Archive for the ‘Hammer Film Productions’ Tag

Twins of Evil (1971)   6 comments

Gustav Weil (Peter Cushing) is an avenging angel, burning folks at the stake for doing horrible things like living alone, being too pretty, and not attending church regularly. He’s looking for evil in all the wrong places though because living right next door is a super evil guy, Count Karnstein (Damien Thomas), who worships the devil and rents local girls for torture, sex, and blood-letting. The aristocracy protects the Count though so Gustav’s out of luck. Into Gustav’s already full life enters his twin nieces, Maria and Frieda Gellhorn (Mary and Madeleine Collinson), who come to live with Gustav and his wife Katy (Kathleen Byron) after the deaths of their parents. Since the girls are twins, one is good and the other bad. Natch. Maria, the sweet, pious girl does what she’s told and falls for her teacher, Anton (David Warbeck), while Frieda, the scamp, falls for horny Count Karnstein and his torture chamber of fun.

“We’re all out of dip.”

Count Karstein and his agent, Dietrich (Dennis Price) continue with their late-night debauchery until some loose blood makes its way to the gates of Hell or Vampire Town or somewhere and Countess Mircalla (Katya Wyeth) transubstantiates to chew on Karnstein’s neck. Now that he’s a vampire, none of the peasant girls he leases from their families have a snowball’s chance in, well, you know where. Since Frieda’s been hanging out at Karnstein’s grotto, she too goes vampiric, but since her guardian’s a religious zealot, she keeps it to herself. When more villagers turn up with small neck holes they weren’t born with, Gustav and his minions decide to switch from hunting random hotties to chasing down actual murderers.

“And I-I-I will always love youuuuu!”

Twins of Evil is a fun entry in the vampire exploitation genre Hammer perfected. The village and castle look appropriately provincial and the story, written by Tudor Gates and J. Sheridan Le Fanu, is more fun than similar films. Peter Cushing does sanctimonious well and you can see he really believes he’s doing the right thing. Later, when he realizes the true impact of his actions, he makes a huge sacrifice to redeem himself, save the good twin, and release his town from the clutches of Satan. John Hough, who also helmed The Legend of Hell House and Dirty Mary Crazy Larry directs, highlighting simply the difference between the daylight world of goodness and the dark, malicious world of the Devil. The film moves at a good clip and the Collinson twins can act and are lovely to look at. Since this is a Hammer film, the women are between 19 and 25, buxom, and not averse to a little gratuitous nudity. It’s like the producers invaded the Castle Anthrax to cast their picture.

“A spanking?”

I’m a big Hammer fan, but I’ve seen more of their thrillers than straight Gothic horrors. Watching this crisp, high-definition transfer makes me want to see more.

“Oh, hi.”


Maniac (1963)   Leave a comment

maniac poster

American artist Jeff Farrell (Kerwin Matthews) stumbles into an isolated village in the Camargue region of southern France and meets Annette Beynat (Liliane Brousse).  There’s obvious chemistry between them, but Annette gets blocked by her stepmother, the sexy Eve Beynat (Nadia Gray).  Eve’s still married to Annette’s dad, but he’s out of town so Eve makes a play for Jeff.  She’s very subtle.  After Eve and Jeff go horseback riding, she takes off her blouse and asks him to towel her off.

“Jeff? Are we still on for tonigh…oh.”

It works.  Soon, they’re making the beast with two backs all over the place and Annette’s left out in the cold.  There’s just one little problem.  Eve still has that pesky husband.  I said he was out of town, right?  Well, he is.  He’s in an asylum for the criminally insane for using an acetylene torch to kill the guy who raped Annette years earlier.

“Just a little off the eyes.”

And you thought ONE LIFE TO LIVE was complicated.  Eve says her husband has all his marbles.  He just went a bit overboard (a bit) and if Jeff helps him escape from the sanitarium, he’ll leave the country and start a new life leaving Eve and Jeff to do the horizontal mambo as much as they want.  Sounds logical, right?  Jeff, blinded by lust, says he’d love to help a torch-wielding maniac (TITLE-DRINK!) out of the booby hatch and can we do that toweling-off thing again, honey?  Anyway, cool asylum-escaping ensues, but things go a little twisty.  Will Jeff do crimey stuff?  Will Eve’s husband find his matches?  Will Annette get a little action?  Will Eve take Jeff horseback riding again?  Please?

torch check
“An adjustment et voilà! Ready for your close-up!”

