Tales From The Crypt (1972)

Tales from the Crypt is a 1972 British horror film, directed by Freddie Francis. It is an anthology film consisting of five separate segments, based on stories from the EC horror comics of the fifties by William Gaines.  Five people on a tourist trip end up getting lost in a crypt and run into the Crypt Keeper (Ralph Richardson) who proceeds to show them how they each died.

The Crypt Keeper

 After recently reviewing films that run from average to shitty beyond belief, I now run into this gem. It's filled with a star studded cast that does a great job. (Peter Cushing, Joan Collins, Ian Hednry and Richard Greene)  This is a fantastic film with a great performance by Peter Cushing, as Arthur Grimsdyke, in his segment "Poetic Justice". In fact, Cushing won the Best Actor Of The Year Award in France for this role.  This was the first horror adaption of comic to film and could be considered an inspiration to Creepshow.

Peter Cushing has a heart in this film.

I'm not going to take you through all five tales, mainly because I'm too damn lazy to write it. But another fine segment was "And All Through The House" which has Joan Collins as the wife who kills her husband but can't call the police when a psycho Santa ambles up to the house.  This story also showed up in the "Tales From The Crypt" TV show years later.  Hell, all the stories are good and all the characters are deserving of their fate.  You don't feel bad for any of them when they get their just deserts.

Ho Ho Ho

 If you're a fan of British horror films or anthologies then this is the a film you must see. The movie is stylishly made and has suspense and gore that is sure to please.  Pick up the DVD for a cold winter's night.  It won't disappoint.

Kevin Booker

Trivia:
Peter Cushing is said to "act as himself" in this movie: Cushing's wife had died recently and he was very depressed; while Cushing's character is a widower who uses a ouija to talk with his dead wife.

Ralph Richardson filmed his major role in a day.

Peter Cushing was originally intended to play Ralph Jason, but after looking at the script he persuaded the producers that he would do more justice to the role of Mr. Grimsdyke.

Last full length cinema film of Robert Hutton.

Robert Zemeckis has said this is his favorite movie to watch on Halloween since it was released. he later produced a HBO show based off the comic series and directed the first episode, which was also the first story in the movie.

Peter Cushing wanted to do the movie so much that he took a lower fee. 

Stephen King and George A. Romero considered remaking this movie together. Their work together resulted in a completely separate but similar film, Creepshow.

Director Freddie Francis never read the original comics, fearing it would affect his personal interpretations on the stories. 

Despite being top of the bill and one of the six leads Joan Collins has only 15 lines.

Only two stories in this film - "Reflection of Death" and "Blind Alleys" - originally appeared in EC Comics' "Tales from the Crypt." "...And All Through the House" appeared in "The Vault of Horror" and "Poetic Justice" and "Wish You Were Here" both appeared in "The Haunt of Fear."

"Wishing You Were Here" has a scene where Barbara Murray eviscerates Richard Greene with a sword, exposing his intestines. This scene was originally cut in order to get a PG rating, although it was restored in later versions.

The Blood Beast Terror (1968)

The Blood Beast Terror is a 1968 horror film from Tigon Bristish Film Productions.  If you look in the left hand corner of the above movie poster you will see Peter Cushing. (One of my favorite actors)  Cushing considered this the worst film he ever made. I concur. And by that I mean the worst film HE ever made. But it looks like Citizen Kane compared to Blackenstein.

There is a basic horror movie theme here.  Victims are discovered with their blood drained and a detective (Cushing) is on the hunt to discover the killer.  Cushing as always is fun to watch and I give a tip of my hat to the filmmakers for trying to bring a different type of monster to the big screen.  Despite being a slow movie, I was intrigued as to who or what the killer really was.  I hung around just to find out.  Spoiler coming:  It's a woman that turns into a moth.   That sets up an ending that makes you groan.  The moth dies because she sees the light from a fire and flies into it, thus burning to death.

Like a moth to the flame....

 Despite terrible reviews from all around, the film is not that bad. It does have some misdirection that keeps you interested.  It also has some comic elements with Glynn Edwards (as Sergeant Allen) and Roy Hudd, as the morgue attendant who eats his frigging meals off the slabs in the morgue, complete with dead bodies.

