Another Peter Cushing Trio

Another Peter Cushing Trio!

by Kristin Battestella

Whether he's playing the hero or the villain, there's simply no shortage of old school Peter Cushing frights!

And Now the Screaming Starts! – An amorous and surprisingly fertile ghost reeks havoc for Stephanie Beacham (Dracula A.D. 1972) in this 1973 Amicus period piece co-starring Peter Cushing. The 1795 carriages, antiques, riverside scenery, Oakley Court setting, and 300 year old haunted castle combine for a colonial meets medieval foreboding complete with balcony galleries, sconces, waistcoats, and riding frocks. Unfortunately, the bridal bliss is short lived before disembodied hands, ghoulish faces in the window, and doors opening by themselves lead to a largely unseen assault with plenty of implied terror. Despite sunshine and pleasant outdoor strolls, the darkness is felt with cemeteries, fog, storms, and apparitions causing more screams – which is what it says on the tin. Poor Stephanie must have gotten darn hoarse with the titular minute to minute shouts! Rattling frames on the wall, ghostly choke holds, and falls down the stairs can be bemusing, however phantom winds, cracking mirrors, and evil paintings create enough atmosphere to forgive any chuckles as bodies drop one by one amid family secrets, creepy woodsmen, birthmarks, and blood. Maids are fainting, tonics tossed into the Thames reappear on the bedside table, and the sweet library has a hidden copy of the Malleus Maleficarum detailing this demon sex – but leave it to Dr. Cushing to save the day in one terribly and I mean terribly coiffed wig! The staff says they need a priest not a doctor, and anyone who tries to tell of the family legends and their past debauchery ends up dead before a decadent flashback reveals a nasty noble putting on the unwanted wedding night advances. Grave robbing and cradle shockers are morose fun, but the big secret is kind of obvious, the father and son lookalikes could be explained better, and the violence against women used as supernatural revenge doesn't solve any of the male cruelty that started the hereditary curse in the first place. Although the horror should be tighter and overall there is a certain lacking on the scary panache; the cast, setting, and mood are effective enough to see the screams through for one wild topper.

Corruption – Green scrubs, surgery tables, and swanky tunes open this 1968 for love or horror tale, and it's fun to see suave, convertible driving surgeon Peter Cushing cruising with his younger lady. Sadly, he doesn't quite fit in with the swinging parties or stoned blondes in mini skirts, and the hazy visuals and askew camera angles mirror the congestion as our doc objects to a seedy photographer telling his model gal to take off her dress. The fight over his dame leads to crashing studio lights, burns on her beautiful face, bandages, and skin graphs. Radical new plastic surgeries are to no avail until Big Pete borrows glands from the hospital morgue for his home laboratory complete with microscopes, caged rabbits, scalpels, syringes, and precision lasers. His tender bedside manner belies the medical stress, dabbing the sweaty forehead as he works while pulsing beats and sound effects match the miraculous but temporary healing. His unstable patient wears veils and netted hats, bashing mirrors at her perceived ugliness now that she's said to be washed up after a few months off the fashion scene – when in reality her injuries aren't really that severe. Today make up would easily cover her scars, and they are committing far worse horrors just to maintain her beautiful veneer. She buys her doctor a camera to photograph her, insists his oath to her is more important than his medical morals, and forces this older man to kill to keep her because she is so dependent on his expertise. Our doctor strolls the streets for a five pound hooker – a small price to pay for living tissues amirite – but the newspapers are reporting on his messy crimes and headless victims. The bloody parts are in his medical bag, but Doctor Peter misses killer chances as frenetic editing and askew wide angles reflect his dirty, violent deeds. It's all the guy can take as police, robberies, and pointing fingers botch the operation, and the debonair slips as he's unable to justify each death thanks to interfering hooligans and heady reveals. While different versions of the picture have more skin and gore, some of the pursuits are a bit corny. Beatniks in capes, ladies in pink, and the older Cushing bumbling along the rocky coast – how's a man to work in these conditions? Despite some datedness, the out of control extremes remain an interesting commentary on what a classy older gent is willing to do for his love at the first sign of some younger competition.

