Shudder Saturday: Curse Of The Crimson Altar (1968)

I couldn't understand how I hadn't managed to get around to Curse Of The Crimson Altar before now, but now it's perfectly clear. This isn't a good movie, despite the attachment of some big names and apparently being (loosely) based on "The Dreams In The Witch House". 

The story deals with one Robert Manning (Mark Eden), an antiques dealer on a search for his missing brother. He knows that his brother was at Craxted Lodge, a large house owned by Morley (Christopher Lee). Morley is welcoming enough, as is his niece, Eve (Virginia Wetherell), but it turns out that they may be connected to some strange occult happenings, as explained to our protagonist by Professor John Marsh (Boris Karloff).

Written by Mervyn Haisman and Henry Lincoln, a duo who seemed to do better with TV work than they did with films (in fact, they only have one or two other features credited between them, in amongst the various TV episodes), this is an uninteresting slog that lacks any real thrills or atmosphere. Director Vernon Sewell has a filmography worth exploring, from what I can see, but this is coming along towards the very end of his career, and isn't one of his better efforts. Perhaps relying too much on the stars to carry the weak script, Sewell fails to impress with the blend of very British good manners, some scenes showing groovy individuals happily partying, and occasional nightmares. None of it works in isolation, and none of it works in relation to everything else going on.

The same can be said of the cast members, who are generally unable to do anything to elevate the material. Karloff arguably fares the best, thanks to his unmistakable presence and ability to imbue ridiculous dialogue with a gravitas that it often doesn't merit, but Lee feels a bit underused, which is all the more frustrating when that allows for more screentime for a bland Eden, Wetherell, and a laughable coterie of supporting characters. Michael Gough is also ill-served by the screenplay, and Barbara Steele is at least used in a visually-interesting way that tries to add to the impact of events by giving you a shot of, well, Barbara Steele.

Another film that many may mistakenly believe came from Hammer or Amicus, as it's one of those to come from the smaller stable of Tigon, I would simply remind anyone still tempted to check this out that Christopher Lee himself considered one of the worst of his career. And that man was in some stinkers. I've heard some people praise this, although I genuinely don't understand what won them over (perhaps just the atmosphere and the aesthetic of this kind of very British horror from this time), but I wouldn't recommend it to anyone, with the exception of completists who, like me, always end up having to see these things for themselves.

3/10

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews
Or Amazon is nice at this time of year - https://www.amazon.co.uk/hz/wishlist/ls/Y1ZUCB13HLJD?ref_=wl_share 

Mubi Monday: The Man In The White Suit (1951)

There are certain breakthroughs that you suspect just wouldn't be allowed to happen. Society runs in a certain way, capitalism needs continuous meat put into the machine to make the sausages, and contentment and sustainability often get in the way of that. It's why there's so much money to be made in medicine, why so many struggle to get paid a living wage, and why, as The Man In The White Suit tells us, nobody wants a fabric that is indestructible and never needs cleaned.

Alec Guinness plays Sidney Stratton, a determined young scientist who keeps trying a variety of experiments and formulae in his quest to create a brand new fabric. Some view him as a liability, especially when his presence in any workplace increases the chance of a random explosion, but some see him as a brilliantly progressive thinker who just needs some time and space to turn his theories into a reality. The closer he gets, however, the more people start to think of him as a serious threat to the status quo. Because dirty and damage clothing ensures that people are repeat customers, not to mention the laundry and repair services that rely on such wear and tear.

Another Ealing comedy from director Alexander Mackendrick, who also worked on the screenplay with John Dighton and Roger MacDougall (creator of the original play), this is a slightly lesser, but no less enjoyable, title that often feels unfairly forgotten in the shadow of some films that have retained their status as being some of the very best of British cinema. There's less focus on quirky characters here, although our lead is amusingly nervy and naive throughout, and more time spent hammering home a commentary on the battle between scientific progress and ongoing business interests.

Guinness delivers another effortlessly wonderful performance, doing enough to hold your attention at all times as he turns from a minor inconvenience to a much sought after commodity. Joan Greenwood is a delight as the young woman who takes an interest in him, although her character also happens to be the daughter of a powerful factory owner (played by Cecil Parker), and both Michael Gough and Vida Hope stand out as two individuals on either side of the employer/employee divide.

