Also known as: Much Ado About Murder (working title) Release Date: March 16th, 1973 (Toronto premiere) Directed by: Douglas Hickox Written by: Anthony Greville-Bell, Stanley Mann, John Kohn Music by: Michael J. Lewis Cast: Vincent Price, Diana Rigg, Ian Hendry, Robert Morley, Madeline Smith
Harbour Productions Limited, Cineman Productions, United Artists, 104 Minutes
“Where could my doggies have got to?” – Meredith Merridew, “Why, there they are both, baked in that pie. Whereof their mother daintily hath fed, eating the flesh that she herself hath bred.” – Edward Lionheart
This is one of my favorite Vincent Price films and I guess it’s odd that I haven’t reviewed it yet, which means I haven’t watched it in nearly half of a decade or possibly longer.
Every time I watch this, however, I’m reminded as to just how good it is and how great he was in it. This is a movie that really showcases Price’s range, as he plays an actor in the film and thus, takes on several different personas, as he’s a serial killer that commits murders based off of different plays he was featured in.
The story has a very similar structure and style to the Dr. Phibes movies while also being kind of like Madhouse, another film where he plays an actor. It’s almost like a weird merger of the two but still pretty original and neat to watch play out onscreen.
Price’s Lionheart was a once great actor that has been besmirched by his critics and has had his life ruined because of it. He’s thought to be dead but the truth is, he’s just gone mad and has a legion of homeless derelicts willing to help him carry out his revenge plot. He also has an unusual assistant that has an interesting twist once the film reaches its climax.
The movie is really creative in how each murder plays out. Like Dr. Phibes, each of his victims is faced with some sort of elaborate, gimmicky fate. It’s very much the same but the general theme of the revenge kills is different.
Price really gave this film his all and ups the ante quite a lot. Most importantly, it appears as if he was really enjoying making this movie because he hams it up with gusto but then delivers his more serious lines with a cold boldness.
I also really enjoy Diana Rigg in this and she really helps to carry the film even though Price doesn’t need any help. It’s just kind of cool seeing these two immensely talented people putting in such very strong but very different performances.
Theatre of Blood is just a really good movie, especially for those who adore Vincent Price. But I also think it’s one of the films that can serve as a gateway to the guy’s work for those young pups who might not be as familiar with him.
Rating: 8/10 Pairs well with: other horror films starring Vincent Price, especially Madhouse and the two Dr. Phibes movies.
Release Date: October 4th, 1970 (UK) Directed by: Roy Ward Baker Written by: Harry Fine, Tudor Gates, Michael Style Based on:Carmilla by Sheridan Le Fanu Music by: Harry Robertson Cast: Ingrid Pitt, George Cole, Kate O’Mara, Peter Cushing, Dawn Addams, Madeline Smith, Pippa Steel
Fantale Films, Hammer Films, 91 Minutes
“They were all evil and remain evil after death.” – Baron Joachim von Hartog
While the most famous vampire films to come out of Hammer are the ones featuring Christopher Lee as Dracula, there was also The Karnstein Trilogy, which focused on lesbian vampires that didn’t have the weaknesses of sunlight and fire.
This was the first of those three movies, which sort of helped kick off a trend, as other studios in other parts of the world tried to also bank on the vampire lesbian craze, which was pretty racy stuff for 1970.
The story is loosely based off of the second most famous literary vampire story, Carmilla by Irish writer Joseph Sheridan Le Fanu, which was originally published in 1872.
While that novel would serve to give a narrative tone and inspiration to The KarnsteinTrilogy, the films really kind of just do their own thing beyond the initial setup.
I’d say that this is the weakest of the three movies within the trilogy but it is still entertaining and it goes to show just how good Ingrid Pitt was in her prime. The woman is stunning, seductive and she has the acting chops to convincingly stand beside some of the other Hammer legends. In this film, she has to share space with the legendary Peter Cushing but the two were able to play off of each other quite well.
The film also stars Madeline Smith, another Hammer regular, in a smaller role. But she always had a certain charisma that made the movies she was in better.
Ultimately, this is an interesting and overtly sexual motion picture. It’s all done as classy as a Hammer movie is capable of but it’s honestly pretty tame when compared to films that borrowed these themes later on. And without this picture, we wouldn’t have gotten the sequels, which I enjoy more, and the knockoffs which kind of became their own subgenre within the vampire subgenre of horror.
