NOTHING BUT THE NIGHT

Peter Cushing and Christopher Lee

NOTHING BUT THE NIGHT (1973). Director: Peter Sasdy.                                                            

A number of trustees of the Van Traylen Orphanage on the island of Bela are dying in suspicious accidents. Then a bus crash puts one of the orphans, Mary Valley (Gwyneth Strong), in the hospital, where she is ministered to by Dr. Haynes (Keith Barron) and a reporter named Joan (Georgia Brown), both of whom have to contend with the girl's abusive and crazy mother, Anna (Diana Dors). Eventually Colonel Bingham (Christopher Lee) of the police and Sir Mark Ashley (Peter Cushing), a concerned doctor, head for Bela to find out exactly what is going on in the orphanage and check up on Mary. But the homicidal Anna is heading there as well, yet Mrs. Allison (Shelagh Fraser) and the other staff take it, strangely, in stride and even refuse special police guards. Bingham and Ashley discover that what's going on in the orphanage is even more horrible than they suspect ... 

Georgia Brown and Peter Cushing

With its two special stars, an adept supporting cast (especially Valley, Brown and Dors), an interesting premise, not to mention a skilled director in Peter Sasdy, Nothing But the Night -- which is not a Hammer production, unfortunately -- should be much better than it is. Unfortunately, the movie is lethargic -- there is no tension or suspense and you find yourself merely watching to see what happens instead of getting caught up in the events. There is a fairly exciting climax when all is revealed, but by then it's too late. Too bad. Georgia Brown, who is very good in this, first made her mark playing Nancy in the musical Oliver in both London and New York, but she wasn't in the film adaptation. Cushing and Lee were frequently teamed together, such as in Dr. Terror's House of Horrors, The Curse of Frankenstein, and The Skull, among several others.

Verdict: An interesting failure. **. 

HAMMER HOUSE OF HORROR

Peter Cushing

HAMMER HOUSE OF HORROR (1980 British television anthology series).

This British anthology series of horror stories lasted for one season and 13 episodes. It is a mixed bag with arguably only one really outstanding episode and a lot of stories with intriguing premises that are ruined by weak scripts and flat wind-ups. Peter Cushing stars in what may be the best episode, "The Silent Scream," in which a former Nazi scientist (Cushing) imprisons an ex-con and his wife in a cage along with several animals. There are some interesting twists and turns to the plot, although the ending is a little implausible. Among the more notable episodes are "Rude Awakening," directed by Peter Sasdy, in which a man (Denholm Elliott) has increasingly sinister dreams involving his wife and his mistress. There's an exciting sequence inside a building that is being demolished. "Children of the Full Moon" has to do with a honeymoon couple who encounter the inhabitants of an old house, a cult of werewolves, with a depressing conclusion. "The Two Faces of Evil" is a disquieting episode, well-directed by Alan Gibson,  in which a paranoid woman is besieged by demonic duplicates of her husband (Gary Raymond of The Millionairess) and son. "The House That Bled to Death" details odd occurrences in a house where grisly murders were committed, and bears a resemblance to The Amityville Horror but has its own shrewd and devilish twist.

Diana Dors in "Children of the Full Moon"

One of the most disappointing episodes is "The 13th Reunion," in which plane crash survivors have turned into a cannibal sect, but this great premise is completely muffed.  "Witching Time" is a mediocre story of a 17th century witch who is on the loose in modern times. "Growing Pains," in its story of weird things that happen after a scientist and his wife adopt a strange little boy, is initially absorbing but then becomes too confusing for its own good. An African fetish statue that causes death is the title object in the unoriginal and hum-drum "Charlie Boy," although it has some suspense. Pierce Brosnan is one of the victims of the "Carpathian Eagle," which butchers a series of men, and "Guardian of the Abyss" concerns a young lady in a cult and a supernatural mirror. "The Mask of Satan" is a stupid episode in which a man is convinced that he's been infected with a very strange virus. Kathryn Leigh -Scott of Dark Shadows fame stars in "Visitor from the Grave," in which a woman kills an intruder who keeps appearing wherever she goes; a poor script sinks this one, unfortunately.

Verdict: Not enough great episodes but most are at least reasonably entertaining. **1/2. 

