The Revenge of Frankenstein (1958)
In the year 1860, Baron Victor Frankenstein (Peter Cushing) faces execution by guillotine for the murders perpetrated by the creature he created. With the assistance of a hunchback named Karl (Oscar Quitak) he avoids death by beheading the priest who came to give him the last rites. The priest’s body is then mistakenly buried by the authorities. Three years later, Victor, now using the name Doctor Stein, has established himself as a prosperous physician in Karlsbrück, serving both affluent patients and the poor at a paupers’ hospital. Hans Kleve (Francis Matthews), a junior member of the medical council, recognises Victor and being an admirer, seeks to become his apprentice. Victor and Hans then undertake an experiment to transplant Karl’s living brain into a new, more refined body, rather than a grotesque monstrosity the Baron has previously made. Karl is eager to have a new healthy body, especially after encountering Margaret Conrad (Eunice Gayson), the charming new assistant at the hospital.
The Lost Continent (1968)
In 1968 the dilapidated freighter Corita hastily leaves Freetown to avoid a customs inspection. Captain Lansen (Eric Porter) has a cargo of dangerous explosives which he is smuggling so he can finally retire. His ship’s passengers also have reasons for leaving in a hurry. Dr. Webster (Nigel Stock), together with his daughter Unity (Suzanna leigh), is relocating due to his indiscretions with patients and illegal operations. Alcoholic pianist Harry Tyler (Tony Beckley) is aimlessly drifting from port to port. Eva Peters (Hildegard Knef) is fleeing from her husband with stolen bearer bonds which she intend to use to buy back her son from his evil clutches Caracas. Ricaldi (Ben Carruthers), a questionable lawyer, is pursuing Eva to retrieve the stolen bonds. First officer Hemmings (Neil McCallum) suggests that the ship should return to Freetown after an imminent Hurricane warning. The Captain asks the passengers and they are unanimous that they do not wish to return. However a mutinous crew, the bad weather and the instability of the explosives force everyone to abandon ship. The survivors find themselves adrift in a lifeboat surrounded by a strange carnivorous seaweed.
The Abominable Snowman (1957)
Despite being considered by many as an original story, The Abominable Snowman (1957) is in fact a remake of a made for television play, The Creature, that was originally broadcast in the UK in 1955. Hammer Films would often purchase the rights of popular TV programs and subsequently re-work them for mainstream, international cinema. Larger production budgets and fewer censorship restrictions allowed them to make their cinematic interpretations more lurid, thus commercially viable. Hence The Quatermass Xperiment, Quatermass II and Quatermass and the Pit were all given a big screen makeover and were commercially successful. The Abominable Snowman was written by acclaimed writer Nigel Kneale, who also wrote the original television drama and the aforementioned Quatermass trilogy. Although ostensibly marketed as a horror film this production is actually an interesting blend of psychological thriller and science fiction.
Wake Wood (2009)
Sometimes when making a film, less can indeed be more. Practical things like keeping the scope of your story simple, working within your budget and not feeling obliged to justify or explain every aspect of the plot can prove invaluable. If you can do all of these things with a robust cast, intelligent direction, while maintaining your viewers attention, then you have achieved something that many studios and independent filmmakers usually cannot do. Director David Keating has managed to do this with the 2009 horror film Wake Wood. Along with Brendan McCarthy who he co-wrote the screenplay with him, Wake Wood efficiently and charismatically tells its tale. It is well paced, with relatable characters and good performances. The atmosphere builds and there are some jolting moments of horror. Furthermore, it is both unusual and rewarding to see pagan rituals portrayed as an extension of rural life, in the same way as farming and animal husbandry. It is neither malevolent or benign but just an ever present force.
The Man Who Could Cheat Death (1959)
The stories of Hammer films “horsetrading” with the British Board of Film Censorship (as the BBFC were called at the time) make for some interesting reading. If you're interested in the history of the studio I thoroughly recommend the book A New Heritage of Horror: The English Gothic Cinema by David Pirie. However, the BBFC felt that they’d been hoodwinked after the release of The Curse of Frankenstein in 1957, which had managed to smuggle additional unpleasantries into the final theatrical edit. Henceforth the board took a more formidable stance when dealing with Hammer and all subsequent releases. Hence The Man Who Could Cheat Death feels somewhat tame compared to earlier Hammer films. Although cuts were made to the final edit of the movie, one gets the impression that maybe the more salacious and graphic content was possibly reduced when writing the screenplay. However, with that all said, The Man Who Could Cheat Death is still a handsome, performance driven Hammer horror.