Rating: 6.25/10 Pairs well with: the other parts of The Karnstein Trilogy and Countess Dracula, as well as Vampire Circus and Hammer’s Dracula films.
Release Date: April, 1974 (Paris Festival of Fantasy Film) Directed by: Terence Fisher Written by: John Elder Based on:Frankenstein by Mary Shelley Music by: James Bernard Cast: Peter Cushing, Shane Briant, David Prowse, Madeline Smith, John Stratton, Patrick Troughton, Bernard Lee
Hammer Film Productions, AVCO Embassy Pictures, Paramount Pictures, 99 Minutes
“[after operating eyeballs onto the creature] Now, in approximately one hour, when the narcosis wears off… we shall see.” – Baron Victor Frankenstein
This is the final picture in Hammer Film’s Frankenstein series. I have now revisited and reviewed all of the films that star Peter Cushing. I need to go back and revisit the other one that stars Ralph Bates but that one is a semi-parody and not as serious as the Cushing installments.
As a kid, I always loved this one and I still like it a lot but having now seen it so soon after watching the others, I’d have to say that this one is the slowest. In fact, it drags out in parts and is a little bit boring.
It still has its fair share of excitement and I love that Frankenstein’s monster in this chapter is a “neolithic man”, which just equates to the monster being a massive, hulking brute, covered in lots of fur with an ape-like face. It’s also worth noting that the monster was portrayed by David Prowse, who would go on to be Darth Vader and thus, this was a film with both Vader and Grand Moff Tarkin, three years before their more famous pairing in Star Wars – Episode IV: A New Hope.
Prowse was also in a lot of Hammer pictures. Certainly not as many as Cushing but this wasn’t a new type of role for him.
The film also stars Shane Briant and Madeline Smith, who many probably remember as Miss Caruso from the James Bond film, Live and Let Die. Patrick Troughton, the Second Doctor of Doctor Who fame also has a small role, as does Bernard Lee, the actor who played M in the James Bond movies of the ’60s and ’70s.
I like the setting of this film, which is an asylum. Frankenstein has taken on another identity and works in secret within the asylum, where there isn’t a shortage of bodies to experiment on and brains to steal.
Frankenstein is obviously still evil but he is nowhere near as dastardly as he was in the previous film, Frankenstein Must Be Destroyed. But that’s the thing with the Hammer Frankenstein pictures, there just isn’t any real consistency and every film is sort of self-contained. It’s a stark contrast to how they managed their Dracula franchise where most of the films led right into the next chapter.
Being that this is a later Hammer movie, it does have a bit more of a gore factor than their earlier pictures. It isn’t overly gory but there are some scenes that still come off as pretty intense. For instance, there is a scene where the patients within the asylum literally tear someone apart with their bare hands. It happens off screen but we see meat and fluids flying, as well as what’s left of the poor soul after the savage attack.
This is one of the weakest installments of the film series but I still enjoy it quite a bit. The thing is, Hammer was running out of gas by 1974 and there was more competition in the UK from studios like Amicus, who also produced movies in a very similar style to Hammer.
I wouldn’t call this a worthy finale to the film series but The Satanic Rites of Dracula wasn’t a good finale either.
Rating: 6.25/10 Pairs well with: other Hammer Frankenstein films, as well as the Hammer Dracula and Mummy series.
Release Date: June 27th, 1973 (US release) Directed by: Guy Hamilton Written by: Tom Mankiewicz Based on: the James Bond novels by Ian Fleming Music by: George Martin, Paul McCartney, Linda McCartney Cast: Roger Moore, Yaphet Kotto, Jane Seymour, Julius Harris, David Hedison, Gloria Hendry, Clifton James, Geoffrey Holder, Madeline Smith, Bernard Lee, Lois Maxwell
Eon Productions, United Artists, 121 Minutes
“Tee-Hee, on the first wrong answer from Miss Solitaire, you will snip the little finger of Mr. Bond’s right hand. Starting with the second wrong answer, you will proceed to the more… vital… areas.” – Kananga
I’ve worked my way through most of the James Bond movies and only have a few left after this one. Granted, I’ve seen them all before but I didn’t review any of them until last year. And since I’ve been doing these out of order, I should note that this is not my first Roger Moore Bond film but it is his first outing as the iconic character.
