Category Archives: Hammer Horror

The Satanic Rites of Dracula-1973

The Satanic Rites of Dracula-1973

Director Alan Gibson

Starring Christopher Lee, Peter Cushing, Joanna Lumley

Scott’s Review #1,405

Reviewed October 16, 2023

Grade: B+

The Satanic Rites of Dracula (1973) is the eighth film in the Hammer Horror Dracula series, and the seventh and final one to feature Christopher Lee in the starring role. It also unites legendary horror actor Peter Cushing with Lee for the third time.

So, the territory and storyline are hardly unchartered and a film like this is for a targeted audience.

For those unclear, Hammer Horror films are a series of low-budget British films produced by the London-based company featuring gothic and fantasy-type films.

Their heyday was from the mid-1950s until the 1970s.

The Satanic Rites of Dracula comes at the end of the horror genre reign of terror but is enjoyable nonetheless. It’s redundant in a way because I’ve seen so many of them by now that there’s little intrigue anymore.

It’s not a surprise anymore what’s going to transpire in the film.

I love these films mostly because of the low budget and the creative and sophisticated sets and art design. But the main selling point is the Lee/Cushing pairing.

After a Secret Service agent barely escapes an English country estate where satanic rituals are being held and later dies Van Helsing (Cushing) is asked to investigate.

He seeks the seven hundred-year-old count (Lee), who is dead and living in London with his vampire bride and a breed of other undead women dressed in red robes.

Van Helsing’s granddaughter Jessica played by Joanna Lumley is introduced as well as another Secret Service agent, Murray (Michael Coles).

The team naturally winds up at the English estate where they discover shenanigans led by a female Chinese vampire (Barbara Yu Ling). They grapple with fire and brimstone as they determinedly attempt to take down Dracula once and for all (yeah right!).

The film is silly but in the best of ways. I enjoyed the very beginning and ending most of all. When the Secret Service agent runs down the vast estate driveway amid darkness the mysterious pursuing motorcycle men provide intrigue, and the plot is hatched.

As fans know well the finale will result in a fiery showdown between good and evil and the benevolent Van Helsing destroys the villainous Dracula with a strong stake to the heart.

This technique is used a few times during The Satanic Rites of Dracula and in comic fashion, a stake and hammer always seem to be at the ready.

But the fun is good besting evil after all and delightful is seeing a vampire’s fangs come into view as the unsuspecting victim gasps in shock or shrieks in terror.

By 1973 Cushing and Lee could probably deliver their dialogue in their sleep and the motivation doesn’t seem to be there. Lee barely appears until the final act.

The introduction of Lumley, well-known to Absolutely Fabulous fans is wise and breathes new life into the familiar characters. She brings a Nancy Drew-type appeal especially as she sneaks into the estate basement to investigate peculiar noises.

A hoot for Hammer Horror fans or fans of British horror but it’s not one of the best in the series. Enjoyable mostly for additional tidbits like howling wind, creepy noises, and lavish drapes, furniture, and various set pieces.

The Satanic Rites of Dracula (1973) is a nice watch in October around Halloween.

The Phantom of the Opera-1962

The Phantom of the Opera-1962

Director Terence Fisher

Starring Herbert Lom, Michael Gough, Heather Sears

Scott’s Review #1,254

Reviewed May 12, 2022

Grade: B+

Probably not the best-known film adaptation of the famous 1910 French novel written by Gaston Leroux, but likely the most horrific. Hammer Horror Productions getting their hands on this is a significant win since the story is perfectly suited for the horror genre.

I’ve not yet seen the 1925 silent film version of The Phantom of the Opera starring Lon Chaney which I hear is wonderful so I cannot compare that to this.

The possibilities for a macabre telling are endless and director Terence Fisher, a familiar director in Hammer films, is back at the helm to mix the dreariness of a musty London theater with the creepy face mask of its lonely and wounded inhabitant.

I’ve said it before but it bears repeating in this review. It’s impressive to notice the astounding achievements the Horror films obtained by making lemonade out of lemons from a budget perspective. The limited funds necessitated creativity which can be seen in every series frame, especially the colorful sets and costumes.