Writer Jimmy Sangster loved LES DIABOLIQUES.  He set MANIAC and SCREAM OF FEAR in France and added a bunch of plot twists in both.  He also cast women in lead roles and made them strong and smart.  Eve’s a real multi-tasker too.  She runs a tavern while hatching an escape plot and seducing a young stranger.  Way to go, Eve!  Sangster writes realistic dialogue and the plot hums along nicely.  Director Michael Carreras and cinematographer Wilkie Cooper keep the mood tense and the atmosphere noirish.  There are some terrific night shots around the inn and later, they film a nifty climax in a cavernous quarry.

final battle
“This is the biggest version of Don’t Break the Ice I’ve ever seen.”

This film is a hoot.  Despite the over-the-top elements of the story, it’s all very natural.  It’s naturally gruesome, but MANIAC was made by Hammer so they have to have a soupcon of gore.  It’s in the contract.   I had fun watching this one.  The cast, screenplay, location, and complexity combine to make it a fun watch and Sinbad, uh, Kerwin is a cutie.

“Anybody else see a Cyclops?”


Cash on Demand (1961)   Leave a comment


Harry Fordyce (Peter Cushing!) manages a London bank. His micro-managing and general fastidiousness put him at odds with his staff who he belittles every chance he gets.


When Colonel Gore Hepburn (Andre Morrell) from the bank’s insurance company arrives to inspect its security protocols, Fordyce sets out to impress him with his efficiency.  The thing is, the colonel is not from the insurance company and he has a cunning plan.

Yes, THAT cunning!

Without giving the game away, I can say that CASH ON DEMAND’s director, Quentin Lawrence, knows how to build tension.  What starts out as a slice-of-life drama about a tight-lipped bank manager abusing his staff switches quickly to a race against time to save a family.  In the morning, Fordyce runs roughshod over his subordinates.  In the afternoon, he scurries to save his family, his job, and his freedom.  Writers David T. Chantler and Lewis Greifer adapted Jacques Gillies’ play for the big screen.  That this film started as a play makes sense.  It takes place in three sets, but could easily be done in two or even one.  The excitement comes, not from action, but from acting and a terrific script.

“Where’s my stake?”

Cushing is brilliant as the mercurial Fordyce who finally feels what it’s like to be under the thumb of a person who has the power of life and death over him.  His transition from haughty to harried develops by degrees and we see his metamorphosis in the few hours the film documents.  Morrell’s Gore Hepburn is fabulous.  He’s sublimely at home ordering Fordyce around and making points with the staff while his devious plan moves along swimmingly.  What a wonderful pair to watch.  Richard Vernon made an impression too.  He plays Pearson, Fordyce’s number two who, because of a small error which was fixed quickly, might lose this position and any hope of finding another.  The entire cast does a wonderful job.

“Did you steal that thumbtack?”

CASH ON DEMAND is another great Hammer non-horror.  I know Hammer is better known for vampires and busty maidens, but as I watch these smaller, less lavish thrillers, I wonder why they didn’t make more.  They’re wonderful.  I’m going to be sorry when I’ve seen them all.



Never Take Sweets From a Stranger (1960)   Leave a comment


Wow.  Where do I begin?

Peter and Sally Carter (Patrick Allen, Gwen Watford) return home from a reception given to welcome Peter as the new high school principal.  Their nine-year-old daughter, Jean tells them that earlier that day, she and her friend Lucille were at a neighbor’s home where they took off their clothes and danced naked for an old man in exchange for candy.  Let that sink in a minute.


The innocent child thinks it was a game and isn’t terribly upset.  No one hurt or touched her.  Jean’s parents, of course, are livid and report the incident to the police.  The local sheriff tries to dismiss the charge as the ramblings of an imaginative child, but the Carters know their daughter and stick to their guns.

Sally files a complaint with the local police.

The culprit, Clarence Olderberry, Sr. is the long-retired patriarch of the wealthiest family in town.  No one wants to ruffle their feathers since most of the folks in this small, Canadian town work in the Olderberry’s mill.  Olderberry, Jr. (Bill Nagy) tries to sweet talk the Carters at first.  When they make it clear that they still plan to press charges, he lets them know that his attorney will rip their little girl apart on the witness stand.  This is going to be ugly.  Despite that threat and the reaction of most of the people in town, the Carters insist on a trial.  All the while, Peter hears murmurs that Olderberry has done this before only to have it hushed up.

Olderberry, Jr. threatens Peter.

I don’t want to ruin the film for you by telling you too much about the trial and aftermath.  I will say it’s riveting and realistic.  This is no sanitized Hollywood trial with a neat ending and it doesn’t end there.

