into the plot in a moment. The film stars the incredible work of Peter Cushing, along with a solid performance by Francis Matthews. Now, let’s get down to business!

The film begins with good old Baron Frankenstein (Peter Cushing), as he’s being led to the guillotine for his crimes against nature. There’s a few people surrounding him; a priest, a guard, and a man who appears to be crippled. This crippled man and the Baron share a quick nod, and as the camera goes off scene, we here a struggle, then the guillotine does its job. That scene then cuts to a bar, where a woman is howling because she’s having a good time. The view turns to two men, getting drunk, and talking about a job. One of the men tells the other that it’s a simple job of snatching a body from the graveyard. The other man (Michael Ripper), doesn’t seem to trust him on the real ease of the job, but he needs the money for booze (I guess), so he agrees to come along for the job. As the two men dig up the body, they realize the grave is marked Baron Frankenstein. Inside the casket though, is the body of a priest! This scares the one man off, but the other one stays to finish the job. Before he can do anything more though, a shadowy figure creeps out of the bushes, and introduces himself as Baron Frankenstein. This gives the old guy a heart attack, and he dies right there on the spot.

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Three years later, a few gentlemen that belong to a “medical council” in Carlsbruck, are discussing a doctor in town that’s been stealing all of their patients. They agree that they’ll send a delegation to meet him and convince him to join their ranks. One of their number is Dr. Hans Kleve (Francis Matthews image above), and as they visit Dr. Stein (Peter Cushing), he recognizes him, but keeps quiet. After Dr. Stein refuses the medical council’s offer, Hans returns later that evening, and calls out the Baron on his true identity. Dr. Kleve then tells the Baron that he wants to learn under his guidance, and will keep quiet in exchange for knowledge. The Baron then takes him to his laboratory, and shows him his latest achievement. He shows Dr. Kleve a new body, constructed from “spare parts”, and tells him that it will be the new body for the crippled assistant, Karl (The Baron made a deal with Karl, that if he saved him from the guillotine, he’d grant him a new body).

Next, we see a young woman, Margaret, (Eunice Gayson) at the hospital for the poor (where the Baron gets his spare parts from), as she informs Dr. Kleve that she’ll be working at the hospital doing charitable work for the patients. Her father, who’s the minister of this town, would be trouble if “Dr. Stein” refused, so he allows her to stay. That night, the two doctors descend into the laboratory, to give Karl his new body. The surgery seems to be going well, but then suddenly, the body begins to twitch violently, and requires restraining. Karl’s brain now resides in the new body, and they take him to a secluded room at the hospital.

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Once there, the janitor (George Woodbridge- image below)) sees them transporting the body there, and he also eaves drops on them as they discuss Karl (Michael Gwynn) and his new body. Karl screams out in pain, and the janitor shudders in fear. The next day, as Dr. Kleve is watching Karl (who’s still strapped down), he tells him that Dr. Stein wants to show him off to other doctors around the world. Karl gets upset because “people have stared at him his whole life”. Dr. Kleve tells him not to worry, and leaves for the day. The janitor wants to impress Margaret (image below), so he tells her of the “special patient” in the room upstairs. She visits him, and he asks her to loosen his traps, because they’re hurting him. She thinks nothing of it, and loosens them. Karl then uses this chance to escape the hospital. He doesn’t want to be ogled by anyone and wants to live his own life.

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Later that night, the Baron and Dr. Kleve head over to the hospital to check on Karl, and find that he’s gone. Karl heads over to the laboratory, and attempts to dispose of his old body. He makes some noise, and the janitor that’s cleaning up hears him, and investigates. He attacks Karl, hitting him with a chair, then punching him several times. This causes brain damage to Karl’s recently operated on brain, and causes him to begin to revert back into his old self. He violently kills the man, then runs away crying. Dr. Kleve tells Dr. Stein that he told Karl about the big plans for him, and they realize that he couldn’t handle the news, and ran off. They immediately head over to the lab and discover the dead janitor, and also that he burned his old body in the furnace.