I know that this one gets a pretty bad rap but it’s one of my favorites. But I’ll explain why.
To start, it came out at the height of the blaxploitation era in American filmmaking and it utilizes that to great advantage. The film has a lot of blaxploitation actors in this from Julius Harris to Gloria Hendry. And while it taps into that vibe well, this isn’t Bond trying to be blaxploitation, it just meshes well with that genre’s style where it needs to.
Additionally, I love the voodoo and magical elements to the film. They may feel out of place and hokey but by the 1970s, Bond movies had started to drive towards cheese. Honestly, this is the most ’70s-esque of all the Bond films and while it feels dated because of that, it still works really well for me. I love the voodoo stuff, especially Baron Samedi, who was brought to life by the always awesome Geoffrey Holder. No lie, Samedi is one of my all-time favorite Bond villains.
The setting of this film was also great. It went from New York City to New Orleans to the Caribbean and in doing that, married the urban blaxploitation vibe with the Caribbean beauty of Dr. No, the first Bond film. In a way this brings things full circle, as Roger Moore’s first outing as Bond had a strong geographic similarity to Sean Connery’s first outing as the character. And both filmed those sequences on location in Jamaica.
I also enjoyed Yaphet Koto in this as the evil Kananga. He was a new kind of Bond villain for a new era where the franchise couldn’t keep relying on SPECTRE as its premier threat. Koto’s work here, really set the stage for some of the other solid villains from the Moore era.
We also get the debut of Sheriff Pepper of Louisiana, who is probably more iconic than the size of his actual role in the series. He’s synonymous with the Moore era but he was actually only in two of Moore’s Bond pictures and fairly briefly. Still, he is a fan favorite and it’s been argued that he was a template for the cops in The Dukes of Hazzard, as well as Jackie Gleason’s Buford T. Justice from Smokey and the Bandit.
Now there are some cringe moments in this like when Kananga blows up like a balloon, floats and explodes. However, those moments are balanced out by the hokey stuff that worked better like the scene where Samedi gets a chunk blown out of his head and he just looks up at it before he shatters like a broken pot.
I love this movie. I get that it is frowned upon by more serious Bond fans but they miss the point. This series should be about fun escapism. This is exactly that.
Rating: 8.75/10 Pairs well with: The other Roger Moore James Bond movies.
I already covered the first four films in this series. So now on to the final four.
Taste the Blood of Dracula (1970):
Release Date: May 7th, 1970 (UK) Directed by: Peter Sasdy Written by: Anthony Hinds Based on:Dracula by Bram Stoker Music by: James Bernard Cast: Christopher Lee, Geoffrey Keen, Gwen Watford, Linda Hayden, Madeline Smith, Michael Ripper, Ralph Bates, John Carson
Hammer Film Productions, Warner-Pathé Distributors, Warner Bros., 95 Minutes (UK), 91 Minutes (USA)
This is one of the darkest of the Hammer studios Dracula films. Actually, I would say that it is the darkest.
The opening scene sees a greedy salesman stumble upon Dracula dying, as this scene is edited together with the closing moments of the previous film. When Dracula dies, this man takes all of his belongings and even collects his blood, which is now in a powder form.
The main group of characters, at least in the first half of the film, are these rich eccentric men and “model citizens” who have a secret club where they dabble in seedy behavior because they are bored with their seemingly humble and moral lives. When they get tired of brothels and their typical seediness, they meet a somewhat insane and possessed young man who leads them to Dracula’s belongings and most importantly, the vampire’s blood. The men are grossed out at the thought of drinking the evil Count’s blood but the crazed young man takes a swig, causing him to cry out in pain as the freaked out rich men beat him to death. In this mayhem, Dracula begins to resurrect.
The rest of the story follows Dracula seeking revenge on the three rich men for some reason. He also fancies all the women and one of their beaus has to become the hero.
I love the plot of this film but after a great setup, the last act is a bit anti-climactic.
Scars of Dracula (1970):
Release Date: November 8th, 1970 (UK) Directed by: Roy Ward Baker Written by: Anthony Hinds Based on:Dracula by Bram Stoker Music by: James Bernard Cast: Christopher Lee, Patrick Troughton, Dennis Waterman, Jenny Hanley, Michael Gwynn, Michael Ripper
Hammer Film Productions, EMI Films, 20th Century Fox, MGM-EMI, 91 Minutes
They didn’t waste time making this film, as it came out just about six months after the previous installment.
