Also known as: Here’s the Knife, Dear: Now Use It (alternative title), Satan with Long Lashes (Germany)
Release Date: February 28th, 1964 (Germany)
Directed by: Freddie Francis
Written by: Jimmy Sangster
Music by: Don Banks
Cast: David Knight, Moira Redmond, Brenda Bruce, Jennie Linden
Hammer Films, 83 Minutes
“You found me out there, didn’t you? That part of it wasn’t a dream! Where does the dream finish and reality begin?” – Janet
This movie is a bit of departure in style from what one would expect from Hammer Films in the mid-’60s.
To start, it’s in black and white. Secondly, it doesn’t really star anyone of note or any of the regular faces that you’d see in a Hammer production during their peak.
However, this is written by Jimmy Sangster, who penned a lot of Hammer’s best scripts. It’s also directed by Hammer regular Freddie Francis. So there was at least a solid crew behind the camera.
Still, this isn’t quite what one would expect from a Hammer picture and that probably has a lot to do with why I hadn’t watched it until now. It’s not a bad film, by any means, but it’s unique and strange.
I found it mostly enjoyable, even if it wasn’t as fantastical and visually alluring as the studio’s typical output. This felt much more like a low budget indie horror movie of the ’60s and tonally, reminded me a lot of the black and white Roger Corman productions of the time, as well as Francis Ford Coppola’s Dementia 13.
The story is about a young boarding school student that has nightmares of her institutionalized mother haunting her. Because of her horrible dreams, the girl is expelled from school and sent back home. Once there, things get even worse.
While it’s an interesting enough setup, the story does feel a bit paint-by-numbers. It kind of goes in the direction you’d expect.
I did like the over-the-top acting in some scenes and actually thought that it was really effective, as the main character slipped further and further into madness.
Still, this is far from Hammer’s best and while it’s a neat experiment and departure from their style, it also shows that the studio was at its best when it was sticking to the great style it had already perfected.
Pairs well with: other Hammer horror films of the ’60s.