Release Date: June 18th, 1958 (Boston premiere)
Directed by: Guy Green
Written by: Anthony Dawson, Peter Myers, Jimmy Sangster
Music by: Francis Chagrin
Cast: Peter van Eyck, Betta St. John, Mandy Miller
Clarion Films, Hammer Films, Columbia Pictures, 90 Minutes
“You think I’m mad, don’t you? They all thought I was mad when I said he killed my daddy.” – Candy Brown
This is another Hammer film I have never seen but was introduced to through a beefy Blu-ray box set I recently purchased, which features some lesser known gems by the greatest horror studio that ever existed.
The Snorkel also has one of the coolest posters I’ve ever seen but sadly, the movie doesn’t live up to its awesomeness. But that’s not to say it’s bad, it’s actually pretty good with a unique story, good performances and beautiful scenery.
The plot of the film is about a murderer that wears a diving mask equipped with air and then hides while he kills his victims with gas. He likes to knock his victims out, then turn on the gas lamps without flame, letting the gas fill the room to asphyxiate his victim. All the while, he hides under a trapdoor in the floor, breathing in clean air through his mask, where he can also listen to the conversations of the police investigating the scene.
Initially, he kills his wife but her daughter alludes to the fact that he also killed her father, previously. The girl isn’t sure how and no one believes her, so she starts snooping around. As the film rolls on, the killer attempts to kill the girl a few times, which culminates in him trying to murder her the same way he did her mother.
The film primarily takes place in a coastal Italian villa. The sets are pretty impressive and just look cool and exotic, especially for what Hammer usually did, which was Victorian horror stories set in England or Germany, in the case of the Frankenstein movies, and various Eastern European places, in the case of the Dracula films.
This is presented in black and white but it’s pretty stylized, which is also bolstered by the exotic locale.
In the end, this movie was a pleasant surprise and I enjoyed it. I thought it was a cool concept, even if it was a bit hokey and odd. The film is held together by the performances by its leads and it did a good job of separating itself from the standard Hammer formula and excelled at doing its own, unique thing.
Pairs well with: other Hammer horror films of the ’50s through ’70s.