It's obvious that this movie was shot on a shoestring budget. The movie has it's flaws such as hardly ever seeing monster and the poor ending.  The film didn't change the face of horror but it wasn't a complete disaster either.

Kevin Booker

 

You don't have to point shit out to Peter Cushing.  He sees all bumbling policeman.

Trivia:
Robert Flemyng replaced Basil Rathbone.

First film of Roy Hudd

Robert Flemyng reportedly hated working on the film. . 

From Beyond the Grave (1973)

From Beyond the Grave is an Amicus horror anthology that is a surprisingly disturbing experience. It is the rookie outing of director Kevin Connor, who delivers a film that, while not flawless, is able to offer some solid chills. Boasting such genre veterans as David Warner, Donald Pleasence, and the legendary Peter Cushing,  From Beyond the Grave is a superior anthology film that is in the best tradition of the subgenre.

The movie tells four stories of people who have, shall we say, unfortunate encounters with the spirits of the dead. In the first segment “The Gate Crasher,” Edward Charlton (David Warner) acquires an antique mirror that houses the spirit of an ancient killer. The second segment, "An Act of Kindness," follows Christopher Lowe (Ian Bannen), an unhappy husband who is offered an unusual way to make his life much better. In “The Elemental,” Reggie Warren (Ian Carmichael) finds himself plagued by a homicidal spirit that is bent on killing his wife. Finally, in “The Door,” William Seaton (Ian Ogilvy) purchases a sinister but beautiful door that leads to a hellish room. The common factor in all these stories is the mysterious antique shop owned by a kindly old man (Peter Cushing) who has the tendency to pass severe judgments upon those who wrong him.

The first of this film’s strengths is that it takes itself seriously. The stories could easily lend themselves to parody or black comedy, but Connor and his screenwriters never fall for that temptation. With the exception of “The Elemental,” which does have one broad, comic character, the stories in this film are presented as straightforward ghost stories. This presentation lends the film a foreboding quality that inculcates a sense of unease that pervades all of the stories. We never get the feeling that the cast or the filmmakers feel that they are above this kind of film, and this adds a sense of believability to the stories.

Like most anthology films,  From Beyond the Grave provides O. Henry or Twilight Zone type stories with malevolent twists and harsh morals. All of the characters that come to bad endings have cheated Peter Cushing’s character out of money in some way. The only character that does not cheat him, William Seaton, survives his encounter with the supernatural. The punishments are a bit severe (forcing a person to commit multiple murders and then trapping them inside a mirror is indeed a harsh sentence for tricking someone out of money), but that is part of the fun of these films.

DO NOT cheat this man!

First-time director Kevin Connor’s work on From Beyond the Grave is superior, doing much more than simply following the characters. He often uses a hand-held camera, which presents a sense of urgency and, in many scenes, panic to the characters. Connor also utilizes odd lenses, particularly in the “An Act of Kindness” story, and extreme close-ups enhance a sense of dread in many of the stories. In a séance sequence, he aims the camera at a candle and then slowly pans across the faces of all the characters sitting around the table. The most inspired idea in the film, however, comes at the very end of the film. Peter Cushing has just foiled a robbery, and has shown that he is invincible to bullets. After tossing the would-be robber into a trunk and slamming the lid shut, Cushing addresses the audience directly, inviting us into his shop. It is both a chilling and amusing moment, and provides a very satisfying conclusion to the film.

The cast is, to a person, excellent. It is not surprising that Peter Cushing offers a subtle and nuanced performance as the narrator, a role in the vein of Ralph Richardson in Tales from the Crypt. In his scenes, Cushing does not go the slightest bit over the top; he underplays throughout, which makes him more chilling than if he had began chewing scenery. The great David Warner does very well with a character that has, at first, the condescending arrogance of a man who believes that he is in control of everything, but soon learns that his life is no longer his own. Donald Pleasence, portraying the street merchant Jim Underwood in "An Act of Kindness", is also a pleasure to watch. Pleasence sets a very ambiguous tone for Underwood. We never know if he is just offering a supportive ear to Christopher Lowe, or if he has some ulterior motive in mind. The strong and nuanced performances bolster the quality of the film, and help make it a very enjoyable experience.