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The next day, Margaret is finishing up some horseback riding, and heads into the stables to check on the other horses. She discovers a traumatized Karl (image below), hiding in her stables. Margaret tells him that he can’t stay there, but she’ll find a way to help Karl out without telling Dr. Stein (Karl tells her that he’s afraid of him). She returns to the hospital and tells Dr. Kleve about Karl. Meanwhile, Karl begins to relapse into his crippled state, and runs off into the night. In a nearby park, a young woman and her boyfriend are talking, but she soon dulls of his words, and leaves for home. She barely makes it around the corner, and she’s attacked and killed by Karl. Dr. Stein and Dr. Kleve are on their way to Margaret’s home, when they are stopped by the police. They tell them that there’s been a murder, and they investigate, and realize it may have been Karl. They then go to a party at Margaret’s house and speak to her bout what happened with Karl. In the next moments, Karl bursts through the window, and shouts “Frankenstein, help me!”

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The following day, the medical council meets, and they decide that action must be taken to oust Dr. Stein. The hospital is empty as well, as word has gotten out about “Dr. Stein”, and his true lineage. Dr. Kleve is summoned by the medical council, and urges Dr. Stein to leave the country and they can start anew somewhere else. He refuses to leave and actually joins Dr. Kleve in the meeting with the medical council. Dr. Stein denies his real name, and the council goes to get proof. They dig up the grave, and find the priest’s body in the casket. As they are doing this, Dr. Stein is in the hospital for the poor, making his rounds. The janitor was apparently telling the patients of the rumors, and they savagely attack him.

I’ll stop here for now, and leave the ending a secret, but rest assured, the old Baron has a plan up his sleeve, and also Dr. Kleve to help him survive…or does he?

OK, here are my thoughts:

Although I like this film a lot for its interesting perspectives and plot, it doesn’t surpass the original. It lacks any real scare factor, unlike the first movie. Maybe this is due to Christopher Lee not being the “monster”, or maybe the lack of someone of strong principles opposing Baron Frankenstein. Either way, it’s still a good film, due to the roles played by Cushing and Matthews. Both are very good, and even the janitor, George Woodbridge, does a good job as a a secondary character.

The sets were quite good, as you’d expect from being filmed at Bray Studios. The music is average, but that can probably be attributed to the absence of James Bernard. The colors didn’t seem as vibrant in this second film either. If that’s just to the copy I have, or just fact, I’m not quite sure. Oscar Quitak (Karl, before the operation), was also very creepy in the movie, even though he was only around for the first third of the film. The brief appearance of Hammer faithful Michael Ripper definitely puts me at ease. His mere presence in any Hammer production automatically elevates it no matter what the quality is of the film. Definitely check this one out if you haven’t seen it before. It’s worth a watch and owning if you’re a Hammer fan.

 

 

 

 

 

 

 

 

Cinema Sunday: The Curse of Frankenstein (1957)

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Title: The Curse of Frankenstein

Distributor: Warner Bros. (Hammer Studios)

Writer: Jimmy Sangster

Director: Terence Fisher

Producer: Anthony Hinds (also Max Rosenberg)

Starring: Peter Cushing, Christopher Lee, Hazel Court, Robert Urquhart

Released: May 2nd, 1957

MPAA: X (originally in the U.K., but PG in the U.S.)

 

To say that this film was groundbreaking for its time, is an overwhelming understatement. What Hammer Studios did was take the foundation of horror that was laid by Universal Pictures back in the 1930’s, and build  a mansion of horror on top. It all began with this film, The Curse of Frankenstein, in 1957. The film broke down barriers that had been in place for a long time, and nothing would be the same after its release. Peter Cushing is an absolute superstar in this one, and it vaulted his career into the atmosphere. Let us now turn back the clock to 1957, and witness the birth of true horror.