Land of the Minotaur – Meddling priest Donald Pleasence (Halloween) joins innocent looking but creepy little old cult leader Peter Cushing in this 1976 Greek horror movie with varying versions also called The Devil's Men. Colorful hoods, robed figures, fiery rituals, and titular effigies fit right in with the rustic locales, villas, caves, real ruins, and ancient stonework – but our padre is concerned after several explorers in Winnebagos and hot pants go missing. So what if the archaeologists have no gear to climb nor tools to dig, wear platform shoes, and stumble upon their quarry by chance while letters to the US and flights to Greece happen instantly. Evil Baron Pete is chauffeured about town, casually referring to the pagan history of his family title before laughing at his sacrificial victims' pleas. Old world funerals, shady villagers, uncooperative police, and silenced old ladies add to the bathroom scares, falling chandeliers, and nighttime chases. Tense music accents the strangulations, deserted villages, one on one confrontations, and fatal altars when we hear it. However, the scoring seems largely absent, and in a desperate attempt to be ominous, every single scene has a silent zoom – going overboard with the intercut close ups on everyone's eyes. Restarting with several group disappearances also wastes time, giving the cult away when there was no need for anything before Luan Peters' (Twins of Evil) arrival in search of her boyfriend. Interesting priest and PI buddy aspects – one devout in religion and myth, the other solely about the facts – are undercut by knowing who the cult is and where they are the entire time, and the evil fighters spend more time sitting around doing nothing while the whole town in on it island ritual tries to be The Wicker Man. Poor editing and cut away fates don't create mystery but instead make many things unclear amid poor dialogue and uneven sound. Some of the terrorizing happens for the sake of it, with a lot of tossed in filler delaying the quality attacks in the darkness or dragging the sinister, sacrificial mood. This is certainly flawed, needing both more budget and polish but less runtime and a tighter narrative to compensate for some laughably amateur elements. The good versus evil religious pulls and intriguing character dynamics are wasted by time we get to the freaky finale, yet the fun cast and unique cultural horrors add enough late night entertainment to see the bull to the end.

Revisiting with Sir Christopher

A Vampire Revisit with Christopher Lee

by Kristin Battestella

Horror fans worldwide have all been touched by the passing of Sir Christopher Lee. At the expense of writing new material too close home, here is a look back at all our musings on the Hammer Dracula series – previously scattered among our spooky dissertations and now collected for a mini RIP retrospective. Sniff.

Horror of Dracula – Well, well. Director Terence Fisher is here again for the one that started it all! Even with little dialogue, Lee is tall and imposing, his stature and glare deadly and delightful. Appearing a half hour into the film, top billed Peter Cushing as Van Helsing is also simply badass. There are unique changes to the tale from Hammer writer Jimmy Sangster (Horror of Frankenstein) of course, with library scholar Harker engaged to Lucy and more character switcharoos. Dracula is also decidedly styled as an English gentleman yet the story never leaves Central Europe. This also doesn’t look 1958 as we expect from the Leave It to Beaver types. Yes, it’s bright and colorfully filmed in the style of the time, but this Dracula is dark, gothic, and feels earnest, passionate, deadly. There’s something so nasty about the way Lucy opens the door, removes her cross, lays out, and unbuttons the nightgown! All the staples- stakes, garlic, candles, coffins- are here; everything we expect a proper vampire tale to be twists together with great deception and scares. Hot damn!