The Phantom of the Opera (1962) is no different and is even better than some others in the brilliant mix of mood and sympathy for its main victim, specifically the luminous and disfigured ‘phantom’ played by Herbert Lom.

Dastardly Composer Lord Ambrose D’Arcy, wonderfully played by Michael Gough, and his bullied backer, Harry Hunter (Edward De Souza), struggle to find a replacement for the female lead in their new opera after she quits and flees town in the wake of a gruesome theater murder.

When a new prospect, the virginal Christine Charles (Heather Sears), disappears after the advances of Ambrose, Harry cautiously investigates unaware that there is a lonely figure inhabiting the theater.

Meanwhile, a mysterious masked man (Lom) who is eerily familiar with the opera holds Christine captive and offers to groom her to play the part.

He is a mix of crazy and passionate and his plight is sympathetic when what he’s been through is finally explained.

But the atmosphere is what sets The Phantom of the Opera apart from other similar films of the 1960s, even Hammer films.

This is never more evident in an early scene when the camera follows the characters on the misty streets of London, the darkness and shadows becoming prominent as they walk through streets and dark alleys.

Fisher, now five years into his association with the production company has hit his stride. A limited budget might reduce another director to a fretting basket case but the result and ease that he parlays to The Phantom of the Opera are quite beautiful.

Many scenes take place in the theater itself adding a foreboding element to the events. Dusty yet brimming with musicianship and artistic pizzazz, it’s fun to watch the characters sneak around and scheme within the confines of this structure.

Therefore, the mood and trimmings are exquisite without actually being so.

The music sequences are impressive without going on for too long, and despite the locale being switched from Paris to London for obvious reasons, the main being that the actors are British, this doesn’t hamper the overall experience.

The best, and most gruesome scene, occurs when a poor chap swings across the theater stage in a neck rope, dead as a doornail. The creaking sound of the rope as the man swings back and forth is chilling and dubious.

Lom is my favorite actor in the film and his character’s backstory reveal is humanistic and impressive. Who can’t relate to at least once being swindled or cheated out of work that is rightfully theirs?

Gough, also familiar to Hammer Horror fans, is tremendous as the treacherous main villain.

Sears is okay but perhaps not the greatest actress nor the best choice for the role. She’s rather bland and unmemorable.

The Phantom of the Opera (1962) falters a bit when it ends too suddenly, though many Hammer films suffer the same fate.

This film is not for those expecting a grandiose Andrew Lloyd Webber-style musical but for fans of down-and-dirty horror it’s just what the doctor ordered.

The Curse of the Werewolf-1961

The Curse of the Werewolf-1961

Director Terence Fisher

Starring Oliver Reed, Clifford Evans

Scott’s Review #1,219

Reviewed January 15, 2022

Grade: B

Oliver Reed, later famous for films like Oliver! (1968) and Women in Love (1969) made his first starring role in the low-budget Hammer Horror film, The Curse of the Werewolf (1961). He carries the latter third of the film simply because it takes that long for his character to appear.

The film is sectioned into parts and though only a little over one hour and thirty minutes feels quite long. The finale is the best chapter and the others, while good, move too slowly considering the brief running time.

This is the first werewolf film to be colorized and the film was heavily censored upon release.

Hammer horror regular director Terence Fisher is at the helm so there is a soothing and secure feeling for the viewer. We know the quality will persevere and I adored the setting of Spain with its gothic steeples and flavorful culture.

The Curse of the Werewolf is above average but not one of the best in the Hammer series.

Reed plays Leon Corledo, a man with brutal and macabre origins. He is adopted and raised in the home of a kind and respectable Don Alfredo Corledo (Clifford Evans). When he leaves Don Alfredo to find work, Leon discovers that he has increasingly violent urges.

Although these fits are somewhat calmed by Leon’s love for the beautiful Cristina (Catherine Feller), he regularly transforms into a werewolf, terrorizing the Spanish countryside.

Before the central part of the story, Leon’s mother is imprisoned and raped by a homeless beggar gone mad. Unfortunately for her, she gives birth on Christmas when the werewolf curse is started. She soon dies and little Leon is taken in by Don and his motherly housekeeper, Teresa.

