Friday 25th August - Day One
It's a beautiful August summer's day, the sun is shining, the birds are singing...what better time to go and sit in a darkened room and watch horror films all day? I fuel up on coffee and then go into the cinema, eager for the first treat of the day: a triple bill of Hammer horror films "The Hound Of The Baskervilles"/"Countess Dracula"/"Twins Of Evil"- all with shiny new restored prints.
When I first heard they were going to do a Hammer day, I had hoped they would pick different films. I hoped for either some of my favourites [eg."Frankenstein Must Be Destroyed", "Blood From The Mummy's Tomb", "The Devil Rides Out"] or ones I hadn't yet had a chance to see [eg."The Stranglers Of Bombay", "The Reptile", "Vampire Circus"]. However, although I've seen all three of the selected Hammer films before, I've only ever seen "The Curse of Frankenstein" at the cinema. With their lurid colours and huge gothic sets, these movies should look gorgeous on the Odeon's big screen...
Frightfest organiser (and Cinema Store head honcho) Paul McEvoy says hello to the Frightfest faithful and then brings on the man who will introduce the first film: Mark Gatiss. The League of Gentlemen writer and star is no stranger to Frightfest, having previously shown his film "The League Of Gentlemen's Apocalypse" at a special one-day event. Mark is witty and funny and obviously a devoted Sherlock Holmes fan as well as a horror enthusiast. Having stoked our interest sufficently, Mark exits and the lights go down.
"The Hound of the Baskervilles" (1959) dir. Terence Fisher
[some spoilers]
Consulting detective Sherlock Holmes is called on to investigate a family curse which seems to be afflicting the Baskervilles. The last lord of Baskerville Hall died in mysterious circumstances, and now family friend Dr. Mortimer is convinced the life of the new lord, Sir Henry, is in danger. Is there really a spectral hound haunting the moors or does the threat have a logical explanation?
Adapted from the Sir Arthur Conan Doyle 'Sherlock Holmes' novel, this story should make for an ideal Hammer horror. An ancient curse, omnipresent fog, a eery, possibly supernatural beast stalking the moors...all the ingredients are in place. Likewise, with the cast and crew, this is a dream team: Hammer's foremost director Terence Fisher at the helm, its two greatest stars, Peter Cushing and Christopher Lee, and sterling support from the likes of Andre Morrell and John Le Mesurier. To a great extent, it all works to provide a terrifically entertaining film.
However, the makers couldn't resist 'gilding the lily' and changing Conan Doyle's tale. So we get all manner of horror stuff lobbed in there to spice up the action. Mystery is sacrificed in favour of shocks. So the clever business of Sir Henry's missing boot is jetissoned in favour of a tarantula attack. Also, we get sacrificial rites with a dagger, a hand with webbed fingers, and Beryl Stapleton is transformed from Stapleton's innocent sister to being Cecile, his vengeful latin wife. I rather like Holmes' penchant for disguises, but here this theatrical side to his character is ditched. The upshot of all of this tinkering is a hole in the plot, but I can't deny how much fun it is.
Peter Cushing is ideal casting as Holmes, and dependable as ever, but it is Andre Morrell as Dr. John H. Watson who really excels. As in the novel, Holmes is absent for a sizeable part of the story and the focus falls on Watson instead. Morrell more than holds our sympathy and gives a portayal of Watson much closer to Conan Doyle's original than Nigel Bruce's in the Rathbone/Bruce series of films (although I do love those films). The best part of the film is the opening prologue illustrating the story of how the curse of the hound came about. This section shows off Terence Fisher's eye for colour and affinity for lusty action to its fullest, and it was a pleasure to see it on the big screen.
There had been rumours of special Hammer guests prior to the festival, so I was a bit disappointed that neither star Ingrid Pitt, nor director Peter Sasdy were around to introduce her finest hour - "Countess Dracula".
"Countess Dracula" (1971) dir. Peter Sasdy
[some spoilers]
A decent late period Hammer horror, based very loosely on the story of legendary blood-bathing nutjob Elizabeth Bathory. Aged Countess Elizabeth (Ingrid Pitt) accidentally discovers that virgin's blood has a miraculous rejuvanating effect on her. Soon virgins are being killed and exsanguinated left, right, and centre, as the Countess becomes obsessed with keeping both her new found youth and her shallow young lover.
This is a particularly camp example of Hammer's output, with both Ingrid Pitt and Nigel Green (as Captain Dobi, her former lover) having a wonderful time with some very arch dialogue. However, Pitt plays the Countess' increasing desperation straight and ensures we never completely lose sympathy for her. Unintentional laughs come from the character of Ilona, the Countess' daughter (played by Lesley-Anne Down) who is so incredibly wet and helpless it's funny. The ending, reminisent of Ken Russell's "The Music Lovers", is creepy and downbeat, with villagers forming a deranged chorus to accompany the sight of the now completely insane Countess staring blankly out through the bars of her prison.
Twins Of Evil (1971) dir. John Hough
[some spoilers]
"Twins Of Evil" is simultaneously both the silliest and the goriest Hammer horror on offer today. Voluptuous twins Mary and Madeleine Collinson, play voluptuous twins Maria and Frieda Gellhorn, who are orphaned and sent to stay with their puritanical uncle Gustav Weil (Peter Cushing). Weil spends his free-time leading religious vigilantes The Brotherhood on 'witch'burning outings. However, his victimisation of single women and outsiders rebounds on him when vampire Count Karnstein (Damien Thomas) targets bad-girl Frieda as his next prey.
Despite the leading ladies poor acting, the story (based on J. Sheridan Le Fanu's vampire classic "Carmilla") has enough exploitation goods to keep most horror fans happy. Again, campiness and unintentional comedy work in the film's favour when watching this film with 21st century eyes. The Brotherhood are particularly good value with their constant Monty Pythonesque cries of "Burn her!" Another highlight is Peter Cushing 's anguished cry: "The Devil has sent me...Twins of Evil!"
The only uncomfortable part is the suggestion towards the end of the story that Weil is merely misguided and using the wrong evil-killing methods. It's apparently okay to burn innocent women to death if your intentions are pure and noble. Nevermind that there is a clearly a big element of sublimated sexual desire behind his witch-burning, or that he and the Brotherhood have probably killed as many victims as evil Count Karnstein... Despite this, the castle-storming ending provides some memorably gory moments.
Next: An instant classic...and a film from someone who really, really loves "Friday the 13th".
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