The Brides of Dracula – Peter Cushing returns- without the titular Big D- for this 1960 Hammer sequel directed by Terence Fisher (also of the precursor Horror of Dracula). Here the once again young, suave, taking names and staking dames Van Helsing puts the cross to Yvonne Monlaur (Circus of Horrors), Martita Hunt (Great Expectations, Anastasia) and Andree Melly (The Belles of St. Trinian’s). Though the Hammer sets are a little familiar, naturally; the scary sound effects, Goth Victorian dressings, lots of candles, and plenty of red velvet work toward a great, old fashioned, classy atmosphere. This chick spin on Bram Stoker’s plotting is unique, juicy, and dangerous-all these sexy women with secrets, screams, and fangy hysteria! This probably wasn’t the first of the Hammer Dracula series that I saw growing up, but it’s the one that sticks in my mind best- mostly because of a sweet climatic finale. Granted the inconsistencies are iffy, but that windmill of danger, doom, and retribution is classic awesome.

Dracula: Prince of Darkness – This Terence Fisher helmed 1966 sequel opens with a revisit to his Horror of Dracula and adds fun Victorian via sixties ladies, freaky servant Philip Latham (The Pallisers), action monk Andrew Kier (Cleopatra), candlelit ambiance, and sweet velvet décor. There’s actually a touch of the novel as well, with hints of Renfield and visiting English twists- except our Carpathian guests are two couples this time around. Barbara Shelley (also of The Gorgon) makes a great scaredy cat who would be annoying except that we know somebody should take heed in a vampire picture! Besides, it’s always the good girls like Suzan Farmer (Die, Monster, Die!) who go so bad for Dracula! Even though we know a resurrection ritual is coming, it’s still bloody impressive- literally and figuratively. There’s a great sense of foreboding fear with scary music as Lee silently hypnotizes and takes the dames as he wills in what seems like less than 10 minutes! I know he did some of these films under protest and had conflicts over the dialogue, but Dracula need not speak to be badass either. OMC’s great strength, overbearing physicality, and evil red eyes more than fit the terror bill. It’s actually fitting that there are no wither tos and why fors- just a silent, powerful, unstoppable menace. We don’t have outright nudity or such for this round, but the vamp approach and violation works.

Dracula Has Risen from the Grave – A sweet, bloody, almost Bond-esque introduction and a fun opening shocker lead off the revenge plotting, suspenseful carriage chases, surprising character development, saucy bedroom scenes, religious twists, and rooftop pursuits in this 1968 sequel. Whew! It’s quite intriguing to for once see what would possibly happen after Bram, as we instead focus on Monsieur Rupert Davies (Maigret), priest Ewan Hopper (Julius Caesar), and the terrified village folk who all still live in the shadow of Big C. We actually see more of Lee as Dracula earlier on in the film, and this time he even speaks! Well, it’s only about dozen lines and we still don’t really have enough of the eponymous villain, but Sir Christopher has more to do here. Dracula is quite sensual and kinky; all these necks and bosoms just thrust right at him! Though filmed well, the production values seem a step down from the usual Hammer high style, and the women seem a little too sixties designed instead of the late Victorian onscreen. Young Barry Andrews (Blood on Satan’s Claw) is also too hepcat annoying, as is bad girl Barbara Ewing (Torture Garden) to start- but we know Dracula will educate her- a bite, a beat down, a catfight! Yes, the titular revival is a little preposterous, but its also pretty creative- even if the vampire rules, times, and places established in the first two films are fudged up. The horror sound effects are great, along with impressively eerie green glow effects and colored lens tricks. It does indeed look like death here!

Taste the Blood of Dracula (1970)– Well, in this Hammer’s fifth Dracula themed film, Big C has a sweet intro tying into his previous entry, 1968’s Dracula Has Risen from the Grave. The occult circumstances leading to Dracula’s resurrection here are also lovely horror treats- creepy organ music, lightning crackles, and bright red oh so delightfully fake blood! Even if Lee only has about a dozen mostly one-word lines, he’s still enchanting, suave, and lays on the kinky with Linda Hayden (Blood on Satan’s Claw) and Isla Blair (Battle of Britain). What can I say; he knows how to dominate a picture! While this outing suffers a little bit from lack of other stars- it’s tough to enjoy all these Brit blokes who all seem the same- the Victorian flavor, gore, and underlying cheeky are just right. So what if the cult rituals in the titular quest are over the top. You can read into all the blood, life, and naughty symbolism if you want, but Taste is also a lot of fun; everything we expect in a good old midnight movie. I do grant that the plastic gardens are hokey, but I like that something special and stage-like intimacy where nothing but a good cape, red eyes, and pimpin’ fangs are needed.