The movie begins with a priest, as he rides along a windy path to a prison on a hill. Once there, he’s shown to a cell where a man is “raving”, but the priest enters alone anyway. Baron Frankenstein (Peter Cushing) is the man inside the cell, and he’s scheduled to be hanged in one hour. He tells the priest to sit down and listen to his story, so that he can pass it on to others over time. The priest tells him to start at the beginning, so Baron Frankenstein begins his story in his childhood days, when his mother died. He explains to the priest that he inherited the family fortune at the age of fifteen, and brought in a tutor, Paul Krempe (Robert Urquhart- pic below), to finish his schooling. The two grow to be quite close, and after two years, the young Baron has learned all Paul can teach him. The two are fascinated by the possibility of regenerating dead matter, and go ahead with their plans to conduct experiments that will lead to such a result.

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After months of gathering information and equipment, they finally attempt to revive a dead puppy. The laboratory is filled with all sorts of arcane looking devices, and before you know it, they activate the machines, and revive the animal from the other side. At this point they theorize on what to do next. Paul believes they should share their findings with the medical federation that meets in London every year. The Baron disagrees, and tells Paul that now is the time to open Pandora’s Box, and “find what lies beyond it.” Paul seems confused, and the Baron tells him that they must build a man, piece by piece, and animate it, creating life, in the vein of God creating mankind itself. Paul seems skeptical, but agrees to go forward.

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A neighboring town has just hanged a man for being a criminal, and hung his body at the town limits to warn others of the punishment waiting if they should try anything. Paul and the Baron cut the body down, and begin their experiment. First, the Baron tells Paul they must cut off the head, because the eyes and half of the head were eaten away by crows. Paul stands in shock and awe, as the Baron flippantly cuts off the head of the corpse. He then tosses it in a vat of acid, disposing of it once and for all. The Baron then informs Paul that he’s going away for a few days to get something (a new pair of hands for the creature). The next day, Paul is talking with Justine (Valerie Gaunt), the maid. A knock at the door interrupts them, and the door opens to show Elizabeth (Hazel Court- pic below), the baron’s cousin. She announces that she’s coming to live there, and to be married to the Baron as it was arranged by her mother. Paul then tells the Baron (in seclusion) that he’s decided to stop helping him with the experiment. The Baron tells him to leave him alone, and continue on without any help.

We next see the Baron and Justine, sharing a passionate kiss in a dark hallway. She tells him that she’s jealous of Elizabeth, and that she wants the Baron to marry her, as he promised. He kind of chuckles at her request, and then carries on with the make out session. The following day, the Baron leaves once again for more “materials”, and this time he brings back a new set of eyeballs for the creature. He then is seen examining them, close up. A knock on his laboratory door by Paul interrupts him, and then the two have a conversation about what the Baron is doing. The Baron then reveals the creature to Paul, but he rebuffs him again, and leaves.

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Another day or so passes, and we see that the Baron is hosting one of the most brilliant minds in Europe. This older gentleman is a scientist that is possibly more brilliant than the Baron himself. As they have conversation, Paul enters the room, and the Baron introduces the two. The Professor then tells them that he’s tired, and needs to retire for the evening. The Baron agrees to walk him to his room, and shows him a painting at the top of the balcony. We see the Baron get a strange look on his face, and then tell the Professor that if he backs up against the railing, he’ll get a better view. As he backs up, the Baron pushes him over the railing, shouting as if the Baron is having an accident. We get the impression that the Baron planned this all along. He then offers to let the body of the Professor rest in his families crypt, being that he had no family. After the burial, the Baron sneaks into the crypt, and removes the Professor’s brain. Paul shows up, and the two argue over the fact that the Baron basically murdered the Professor. The argument gets very heated, and then Paul grabs the bag containing the brain. A brief struggle ensues, and the brain gets smashed against the wall. The Baron get furious, and pushes Paul out of the way.