The middle sequence explains how Leon as a little boy escapes out his bedroom window to kill animals thinking it’s all just a dream. Don and others try to hide Leon’s secret.

The curse doesn’t make a whole lot of sense. Why does the Christmas holiday make an unwanted newborn “unlucky” and a vicious werewolf? Why is Leon the only werewolf around? Surely, others are born on Christmas day.

Reed is the main draw as the handsome Leon and he makes a lovely mate for Cristina though too few scenes of them exist. It’s not explained why they fall in love other than they are both beautiful and Cristina’s current intended mate is boorish.

But, then again, The Curse of the Werewolf is not a love story so we accept some details with a grain of salt.

Any fan of Hammer horror films wants blood and mayhem and there is a good smattering of each. The dastardly Marquis Siniestro who humiliates the beggar and nearly rapes the servant girl (Leon’s mother) gets it in the back from her with a jagged mirror and the death is bloody and satisfying.

Later, a slutty girl with designs on Leon is ravaged to death by him after he turns into a werewolf on a night with a full moon.

The finale is bittersweet and almost tender when Don must make a horrible decision to kill his son with a silver bullet made with a crucifix to prevent the tortured Leon from killing anymore and suffering a life of misery and regret.

The Curse of the Werewolf (1961) is not as satisfying as the Hammer horror films featuring Dracula or containing Christopher Lee or Peter Cushing.

Nobody will ever usurp Lon Chainey Jr.’s frightening portrayal of the wolfman decades earlier but it’s fun seeing Reed take center stage in the film.

There’s also enough to keep Hammer fans entertained.

The Brides of Dracula-1960

The Brides of Dracula-1960

Director Terence Fisher

Starring Peter Cushing, Yvonne Monlaur

Scott’s Review #1,218

Reviewed January 9, 2022

Grade: B+

It’s always impressive to me what Hammer Film Productions do with such a limited budget mostly from a set and art direction perspective. With small funds, they can create gloomy yet beautiful set structures that are highly creative and appear extremely lavish.

To the savvy viewer, this tidbit can make each film a treasure trove of enjoyment if only to look beyond the central activity taking place and notice the style.

The Brides of Dracula (1960) is no exception.

The film is a sequel to the 1958 film Dracula (also known as Horror of Dracula), though the character of Count Dracula does not appear in the film, and is instead mentioned only twice. As fans of these films know Christopher Lee portrays Dracula. Instead, the vicious vampire at the center of the film is Baron Meinster, a disciple of Dracula’s and played by David Peel.

The fiendish villain even bites his mother played by Martita Hunt making her undead and terrifying to the residents of a Spanish village.

Van Helsing (Peter Cushing) is the hero of the story and must drive a stake through the heart of the vampire baron before he deviously makes innocent Marianne (Yvonne Monlaur) his bride.

Cushing is a familiar part of Hammer horror film lore and leads the charge as the film’s hero. I love the character because he is heroic and unflinching, always calm, cool, and collected in the face of sheer horror.

The aforementioned sets are gothic and brilliant, especially the gloomy castle owned by the Baroness and her son. When she invites Marianne to spend the night the girl is treated to a stylish room and a ravishing dinner served by a threatening servant named Greta.

The exteriors are as good as the interiors and portray the village within Transylvania as cozy and homespun. Outside the prominent inn run by the locals is inviting as much as it feels forbidden and haunted.

When Marianne is abandoned in the village by her terrified coach driver we know that secrets or living creatures are waiting to be unearthed.

These atmospheric additions will compel audiences to tune in and enjoy the horrific moments.

Speaking of horror, The Brides of Dracula feels enough like camp to not be too scary, and comic elements exist throughout. No better example of this is the bumbling and boozy Doctor Tobler played by character actor Miles Malleson.

While many moments are over the top especially when a vampire character bares their fangs in the best hammy way, the film never feels foolish or amateurish.

A huge misstep is naming the film The Brides of Dracula when no Dracula is ever to be found. I incorrectly assumed that the Baron was Dracula until after the final credits had rolled. It’s a sneaky way to capitalize on the name recognition of Dracula.

