MUMSY, NANNY, SONNY & GIRLY

Howard Trevor, Vanessa Howard, Pat Heywood, Ursula Howells

MUMSY, NANNY, SONNY & GIRLY (aka Girly/1970). Director: Freddie Francis. 

On an isolated if beautiful estate with a sprawling mansion, a weird family -- consisting of mother Mumsy (Ursula Howells), daughter Girly (Vanessa Howard of The Blood Beast Terror), her brother Sonny (Howard Trevor), and their cheerful nanny (Pat Heywood of 10 Rillington Place) -- collect people and keep them prisoner for bizarre fun and games. If they don't obey the rules they are "sent to the angels." Their latest victim is the "New Friend" (Michael Bryant of The Ruling Class), who after a period of adjustment, so to speak, begins "servicing" Mumsy and Girly, with a jealous Nanny and Sonny becoming more and more agitated. Whose head will wind up boiled in a big pot on the kitchen stove?

Michael Bryant with Howells

Based on a play ("Happy Family") which utilized only the characters but not the rest of the plot, Mumsy is a weird -- too weird -- black comedy that is, unfortunately, devoid of laughs aside from one or two moments (one of which might be the boiling pot, although it's a wonder that nobody smells anything). Although the actors are very, very good, handling these oddball, irritating roles with aplomb, it's hard to take any of them, especially the brother and sister, almost from the start. Things begin to get more interesting towards the end, when the quartet turn against each other, but by then it's too late. These psychos never come off remotely like real people. Freddie Francis only made the picture because he'd always wanted to film inside the impressive setting, Oakley Court. 

Verdict: Proof positive that even homicidal weirdos can be dull. *1/2. 

DR. TERROR'S HOUSE OF HORRORS

Christopher Lee and Peter Cushing

DR. TERROR'S HOUSE OF HORRORS (1965). Director: Freddie Francis.

In this horror anthology from Amicus, the fortune teller Dr. Shreck (Peter Cushing) entertains fellow travelers on a train by using his cards to tell their futures, none of which look especially bright. All of the tales that follow employ very familiar concepts. Architect Jim Dawson (Neil McCallum) goes to work at the old house and discovers a werewolf with other, bloody plans for him. Inspector Hopkins (Bernard Lee) investigates when a very strange and intelligent plant begins killing people. A musician (Roy Castle) incurs the wrath of a voodoo god when he uses a West Indian chant from a religious ritual for one of his songs. Art critic Franklyn Marsh (Christopher Lee) is so humiliated by painter Eric Landor (Michael Gough) when the former praises a painting actually done by a chimp, that he runs Landor over -- and the latter's disembodied hand begins following him everywhere. Dr. Carroll (Donald Sutherland) discovers the surprising identity of a vampire who is on the loose. The only really memorable segment in this is the one with the severed hand, and that's primarily because of the performances of Lee and Gough, who make marvelous antagonists. Peter Cushing and others in the cast are all quite good, including Jennifer Jayne [They Came from Beyond Space], who loses herself in the characterization of Carroll's French wife, Nicole; Sutherland [The Split] is also excellent. That same year there appeared a much better "killer plant" story on TV's The Avengers, "The Man-Eater of Surrey Green."

Verdict: Not much originality in this, but it's entertaining and well-acted. **1/2.

NEVER TAKE CANDY FROM A STRANGER

Patrick Allen, Budd Knapp, and Bill Nagy

NEVER TAKE CANDY FROM A STRANGER (aka Never Take Sweets from a Stranger/1960). Director: Cyril Frankel.

High school principal Peter Carter (Patrick Allen of Night Creatures) and his wife Sally (Gwen Watford) have moved to a new community with their young daughter, Jean (Janina Faye), and her grandmother, Martha (Alison Leggatt). One afternoon Jean tells her parents that she and her friend Lucille (Frances Green) were given candy by an elderly man in a house nearby who told them to take off their clothing. Peter wants to confront the old man, Sally wants to call the police, and the grandmother advises caution -- they aren't completely sure what if anything happened and the old man, Clarence Olderberry Sr. (Felix Aylmer) has a lot of clout in the town. Because of this the Carters find a lot of opposition when they have the man arrested and a trial ensues. Will the entire town turn against them and will Olderberry get away with his inappropriate behavior or get the help he clearly needs? Never Take Candy from a Stranger is a non-sensational look at a repellent subject, and is generally well-done and well-acted; Leggatt is especially good, as are Michael Gwynn [The Revenge of Frankenstein] as the prosecutor and Bill Nagy as Olderberry's son. This absorbing and distressing film leads up to a tragic and hard-hitting finale. One of the film's flaws, however, is that the "pervert" in question seems rather feeble and to be suffering from Alzheimer's, making some of his actions possibly unlikely, and his behavior perhaps more demented than criminal. A more menacing and younger antagonist, a more formidable and devious pedophile, might have given the film even more dramatic heft, although the ending is nevertheless uncompromising. Freddie Francis' cinematography gives the film a nice look, and there is a fine musical score by Elisabeth Lutyens [Paranoiac].

Verdict: Sobering look at a town's dirty secret. ***.

