The Gorgon (1964) Review

Director Terence Fisher redeemed himself after the fiasco of The Phantom of the Opera with this gothic romance featuring a predatory woman with looks that kill. Featuring Hammer Films lurid use of Technicolor, it chooses to bring chills rather than scares compared to prior releases by the studio. Tragic love, severe calcification, and an ensemble cast combine to deliver the goods in this mostly forgotten movie.

Having bombed spectacularly with a remake of The Phantom of the Opera two years before, Terence Fisher was on the outs with Hammer Films. Fortunately for him and for horror fans, he was given another chance with a new property to direct. Stepping away from remaking old classic monster movies, Hammer took a risk by reviving a monster from Greek myth as the star villain. While the results looked silly even by the standards of the time, the rest of the movie almost made up for it.

Like many a Hammer intro, a matte painting of a castle on a hill opens the movie while serving as a backdrop for the title credits and a short crawl defining the setting. It is a strangely comforting indication that we’ll be getting one of their typical stories set in the 1800s filled with lavish sets, lovely women, and fiendish villainy.

Well, once the scroll finishes the story goes straight for the middle part, at least.

The Phantom of the Opera (1962) Review

When Hammer Films was on a roll remaking classic horror stories the idea of revisiting a masked man lurking in an opera house was inevitable. What they never imagined was that the surefire hit would be anything but. This film bombed so spectacularly that it nearly ended the director’s career. Uneven and draggy, the new Phantom failed to terrify audiences despite some redeeming qualities to the production.

Imagine having Cary Grant playing one of the most famous movie villains of all time. Imagine that the movie would be made by Hammer Films, a studio having massive success releasing color remakes of black and white classic horror flicks. Imagine the box office receipts!

That’s the thinking that started The Phantom of the Opera remake into fast development. What was finally unveiled to the public not only lacked the superstar actor, but also the frights of Gaston Leroux’s novel. There is some confusion as to whether Grant may have been set to star as either the titular villain or the heroic lead, however it really doesn’t matter since he wouldn’t have been able to save this rather bloodless movie.

The Brides of Dracula (1960) Review

This sequel was the obligatory follow up to Hammer Films monster of a hit Horror of Dracula. Beset by production problems from the very beginning, what was put out certainly wasn’t what the public expected. Dripping more atmosphere than blood, the unusually warm and character driven story focused more on the heroic acts of Doctor Van Helsing than the villainy of the undead.

Most people remember Hammer for their vampire films, especially those starring Christopher Lee as Dracula. He isn’t in this one due to personal fears of being typecast (supremely ironic given what happened later), however this movie is one of the better entries in the genre even if the title is false advertising. Yeah, the character Dracula isn’t in it either.

The Curse of the Werewolf (1961) Review

Known for its revival of the old horror franchises it was odd that only one stab was made at the werewolf subgenre by Hammer Films. Starring a novice actor named Oliver Reed and loosely based on a lurid bestselling novel of the 1930’s, it was something of a gamble. Fortunately for audiences, what they got was a portrayal of the warring sides of the human psyche and what I view as the best werewolf movie ever made.

Director Terence Fisher (Horror of Dracula, The Curse of Frankenstein) was unquestionably Hammer’s go to guy when it came to directing reinventions of Universal’s old monster films. Adept at handling action, moody tension, and able to get serious performances out his actors, Fisher once again was called on when it was time to bring back the werewolf to the silver screen.

Adapted from a novel, Werewolf in Paris, the movie takes huge liberties with the source material and all for the better. The biggest change is in setting, which is moved to late 18th Century Spain. This is made very clear by the bold lettering that was considered so stylish at the time. After seeing how that screen capture turned out, I couldn’t resist using it. In fact, it’s the only reason for it to be in the review.

Time to get more serious and write about the story. But I still am amused by the screenshot.

The Mummy (1959) Review

The final Halloween movie review for 2012 limps online swathed in dirty bandages with Hammer Studios’ version of The Mummy. When an ancient Egyptian tomb is unearthed by English archeologists the consequences turn out to be very grave for the trespassers. Good writing, excellent acting, beautiful sets, and the full use of Technicolor are all present in this intelligent story of forbidden love lasting beyond death.