There are too many fun moments in the film though to harbor much resentment. Of the brides, my favorite is Gina, played by Andree Melly who looks the most frightening.

The Brides of Dracula (1960) is an entertaining and pleasing chapter in the Hammer horror catalog. All the expected elements are contained within including a crucifix and a healthy dose of holy water.

The Witches-1967

The Witches-1967

Director Cyril Frankel

Starring Joan Fontaine, Kay Walsh

Scott’s Review #1,096

Reviewed December 29, 2020

Grade: B

Legendary film actress Joan Fontaine chose a Hammer horror film as her final role. While not high-brow art, these films are an entertaining treat for horror fans.

They are frequently macabre, clever, and make the most of a small budget.

In The Witches (1967), Fontaine leads the way adding class and huge star quality. The film is good, but not great, with an unfulfilling ending. The cinematography and Fontaine’s involvement are the best aspects.

Also worthy of mention in the acting department is Kay Walsh, a talented British actress, who is terrific as the seemingly kind woman turned crazed witch. She adds professionalism to a pivotal role. The other supporting actors play their parts well to ensure that the craft of acting is respected.

I adore the British flair that Hammer films always have.

Fontaine plays Gwen Mayfield, an English schoolteacher who accepts a new job as the headmistress of the local school in the quaint village of Heddaby. The quiet town is exactly what Gwen needs after suffering a nervous breakdown while residing in Africa.

She experiences a small flirtation with the Reverend Alan Bax (Alec McCowen), who confesses that he is not overly religious. Stephanie is his sister, played by Walsh.

Before long, Gwen becomes immersed in the worlds of two of her students, Ronnie (Martin Stephens) and Linda (Ingrid Brett). Ronnie insists that Linda is being abused, which prompts Gwen to investigate. Meanwhile, Gwen discovers a voodoo doll and sleuths to find out what is going on in the village.

Events lead her to a sanitarium, and finally to a coven of witches, intent on human sacrifice.

The Witches has a late 1960’s look and feel which gives some sophistication. Gwen is draped in stylish clothes and jewelry and wears a cute, trendy bob haircut.

The set design is cool with groovy, colorful furniture that enhances the tight budget to full advantage.  Alan and Stephanie’s estate is particularly impressive with modern furniture, drapes, and various trimmings.

Another positive is the hefty amount of exterior sequences offered.

Director, Cyril Frankel, who directed many episodes of the popular British television series, The Avengers, provides a similar production so The Witches feels like a long episodic series. The luxurious English village is sunny, calming, and atmospheric brightening the atmosphere of the film.

This counterbalances the themes of demons, voodoo, and witches, well.

Frankel builds the story momentum throughout The Witches at a good pace, but this is lost in the final act, which is way too abrupt. During the first three-quarters of the production, we are led to believe that Gwen is either crazy, imagining the strange events, or that one of the townspeople is gaslighting her.

It’s easy to deduce the latter is what is going on, and the fun is figuring out who or who is doing the dirty deeds.

When the culprit is revealed (and it’s displayed on the cover art!), the conclusion is underwhelming. An attempted cemetery human ritual to remove life from Linda and infuse it into Stephanie so that she can live forever is weak.

After an odd sequence of the townspeople dancing and writhing around like nutcases in an unintentionally laugh-out-loud example of overacting, Gwen foils Stephanie’s plan. The witch succumbs to death, a victim of her heinous plan backfiring.

It is hinted that Gwen and Alan (who are revealed to be good) will forge a romance in the future, but I would have liked it if we had gotten more of a taste of their budding attraction during the film. Still, it is likely the two will ride off into the sunset together in safety.

While not as gory as other Hammer films, The Witches (1967) instead casts exceptionally well and tells a decent story, interesting until the low-key finale.

I expected a bit more from the ending, which simmers out instead of electrifying.

Horror of Dracula-1958

Horror of Dracula-1958

Director Terence Fisher

Starring Peter Cushing, Christopher Lee

Scott’s Review #1,083

Reviewed November 17, 2020

Grade: B+

The first colorized retelling of the classic vampire film starring Bela Lugosi from 1931, Horror of Dracula (1958) infuses style and a modern feel into the production making it a formidable entry as compared to the original.