Jean takes the stand.

Horrifyingly true-to-life and scarier than any Hammer Gothic horror, NEVER TAKE SWEETS FROM A STRANGER whacks you in the head with its frankness.  Writers John Hunter and Roger Garis keep it spare and sharp and director Cyril Frankel doesn’t waste a shot.  Unfortunately, the idea of a well-connected pedophile living next door comes off as a more genuine threat than a vampire in the village.  The acting, direction, and taut dialogue flow so naturally, it seems like someone recorded people talking and included it in the script.  Even the kids can act.


I enjoyed this film in spite of its subject.  It’s real and well-made and I couldn’t look away.

NEVER TAKE SWEETS FROM A STRANGER might be a rough watch for a lot of people and understandably so.  My heart was in my throat half the time.  In the other half, I was yelling at characters on the screen urging them to hurry or shut up.  It has that kind of visceral impact.  When the film ended, I had to sit down and catch my breath.  Hammer makes a hell of a thriller.

Seriously, he’ll make you shudder.


These Are the Damned (1963)   2 comments


Simon Wells (Macdonald Carey) meets lovely Joan (Shirley Anne Field) on the street in a British seaside town and the two walk together toward a pub.  As soon as they leave the main drag, Simon gets jumped by a bunch of Teddy Boys led by Joan’s brother, King (Oliver Reed).  They beat him savagely and steal his wallet.  It’s clear Joan has acted as bait before, but she’s disturbed by King’s level of violence this time.

“Look what you’ve done to his hat!!!”

What are Teddy Boys?  Teddy Boys are British teens who dressed in a modernized 1950s/60s version of the Edwardian style.  Some formed gangs and committed petty crimes and were a nuisance generally.

“That outfit is hideous. You had to be stopped.”

Anyway, Joan sees the error of her ways and joins Simon on his boat.  Simon has a boat.  The two moor at a remote cabin atop a craggy mountain of rock.  The house happens to be the summer home of bohemian artist Freya Neilson (Viveca Lindfors) who happens to be the longtime lover of Bernard (Alexander Knox).

Freya being all arty and junk.

Bernard?  Bernard runs a top secret military base next door to his girlfriend’s place.  Yup.  There’s a lot of Freya wondering aloud about the purpose of the outpost surrounded by barbed wire and guard dogs, but Bernard isn’t talking.  We get a vaguely sinister vibe from Bernard and his cohorts Captain Gregory (James Villiers) and Major Holland (Walter Gotell), but no real clue as to their mission until Bernard skypes with some kids in a classroom.

“I hope you brought your number 2 pencils.”

After we meet the children, we’re left to divine who they are.  Is Bernard training them to be spies?  Are the kids aliens?  Read: THESE ARE THE VILLAGE OF THE DAMNED.  We’re not sure about them until Simon and Joan (remember them?) run into the kids’ hideout while escaping King and his cosh boy pals.  Then the whole part science fiction/part Cold War nightmare/part love story plot makes sense.  Well, sort of.

children cave 2
“A Pakuni kid called Cha-Ka and Sleestaks? What kind of cave is this?”

Director, Joseph Losey doesn’t get too arty, but manages a few suspenseful scenes in THESE ARE THE DAMNED.  Based on the novel, THE CHILDREN OF LIGHT by H.L. Lawrence, the film meanders a bit and is hampered by underdeveloped characters and a less than exciting script.  To be fair, screenwriter Evan Jones had to cram a lot into 87 minutes.  More creative editing might have helped.  There are a few scenes in the first half of the film which, if cut, would have given the plot and characters more time to gel in the second half.  If they had spread the ‘getting to know you’ part all through the film instead of the stock first half, biography, second half, action, the movie might hold more interest.

“I thought you said there’d be water.”

Alexander Knox does a decent job playing the benevolent captor and Macdonald Carey and Sally Anne Field grow into a nice chemistry as the story progresses.

“Our love transcends the 20 minutes we’ve known each other.”

Oliver Reed is suitably brutal as the disturbed gang leader.

“When you’re a Jet…”

I liked watching this film because I wasn’t sure what would happen and the dark ending surprised me.  Hammer Studios made a number of non-Gothic horrors which I generally love.  This one tries to do too much and falls short.  THESE ARE THE DAMNED is watchable though and it’s always fun to see another dystopian Cold War film.