Although it will be 75 years old next year, it's sad to think of just how insightful this remains. We just need to look around us to see how many of the super-rich are desperate to stop people from latching on to an idea that will save them both money and resources, from sustainable fashion items to methods of generating electricity, to name just a couple of main examples. The Man In The White Suit remains slightly far-fetched when it comes to the central invention, but it remains all too realistic and depressing when it comes to how the rich and the powerful would want to handle such a thing.

8/10

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing, and ALL of the links you need are here - https://linktr.ee/raidersofthepodcast
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews
Or Amazon is nice at this time of year - https://www.amazon.co.uk/hz/wishlist/ls/Y1ZUCB13HLJD?ref_=wl_share

April Fools: Top Secret! (1984)

Another slice of comedic brilliance from the ZAZ team (David Zucker, Jim Abrahams and Jerry Zucker), Top Secret! remains, arguably, their most undervalued outing. It's easily as good as The Naked Gun, and it even comes close to the brilliance of Airplane!

Val Kilmer stars, in his first feature role, as smooth American rock and roll star, Nick Rivers. Nick is due to play a major gig in East Germany, unaware that his presence is viewed as nothing more than a distraction by East Germany, while some dastardly types plan the overthrow of the Western world. It's not long, however, until Nick is dragged into some danger and excitement by the lovely Hillary Flammond (Lucy Gutteridge), and then it's just a hop, skip and a straightened rug to an active role in the resistance movement.

Think of the zaniness that you love about other ZAZ movies, add some wonderful musical moments and a layer of exuberant surrealism, and you may start to understand why fans of Top Secret! tend to leap to its defence whenever it is overlooked or dismissed in any conversation about great comedy films. The jokes range from the sublime to the ridiculous, as you'd expect from the people involved, but the sublime gags are even more sublime than usual. Having said that, never underestimate the value of lines such as the following: "I know a little German. He's sitting over there."
And if you're not amused by a character named Deja Vu having his first line of dialogue questioning whether or not he has met someone before then I doubt you have a funny bone.

Kilmer is great in the lead role, every inch the cocky American teen idol, while Gutteridge is a lot of fun as the woman who drags him into the middle of the resistance movement. Warren Clarke makes a good villain, Christopher Villiers is amusing as the leader of the resistance, Michael Gough isn't in the movie for long enough, but gets one or two great lines, and Jim Carter steals a couple of scenes as the aforementioned Deja Vu.

If you like movies of this ilk, and have yet to enjoy the laughs that Top Secret! can offer, then I urge you to get to it as soon as possible. You won't be disappointed.

9/10

http://www.amazon.co.uk/Top-Secret-DVD-Val-Kilmer/dp/B00005UPO2/ref=sr_1_1?s=dvd&ie=UTF8&qid=1397284549&sr=1-1&keywords=top+secret+blu

The Phantom Of The Opera (1962)

A version of the classic Gaston Leroux tale that never seems to receive much love from fans, Hammer take on The Phantom Of The Opera and provide horror fans with a delightful interpretation of the famous story.

Herbert Lom, obviously masked for most of the runtime, plays the Phantom this time around. Eschewing the doomed romance at the heart of the classic tale, the Phantom till ends up after a young singer named Christine (Heather Sears) to make her into an unforgettable star of the stage. Christine, for her part, seems nice enough. When she's not being uncomfortably chatted up by Lord Ambrose D'Arcy (Michael Gough) she is developing a relationship with the handsome Harry Hunter (Edward de Souza). But the Phantom has a habit of reminding people that he's around.

Directed by Terence Fisher, The Phantom Of The Opera is as lavish and baroque as you'd expect, at times. The main opera being performed is all about the life of Joan Of Arc and the sets and design are both wonderfully theatrical and also nicely settled within a typical Hammer budget. In fact, there are only a few sets used in the movie, or it at least seems that way, but each one is so carefully put together and made into such a nice showpiece that the relatively small scale of the production is covered up, and even turned into an asset.

The script by Anthony Hinds takes the classic tale and adds some nice twists to it, making it fresh while never betraying the essence of the material. This has never been my favourite of the beloved horror classics and, personally, I enjoyed the changes that were made. Perhaps the fact that this is overlooked so often tells me hat other Phantom fans didn't like the changes as much as I did.