DRACULA A.D. 1972

New Blood: Christopher Neame as a young vampire

DRACULA A.D. 1972 (also known as Dracula A.D./1972). Director: Alan Gibson.

A prologue set in 1872 shows the deaths of both Dracula and Van Helsing after a final, furious battle, then the film jumps ahead 100 years in this first of Hammer's 20th century Dracula flicks. Lorrimer Van Helsing (Peter Cushing) is the grandson of the great vsmpire hunter, living in modern London with his granddaughter, Jessica (Stephanie Beacham of Schizo). Jessica is friends with a man named Johnny Alucard (Christopher Neame), who is apparently the reincarnation of one of Dracula's human slaves. Johnny enlists his friends in a black mass, the sole purpose of which is to revivify the ancient, blood-sucking count (Christopher Lee). Dracula snacks on several of Johnny's nubile friends and turns a decidedly willing Johnny into a vampire, but Drac wants revenge on the Van Helsing family and sets his sights on Jessica ... Dracula A.D. 1972 with its jazzy score is like a pop version of Dracula but it mostly works, primarily because of a fast pace and some excellent acting. Cushing and Lee give their usual classy and committed performances, and Neame is a real find as the dynamic and evil Alucard. Michael Coles makes an effective Inspector Murray and Caroline Munro [The Spy Who Loved Me] is fine as one of the count's first victims. The action sequences are well-staged by director Gibson. The vampire folklore in the film is confusing, as Dracula turns people into vampires with one bite without their dying first, and his other victims never rise from the grave. The group Stoneground perform the catchy enough "Alligator Man" in a party sequence. Neame has amassed nearly 100 credits and is still working today. Followed by The Satanic Rites of Dracula.

Verdict: Fun Dracula flick with excellent performances. ***.

THE SATANIC RITES OF DRACULA

Christopher Lee as Dracula

THE SATANIC RITES OF DRACULA (1973). Director: Alan Gibson.

Dracula (Christopher Lee) is alive and well and masquerading as the Howard Hughes-like millionaire recluse Denham. When his nemesis, Van Helsing (Peter Cushing), learns that Dracula has joined together a group of prominent men into a satanic cult, and that one of them, Professor Keeley (Freddie Jones of Frankenstein Must Be Destroyed) has grown cultures of bubonic plague -- the "Black Death' -- he postulates that Dracula wants to end all life on earth and realize final peace. By Van Helsing's side are his granddaughter Jessica (Joanna Lumley) and Inspector Murray (Michael Coles), who break into a sinister estate from which the cult operates and find themselves in a cellar full of slavering vampire women! The Satanic Rites Of Dracula, which takes place in modern times, is one of the better latter-day Hammer Dracula offerings, with both Lee and Cushing expert in their portrayals, and with top-notch supporting performances as well. This is bolstered by an intriguing plot line, although the use of nasty motorcycle thugs as the cult's assassins and the like is a notion that doesn't always work too well. As much as I love Bela Lugosi, I think Lee makes the more commanding Dracula. This was Lee's last appearance as the traditional Dracula in a Hammer film, although he also played the Lord of the Undead in the 1976 comedy Dracula and Son. Alan Gibson also directed the thriller Crescendo.

Verdict: Pretty terrific Hammer flick. ***.

SHOCK WAVES

Brooke Adams and Luke Halpin

SHOCK WAVES (1977). Director: Ken Wiederhorn.

A group of people out on a short chartered boat tour might not wind up on Gilligan's Island, but they probably wish they had. Instead they wind up on an island that is home to an elderly Nazi scientist (Peter Cushing) who tells them how they created unkillable super-soldiers who were meant to be the ultimate weapons. Dead already, these soldiers can stay underwater for hours and stalk the enemy with ultra-extreme stealth. The tourists, including Rose (Brooke Adams), Norman (Jack Davidson) and Beverly (D. J. Sidney),  team up with crew members Keith (Luke Halpin) and Dobbs (Don Stout) and try to get off the island before the zombie Nazis can slay them. Shock Waves has a damned good premise but its execution is below mediocre, with too many slack stretches, no real suspense or surprises, and not nearly enough exciting sequences. Of the major younger cast members, Adams makes the best impression and was the only one to have a fairly big career. Of the veterans, Peter Cushing has one of his least interesting roles, and John Carradine, as the captain of the tour boat, is killed off early on. Halpin [Island of the Lost] was most famous for the TV show Flipper.