Scars of Dracula – Roy Ward Baker (The Vampire Lovers) takes the helm for this 1970 entry in the Hammer series once again starring Christopher Lee as the eponymous count. The plot kind of sort of picks up from Taste the Blood of Dracula with the pre-requisite resurrection in the first few moments and sets the mood with booming orchestration, outdoor scenery, wild carriages, and cool castle interiors accented by red décor and bloody, pecked, and stabbed victims. Yes, the period design is cheap and the plot standard – a young village girl is attacked, angry townsfolk and the clergyman head off for Dracula’s known lair, one person doesn’t heed said village’s advice, a couple pursues him to the castle… The tale starts several times and takes too long with seemingly random players before the vamp action, and most of this set up could have been abandoned for an in medias res cold open. Expected series inconsistencies and a plodding lack of panache detract from the Stoker touches, but Lee looks good, mixing both violent and torturous intensity with suave and delicate mannerisms. From casual dining and conversations to a seductive vampire bride and slightly hokey bat control, Lee has much more to do with these developments, and it’s wonderfully creepy. Likewise, Patrick Troughton (Doctor Who) is a seedy, hairy, hatchet wielding, and conflicted henchman. Though the nudity and bed hopping are a little more risqué, there could have been more and subtitles would clarify a lot! Yes, it’s somewhat typical with nothing new on the vampire theme, but Lee’s presence anchors the spooky iconography here.

Dracula A.D. 1972 – Numero 7 brings Dracula back once again-and this time, the titular year is where all the juice happens with Stephanie Beacham (The Colbys) and Caroline Munro (The Spy Who Loved Me). The swanky scoring is a lot of fun, but director Alan Gibson (also of the follow up Satanic Rites of Dracula) wastes time on dated onscreen band performances. We don’t need lengthy 1972 establishing, and the now retro styles would have look cool old school if they weren’t so dang garish. We poke fun at the psychedelic, sure, but imagine how ugly current slasher horror films brimming with kids in the latest fashions are going to look in 40 years! The annoying hepcats wannabes here make things too bad English; Scream and Scream Again does the formula just a little bit better. Thankfully, Peter Cushing’s return as Grandpa Van Helsing is classier and action pimpin’ then all of the little boys put together! Of course, things kick up when Lee is resurrected and Cushing takes up the fight, but who knew Dracula was down with the swirl? Pity he is only in a reluctant handful of scenes with another dozen obligatory lines.

The Satanic Rites of Dracula – This direct sequel and number eight in the Hammer Dracula cannon sticks to the contemporary designs from its 1972 predecessor with more faux Bondian opening titles, breasts, and bad zooms. Though the sets and scenery are a little bland, drab, and not as colorful as the previous outing, the blood, kinky vampire brides, and disturbing rituals get all the horror across just fine. It’s also neat to see tapes, slides, and old style investigations instead of high tech CSI. The modern spy angle and same old Scotland Yard inspectors are, however, a little ho-hum in overtaking the expected vampness. Van Helsing’s credentials change to fit the themes here, but PC is still sweet- slapping people around to get his answers and taking long contemplative drags on his cigarette. Big C commands a lot of attention with his strong, distinctive voice and speech, yet his silent and brutal sweeping in and conquering works in his handful of scenes here. There’s something so sensual about not always seeing the actual taking bite, just the fear before and the deadly euphoria after. Yes, perhaps the ‘spies saving England from vampires’ plot might not always work, but the latent lesbian vampire action and orgasmic stakings go a long way for old school male audiences.