The one and only David Warner

While this is a quality horror anthology, it does contain some flaws. Not all of the director’s choices work. For example, the exorcism scene in “The Elemental” seems unsure of the tone it wants to set. Margaret Leighton plays the exorcist role of Madame Orloff for laughs, but Connor presents the rest of the scene in a straightforward manner. In addition, while the stories are engaging, there are times when they cannot overcome the “silliness” factor. This is due mainly to very unconvincing makeup and effects. The makeup worn by Marcel Steiner in “The Gate Crasher” is extremely weak, looking more like a Halloween costume than a malevolent ghost. A similar complaint exists for Jack Watson’s makeup in “The Door” segment. Additionally, David Gamley’s musical score is weak, punctuated with the occasional xylophone for unwanted comic effect. This type of score can puncture the sense of unease in this type of film, and it does so here.

Despite its few flaws,  From Beyond the Grave is a charming film (if indeed a horror film can be charming) that does not insult its audience with unnecessary comic relief. The acting is top-drawer, the direction is solid, and the stories, if not astounding, are enjoyable vignettes of horror. This film is a welcome addition to the Amicus canon.

Twins Of Evil (1971)

Maria and Frieda, recently orphaned identical twin teenage girls, move from Venice to Karnstein in Central Europe to live with their uncle Gustav Weil. Weil is a stern puritan and leader of the fanatical witch-hunting 'Brotherhood'. Both twins resent their uncle's sternness and one of them, Frieda, looks for a way to escape. Resenting her uncle, she becomes fascinated by the local Count Karnstein, who has the reputation of being "a wicked man". - Wikipedia


Twins of Evil is a 1971 horror film by Hammer Film Productions starring Peter Cushing, with Damien Thomas and the real-life twins and former Playboy Playmates Mary and Madeleine Collinson.  It is the third film of The Karnstein Trilogy that began with The Vampire Lovers.

A lot of these later Hammer films from the early 70's during the studio's downward spiral were overlooked for 30 years.  However, looking back now it's clear that some of these films are incredibly entertaining and hold up quite well. This film pulls out all the stops.  It has everything you expect from a Hammer film....blood, sex, evil and throws in Peter Cushing as a religious nut hunting down and burning young women at the stake. During the filming, Cushing was still mourning the death of his wife and it appears he put all of that angst into his performance. He is brilliant with the complex character of Gustav, who begins as an evil misguided witch hunter and ends as a vampire hunter trying to redeem himself.

Cushing with another masterful performance.

 But as great as Cushing was, this film will forever be remembered by the twins.  The Collinson's made a few more B films after Twins, but this is their finest moment. Their acting is better than one may think when they imagine Playmates playing leading roles in a film. They certainly make the film interesting and provide a twist that other vampire films have lacked.  They also pump up the films sex appeal.

Evil strikes.....

The film was written by Tudor Gates and directed by John Hough. He presents a beautiful picture with moody atmosphere and dramatic images.  He also delivers more tease than actual nudity and sex throughout the film.  A great job is done having the emphasis on evil at both ends of the spectrum, from both the vampires and the men of god.

Fans of Hammer horror certainly should not miss out on this film.  It offers a lot of different elements that are not commonly seen in vampire films.  On a cold dark evening this is a wonderful film to put in and watch. One of the best of the latter day Hammer films.

Kevin Booker 

Trivia:
Both the Collinson twins were dubbed

Ingrid Pitt was offered the cameo role played by Katya Wyeth.

Used the same sets as Vampire Circus.

The Vampire Lovers (1970)

The Countess is called away to tend a sick friend and imposes on the General to accept her daughter Marcilla as a houseguest. Some of the villagers begin dying, however, and the General's daughter Laura soon gets weak and pale, but Marcilla is there to comfort her. The villagers begin whispering about vampires as Marcilla finds another family on which to impose herself. The pattern repeats as Emma gets ill, but the General cannot rest, and seeks the advice of Baron Hartog, who once dealt a decisive blow against a family of vampires. Well, almost. Written by Ed Sutton - IMDB

The Vampire Loves is a Hammer produced film that was directed by Roy Ward Baker and starring Peter Cushing, Ingrid Pitt, Madeline Smith, Kate O'Mara and Jon Finch.  It is based on the J. Sheridan Le Fanu novella Carmilla and is part of the so-called Karnstein Trilogy of films, the other films being Lust for a Vampire and Twins of Evil.  It is notable as being one of the first films depicting lesbianism as a central theme.  Although not nearly enough hot lesbianism for my tastes. Instead of neck, this vampire prefers to sink her teeth into a nice pair of breasts.  It has all the vampire elements....crosses, stakings, blood and sex.