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Paul the warns Elizabeth that Victor is meddling with things he cannot control. She tells him that she wont be leaving, and he leaves her room, very disappointed. Next, we watch as Victor fixes the damage done to the brain by the struggle with Paul (or so he thinks). He then begins the process of reviving the creature. Initially, nothing seems to happen, but as he leaves the room, he then asks Paul to help him, and threatens to involve Elizabeth is he wont help him. Suddenly, he hears a loud crashing noise coming from the lab. He returns to see the creature (Christopher Lee), alive, and extremely volatile. It attacks the Baron, nearly killing him, if not for Paul intervening. The Baron is in ‘full arousal’ over this (even though he’s almost killed), and Paul is mystified at this reaction. Paul then begs Victor to dispose of the creature, but Victor tells Paul it’s his fault because he damaged the brain in the fight they had previously.

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The following day, the creature gets loose, goes into the forest, and kills an old man and his grandson. Victor asks Paul for his help in tracking it down, then, Paul brings a rifle, and shoots the creature, killing it once and for all…or so he thinks. He and Victor bury the monster, but Victor then digs it up and keeps it secretly in his dungeon. Justine then threatens the Baron if he doesn’t marry her as he promised. He tells her that she had better not or face the consequences. He also tells her that she’d better be gone by tomorrow, or else. That night, Justine creeps out of her room to gather proof of what’s going on in the laboratory, so she can either extort Victor or hurt him by telling the police. Victor realizes this, and lays a trap for her. As she creeps into the lab, and then the dungeon, Victor slyly locks the door behind her, and the creature kills her.

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Once again, Paul confronts Victor after learning the creature still lives. Victor and Paul argue and fight in the lab, then out in the street as well. The creature busts out of his chains, and attacks Elizabeth on the rooftop. Victor grabs a pistol, and in trying to shoot the creature, accidentally shoots Elizabeth. The creature then attacks him, but he throws a lantern at it, and it is engulfed in fire. It then stumbles towards the window, and falls into the pit of acid.

We then return to the prison, as Baron Frankenstein finishes his story, and the priest seems unconvinced. The guard then tells the Baron that Paul Krempe has come for a visit, and he shows him in.  Victor begs Paul to corroborate his story, but Paul acts as if he has no clue what the Baron is talking about. The priest walks out, and Victor then attacks Paul, but the guards drag him off. Paul leaves and tells Elizabeth that Victor has gone insane. The last thing we see, is Baron Frankenstein being led to the gallows.

 

My thoughts are as follows:

In the beginning I said this film was groundbreaking, and that’s no exaggeration. It showed copious amounts of red blood, and now for the first time in color, it seemed even more revolting. Hammer is known for its “RED” blood, no doubt about that. The scenes of other grotesqueness include the Baron holding an eyeball right in front of the audience, the reveal of the creatures horrific face, when the Baron cut off the head, and disposed of it in the acid, and so on. This movie pushed the envelope of what it meant to be a “horror” movie like no other of its time.

Peter Cushing was marvelous, of course, and Robert Urquhart added a fantastic element of struggle against the Baron. Both men played off of each other very well, and showed how just two characters can carry an entire film literally by themselves. Yes, you did get Lee as the creature, and Hazel Court was beautiful, and well spoken, but those two men were the shining light of this movie, make no mistake.

In typical Hammer fashion, we had sets that were awe-inspiring, and the locations were numerous but none more famous than Bray Studios. Fisher, Hinds, and Sangster, gave us a masterpiece with this film, and should be lauded for their efforts. Also in keeping with Hammer traditions, the music score by James Bernard will send chills up your spine and have you on the edge of your seat with his thunderous climaxes. If you’ve never seen this film, shame on you, and rectify this blemish on your record immediately. If you have watched this film but do not own it, buy this film in a set like I did (TCM Classic Horror), it includes four Hammer classics that every horror fan needs to own!