Having struck cinema gold with their new and full color takes on Dracula and Frankenstein, Hammer Studios decided to revamp another of Universal Pictures monsters. The same team that made the previous hits was kept together for a third outing. Seeing Terence Fisher directing with Peter Cushing and Christopher Lee headlining the cast, movie goers knew they would be in for a treat.

The year is 1895 and the location is a remote valley in Egypt. Of course it is actually a well appointed soundstage since Hammer didn’t have the kind of budget for filming on location. Still it manages to give a good impression of back breaking labor in the desert heat. There is only one reason to show this and that is to foreshadow something valuable being found. In this case, a blue scarab seal elicits a great deal of excitement from an Englishman who promptly runs it into a tent to show it off.

In Defense of Fantasy and Sci-Fi B-Movies

In which I opine on the merits of B-movies of yesteryear, their decline, and how they haven’t really gone extinct.

Being a child of the 1970s, I was fortunate to grow up during a transitional period in cinema and before VCRs (along with cable television) changed how we see movies. The only places to see movies were at the theater and on broadcast, so a lot of very old movies were my main diet. Hey, movie tickets cost money even at the third run small town theater. Unlike other kids, it was rare to go out to see a badly faded and scratched print.

So I got to watch the badly faded and scratched prints cropped to television box format via the miracle of pan and scan. Most of the movies were much older than I was, so black and white flicks were watched nearly as much as color. Do not get me started on Ted Turner’s colorizing old films in the 1980s. The words “brain dead” would be the beginning of the rant which would veer into zombie killing at some point.

So what is a B-movie?

Horror of Dracula (1958) Review

It is Hammer time which means another horror movie review to celebrate Halloween. This time the most famous vampire of them all gets the British treatment in glorious Technicolor! Blood is sucked, victims are seduced, and a battle of wits between good and evil is enjoined.

After the monster success of The Curse of Frankenstein, Hammer Films decided they needed follow it up with another horror movie. The obvious choice was to remake Dracula using the same formula of action, serious acting, pretty ingénues, gothic sets, and shooting in color. Bringing back the same director and stars would guarantee success. But did it work out as hoped?

Read on to see why I consider Christopher Lee’s Dracula the best portrayal by any actor and Peter Cushing’s heroic Van Helsing the definitive version.

After a long opening credits sequence, the camera zooms in on a crypt placard with the infamous name of Dracula on it. Bright red paint is spattered on it for shock effect and that particular bit is more amusing than frightening. But to audiences back then, it probably worked, since it was a far less jaded time. For us older folks, this kind of in your face “scary” mood setter brings forth feelings of nostalgia. At least it did for me.

The Curse of Frankenstein (1957) Review

To celebrate Halloween season, Hammer Time begins with a review of the horror film that made the movie studio famous world wide. Plagued by last minute changes to the story and makeup, Hammer’s interpretation of Mary Shelley’s famous novel still chills and thrills over fifty years later. But do not think it a shallow experience, for there is a real story in there too.

In the late 1950’s, British film studio Hammer Films decided to revive the old Universal monsters for another go around. Known mostly for their Quatermass adaptations, the studio focused on remaking Frankenstein. But Universal got wind of the plan and that forced rewrites to the script to avoid a lawsuit. The planned makeup had to change too. Sounds a bit messy, doesn’t it?

Thankfully, a good director, a competent script, and standout acting by Peter Cushing and Christopher Lee combined to produce a true classic in the horror genre. Not to mention the movie was a killer at the box office, partially due to it being in color – a change made due to Universal’s threats.

That ability to use color is pressed into service right away with a nice matte composition featuring a lone rider on his horse. Right away the appropriate gothic mood is set and further expanded upon, for it is a dank and dreary prison that the rider has arrived at. The priest (Alex Gallier) has come to the prison at the behest of Baron Victor Frankenstein (Peter Cushing), a possibly insane inmate with a curious story to tell before he is executed.