Verdict: Pretty much a waste of a good idea. **.

THE HAMMER VAULT

THE HAMMER VAULT: Treasures from the Archives of Hammer Films. Marcus Hearn. Titan; 2011. Revised and Updated Edition.

This beautiful over-sized coffee table book is a compendium of photos and memorabilia relating to the famous -- some might say infamous -- Hammer studios, who chiefly made horror films but branched out to other genres from time to time as well. Hammer studios made a name for itself with its new, bloodier versions of Dracula and Frankenstein, and made stars of such as Peter Cushing and Christopher Lee. Some of the filmmakers most associated with the studio include Val Guest, Terence Fisher, and Jimmy Sangster, among others. The book is chock full of production stills, behind-the-scenes shots, annotated shooting scripts, posters, drawings, press books, letters, publicity kits, and all manner of esoterica relating to the studio. The book covers all of the output of the studio from the very early days (The Quatermass Xperiment) to more recent films such as The Woman in Black, providing a fairly complete history of Hammer. You can also read about Hammer projects that were announced or conceived but never came to fruition.

Verdict: A must for the obsessive Hammer enthusiast. ***.

HOLMES OF THE MOVIES

HOLMES OF THE MOVIES: The Screen Career of Sherlock Holmes. David Stuart Davis. Bramhall House; 1978. Foreword by Peter Cushing.

This entertaining book on movies featuring the famous character Sherlock Holmes has chapters on silent films such as The Murder On Baker Street;  the stage adaptation Sherlock Holmes starring William Gillette; early interpretations of Holmes played by Clive Brook, Reginald Owen, and even Raymond Massey; Arthur Wontner, considered one of the best of the early Holmesian thespians; and, of course, the most famous of actors to play Holmes, Basil Rathbone. Rathbone's many Holmes films are covered, and there are additional chapters on TV series starring Ronald Howard and Peter Cushing; the Hammer film The Hound of the Baskervilles, also starring Cushing; sixties films such as Sherlock Holmes and the Deadly Necklace and A Study in Terror; Billy Wilder's The Private Life of Sherlock Holmes; and more recent films that have had anything to do with the character, such as The Adventures of Sherlock Holmes' Smarter Brother. Knowledgeable and engaging, Holmes of the Movies is loaded with great photographs.

Verdict: All you could want to know about Sherlock Holmes on film, on stage, and on TV. ***.

"FRANKIE" AND FRIENDS

Boris Karloff as Frankenstein

"FRANKIE" AND FRIENDS.

Great Old Movies has already posted reviews of the classic Universal Frankenstein films, as well as many of the Peter Cushing verions  -- just type "Frankenstein" in the search bar above for them all to come up --  but this week we look at some later films about Frankenstein's monster. First there is a review of Mary Shelley's original novel -- a really great and faithful film adaptation has yet to be made of it -- then reviews of a later Peter Cushing/ Frankenstein entry; a flick with Robert De Niro playing the monster; Roger Corman's Frankenstein Unbound; and others. Mary Shelley could not possibly have known that her creation would explode into all aspects of popular culture -- indeed she might have been horrified!

FRANKENSTEIN MUST BE DESTROYED

FRANKENSTEIN MUST BE DESTROYED (1969). Director: Terence Fisher.

Baron Frankenstein (Peter Cushing) is up to his old tricks, blackmailing Karl (Simon Ward of The Chosen), a staffer at an asylum, and his girlfriend, Anna (Veronica Carlson of Dracula Has Risen from the Grave), who owns a boarding house, into helping him in his endeavors. The object of his experimentation is his former associate in brain transference, Dr. Brandt (George Pravda), who is now insane, and whom Karl and the Baron help escape from confinement. Seeking Brandt's knowledge, Frankenstein transplants the doctor's brain into the body of Professor Richter (Freddie Jones) -- and it gets even more complicated after that! Frankenstein Must Be Destroyed has a weak, somewhat slow final quarter, but for most of its length it's quite absorbing and entertaining. Cushing [Cash on Demand] is as wonderful as ever, and the supporting roles, including Thorley Walters, as the foppish but astute Inspector Frisch, and Maxine Audley as Brandt's confused and tormented wife, are well-cast. The scene in which Frankenstein and Karl break Brandt out of the asylum is very suspenseful; there's an excellent prologue showing why the baron must hastily exit his latest HQ; and a good sequence when Brandt -- in another man's body -- goes to see his horrified wife. There's a lot of fussing about with skulls, brains and saws!