The Legend of the Seven Golden Vampires – Although Hammer’s Dracula series wasn’t exactly known for its consistency, this 1974 samurai meets vampires crossover muddles the timeline further, easily resurrects its angry and infamously not Christopher Lee Dracula, and unevenly mixes its two-movies-in-one inspired parts. The bad makeup, dubbing by David de Keyser (Leo the Lasyt), and almost comically green, alien lighting for John Forbes-Robertson (The Vampire Lovers) as Dracula isn’t scary and feels unnecessary – other Hammer vivid designs, period Asian style, undead rituals, and zombies rising from the grave are great but it’s tough to tell what’s happening most of the time. Fight scenes, nudity, and blood sucking are well done along with hints of Buddhist relics affecting these vamps, but Peter Cushing partly tells the titular legend in flashback instead of it being the main story. It might have been neat to see his traveling Van Helsing film series as he battles all manner of evil across the globe, but one has to wonder why Cushing took this role. Despite interesting character opportunities and uniqueness, Big Pete instead goes head to head in a reversed Magnificent Seven protect the village from the bad guys cliché. The audience never gets a satisfactory feeling from either the Fu or the Brits involved – the Chinese vampires didn’t need Dracula or Van Helsing, but Van Helsing on a vampire tour doesn’t need Kung Fu action, either. While this full length, unedited version is the one to see, unfortunate compression, film speed issues, and a fast hour and 25-minute runtime on the recent Millennium Films Hammer Horror Collection DVD set further sabotages the premise here. Today’s viewer may look at this and wonder if the speed is supposed to be part of some sort of Kung Fu lips not matching the voices comedy! I hoped this would be good – and I do believe it is possible to combine vampires, martial arts, and horror – but this should have been a straight Hammer Asian arts film. I get tingling imaging the possibilities, but viewer expectations aren’t fulfilled here.

 

For more Sir Christopher, please see Our Christopher Lee Reviews guide. 

Sniff. 

More Christoper Lee Hysteria

More Christopher Lee Madness!

By Kristin Battestella

I can’t help myself. I’m neck deep in more Christopher Lee blood, gore, and mayhem!

The Crimson Cult – Boris Karloff joins Our Man Christopher in this 1968 witchfest more properly titled Curse of the Crimson Altar.  Director Vernon Sewell (The Blood Beast Terror) lets the onscreen excess speak for itself rather than having headache-inducing camerawork get in the way.  The girls, boobs, whips, dreamy colors, and heady action look great along with the real locations and a spooky English countryside. A wonderfully kooky performance by the late Michael Gough (Batman) and a great in joke- “It's like a house from one of those old horror films.  Yes it's like Boris Karloff is going to pop up at any moment.”- keep the tone relaxed amid the simmering sorcery.  The tactic smartly catches the viewer off guard when the scares jump out, and yes, there are some great shock moments. Lee is his usual perfect as the suave speaking unassuming English uncle- but we should know better!  Likewise, Karloff-in one of his final film roles- is a classy, cranky Professor who collects torture devices.  Surely, he must be up to foul afoot, right?  The voice effect for Barbara Steele (Shivers) is a little annoying, a faithful DVD is tough to find, and leading man Mark Eden (Coronation Street) isn’t really modern star material, I grant you.  However, the smart suspense and sexy scares win out here.

 Horror Express – The DVD transfer on this 1973 co-Peter Cushing fright fest is damn bad, ripe with too dark to see images, background noise, and ridiculously soft dialogue and dubbing. The turn of the century Asia locale looks cheap, the archaeology and science of the time stinks, and the editing is poor in my cut up 85 minute print.  Nevertheless, Lee is young, juicy, and rockin’ the porn mustache! This cargo gone wrong tale with a splash of religion and aliens has a fun train bound cast of characters, all of them with something to hide. Sure, the effects are a little hokey, but the less is more mystery does well- and the scary red eyes work. There’s rapid isolation for the evil monsters to run amok, kinky implications, betrayal, tension among passengers, and ambiguity among our boys. Lee and Cushing- both good guys working together for a change!  Add an unexpected and fun appearance by Telly Savalas (Kojak), humor and great quips, even some genuinely scary and jumpy moments along with the contained paranoia and you’ve got a damn fine little horror movie. This one definitely deserves to be cleaned up- hopefully the recent blu-ray does some justice.  As much as I’m against modern remakes- and Lee would have to make a cameo appearance in any update- in the right hands, this contained, fearful formula could work anew.   