DIARY OF A BACHELOR

DIARY OF A BACHELOR (1964). Director: Sandy Howard. Screenplay by Freddie Francis writing as Ken Barnett.

Skip (William Traylor) is about to end his long, happy bachelorhood with Joanna (Dagne Crane). Joanne is already jealous enough when she decides to poke into Skip's diary, which collects his romantic misadventures, some of which are illustrated by scenes in the movie. There's the pretty blond call girl, Barbara (Susan Dean); the let's-just-keep-it- simple Nancy (Joan Holloway); the kooky Lois (Arlene Golonka) with the angry boyfriend; southern Jennifer (Jan Crockett), whom he keeps giving excuses to; and relatively plain Angie (Eleni Kiamos), whom he meets in a bar. Then Skip hits a week-long dry spell and is afraid he's losing his touch ... The big surprise about this very American independent production is that it was scripted by the veddy British Freddie Francis, director of numerous English horror flicks [The Creeping Flesh; Craze]. Traylor isn't bad in the lead but he lacks that exquisite comedic ability of, say, Lemmon or Grant. The ladies are all pretty good, including the uncredited actress who plays Thelma, the cleaning lady in the office. Dom DeLuise plays one of Skip's card buddies, and Joe Silver scores as his homely if more sensitive friend, Charlie. There's some good writing in the movie and way too much narration by Skip/Traylor. Pretty cheap production and some frank talk.

Verdict: Nothing that shocking in this diary. **1/2.

DRACULA HAS RISEN FROM THE GRAVE

Christopher Lee as Dracula

DRACULA HAS RISEN FROM THE GRAVE (1968). Director: Freddie Francis.

In this sequel to Dracula Prince of Darkness, the blood-lusting count (Christopher Lee) is freed from his icy prison but discovers that Monsignor Mueller (Rupert Davis) has placed a big cross against the door to his castle as part of his efforts of purification. Enraged, the count mind-controls a pliable priest (Ewan Hooper) and enlists his aid in getting revenge. Dracula sets his sights on the monsignor's pretty niece, Maria (Veronica Carlson), who has a boyfriend, Paul (Barry Andrews), who shocks the monsignor and her mother (Marion Mathie) by admitting he's an atheist [this development takes a predictable route in some ways but not in others]. The busty barmaid Zena (Barbara Ewing) has a yen for Paul but instead winds up the lover of Dracula. [The scene in which the count stalks her just before dawn is well handled except it appears to be daylight already!] The main problem with Dracula Has Risen from the Grave is that it follows the excellent Prince of Darkness [directed by Terence Fisher] and must suffer by comparison. Otherwise, it's effective enough on its own terms and boasts some very good acting from all the principals. Lee is given some dialogue this time around, but only interacts with others when he is controlling or attacking them.

Verdict: Not the best of the Count, but not bad. **1/2.

THE EVIL OF FRANKENSTEIN

THE EVIL OF FRANKENSTEIN (1964). Director: Freddie Francis.

"He has a brain and eyes. I can't tell you where I got them but they are excellent."

While this film follows The Revenge of Frankenstein, it does not seem to be a proper sequel and flashbacks to the baron's early career do not seem to come from the first film in the series, The Curse of Frankenstein. That being said, in this installment the baron (Peter Cushing) and Hans (a carryover from the previous film but now played by Sandor Eles) return to the former's castle and discover that the original Frankenstein monster (now played by Kiwi Kingston instead of Christopher Lee) was frozen in the ice below and can be revived. To control the creature they enlist the aid of a sinister mesmerist named Professor Zoltan (Peter Woodthorpe), but he makes the monster answerable only to himself. What to do? The baron isn't about to take that lying down. There is also a mute homeless woman (Katy Wild) who is befriended, for better or worse, by the ghoulish duo. Don Banks' musical score has to work too hard to drum up some excitement in the indifferently directed movie. John Hinds' [Anthony Elder] screenplay is mediocre, and the picture is not nearly as much fun as the old Universal Frankie movies. Cushing is as marvelous as ever, however, and the other actors are fine as well. Followed by Frankenstein Created Woman.

Verdict: A cut below the Universal sequels. **.

NIGHTMARE (1964)

NIGHTMARE (1964). Director: Freddie Francis. Produced and written by Jimmy Sangster.

"You may have been all kinds of a gay boy before, but now you're married to me!"

Janet (Jennie Linden) is a screwed up teenager who saw her deranged mother stab her father to death. She has always been afraid that her mother's psychosis is hereditary, and she may be right. Returning home from school to the family manor, she is welcomed by her guardian, Henry Baxter (David Knight), and her companion, Grace Maddox (Moira Redmond of Doctor in Love). Janet has intense and realistic dreams in which she is tormented by a weird, scarred woman who is utterly silent and menacing. Then one afternoon she sees this same woman while awake ... The main twist of the film occurs halfway through the movie and isn't that much of a surprise [and probably wasn't meant to be], but the second half still sustains a modicum of suspense. This is another of the British thrillers made in the wake of Psycho [both post-Psycho and sub-Psycho], and it's reasonably entertaining if ultimately forgettable. There are couple of somewhat energetic stabbing sequences [neither in the shower, thank goodness]. The performances from all are quite good, with Redmond chewing the scenery in dramatic fashion [only over-acting on occasion] and Knight a bit more suave and restrained. There's an awful lot of hysterical screeching throughout. From Hammer studios.