The film launched the popular and delightful British Hammer Horror film series, which included eight Dracula sequels.

British horror films nearly always add macabre elements and a British sophistication that merge class with gothic, and the film is a perfect late-night watch during the Halloween season for maximum effect.

The atmospheric tone is key and will leave horror fans in bliss. The addition of horror stalwarts Peter Cushing and Christopher Lee only increases the pleasures.

On a gloomy night in 1885, a librarian named Jonathan Harker (John Van Eyssen) arrives at Count Dracula’s castle in Romania to begin his new assignment.

Secretly a vampire hunter, he is bitten by a desperate woman, really a vampire, begging for help. Jonathan manages to kill the woman but is then killed by Dracula (Lee). Doctor Van Helsing (Cushing) arrives at the castle to investigate, but Dracula already has designs on Jonathan’s fiancée, Lucy (Carol Marsh).

A battle of good versus evil ensues.

Lee brings sexuality to Dracula that Lugosi lacks, though Lugosi is the creepier of the two. I love the close-up scenes where Dracula bears his enormous fangs and his eyes turn red in good close-up style.

The casting of Lee is perfect as he becomes identifiable even in the first installment. I also love how Lee is a tall man, giving the character a menacing, foreboding, distinguished look.

Many might secretly welcome him nibbling on their necks!

Cushing, later to be cast as the villain, is wonderful as the empathetic Van Helsing. Lee and Cushing play well against each other. Van Helsing is stoic and confident as he smoothly leads the charge against Dracula and guides Jonathan’s loved ones into unchartered and unimaginable territory. It’s almost as if he has been through this before.

A great scene occurs when Van Helsing arrives in town for a brandy and a drink at the local pub, its inhabitants suspicious and frightened, draping garlic over the entryway and hoping he will leave soon.

The best part of House of Dracula is the atmosphere that we are treated to and the color razzles dazzle. The story is very good, but the texture powerfully shines through.

Careful not to be too showy, director Terence Fisher, soon to be a Hammer horror main fixture, uses his limited budget to his advantage in clever form.

Fisher realized his project was a colorized version and created a polished-looking, colorful, stained glass window, prevalent in several scenes. Dracula’s castle, and especially the bedroom where Jonathan stayed, is part cozy and homespun, part gothic and chilling. The cellar crypt is equally vast yet confining, as the open coffins provide wonders of who lies in them.

The plethora of books elicits a cerebral feeling.

The finale is well done, but not as spectacular as expected. Other parts are better. Van Helsing chases Dracula in a race against the sunrise, ripping curtains down to provide harsh light, and turning Dracula to dust.

I was expecting a little more gusto and more blood or a good stake through the heart. Fortunately, that entertainment was provided earlier in the film.

Shamefully, having never read the 1897 Gothic horror novel written by Bram Stroker (it’s on my list!), my understanding is that the film is pretty on target.

The film bestows creepy elements and sexuality with great color, lighting, and set design. The lesson learned is that a hefty budget and CGI can’t replicate the creative design and good effects.

The Reptile-1966

The Reptile-1966

Director John Gilling

Starring Ray Barrett, Jennifer Daniel

Scott’s Review #978

Reviewed January 10, 2020

Grade: B

While watching a Hammer horror film production, there are always little treats offered and enjoyed. The budgets are always small which only adds to the mystique and the fun and the wonderment of what can be done.

Impressive is how creative they get with a shoestring budget.

The Reptile (1966) is a nice offering with enough murder and intrigue to mildly satisfy, though many plot holes and illogical sequences occur.

The British class and murky locales are fantastic.

Set in Cornwall, England, events begin in a macabre way when a middle-aged bachelor hears noises coming from a nearby estate. When he investigates, he is bitten by a demonic figure and rapidly develops the “Black Death” which kills him.

Many locals succumb to a similar fate. The bachelor’s brother, Harry Spalding (Ray Barrett), inherits his brother’s cottage and moves in despite the warnings of the resident tavern owner, Tom (Michael Ripper), the only one of the townspeople to befriend Harry and his wife, Valerie (Jennifer Daniel).