Verdict: Fun Franky flick. ***.

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.

THE HOUSE THAT DRIPPED BLOOD

Jon Pertwee tries out his cloak

THE HOUSE THAT DRIPPED BLOOD (1971). Director: Peter Duffell. Screenplay by Robert Bloch.

"Dracula -- the one with Bela Lugosi, of course, not this new fellow." -- Paul Henderson

A well-known actor in horror films has disappeared from an old house he had rented, and this leads into the telling of four tales centered around this creepy domicile. In "Method for Murderer" a fiction writer's creation, a maniac (Tom Adams of The 2nd Best Secret Agent in the Whole Wide World), seems to come to life to cause havoc for which the writer (Denholm Elliott) is blamed. In "Waxworks," two men (Peter Cushing; Joss Ackland of Crescendo)  become obsessed with the wax figure of Salome, who reminds each of them of a lost love, whom -- you might say -- they lose their heads over. In "Sweets to the Sweet" the stern John Reid (Christopher Lee of The Horror of Dracula) hires a nanny (Nyree Dawn Porter) for his strange little girl, Jane (Chloe Franks), with terrible results. The fourth tale, "The Cloak," is an amusing black comedy in which actor Paul Henderson (Jon Pertwee) finds a cloak in a shop which turns him into a vampire each time he puts it on; Ingrid Pitt is Anderson's female lead in this and is fine. But the best performances come from Cushing, Lee, Pertwee, and little Franks. The House that Dripped Blood is very entertaining, and is one of the best of the horror anthologies, not lame as some of Bloch's other screenplays.

Verdict: Chills and laughs all served up with relish. ***.

FROM BEYOND THE GRAVE

FROM BEYOND THE GRAVE (1974). Director: Kevin Connor.

This anthology, based on the work of R. Chetwynd-Hayes, features stories that are loosely tied in with an antique shop run by an elderly proprietor (Peter Cushing). The first story deals with a mirror  with a demonic inhabitant who urges the owner, Edward Charlton (David Warner) to butcher women. In the second story Christopher Lowe (Ian Bannen), a man saddled with a harridan of a wife (Diana Dors,) encounters an old fellow veteran (Donald Pleasance of You Only Live Twice), and his rather odd daughter (Angela Pleasance) who falls for him -- or so he thinks. The third story is about a man (Ian Carmichael) and his wife (Nyree Dawn Porter) who hire a medium, Madame Orloff (Margaret Leighton of The Astonished Heart), to get rid of an "elemental" that is causing havoc. The fourth and final episode, which is easily the best and most suspenseful, has a man (Ian Ogilvy of And Now the Screaming Starts) affixing an antique door to a cupboard and discovering that it now opens into a cobwebbby and sinister old room that is kept alive by human sacrifices, one of whom almost becomes his wife (Lesley-Anne Down).

Verdict: Well-produced Amicus film with some good actors and generally mediocre scripts. **1/2 out of four.

DR. PHIBES RISES AGAIN

"Hackett isn't saying anything!"

DR. PHIBES RISES AGAIN (1972). Director: Robert Fuest.

In this sequel to The Abominable Dr. Phibes, the not-so-good doctor (Vincent Price) is after certain Egyptian scrolls that he hopes will bring his beloved Victoria (Caroline Munro) back to life, but first he has to get rid of anyone who might get to the scrolls first. Phibes' chief adversary is archaeologist Darrus Biederbeck (Robert Quarry of A Kiss Before Dying and Count Yorga, Vampire), but Phibes has absolutely no problem ridding himself of everyone in Biederbeck's party by various inventive, diabolical -- and often quite funny-- means. There's a fog that melts away flesh; a phone device that snaps a spike through the caller's ear; a body- crushing device; an attack by falcon; crawling scorpions; and the like, all served up with ghoulish and amusing relish. Peter Cushing, Beryl Reid, Fiona Lewis, Hugh Griffith, and Terry-Thomas have smaller roles, while Price himself seems to be having a ball.