Sears is fine in the role of Christine, and de Souza is an okay leading man, but this movie belongs to two men, Lom and Gough. The former gives a great physical performance, and also does sterling work in a pre-Phantom flashback sequence that reveals the backstory of the character and the cause of his rage, while the latter has so much fun being nasty to everyone around him that this ends up being one of his best roles. Michael Ripper has a VERY small role (billed, I believe, as Cabbie #1) and Patrick Troughton steals his main scene, playing a callous and carefree ratcatcher.

Give this one a go sometime, especially if you've forgotten about it while catching other interpretations of the story. You might just end up liking it as much as I did.

7/10

http://www.amazon.co.uk/The-Phantom-Opera-Region-Hammer/dp/B001MZXAZE/ref=sr_1_1?ie=UTF8&qid=1381237284&sr=8-1&keywords=the+phantom+of+the+opera+1962

The Horse's Mouth (1958)

Everyone with a love of cinema has seen at least one performance from the great Alec Guinness that has stuck with them through the years. Whether it's his work with Ealing, his fantastic turn in The Bridge On The River Kwai or just being that certain wise gentleman in a small movie called Star Wars, the chances are that Mr. Guinness has made a favourable impression on almost every movie-goer of my age (37, just now) and older. He was, and in the movies that hold his memory forever he still IS, a class act. The Horse's Mouth features yet another great performance from the man, but it's also the only movie that he ever wrote the screenplay for (adapting the novel by Joyce Cary) and, by all accounts, he did a pretty good job of it.

Guinness plays Gulley Jimson, a man that viewers first see coming out of prison. He's a chancer and an unfriendly sort, feeling very hard done by and angry at the world around him. A world that owes him. As it turns out, he has a point. Gulley is also an artist and a very good one, but his desire to keep creating great art often leads him into situations that perversely end with destruction. He just can't stop himself, even when things start to look up. There's no self-control there, no filter, the art is all that matters. Kay Walsh plays a stern woman trying to help him get what he deserves, Renee Houston is an ex who still holds a candle for him, Robert Coote and Veronica Turleigh are two potential patrons and Michael Gough has some fun as a fellow artist afflicted with the same short-sighted way of muddling through life.

It takes a while to warm to The Horse's Mouth (Guinness uses quite an accent for his character and he's not the most pleasant person to spend time with during the first few scenes) but do stick with it and it ends up as quite a rewarding experience. Once the main theme becomes apparent - that of the driven artist constantly striving to create another masterpiece even while destroying other things around him - it's an absolute delight. THAT'S when viewers are able to identify, and connect, with the Gulley and almost see everything onscreen as he sees it.

Apparently, when Guinness developed the screenplay he decided to drop some other aspects of the novel and focus on the plight of the artist, something which really gives the film a unique and fascinating centre. Having not read the source novel, I can't say whether or not this improves the material, but it certainly feels like a good decision for the cinematic adaptation.

Director Ronald Neame captures everything unobtrusively enough, but that's not to dismiss his work. He somehow sets everything up in a way that seems to capture the very essence of both creation and destruction, this is a film with all of the elements gelling together almost perfectly.

The acting from all concerned is fantastic. Guinness is never less than the brilliance that's expected from him, Walsh and Houston are both wonderful, Gough is great and Mike Morgan is very sweet as a young lad who looks up to Gulley and wants him to stay out of trouble so that he can just continue to make great art. Coote and Turleigh aren't on screen for very long, but do fine with the time they have, and every minor character gets a fleeting moment to shine.

If it wasn't for that unsteady opening, this would be closer to a perfect film. As it is, it's a very good one. A very good one indeed, do yourself a favour and seek it out. It's hugely entertaining, but it's also art.

8/10

http://www.amazon.com/The-Horses-Mouth-Criterion-Collection/dp/B000063N9O/ref=sr_1_2?ie=UTF8&qid=1365634687&sr=8-2&keywords=the+horse%27s+mouth

Dracula (1958)

I am about to start a long and enjoyable journey through the entire collection of Hammer movies (or as man as I can get my hands on anyway) and encourage fans of the great studio to stop by now and again. I watched a number of these movies last year but feel that I know more now, in terms of the roster of great actors and my own writing style, to be able to deal with them in a more deserving manner. Here's something to keep in mind when reading any of my Hammer reviews. There's a simple formula that makes up at least half of my ratings for these movies. If Christopher Lee is present then there are 2 bonus points. If Peter Cushing is present then are 3 bonus points. So any film featuring both stars, as this one does, automatically starts off as a 5/10 movie even before the title has appeared.