This chapter in the series is infamous for being the most violent entry. It isn’t full of stomach-churning gore but it is much more bloody and intense than any other film in the series. I feel like Hammer thought that they had to up the ante somehow and more gore and more blood was the easiest route.
Scars of Dracula reintroduces us to the religious protagonist once again, after we got a break from the formula in the last movie. Although his role is pretty limited to just a few scenes. The religious hero is played by Michael Gwynn. The main protagonist is a young man looking for his missing brother, who finds himself protecting his love. Classic Doctor Who fans should love the fact that the Second Doctor, Patrick Troughton, plays Count Dracula’s servant.
This is a solid film in the series. Really, none of these movies are bad. It actually does amaze me though, that the quality is still there six films deep.
Dracula A.D. 1972 (1972):
Release Date: September 28th, 1972 (UK) Directed by: Alan Gibson Written by: Don Houghton Based on:Dracula by Bram Stoker Music by: Mike Vickers Cast: Christopher Lee, Peter Cushing, Caroline Munro, Stephanie Beacham, Christopher Neame
Hammer Film Productions, Columbia-Warner Distributors, 96 Minutes
This film freshens things up a bit by bringing Dracula into what was then the modern world. It also brings Van Helsing back to the series (played by the great Peter Cushing once again) as he plays two versions of the character. He plays the original version of Van Helsing in 1872 and then plays his great-grandson, in 1972. Both amazingly look exactly the same.
The story follows a Dracula disciple named Johnny Alucard (“Dracula” spelled backwards) and his attempt to raise the evil count and exact revenge on the Van Helsing family by sacrificing the professor’s niece to the dark lord.
I actually enjoy this film a lot and think that the 1972 setting was great. The teens in the film weren’t annoying and actually were all pretty likable and cool characters. Even the villain, Johnny Alucard had a great presence and is still, to this day, one of my favorite vampire characters in film history. His death was a little bizarre though.
The film also features Caroline Munro as Dracula’s first sacrifice. She was a Bond girl in The Spy Who Loved Me, a few years, later and she is one of my all-time favorite girls in that film series. Here, she was a bit younger, just as beautiful and really captured the scenes she was in.
Christopher Lee didn’t get as much screen time as I would like but he still owned the scenes he was in and it was nice seeing Dracula and Van Helsing facing off once again.
The Satanic Rites of Dracula (1973):
Release Date: November 3rd, 1973 (UK) Directed by: Alan Gibson Written by: Don Houghton Based on:Dracula by Bram Stoker Music by: John Cacavas Cast: Christopher Lee, Peter Cushing, Joanna Lumley, Michael Coles, Freddie Jones
Hammer Film Productions, Warner Bros. Pictures, 87 Minutes
This is the final film in the Hammer Dracula series. It is also the weakest.
For the most part, this film is enjoyable because it features Christopher Lee as Dracula and Peter Cushing as Van Helsing and it is their final showdown. And frankly, I’ll watch any film with either man in it and especially any film with both of them in it.
Taking place in the modern era, like the previous film, this one misses its mark somewhat. Where its predecessor was campy and fun, this one was extremely dark, fairly gorey and was the first film in the series with lots of gratuitous nudity. In fact, I don’t think there was nudity at all in any of the previous Hammer Dracula movies.
Now I am not one to complain about nudity but the use of it in this film doesn’t really fit the vibe and style of the series. And where I would let kids watch most of the other films, I’d have to keep this one hidden on a higher shelf in my DVD library.
I feel like they should have ended the series with the previous film. This just felt forced and neither Cushing nor Lee looked all that interested in this picture when they were on screen. At least the film before this had some charm.
*There is another film with Peter Cushing as Van Helsing. It is “The Legend of the Seven Golden Vampires”. Dracula is also in the film but he is not played by Christopher Lee. Also, this isn’t a straight up Hammer Horror film, it is actually a co-produced horror/kung-fu flick that was a collaboration between Hammer and Shaw Brothers (a prominent kung-fu studio at the time). I will review this at some point, I’m sure.