The Reptile (1966)
After his brother Charles dies in mysterious circumstances, Harry Spaulding (Ray Barrett) inherits his cottage in the Clagmoor Heath, Cornwall. He quickly moves in with his new bride, Valerie (Jenifer Daniel), with a view to finding out what happened. However, he is shunned by the locals apart from the village publican, Tom Bailey (Michael Ripper), who befriends him. The only other resident in the vicinity of the cottage is Dr. Franklyn (Noel Willman), the owner of the nearby Well House. He lives with his daughter Anna (Jacqueline Pearce), who is attended by a silent Malay servant (Marne Maitland). Anna is a strange girl who seems to be harbouring a secret. Her father treats her contemptuously and does his utmost to keep her confined to Well House. When the local village eccentric, Mad Peter (John Laurie), dies in a similar fashion to Charles Spaulding, both Harry and Tom decide to take matters into their own hands and to investigate further.
The Satanic Rites of Dracula (1973)
The horror movie genre was changing rapidly in the late sixties and seventies, with films such as the Night of the Living Dead and Rosemary’s Baby moving away from traditional gothic settings and proving to be box office successes. After the success of Count Yorga, Vampire, a movie set in 1970s Los Angeles, Warner Bros commissioned Hammer Films to make two contemporary set Dracula films. The first of these was Dracula A.D. 1972. The film was loosely inspired by the Highgate Vampire case and proved to be moderately successful at the box office. The second being The Satanic Rites of Dracula; a curious hybrid vampire movie that mixes elements of the espionage genre along with traditional Hammer horror content. Sadly, this final outing for both Peter Cushing and Christopher Lee as Van Helsing and Dracula, was not well received by the public and has subsequently been written off in the annals of Hammer Films. Yet despite it’s flaws it does have a few points of interest to the more rigorous horror fan. The recent Blu-ray release via the Warner Archive Collection presented such an opportunity for reappraisal.
The Woman in Black (2012)
James Watkins’ 2012 adaptation of The Woman in Black is quite a radical adaptation of Susan Hill’s story, yet it still manages to remain true to its central themes. Jane Goldman of Kick-Ass, X-Men: First Class fame, has crafted a screenplay which is both innovative yet strangely traditional. She boldly revises the central character from contented husband to desolate widower; a move that adds a very bleak under current to the story. The more ghoulish elements of the narrative have been greatly enhanced and the film works the best when the eponymous character makes an appearance via jump scares. Despite a modest budget of $15 million, The Woman in Black went to make over $127,730,736 worldwide making it the most financially successful British horror film in 20 years.
The Terror of the Tongs (1961)
In 1910, Hong Kong is in the grips of the powerful Red Dragon tong, a secret society that extorts revenue from merchant seamen, deals in both opium and slave trades and savagely slaughters all those who offer opposition. A merchant sailor, Captain Jackson (Geoffrey Toone), swears revenge on the nefarious clan after they brutally murder his first officer and daughter. Hammer's The Terror of the Tongs strives to offer a lurid period drama but falls somewhat short of the mark due to a clumsy script, an indifferent hero and a conspicuous lack of authentic Asian actors. Apart from Burt Kwouk, most of the cast are Europeans sporting rather poor prosthetics. Christopher Lee manages to bluff his way through his role as Tong leader Chung King, through the force of his acting skills. French actress Yvonne Monlaur (Brides of Dracula) is not as successful as a mixed raced serving girl.
Dracula (1958)
Following the 2012 restored release of The Curse of Frankenstein, Hammer, Icon Film Distribution and Lionsgate jointly produced a Blu-ray restoration of another British classic. This time it was the 1958 version of Dracula directed by Terence Fisher. This is one of Hammer's finest films and not only gets a superb High Definition transfer but also sees the restoration of two lost scenes. Dracula literally re-invented the horror genre and the depiction of vampires in film. It also established the studio as a key player within the industry and made international stars of Peter Cushing and Christopher Lee. This new restoration finally does justice to the source material presenting it as it deserves to be seen.
The Curse of Frankenstein (1957)
The 2012 Blu-ray release of Hammer Studio's The Curse of Frankenstein is a visual delight. The use of Eastman colour and the outstanding cinematography by Jack Asher are sumptuous and the new restoration does the film justice. This unique British horror movie introduced a new visceral style and brooding quality to the genre back in 1957. Despite a modest budget the creative production design evokes a truly Gothic horror atmosphere. The studio also introduced graphic violence along with a strong undercurrent of sexuality. These lurid aspects of the film proved particularly successful with the post war audience and became an integral part of the marketing campaign.