Anyone wishing to join in, you'd do well to pick up this absolute bargain of a set. You know it makes sense.

Anyway, enough of the introduction. What can be said about Hammer's first use of the most famous vampire in fiction? It's a solid adaptation of Bram Stoker's tale with some changes made here and there, some understandable and others (such as the changing around of the characters Mina and Lucy) somewhat puzzling.

Christopher Lee puts on the cape and shows his fangs for the first time while Peter Cushing is a fantastic Doctor Van Helsing. Michael Gough gets a small but enjoyable role while Melissa Stribling and Carol Marsh are the ladies put in jeopardy. And Valerie Gaunt makes quite an impression as the first vampire encountered by Jonathan Harker (played by John Van Eyssen, an unmemorable actor given less screentime than you'd expect). Stakes are sharpened, garlic is hung around and blood flows.

Directed by Terence Fisher, and written by Jimmy Sangster (adapted from Stoker's novel, obviously), this movie may seem tame nowadays but it still has some great moments and there's no denying the affection that fans of Hammer horror can have for any of their movies when the deep red starts to spill over and the characters find themselves having to show what they're really made of. In fact, blood spattering over the name of the title character is the very first image to be given the screen all to itself just as the opening credits end.

We also get some moments throughout (one involving a vampire victim trying to lure away an innocent child) that remain effective despite the age of the film. There is a mythology established that Hammer would then go on to adapt to fit whatever the future movies required and you just can't watch the film without really feeling that it holds an important place in the history of horror. It wasn't the first big genre name to be given the Hammer treatment but it easily showed that all of the classics could be entrusted to the studio and turned into icons for modern audiences. Lee is as commanding a presence as he often is, Cushing is as wonderful as ever and a climax involving the two men in a fight to the death provides a satisfying end to yet another quality Hammer product.

8/10

http://www.amazon.co.uk/Dracula-DVD-Peter-Cushing/dp/B00006JMP9/ref=sr_1_1?ie=UTF8&qid=1350068548&sr=8-1

The Sword And The Rose (1953)

A Disney swashbuckler with little swash or buckle, The Sword And The Rose somehow remains a good adventure yarn that takes a number of liberties with some historical figures.

It is the reign of Henry VIII (James Robertson Justice) and he is determined to send his sister, Princess Mary Tudor (Glynis Johns), to wed Louis XII (Jean Mercure). But Princess Mary Tudor has other plans, she is headstrong anyway and this is made worse when she falls for Charles Brandon (Richard Todd). Of course, any plans that the good lady has to be with Charles, a common man, places them both in severe jeopardy and the situation is worsened by the scheming of the smitten Duke Of Buckingham (Michael Gough).

Directed by Ken Annakin, with a screenplay by Lawrence Edward Watkin based on the novel "When Knighthood Was In Flower" by Charles Major, there's a lot here to enjoy even if nothing stands out as truly great.

The biggest bonus for the film comes from the performances. Todd is a fine hero and Johns is both beautiful and sassy. James Robertson Justice is highly entertaining as Henry VIII and Michael Gough makes a great, scheming villain.

It also runs for a brisk 92 minutes and so never outstays its welcome. As an outright adventure it may not have quite enough energy or derring-do but as an entertaining tale that mixes romance, comedy, treachery and some grand feats I'd have to say that this edges ahead of the similiar treatment that director and writer gave to the Robin Hood story. It's a mix of tunics, tights, technicolor and even one or two amusingly risque (for the time) moments that will keep you entertained for the duration.

Oh, one last thing, the scene in which Glynis Johns tries to pass herself off as a boy in order to stay close to Richard Todd is, surely, one of the most unconvincing attempts by a woman to appear as a man and also an inspiration for the great use of the character "Bob" in a number of Blackadder episodes. Watch the movie and tell me I'm wrong.

7/10

http://www.amazon.co.uk/Rose-1953-region-Richard-Directed-Annakin/dp/788588385X/ref=sr_1_1?s=dvd&ie=UTF8&qid=1339755907&sr=1-1