Carmilla seduces a young victim.

 The film breaks no new ground other than the lesbian theme.  It's typical vampire fare and only vampire fans in general will enjoy the film.  The dialogue is rather dull and nothing very important is ever said.  At times, it seems to just be random conversation.  However, as is typical for Hammer, they do a wonderful job with the visual look of the film. There are creepy old castles, misty graveyards and a good dose of blood. It is also a fairly close retelling of Carmilla.

The lead vampire, Ingrid Pitt, actually outshines Peter Cushing in the film. She is an empowered female that overshadows the weak timid females she preys upon.  And it's not just the females....other than Cushing, she weaves her spell and dominates the males here as well. It's actually a fine performance on her part.  She had a lot more talent and charisma than some of the other females roaming about the horror genre at the time.  Cushing seems to be walking through the film.  He's not bad but it seems to be a "been here done that" film for him.  This character certainly doesn't challenge him as the Baron Frankenstein character did.

Ingrid Pitt is a damn fine vampire. 

 Overall, the film is average.  Fans of Hammer, such as myself, will enjoy it. They will enjoy the gothic sets, the blood and the breasts. However, this is not the film I would select to introduce a newbie to the world of Hammer Horror.

Kevin Booker

Bitch, you can't escape Peter Cushing.

Trivia:
The role of the Man in Black was offered to Christopher Lee but he declined the role and John Forbes-Robertson was cast instead. Forbes-Robertson would also later replace Lee in Hammer's The Legend of the 7 Golden Vampires.

This film was given an R rating by the Motion Picture Association of America due to the vampire bites inflicted on the women's bosoms.

James Carreras rejected a suggestion that Bond girl Shirley Eaton play the lead on the grounds that she was too old. Ingrid Pitt, actually older than Eaton, was eventually cast.

It was the final Hammer film to be financed with American money

Quotes:
Marcilla: You must die! Everybody must die!

Baron Joachim von Hartog: They were all evil and remain evil after death. 

The Curse Of Frankenstein (1957)

In prison and awaiting execution, Dr. Victor Frankenstein recounts to a priest what led him to his current circumstance. He inherited his family's wealth after the death of his mother when he was still only a young man. He hired Paul Krempe as his tutor and he immediately developed an interest in medical science. After several years, he and Krempe became equals and he developed an interest in the origins and nature of life. After successfully re-animating a dead dog, Victor sets about constructing a man using body parts he acquires for the purpose including the hands of a pianist and the brain of a renowned scholar. As Frankenstein's excesses continue to grow, Krempe is not only repulsed by what his friend has done but is concerned for the safety of the beautiful Elizabeth, Victor's cousin and fiancée who has come to live with them. His experiments lead to tragedy and his eventual demise. By garykmcd

The Curse of Frankenstein was Hammer’s first color horror film and set the stage for a run of classic gothic horror pictures. It was a worldwide success which led to the studio’s own versions of Dracula and The Mummy.  When released, the film drew poor reviews, which further proves that reviewers really don’t know shit, myself excluded.  Thank god the public didn’t share this view. Martin Scorsese and Tim Burton have both sung the movie’s praises and have cited it as an influence on their own work. 