Verdict: Gruesome and funny in equal measure, this is a sequel that's as good as the original. ***.

SHE (1965)

SHE (1965). Director: Robert Day.

In 1918, Leo Vincey (John Richardson), upon discovering that he looks exactly like an ancestor named Killikrates, journeys with his friend Major Holly (Peter Cushing) and pretty Ustane (Rosenda Monteros), to the lost desert city of Kuma in the "Mountains of the Moon." There they encounter the cruel, immortal Ayesha or "She" (Ursula Andress), who wishes Leo to join her in the flame that will give them both life everlasting. Holly and Ustane, however, recognize that Leo has fallen under She's spell, and is not acting the way he should. Who will win the battle for Leo's love, Ayesha or Ustane? Despite the widescreen and color, She is inferior to the 1935 original, although it, too, has some colorful and interesting settings, such as the striking entrance to the city. Andress [Dr. No] gives the weakest performance, but her looks and manner get her by. Cushing, Christopher Lee as a High Priest, and Andre Morell as the leader of a tribe of slaves, are excellent as usual. Like Andress, Richardson [Torso] certainly looks good -- he's like a cross between Troy Donahue and Guy Madison with a little Kerwin Mathews thrown in -- and his acting isn't bad, although Leo is a rather weak hero in this. Rosenda Monteros [The White Orchid] is lovely and very effective as Ustane, as is Bernard Cribbins as Job. The biggest problem with this Hammer remake is its slow pace. In the original film the lost city was in icy terrain but here it's in the desert. The best scene may be the slaves thrown into the fire pit.

Verdict: Not as much fun as The Mole People. **.

CASH ON DEMAND

Peter Cushing and Andre Morrell

CASH ON DEMAND (1961). Director: Quentin Lawrence.

Harry Fordyce (Peter Cushing of Frankenstein Created Woman) is a tight-assed manager of a local bank. One afternoon into the bank walks amiable Colonel Gore Hepburn (Andre Morell of The Plague of the Zombies), who represents the firm of Home and Mercantile, which provides security for the bank. Once Fordyce and Hepburn are ensconced in the former's office, Fordyce receives a desperate phone call from his wife, who tells him that she and their little boy are being held prisoner. Hepburn then coolly tells him that if he wants the woman and child to live, he must help him rob the bank ... Cash on Demand is not only suspenseful, but beautifully acted by the two principals and the rest of the cast. It even manages a moment or two of pathos. It is a real and rare treat to watch those fine actors Cushing and Morell work together. Quentin Lawrence also directed the delightful Crawling Eye/Trollenberg Terror.

Verdict: A little gem from Hammer studios. ***.

NIGHT CREATURES

NIGHT CREATURES (aka Captain Clegg/1962). Director: Peter Graham Scott.

Based on the Dr. Syn novels that first appeared in 1915 [also the basis of Walt Disney's Dr. Syn, the Scarecrow of Romney Marsh], this interesting Hammer feature takes place in the village of Dymchurch in 1792. British sailors led by Captain Collier (Patrick Allen) come to town hunting for smugglers who want to bypass the high taxes on liquor and other items. The whole town leads Collier and his men on a merry chase as they do their best to hide the taxable items and outwit the revenue men. The supernatural aspects of the film -- the phantoms of Romney Marsh or the "night creatures" of the American title -- are a bit of a cheat, but the film is suspenseful and entertaining enough in its own right. Peter Cushing is excellent, as usual, as the reverend Dr. Blyss, who may have a secret or two up his sleeve, and Martin Benson [The Cosmic Monsters] and Michael Ripper also offer superior performances as two of his co-conspirators; Allen is also fine as Collier. Oliver Reed [Paranoiac] is as intense as ever as young Harry, who has fallen in love with barmaid Imogene (Yvonne Romain), who is the secret daughter of the supposedly dead and notorious pirate Captain Clegg. Jack MacGowran [The Giant Behemoth] offers another of his flavorful portrayals as a villager who tries to mislead Collier and his band, and Milton Reid is vivid as the "mulatto" who hates Clegg and causes all manner of mischief. Dan Banks' exciting musical score helps keep things percolating.

Verdict: Something different! ***.