One of these things is not like the others…


Stop Me Before I Kill (1960)   Leave a comment


British race car driver Alan Colby (Ronald Lewis) and his new bride, Denise (Diane Cilento) get into a nasty car wreck on their honeymoon.  The accident leaves another driver dead and Alan with a severe head injury.  After months in the hospital, the couple finally head to the French seaside for their wedding trip.  It’s clear that Alan still needs time to recover since every once in a while, he goes into a trance and tries to strangle his wife.

“If I can just get your neck size…”

What a bore.  Denise dotes on Alan and seems to have made the leap from wife to mother seamlessly.  Since she’s running out of scarves to hide the neck bruises, Denise seeks the help of a psychiatrist they happen to meet on their trip.  David Prade (Claude Dauphin) proposes a radical form of therapy to help Alan remember the accident and stop choking his wife all the time.

“Just five minutes more.”

Since Alan is paranoid and his moods turn on a dime, Denise lies to him about meeting David to ask for medical advice.  Yup, that goes well.

stop me
“Analyze me, will ya!!”

Will David cure Alan?  Will Alan kill Denise?  Will Denise stop saying Alan’s name all the damn time?  I’ll never tell.  I will say this is a neat little thriller with an unusual psychiatric bent.  Director, Val Guest keeps you guessing and the mood tense.  Parts of the film drag, but even the talky parts keep the plot moving forward.  The script, apart from Denise saying Alan’s name about 82 million times, flows naturally.  Cilento and Lewis are believable lovers and I found myself worried about them both.

“The doctor said to wear that radio around your neck until you’re cured.”

STOP ME BEFORE I KILL is another fun Hammer thriller.  I’m a big fan of these films.  They’re racier and more violent than most American films of that era and they generally have a more mature attitude toward love and sex.  It makes for a more realistic film which, in turn, makes the scary parts scarier.  Scary is good.



The Gorgon (1964)   5 comments


Things look rocky in the small German village of Vandorf.  A slew of mysterious deaths in the woods surrounding Castle Borski have the villagers scared and the police baffled.

It looks friendly enough.

When they discover a young woman dead in the woods and her fiancé conveniently hanging from a nearby tree, authorities have their scapegoat.  It beats the locals blaming Megaera (Medusa’s sister), after all.  Unsatisfied with the law’s conclusions, the young man’s father, Professor Jules Heitz (Michael Goodliffe) questions local physician, Dr. Namaroff (Peter Cushing).  Namaroff won’t let Heitz near the body of the young girl and Heitz knows something’s up.  Later, in the woods near the empty castle, he discovers what.  It doesn’t go well.

“Man, am I stoned.”

Heitz’s son, Paul (Richard Pasco) arrives in Vandorf to bury his father and brother and investigate their deaths.  Paul will have to contend with local resistance including Dr. Namaroff and his lovely nurse, Carla Hoffman (Barbara Shelley), and some pesky mythological creatures, if he wants the truth.

“Do you think he knows I switched his coffee to decaf?”

Paul is sure the simple local folk have simply got the wrong end of the stick because there can’t possibly be a snake-haired killer lurking around an abandoned fortress.  I mean, it’s 1910!  Oh Paul, when will you ever learn?  Paul’s father left detailed notes on all he saw before fully Gorgonizing.  Is that like Martinizing?  Now his son knows how it feels to turn to stone years before ELO would sing about it.

“Don’t look at me, man.”

Anyway, Paul manages to get himself partially Gorgonized which leaves him a bit stiff and makes his hair go prematurely gray.  Carla digs the salt and pepper look and the two hit it off.  Then they all ride off into the sunset.  Not so fast, bub!  Things happen and Paul wants answers and Paul’s teacher, Professor Meister (Christopher Lee!) shows up and hassles the constabulary, but we still don’t know who’s killing everyone.

“I’m here now.  You can all relax.”

Will Paul and Carla pair off?  Will Dr. Namaroff tell Paul the truth…ever?  Will the real Gorgon please stand up?

Hammer Film stalwart Terence Fisher (Horror of Dracula) directs THE GORGON as a horror/mystery.  He keeps the audience guessing and shows his creature sparingly.  Sydney Pearson and Ray Caple do a terrific job on Megaera and Fisher teases us with short glimpses of the mythical beast.  James Bernard’s score, played on an early synthesizer, the Novachord, is appropriately spooky and John Gilling’s adaptation is fun.

Tonight on Gorgon wild…

THE GORGON is an entertaining film that blends an ancient myth with a quasi-modern setting.  The actors, all Hammer veterans, are talented and I love anything with Cushing and Lee.




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