  

Taste the Blood of Dracula (1970)– Well, in this Hammer’s fifth Dracula themed film, Big C has a sweet intro tying into his previous entry, 1968’s Dracula Has Risen from the Grave.  The occult circumstances leading to Dracula’s resurrection here are also lovely horror treats- creepy organ music, lightning crackles, and bright red oh so delightfully fake blood!  Even if Lee only has about a dozen mostly one-word lines, he’s still enchanting, suave, and lays on the kinky with Linda Hayden (Blood on Satan’s Claw) and Isla Blair (Battle of Britain). What can I say; he knows how to dominate a picture! While this outing suffers a little bit from lack of other stars- it’s tough to enjoy all these Brit blokes who all seem the same- the Victorian flavor, gore, and underlying cheeky are just right. So what if the cult rituals in the titular quest are over the top. You can read into all the blood, life, and naughty symbolism if you want, but Taste is also a lot of fun; everything we expect in a good old midnight movie.  I do grant that the plastic gardens are hokey, but I like that something special and stage-like intimacy where nothing but a good cape, red eyes, and pimpin’ fangs are needed.

Dracula A.D. 1972 – Numero 7 brings Dracula back once again-and this time, the titular year is where all the juice happens with Stephanie Beacham (The Colbys) and Caroline Munro (The Spy Who Loved Me).  The swanky scoring is a lot of fun, but director Alan Gibson (also of the follow up Satanic Rites of Dracula) wastes time on dated onscreen band performances. We don’t need lengthy 1972 establishing, and the now retro styles would have look cool old school if they weren’t so dang garish. We poke fun at the psychedelic, sure, but imagine how ugly current slasher horror films brimming with kids in the latest fashions are going to look in 40 years! The annoying hepcats wannabes here make things too bad English; Scream and Scream Again does the formula just a little bit better. Thankfully, Peter Cushing’s return as Grandpa Van Helsing is classier and action pimpin’ then all of the little boys put together! Of course, things kick up when Lee is resurrected and Cushing takes up the fight, but who knew Dracula was down with the swirl?  Pity he is only in a reluctant handful of scenes with another dozen obligatory lines.  

The Satanic Rites of Dracula – This direct sequel and number eight in the Hammer Dracula cannon sticks to the contemporary designs from its 1972 predecessor with more faux Bondian opening titles, breasts, and bad zooms. Though the sets and scenery are a little bland, drab, and not as colorful as the previous outing, the blood, kinky vampire brides, and disturbing rituals get all the horror across just fine. It’s also neat to see tapes, slides, and old style investigations instead of high tech CSI.  The modern spy angle and same old Scotland Yard inspectors are, however, a little ho-hum in overtaking the expected vampness. Van Helsing’s credentials change to fit the themes here, but PC is still sweet- slapping people around to get his answers and taking long contemplative drags on his cigarette.  Big C commands a lot of attention with his strong, distinctive voice and speech, yet his silent and brutal sweeping in and conquering works in his handful of scenes here. There’s something so sensual about not always seeing the actual taking bite, just the fear before and the deadly euphoria after.  Yes, perhaps the ‘spies saving England from vampires’ plot might not always work, but the latent lesbian vampire action and orgasmic stakings go a long way for old school male audiences.

Yes, some of these Lee classics are for definitive fans only.  Most of his massive catalog does indeed fall into the realm of low budget at best and so bad it’s good at worst. But who’s complaining? As one gladiator famously asked, “Are you not entertained?”  I sure am!