FRANKENSTEIN CREATED WOMAN

FRANKENSTEIN CREATED WOMAN (1967). Director: Terence Fisher.

Baron Frankenstein (Peter Cushing) is back to his old tricks in another entertaining Hammer horror film. Dr. Hertz (Thorley Walters) brings the baron back from the dead, and Hertz' lab assistant Hans (Robert Morris) is accused of murdering a tavern owner who was actually beaten to death by the bitchy Anton (Peter Blythe) and his nasty, entitled friends. After Hans is wrongly executed, the baron puts his brain into the body of Hans' crippled girlfriend, Christina (Susan Denberg), who committed suicide. Partly controlled by Hans' memories and partly by her own, the pretty "monster" sets out to revenge herself against the ones responsible for the double tragedy. Frankenstein Created Woman begins well but it unfortunately doesn't develop many of its interesting ideas, substituting revenge-murders instead, but is fun enough on that level. The cast is good, however, including Blythe, and Cushing is always adept and watchable.

Verdict: The Baron is back without his monster. **1/2.

THE END OF THE AFFAIR (1955)

Deborah Kerr and Van Johnson

THE END OF THE AFFAIR (1955). Director: Edward Dmytryk.

"It's quite simple really. One just does one's best."

"Are we to be children all our lives?"

In war-torn London, writer Maurice Bendrix (Van Johnson) has an affair with Sarah Miles (Deborah Kerr), the wife of a colleague, Harry (Peter Cushing). After Maurice is nearly killed in an explosion, he gets the paranoid impression that Sarah would have preferred he died so that the affair could end with ease, He becomes obsessed with finding out why she broke things off immediately afterward. He's unaware that Sarah, fearing he was killed, made a certain promise to a God she doesn't quite believe in ... The End of the Affair, based on a novel by Graham Greene, gets points for at least attempting to be adult fare and dealing with [semi] intellectual matters instead of merely blowing out the soap bubbles, but it is so talky and so smothered in awful religiosity that it's nearly a complete misfire. A supposedly atheistic character seems dragged in for balance, but he's really just an embittered, disfigured man who hates God, the movies' misconception of an atheist. The End of the Affair is the kind of picture that thinks talking about God and theology is somehow profound, giving it a pretentious and heavy air just when you should be getting caught up in the drama [what there is of it] and the characters. Speaking of which, both Maurice and Sarah are rather unsympathetic; neither ever gives a thought to husband Harry, who may be dull but seems a decent sort after all. Although The End of the Affair does illustrate the torments d'amour rather well at times, at other times it's almost comically awful, wasting some very good acting, a fine score by Benjamin Frankel, and moody cinematography by Wilkie Cooper. Deborah Kerr gives the best performance, better than the movie deserves, and Van Johnson, while not on her level, is quite good for the most part as well. Peter Cushing, in one of his rare non-horror parts, also acquits himself nicely as Harry, and John Mills has a good turn as a private detective hired by Bendrix. Greene's novel was again adapted as a film in 1999 with Julianne Moore and Ralph Fiennes in the Kerr-Johnson roles.

Verdict: A for effort, maybe, but this just doesn't work. **. 

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. **.

THE REVENGE OF FRANKENSTEIN

Peter Cushing

THE REVENGE OF FRANKENSTEIN (1958). Director: Terence Fisher.

In this sequel to The Curse of Frankenstein, the dear baron Frankenstein (Peter Cushing), about to be executed for his crimes in the first film, manages to have a priest beheaded instead of himself [so he's obviously not all bad!] Using the name of "Victor Stein" -- now that's a sensible pseudonym -- he becomes a doctor in a clinic for the indigent in Germany and distinguishes himself with his complete lack of a bedside manner. A promising young doctor, Hans Kleve (Francis Matthews), assists the baron in his new-old experiments, and affects a brain transplant involving Karl (Michael Gwynn) and a patient in the clinic played by Richard Wordsworth of The Quatermass Xperiment/Creeping Unknown, with predictably unpleasant results. Lionel Jeffries almost steals the picture with his gritty portrayal of a grave robber. As nurse Margaret, Eunice Gayson is very pretty but makes little impression otherwise. Followed by The Evil of Frankenstein.

Verdict: That baron never learns! ***