Meanwhile, the sinister Dr. Franklyn (Noel Willman), the owner of the nearby estate, is the only resident near the cottage and he lives with his daughter Anna (Jacqueline Pearce). The Doctor treats his daughter with contempt as she is attended to by a silent servant (Marne Maitland).

When Anna asks Valerie for help, this leads Valerie and Harry to the estate where dire events occur, but could this be a trap?

The setting of the coastal town is well created and scenes in cemeteries, par for the course with Hammer productions, add a good vibe. The cottage and the estate are well-manicured, and the film simply feels like a British gem.

Since the sets are low-budget, the exterior sequences add a great deal to The Reptile. Assumed is that the film was shot with a “day for night” technique, a trick used to simulate a night scene while filming in daylight. This makes for positive cinematography.

The final thirty minutes or so is the best part of the film when Harry and Valerie are invited to dinner at the doctor’s estate. Banished to her bedroom for most of the evening, Anna emerges looking ravishing in an evening dress but is soon revealed to have been met with a curse and sheds her skin and becomes a frightening reptile.

The servant has a hold over Anna and her father, while a sweet black kitten comes into play.

The characters are interesting. Benevolent Harry and Valerie mix well with the dark and cynical Dr. Franklyn and the servant. Franklyn is irritable and the servant, though he does not speak, is devious and riddled with mystery.

Ignoring warnings to flee the town, never to return, the newlyweds refuse, blissful in their new cottage and filled with the promise of fresh life. Their spirit counterbalances their neighbors and when the characters intersect the real fun begins.

The creature is a tad on the corny side and is hardly scary. The makeup, reportedly difficult for actress Jacqueline Pearce to wear looks amateurish. The cover art makes the creature look much better than in the film, but again, the budgetary limitations made things tight.

Kudos for the idea for the creature to be a female. It was tough to either root for her or against her though since we know little about why she turns from gorgeous to evil.

From a plot perspective, the viewer is encouraged not to try too hard to figure out how circumstances relate to one another. Why and how did Anna become cursed? Did the servant curse her and why is he there? Is the group of caged animal creatures that Anna eats?

It is mentioned that Anna needs a hot environment- is the hot molten in the basement to keep her human? These and many other inquiries could be made, but it roesn’t matter too much.

The Reptile (1966) is worth a watch, especially for fans of classic, Gothic horror. With an unfamiliar cast, the project would have been assisted by the additions of Peter Cushing or Christopher Lee, mainstays of Hammer films in either of the central male roles.

Still, the film succeeds with unpredictability and the low budget creates a fabulous texture. The main appeal is that it is a good, fun horror film with little expectations.

Taste of Fear-1961

Taste of Fear-1961

Director Seth Holt

Starring Susan Strasberg, Ronald Lewis

Scott’s Review #901

Reviewed May 21, 2019

Grade: A-

Though Taste of Fear (1961) is a Hammer Production, a British film company known for hefty offerings in the horror genre, the film plays more like an intense and chilling thriller with a Gothic, ghostly feel rather than a full-throttled horror display.

The title was changed for US marketing purposes to Scream of Fear and neither the US nor the UK title quite works, both lacking the appropriate pizzazz that the film warrants. The result is a razor edge spellbinder with marvelous cinematography and more than a few surprise twists.

The action gets off to an exciting start as a female body is suddenly discovered in the waters of coastal Italy; a young woman has taken her own life by drowning.

Soon after a wheelchair-bound heiress, Penny Appleby (Susan Strasberg) arrives at her father’s estate in the lavish French Riviera to bond with her new stepmother, Jane (Ann Todd), and await her father’s return from vacation.

It is explained that the deceased woman was a close friend of Penny’s.

Penny distrusts her stepmother immensely but is not sure why since the woman is more than accommodating during her stay.

Immediately, strange events begin to occur at a rapid rate, most notably seeing her father’s corpse in odd places around the house and the grounds. The body disappears when Penny calls for help leaving the members of the household questioning her sanity and Penny starting to agree.

She befriends the handsome family chauffeur, Robert (Ronald Lewis), and the pair become determined to figure out what is going on.

Cleverly, the audience knows that something is amiss but not what the entire puzzle will add up to, which is a great part of the viewing pleasure. Director Seth Holt enjoys toying with his viewers, keeping them guessing at every dark turn.