 

 

 

 

 

 

Cinema Sunday: Dracula: Prince of Darkness (1966)

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Title: Dracula: Prince of Darkness

Distributor: British International Pictures (Hammer Studios)

Writer: Anthony Hinds (Jimmy Sangster -screenplay)

Director: Terence Fisher

Producer: Anthony Nelson Keys

Starring: Christopher Lee, Barbara Shelley, Andrew Keir, Thorley Walters

Released: January 6th, 1966

MPAA: UR

 

I’ve decided after last week’s review, to continue with Hammer’s Dracula franchise, and give Dracula: Prince of Darkness a look! Now, this film is actually a continuation from the first film (Horror of Dracula in the U.S.), and keeps the ball rolling with the greatest Count Dracula- Christopher Lee! He reprises his role as the venomous vampire, and really cranked up the crazy in this film! It’s definitely one of my favorites in the sub-genre of vampire films! Well, without further delay, here we go!

The film begins showing stock footage of Van Helsing (Peter Cushing) killing off Dracula from the first film (to get you back on track after The Brides of Dracula). Next, a funeral procession is moving through the forest, and seems to be ready to do something terrible to a girl that has just died. As they are about to put a stake through her heart, a monk, Father Sandor, (Andrew Keir) is passing by, and whips out a hunting rifle, and puts a shot near them, stopping them from staking the corpse. He tells them that they’re fools, and they explain that they cannot take any chances with suspicious deaths. He again calls them idiots, and orders them to bury her in the church yard.

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In the following scene, the local tavern is bustling with patrons, and four of them specifically are spotlighted. These four travelers are having a good time, all except Helen (Barbara Shelley). She thinks that her brother in-law, Charles Kent (Francis Matthews), is being foolish with his money by buying drinks for everyone at the bar. They disagree about the subject, but as they are about to leave, the door swings open, and Father Sandor (image below of Andrew Keir & Francis Matthews) steps inside. He greets the travelers, but scoffs at the locals for having garlic to “keep out the boogeyman”. The locals seem like they couldn’t care less, and keep pounding down the ale. Father Sandor asks them to come visit the monastery when they travel his way, but warns them about their next destination. He tells them that evil abounds there and that they should avoid it altogether.

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The next morning, the foursome is taking a carriage ride to their next stop, in Carlsbad. Once it nears sunset though, the driver stops, and orders them to get off of the carriage. They do, but can;t understand why he has asks this of them. He drives off after telling them he’ll be back in the morning. As they quibble about what to do, another carriage, all black, pulls up to them. It has no driver, and this scares Helen, but Diana (Susan Farmer), Alan (Charles Tingwell), and Charles all agree they should use the carriage to get to Carlsbad. Once in the carriage though, it takes off and wont follow the instructions of the driver. It arrives moments later at a less than auspicious castle in the hills.

Once they decide to go inside, which is against the warning s of Helen, they are not greeted by anyone, and can find not a single soul at home. The dinner table is set for a meal though, and all the candles are burning. The men go upstairs to search for someone, and as they do the ladies are shocked to see the shadow of an odd man coming towards them. They shriek in terror, but when the men come back downstairs, they all realize that it’s just a servant. The man identifies himself as “Klove” (Philip Latham), and tells them that his master always has a table and rooms waiting should any passersby need help. Helen is irked by Klove and the house, but the others think she’s being a wuss. Klove tells them about his former master, Count Dracula, and how great of a guy he was back in the day. After a nice meal, they retire upstairs for the night.

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As the two couples are bedding down for the night, Helen still has an uneasy feeling about the situation. Everyone goes to sleep, and Helen cries out, thinking someone has called her. Alan tells her she’s been dreaming, but then he hears something in the hallway. As he peeks out, he sees Klove, dragging a trunk through the hall to a room. As he leaves to investigate, he follows Klove into a lower level. As he sees a coffin placed in the middle of a room, Klove pops out from behind him, and stabs him to death. Klove then hoists the corpse over the coffin, which we can now see is full of ashes, and slits Alan’s throat, spilling the blood all over the ashes. As the ashes turn to smoke, then to an eerie fog, we get a feeling of dread. As the fog clears, we see Count Dracula, reborn! Before he can even get his bearings, Helen, who has gone looking for her husband, reaches the lower chamber. Before she knows what’s going on, she’s hypnotized by the gaze of the Count! He then moves in for the kill.