This film introduces us to a duo that became legendary in the horror genre:  Peter Cushing and Christopher Lee. As Baron Frankenstein, Cushing delivers an incredible performance and makes the character his own.  This isn’t Colin Clive, who played the good doctor in Universal’s Frankenstein, babbling about “it’s alive” and feeling sorry for himself.  Cushing’s Frankenstein is banging the maid and not above killing to get the parts he needs to create life.  In fact, Baron Frankenstein is the real source of horror in this movie.  Lee’s role is minor in comparison but he does give a decent performance.  But in his defense, it would be hard for anybody to top Boris Karloff as the Frankenstein monster and this creature was portrayed completely different. While Universal made the monster sympathetic, Hammer’s monster was a symbol of the evil and corruption of Baron Frankenstein.  In continuing with comparisons, while Universal switched up doctors throughout their movies, Hammer instead focused on the complex character of the doctor and changed up on the monsters.  Curse of Frankenstein also throws a change up on the cliché of the mad doctor’s assistant. It’s no longer a hunchback or displeasing visual character but instead is the Baron’s former teacher and the voice of reason over the immoral acts that Frankenstein is engaging in.

Terrance Fisher directed the movie and went on to become one of the prominent horror directors in the 2^nd half of the 20^th century.  Although not as heavy in Curse of Frankenstein, Fisher was the first to have sexual overtones and explicit horror in his films.  This is common place in films now, but for that time it was definitely groundbreaking.  The screenplay was written by Jimmy Sangster and this was the first of many team-ups with Fisher.  In fact, this collaboration may be just as important as the Lee/Cushing duo at Hammer. (Let’s also mention that Sangster wrote the Horror In The Heights episode from the original Night Stalker series:  One of my favorite TV series and a huge inspiration to the future X-Files)   The duo also collaborated The Horror of Dracula, The Mummy and Brides Of Dracula. 

I also want to give a mention to makeup artist Phil Leaky.  Although his makeup isn’t as iconic as what the legendary Jack Pierce created for Karloff, it is actually much more realistic. It actually looks like the monster went through surgery and was pieced together from various dead bodies. And with this being one the first color horror films, it had to have an effect on an audience not used to seeing something this graphic. 

Having just viewed this movie again, I must say that it holds up today.  It showcases what made Hammer so great during that golden era.  The mood, the atmosphere and the rich color make this a perfect example of everything that made Hammer horror movies so special.  If you’re unfamiliar and wish to discover what the term “Gothic Horror” symbolizes, this is the movie to start with. 

Critic R. D. Smith proclaimed, “For all lovers of the cinema, only two words describe this film – Depressing, Degrading!”  To you Mr. Smith I say, Kiss My Ass.

- Kevin Booker

CAST:

• Peter Cushing as Baron Victor von Frankenstein
• Christopher Lee as The Creature
• Hazel Court as Elizabeth
• Robert Urquhart as Dr. Paul Krempe
• Valerie Gaunt as Justine
• Noel Hood as Aunt Sophia
• Melvyn Hayes as Young Victor
• Paul Hardtmuth as Professor Bernstein
• Fred Johnson as Grandpa

TRIVIA: 

For many years this held the distinction of being the most profitable film to be produced in England by a British studio.

The first Frankenstein movie to be filmed in color, from November 19 1956- January 3 1957.

The idea originated with Milton Subotsky, who went on to co-found Amicus Films, Hammer's main rival during the 1960s and early 1970s. The script was revised several times to avoid repeating any elements from the Universal Frankenstein series. As part of this effort, new monster make-up had to be devised especially for this film.

Christopher Lee's monster make-up was almost literally done at the "last minute". After previous attempts to design a monster make-up using a cast of Lee's head had failed, make-up artist Philip Leakey made the final design the day before shooting began, directly onto Lee's face, using primarily cotton and other household materials. Since he didn't use any latex or molds, the make-up had to be recreated from scratch every day.

Although they had both previously appeared in Hamlet and Moulin Rouge, Christopher Lee and Peter Cushing met on the set of this film for the first time. They would pass the time between shots by exchanging Looney Tunes phrases, and quickly developed a fast friendship, which lasted until Cushing's death in 1994.

QUOTES:

Baron Frankenstein: Let's let our friend here rest in peace... while he can.

Baron Frankenstein: I've harmed nobody, just robbed a few graves!

Priest: Perhaps you'd better start from the beginning.  (Anybody that has heard the beginning of White Zombie’s song Electric Head Part 1, will recognize this immediately when it’s said)

Baron Frankenstein: Pass the marmalade Elizabeth.