The biggest questions are these: If Penny’s father is dead where is the body being hidden? Who is responsible and why? Why does Jane leave the house for drives every night? What does the family doctor (Christopher Lee) have to do with the story?

The best visual aspect of Taste of Fear is the black-and-white cinematography.  This quality adds foreboding and brooding elements during the entire short running time of eighty minutes.

The grand estate with its creepy nooks and crannies provides plenty of prop potential. A grand piano that seems to play by itself is pivotal to the story as is a murky pool, shockingly deep and unkempt for such a residence. Finally, the mansion boathouse that may or may not contain lit candles takes center stage during the film.

The storytelling is quick-paced and robust, never dragging. Layers unfold as the story progresses, but instead of overkill, the developments are necessary as the conclusion comes into view.

Assumptions as to which character’s motivations are devious begin to unravel. The illustrious dialogue crackles with spunk so that by the time we figure out what is going on we scratch our heads in disbelief finally surrendering to the film’s manipulations.

Where Taste of Fear falters slightly is only when an attempt to make the story completely add up is pondered. Liberties must be taken, happily so, as what could be deemed silly or superfluous instead results in thrilling fun.

Only once or twice I thought the setup was too contrived, but just as quickly tabled the inquisition instead of choosing to revel in the story.

The more than adequate cast performs their roles with professionalism and energy, always careful to make the unbelievable believable. Any film starring the legendary Christopher Lee is worthy of praise despite the actor only has a supporting role.

Justice is eventually served though as his character becomes central to the plot.

A fun fact is that Lee was quoted as saying: “Taste of Fear was the best film that I was in that Hammer ever made. It had the best director, the best cast, and the best story.” This is not to be easily dismissed given the actor’s catalog of treasures.

A forgotten delight, Taste of Fear (1961) is a prime example of a film that does everything correctly.

An excellent story, Gothic gloominess, and a foray for Hammer Production company into the then-new genre of the psychological thriller. The piece is never over-the-top and is a production sure to make Hitchcock himself quite impressed.

Never Take Sweets from a Stranger-1960

Never Take Sweets from a Stranger-1960

Director Cyril Frankel

Starring Patrick Allen, Gwen Watford

Scott’s Review #900

Reviewed May 17, 2019

Grade: A

Never Take Sweets from a Stranger (modified to Never Take Candy from a Stranger in the US for marketing purposes) is a 1960 British film, directed by Cyril Frankel and released by Hammer Film Productions.

The film contains brilliant cinematography, and a cerebral quality, and is quite daring for the time made. It combines a story of pedophilia with manipulations of the legal system allowing those to get away with this most heinous crime because of their status.

Despite the production company name and marketed as horror, the film is more left of center than the traditional genre film.

The locale is a small, sleepy lakefront Canadian town, seemingly like an everyday US town. The Carter family (Peter, Sally, and 9-year-old daughter Jean) have just moved to allow Peter a fantastic job opportunity as the school principal.

Jean confides to her parents that while playing in the woods, she and her friend, Lucille, went into the house of an elderly man who asked them to remove their clothes and dance naked for him in return for some candy, which they did.

Peter and Sally are appalled and decide to file a complaint. The elderly man is one of the wealthiest and most influential in the town, the respected Clarence Olderberry, Sr.

Surprisingly, Jean’s experience is downplayed, and the Carter family is largely shunned by the town. As a trial against Olderberry commences, Jean is ridiculed on the stand and her story ripped to shreds by attorneys.

After Olderberry is acquitted he pursues Jean and Lucille in the woods eventually catching the girls during a harrowing lakefront chase and murdering Lucille. Jean escapes and the truth is revealed to the shocked and devastated town.

The cast of Never Take Sweets from a Stranger are not household names, but each gives a fine performance.

Patrick Allen and Gwen Watford as the parents are well-cast and believable. They are upstanding people but strangers in the town, wanting to protect their daughter without smothering.

Felix Aylmer as old-man Olderberry plays the role not as dastardly or menacing but by providing glimpses of pain and sympathy. The audience is unclear whether the man suffers from dementia or Alzheimer’s disease, perhaps not even knowing what he has done.