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After this wild night, Diana and Charles are befuddled by their missing family members. Charles searches for them diligently, but cannot find any trace of them. Charles takes Diana to a nearby woodcutter’s shack, and returns to the castle to look for them again, and more in-depth. A while after he’s left, Klove pulls in with the carriage and tells Diana that Charles asked for him to come and get her. Meanwhile, Charles has discovered his brother Alan’s dead body. Klove then returns to the house with Diana, and Helen, who’s now a vampire, attempts to bite Diana, but is interrupted by Dracula! He hisses at Helen and grabs Diana, but Charles shows up, and fights them. Diana then uses the cross to send them packing for now.

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Charles and Diana then make for the monastery where Father Sandor lives, and tell him the horrible story. He agrees to help them fight Dracula and his minions, but first they must fight off an attack on the monastery itself! Can they defeat the Prince of Darkness? Or will they become part of his undead army?!?

OK, here are my thoughts:

If you love vampire/Dracula films from back in the day, you’ll love this flick. Lee gives a chilling performance in this one, and his lack of dialogue doesn’t hinder the creepiness of his character. After the second film not having Lee in it, this was a great return for him, as the previous vampire (David Peel) was also pretty good. Barbara Shelley was also quite good in this film, adding the “nagging wife”, but also giving the movie some of that eeriness by being so frightened. Her performance was very  believable.

Another fine role was that of Klove. He was supremely weird and creepy, giving us all something to shudder about! I think the best acting role was by Andrew Keir (Father Sandor). He was hilarious when the need was there, but also very serious and tough as nails as well! A scene where he had to clear up a vampire bite on Diana’s wrist. He holds a scolding hot lamp on it, and then stakes a vampire through the heart later in the movie!

Overall, I’d give this one high marks for the roles, and for the music score too. James Bernard is probably the best Hammer composer of all time, and rightly so should he be labeled. Always thunderous, and oft his music sets an ominous tone for the entirety of the films he composes! Kudos to the regular gang of people as well that also were involved -Jimmy Sangster, Anthony Hinds, Anthony Nelson Keys, Terence Fisher, etc. Get out there and grab this flick, it doesn’t disappoint!

 

 

 

 

 

 

Cinema Sunday: The Brides of Dracula (1960)

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Title: The Brides of Dracula

Distributor: Universal Pictures (Hammer Studios)

Writers: Peter Bryan, Edward Percy, Jimmy Sangster, Anthony Hinds

Director: Terence Fisher

Producer: Anthony Hinds

Starring: Peter Cushing, Martita Hunt, David Peel, Yvonne Monlaur, Michael Ripper

Released: July 7th, 1960

MPAA: Unrated

In this second installment of the Dracula/vampire franchise, Hammer threw a bit of a curve-ball at its audience. You see, “Dracula”, doesn’t appear in this film at all, and the absence of Christopher Lee was something that would be disconcerting normally, but this film rises above that fear. David Peel makes a fantastic vampire, that’s both creepy and demonstrative. He, along with horror stalwart, Peter Cushing, put on a performance that ranks right up there with any Hammer film, or horror film for that matter. Lets get to the story!

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The film opens with a narrator exclaiming that Dracula is dead, but that Transylvania is still full of magical and mystical entities. We next see a beautiful woman, Marianne (Yvonne Monlaur), as she’s making her way via coach to the Lange School for girls, to take a position as a teacher. The coach stops st the Running Boar Inn for some food and rest for the horses. The owners greet Marianne, but are wary that she’s traveling alone. The coach then inexplicably leaves without her, and she’s stranded. Suddenly, as the owners are panicking to find a way to get her out-of-town tonight, there’s a knock at the door. An old woman enters, and the owners are very frightened. The old woman (Martita Hunt), invites Marianne to come and dine with her, and after some coaxing, Marianne agrees to be her guest for the night, and head to her new job in the morning.

