3 on 3: Hammer Films

All this month, the Cafe has presented "3 on 3 panels" in which three experts answered three questions on a single classic film topic. For this final week, the Cafe poses three questions on Hammer Films, Britain's "House of Horror" to: Kevin from Kevin's Movie Corner; Alex from Korova Theatre Presents; and Sarkoffagus, the Cafe's resident authority on Hammer.

1. What is your favorite of the Hammer Frankenstein films and why?

Sark: Frankenstein Must be Destroyed. It's one of the few Frankenstein films I've seen (from any country or studio) that has a completely unsympathetic doctor, in lieu of the man simply being a misunderstood genius. This allows the character to revel in corruption and manipulation, and the more often he crosses the boundaries of good taste, the more he becomes the "monster" of the film. As his severity escalates, so, too, does the intrigue in watching him. Best of all, it's a showcase for Peter Cushing, whose energetic performance makes a lingering impression.

Kevin: Frankenstein Must Be Destroyed. Probably Peter Cushing’s best and most ferocious performance in the series, a haunting turn by Freddie Jones as the creature, one of the greatest shock scenes in Hammer’s filmography (the burst pipe), an intelligent and adult screenplay and a devastating ending. Not one to send the audience out with a smile on their faces. Oh yeah, and Veronica Carlson too. Runner-up: Frankenstein Created Woman (1967), one of the saddest horror movies ever made. Yes, saddest. Just heart-wrenching in parts.

Victor Frankenstein confronts his
creature in The Curse of Frankenstein.

Alex: The Curse of Frankenstein is the first of seven films and is undeniably my favorite, though this series is more consistent in quality than Dracula. I like this film for many reasons, specifically the (unintentional?) subtext: "The story becomes a pretext for mankind’s toying in the clockwork of heavenly conception, unwinding the springs of electric impulse and restarting of tick-tock hearts. But it can also be seen as a Cold War parable of unleashing the atom, a power now beyond control, feared knowledge now spread like a virus among political psychopaths."

I don't quite believe it coincidence that the creature resembles a horridly burned victim of radiation, much like those poor souls who perished at Hiroshima and Nagasaki. Christopher Lee imbues the creature with a sublime gentleness, mostly reflected in those sad eyes, a victim himself of science gone mad. To hide its face in shame, to be self-aware of its deformity is a pity...and Victor Frankenstein is to blame! He and his Promethean ego.

Terence Fisher's direction is wonderful, structuring the film in flashback and never shying away from the Technicolor gore (though tame by modern standards). I also like the tracking shot when the creature is first revealed, and compare it to John Ford's famous close-up in Stagecoach when he introduces John Wayne! Though Victor's head is eventually placed on the chopping block, nothing in the Hammer universe is ever what it seems.


2. What is your favorite of the Hammer Dracula films and why?

Sark: Brides of Dracula. It takes a consummate film to make viewers forget that the imposing Christopher Lee as Dracula is nowhere to be found. Hammer has always been known for methodically paced, gothic period pieces, but this movie is, at its very basic, a romantic action film. Cushing shines the brightest as Van Helsing, and Yvonne Monlaur is an appealing love interest. Drop in some vampires, and you've got first-class cinema!

Christopher Lee surveys a victim in
runner-up Taste the Blood of Dracula.

Kevin: Have to go with the first, Horror of Dracula (aka Dracula). Not exactly Stoker, but full of unforgettable scenes. In the last 50 years we’ve been inundated with vampires, but I can only imagine what audiences felt when they first saw this in 1958. Even today the close-up of Lee’s shocked face as he opens his eyes and his blood stained lips as he hears his vampire wife being staked is spine chilling. James Bernard’s landmark score, Hammer’s ace production design and that unforgettable climax make this a true classic. Seeing Peter Cushing and Christopher Lee go at it at the end is one of my all time favorite sequences. Runner-up: Taste the Blood of Dracula.

Alex: The first of a series is once again my favorite: Dracula. Though director Terence Fisher cuts Stoker's narrative to the bone, excising exposition and Victorian misogyny, Fisher does create a wonderful action film that is well paced and well bled. I prefer Hammer's version to the classic Universal which is well shot, I've always like Tod Browning's work, but it's too meek and visually reserved. Stoker’s text is rich with sensual delights underscored by some dreaded Freudian fear of women empowered by liberation from chaste cultural mores.

Fisher’s mise-en-scene conveys information so the story can jump cut quickly to the next setup. For example, as Van Helsing searches the castle for his cohort Jonathan Harker, he discovers a shattered picture frame. In one shot we learn the who, what, when, why, and where, of Dracula’s next appearance: he’s in search of the beautiful Lucy and her precious bodily fluids. This is compact storytelling that wastes little time with lengthy establishing shots or obtuse dialogue, and propels the journey towards its candelabra climax!


3. Although Hammer is most famous for its two series above, the studio made plenty of other quality movies...some with monsters and some without. What are some of your other favorite Hammer films and why do they appeal?

Oliver Reed, filmed from underneath
the water, in Paranoiac.

Sark: Paranoiac -- My favorite of Hammer's superb black-and-white thrillers. Thoroughly captivating, plus an exceptionally creepy mask. Blood from the Mummy's Tomb -- Easily the strangest and most unsettling mummy film I've ever seen, the movie is rich in atmosphere and an overall sense of doom. Countess Dracula -- She's no vampire, but Countess Elizabeth Nádasdy craves blood just as much as a fanged creature of the night. Bolstered by a remarkable and tragically underrated performance by Ingrid Pitt, this film is vintage Hammer: gloriously bizarre and undeniably mesmerizing.

Charles Gray as the dapper villain
of The Devil Rides Out.

Kevin: The Devil Rides Out. Probably my all-time favorite Hammer horror film, despite the embarrassingly bad special effects at the end. (It’s almost like they ran out of money.) But the 1920s atmosphere, a standout performance by Charles Gray, Christopher Lee in heroic mode and a genuine aura of creepiness make this one a winner for me. Never Take Candy From a Stranger (1960): This uncompromising look at the town’s refusal to accept there is a child molester living in their midst is the bravest film Hammer ever made. Scream of Fear (1961): My favorite Hammer mystery thriller with twists I never saw coming. Marvelous lead performance by Susan Strasberg.

Alex: My favorite Hammer film is Roy Ward Baker’s Quatermass and the Pit (aka Five Million Years to Earth), the third in the BBC series of Professor Quatermass productions. Director Roy Ward Baker films in mostly medium shot and close-up, with urgent dialogue and few establishing shots which create a made-for-television style narrative: most likely because this is an adaptation from a BBC series. A thinking fan’s science fiction film, how delightful!

But there are other standouts that are often overlooked because of the Hammer label, yet have little to do with horror or science fiction. Two great War films Yesterday’s Enemy and The Camp on Blood Island make David Lean’s epic look like melodramatic kids playing at war. Director Val Guest imbues these films with brutal honesty, never shying away from the tough (and unfair) responsibilities that men face during wartime. The Nanny is a great thriller with Bette Davis, owing as much to Hitchcock as to director Robert Aldrich. And it has one of the creepiest kids since Jack Clayton’s The Innocents or Mervyn Leroy’s The Bad Seed!