The black-and-white cinematography is gorgeous, surreal, and tremendously effective.

With ghostly tones, the film gets off to a mysterious and prominent start as we see Jean and Lucille casually playing in the woods, startled to glance up at a menacing mansion (perfect for a Hammer production) to see elderly Olderberry leering at them with binoculars.

The lakefront sequences and the chase through the woods are among the best at providing superior camera angles.

As it’s Lucille who talks Jean into entering Oldberry’s house we presume she has done this type of thing before. She knows Oldberry will provide the girls with candy, but does she understand this comes at a price?

Immediately there is a shred of doubt placed on the children’s innocence- ever so quickly. This decision by the film along with the representation of Oldberry is pivotal to casting even the slightest doubt on the motivations or decisions of the main characters.

Comparisons to the brilliant The Night of the Hunter (1955) must be made. Themes of child abuse, young children in front and center roles, a creepy lake with a prominent boat, and macabre adults are prevalent, at least to some degree, in both films.

Additionally, both films were shunned at the time of release, misunderstood, and later rediscovered, subsequently seen as treasures of brilliant film making.  Measuring both films as tragedies is also obvious; each results in pain and sadness for the children involved.

Never Take Sweets from a Stranger (1960) is a film released decades ahead of its time that has taken years for its brilliance to be recognized and appreciated, adding nuances that are admirable and thought-provoking to the viewer.

The subtle qualities make this film a world of its own. Sadly, the very best of films are often overlooked, marinating the flavorful juices rather than a sudden bombastic reaction.

In 1960 the world was not ready for this film but is now poised to be remembered as a brave, disturbing, and relevant film offering.

The Nanny-1965

The Nanny-1965

Director Seth Holt

Starring Bette Davis

Scott’s Review #256

70089620

Reviewed July 11, 2015

Grade: B

The Nanny is a 1965 Hammer productions thriller starring legendary film icon Bette Davis as a mysterious nanny caring for a ten-year-old boy named Joey.

Joey has recently been released from a mental institution and returned home to resume normal life, but has he been “cured”?

There is an obvious tension between Joey and Nanny, but the audience at first does not know what that tension is exactly. Why do they dislike each other? Why is Joey afraid of her?

As the plot unfolds the suspense and tensions thicken as various events occur and Joey’s parents and Aunt Pen are further fleshed out to the plot. Past events are revisited and the story becomes thrilling.

At one point, long before Joey’s return home, his younger sister has drowned and the circumstances are vague. It has devastated the family, including Nanny. Joey has been blamed for her death though he insists that Nanny is the culprit.

Nobody except the neighbor girl believes Joey and the audience is left to wonder who to believe and who to root for- Joey or Nanny? Davis, like Nanny, brings a warmness to her character, but is she sincere? Is it an act? Is Joey a sweet boy or maniacal?

These questions race through the minds of the audience as the film progresses. When the mother, Virginia eats tainted food, the obvious conclusion is that Nanny poisoned the food since she prepared it. But why? Did she do this?

As the plot is slowly explained, there are a few chills, though the ending is not all too surprising.

Any film starring Bette Davis is a treasure in my mind, though admittedly it is not her finest. Still, her finest is tough to match.

The Nanny is a good film, though not a great film. It is shot in black and white which is a nice touch for a thriller.

The main reason to watch is certainly Davis’s performance, which is always mesmerizing. Traditionally playing gruff, mean, or bitchy parts (especially in her later years), The Nanny allows Davis to play a traditionally sympathetic role.

She is seemingly sweet, proper, and well-organized. A perfect nanny on paper.

The role of Virginia, played by Wendy Craig, is a bit too neurotic and slightly over-acted. She is rather one-note as the fretting mother worried about her son. The character of the father is also a bit one-dimensional.

The Nanny is more of a classic thriller from the 1960s that is often lumped together with some of Bette Davis’s other films around the same period (Dead Ringer, Hush, Hush, Sweet Charlotte, and Whatever Happened to Baby Jane?), and the aforementioned films are in large part superior to The Nanny, but as a stand-alone, it is a decent film.