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Once they arrive at the Baroness Meinster’s castle, Marianne is readying herself for dinner, and she notices a young man in one of the other rooms. She questions the housekeeper, Greta (Freda Jackson), about him, and she blows her off about the subject. During supper, Marianne asks the Baroness about the man, and she tells her that he’s her son, but that he’s insane, and so he’s locked up. After the meal, Marianne once again retreats to the balcony, and she sees that same young man, and it seems as though he might jump off the balcony to kill himself. She shouts to him, and then runs to his room. He greets her, and asks her to come closer, and then she notices the reason he cannot come to her, is because he’s chained to the room. He convinces her that he is the Baron Meinster (David Peel), and the rightful heir to the castle and fortune, but his mother is evil, and keeps him locked up to keep the money to herself. He also convinces her to sneak into his mother’s room, and steal the key to open his bonds. She does it and then the Baroness confronts her, but the Baron Meinster is now loose, and he commands his mother to follow him into another room, while Marianne packs her things.

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As Marianne is getting ready, she hears Greta raving in another room. She asks her why she’s going crazy, and she tells him that the Baron isn’t mad, but that he’s dangerous, and basically a killer. Greta then shows Marianne the corpse of the Baroness, and this freaks her out, and she runs off into the forest. A carriage comes by the young woman, as she lays unconscious in the forest. This is when we see Doctor Van Helsing (Peter Cushing),  and his coachman. They revive her from her sleep, and take her back to the Inn in town. Meanwhile, there’s a funeral going on in the parlor, and Van Helsing goes in to investigate. He notices two bite marks on the girl’s neck, and he realizes that it was the work of a vampire.

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Next, Van Helsing takes Marianne to her new job, across the way in the next village. They enter, and meet Herr Lang (Henry Oscar), and his wife (Mona Washbourne). He’s quite upset by her lateness, but Van Helsing calms him down. The good doctor next meets the man who called him to the area, Father Stepnik. The two discuss a plan to wipe out this plague, and make ready for this  evenings festivities. As the sun sets, the recently killed girl rises from her grave, and we see that Greta is the daytime servant to her and Baron Meinster. As the new vampire is rising from the grave, Father Stepnik and Van Helsing try to stop the two of them. They didn’t count on a giant bat (Baron Meinster) swooping in and attacking them though! Van Helsing scares it off with a cross, and then he heads to the Meinster castle. Once inside, he meets the now undead Baroness, but before he can do anything, he’s accosted by the Baron Meinster himself! A quick tussle, and the Baron gets away, but then Van Helsing puts the Baroness in her final resting place.

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Van Helsing must somehow find where the Baron is hiding, and try to protect the townspeople too! Can he do it? C’mon,  it’s Peter Cushing we’re talking about here! In the end, it will come down to an all out brawl between Van Helsing, Baron Meinster, his two brides, and Greta!

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OK, here are my thoughts:

Listen, even though this flick doesn’t have Lee in it, it is still top-notch. David Peel makes a great vampire, and Cushing is his usual awesome self! Cushing really shows how much of a bad mamma jamma he is in this film. Jumping around like a grasshopper, fighting Peel, and his brides! Another great performance from Cushing and he and Peel definitely play off of each other quite well.

The older couple that own the school are hilarious, and add a lot of energy to the film. The moment when Baron Meinster meets the two of them is classic, and you couldn’t ask for a more comical scene. A quick scene with Michael Ripper adds his coolness to the film, and the other doctor, portrayed by Miles Malleson, another Hammer regular, is the icing on top of the cake!

A fantastic musical score, great cinematography, and the usual incredible production and directing crew, round out this very watchable film that somehow gets lost in the pile for non-Hammer fans. Believe me when I say, that this movie can hold its own against any other of its generation and genre.