Verdict: Like a lengthy Alfred Hitchcock Presents episode. **1/2.

TALES FROM THE CRYPT (1972)

Joan Collins and a nasty Santa

TALES FROM THE CRYPT (1972). Director: Freddie Francis.

Long before the HBO series, there was this anthology film from Amicus that adapted several stories from the old 1950's E.C. horror comics, including Tales from the Crypt. Several people wind up in a mysterious crypt presided over by no less than a be-cloaked Sir Ralph Richardson, the crypt keeper [nothing like the cackling puppet on the TV series]. He tells them of their future fates, the inference being that they can avoid them if they change their ways. Joan Collins murders her husband and has to deal with a homicidal Santa in "And All Through the House." [The adaptation on the later series is superior to the version in this film.] Peter Cushing gets "Poetic Justice" after being bedeviled by neighbors. In "Reflection of Death" an unfaithful husband (Ian Hendry) survives a car wreck -- or at least thinks he does. "Wish You Were Here," a variation on "The Monkey's Paw," has a woman wishing for her husband to come back to life after he dies in a car wreck, but discovers that it's all in the phrasing. In "Blind Alleys" the residents of a home for the blind who are outrageously mistreated get a grisly revenge on the head of the institution. The movie is fun, well-acted, but has absolutely no style. Followed by The Vault of Horror.

Verdict: Some intriguing ideas get so-so treatment. **1/2.

TALES THAT WITNESS MADNESS

TALES THAT WITNESS MADNESS (1973). Director: Freddie Francis.

An anthology of horror tales tied to a psychiatric clinic presided over by Donald Pleasance, who introduces his patients to visiting doctor Jack Hawkins. In the first a little boy with bickering parents [Donald Houston and Georgia Brown] insists that a tiger comes to visit him in his bedroom. The parents don't believe him -- until the tiger shows up. This story is a complete throwaway. In the second tale a young man travels back in time to the turn of the century, followed by a ghoulish figure who spies upon him and his lady love. This one has some interesting elements but isn't developed very well. Suzy Kendall and Peter McEnery are fine as the young couple, however. In the third story Joan Collins has her hands full with a devilish sculpted tree monster in her living room which her artist lover seems to prefer over her. This one really has a hilarious -- and stupid -- wind-up. Collins as as zesty as ever. In the last and best story Kim Novak -- still gorgeous at forty -- is cast as Auriol Pageant, who's throwing a luau. One of the guests is a client named Kimo (Michael Petrovitch) who has sinister designs on Novak's beautiful daughter Ginny (Mary Tamm). This has a ghoulish touch of cannibalism but seems to be over just as it's getting interesting. Tales that Witness Madness is certainly no world-beater, but it holds the attention and is amusing, including the wind-up at the clinic. Novak is fun.

Verdict: Definitely don't eat the mystery meat. **1/2.

TORTURE GARDEN

TORTURE GARDEN (1967). Director: Freddie Francis. Screenplay by Robert Bloch. 

Several people go backstage at a sideshow exhibit and are given glimpses of their possible futures by Dr. Diabolo (Burgess Meredith.) The first man has his mind taken over by a cat after he murders his wealthy uncle; a blindly ambitious young actress discovers the secret of a handsome, seemingly ageless actor to her regret; a jealous piano -- no, that's not a misprint -- apparently possessed by the spirit of his dead mother torments a woman who's fallen for a famous classical pianist; and -- in the best of the four stories -- Jack Palance and Peter Cushing -- both of whom are terrific -- trade off as collectors of rare and expensive Edgar Allan Poe memorabilia. But Cushing tells Palance that he has the ultimate Poe collector's item in his basement ... With the exception of this final tale most of Robert Bloch's stories are fairly lame, but the film is entertaining in spite of it. 

Verdict: You have to see that piano go on the attack to believe it! **1/2.

THEY CAME FROM BEYOND SPACE

THEY CAME FROM BEYOND SPACE (1967). Director: Freddie Francis.

Dr. Temple (Robert Hutton) is disturbed when colleagues of his, including his lady love, Lee (Jennifer Jayne), begin behaving strangely, violently warning him away from a mysterious project that they're working on. It's pretty clear from the first that their minds have been taken over by extra-terrestrial forces. Another problem is that people are dying of a "scarlet plague" that makes them break out in red blotches and keel over. There are some stylish sets in this, but the pace drags, the story is derivative and dull, and there's a lot of tedious running about to little purpose. If this was trying to come off like another Professor Quatermass adventure it failed miserably. Late in the movie the florid Michael Gough shows up as a character called "The Master of the Moon." This could be the worst movie directed by the prolific Freddie Francis. Jennifer Jayne of the big pursed lips also appeared in The Crawling Eye and Hysteria. Very little entertainment value in this.

Verdict: Definitely miss it if you can. *.