The 3 Worlds Of Gulliver (1960)

Based loosely on the classic novel by Jonathan Swift, The 3 Worlds Of Gulliver is a superior fantasy with plenty of comedic moments throughout, both satirical and non-satirical. It benefits from decent special effects, some of which come from the great Ray Harryhausen.

The story begins with a good doctor named Lemuel Gulliver (Kerwin Mathews) considering some time at sea. This would make him a good bit of money, something that keeps causing trouble between himself and his good lady, Elizabeth (June Thorburn). Despite her protests, Lemuel heads off, only to discover that Elizabeth has stowed herself on board. One bit of bad weather lately and our hero finds himself washed up on a strange shore. It is the land of Lilliput, a land full of tiny people. Lemuel eventually manages to calm the inhabitants of the island, but finds himself in the middle of a war between Lilliput and the nearby island of Blefuscu. The cause of the war is so ridiculous that it would seem to be something easily resolved. Sadly, thats not the case. When Lemuel finally gets away from the island he ends up on the island of Brobdingnag and is reunited with Elizabeth. The only problem is that they are now two tiny people in a land of giants. That wouldn't be so bad, if only Lemuel didn't try to educate his hosts and make himself appear to be a very talented witch.

The 3 Worlds Of Gulliver works as well as it does thanks to the script written by Arthur A. Ross and director Jack Sher. It may not cover every part of the original novel, but it takes the essence of the whole thing (and the most well-known aspects) and still packs in plenty of little pointed observations that fans of the source material will enjoy seeing put onscreen. It certainly works more of the source material into the script than the 2010 movie.

Kerwin Mathews is decent and earnest enough as Lemuel Gulliver, though there are also times when he does himself no favours. The character may not go through as many hardships or changes as he does in the novel, but at least viewers get to see that he's not a complete saint. June Thorburn does well enough in her role, despite it not giving her that much to do, and the other main players - Basil Sydney as the Emperor Of Lilliput, Gregoire Aslan and Mary Ellis as the King and Queen of Brobdingnag, Charles Lloyd Pack as Makovan and Sherry Alberoni as Glumdalclitch - do well with parts that allow them to have some fun.

The work of Ray Harryhausen may not be all that prevalent, but the two main sequences that make the most of his involvement are highlights, though the film doesn't really have any low points anyway.

I'd encourage fans of the classic story to check this out. It's a film full of many little pleasures, no pun intended.

8/10

http://www.amazon.co.uk/The-3-Worlds-Gulliver-DVD/dp/B00005UWUA/ref=sr_1_1?ie=UTF8&qid=1369772725&sr=8-1&keywords=the+3+worlds+of+gulliver

Quatermass 2 (1957)

It's the return of Professor Bernard Quatermass, in case you couldn't guess that from the title, in this Hammer movie that is again based on a TV series written by Nigel Kneale. Val Guest is back in the director's chair, after doing justice to the character and material in The Quatermass Xperiment, and everything is in place for another slice of low-key sci-fi drama.

This time around, Professor Quatermass (Brian Donlevy in the role once again) becomes involved in a mystery that involves meteorites causing a fair bit of trouble for those who get too close to them. The meteorites have all been landing at an area known as Winnerden Flats, but when Quatermass gets there (with his colleague, Marsh, played by Bryan Forbes) he finds more than he bargained for. As the plot thickens, Quatermass is told that what he saw at Winnerden Flats wasn't just a design very similiar to his own plans for  a moon colony but actually a plant where artificial food is being made. Quatermass finds this hard to believe, but finding out just what IS going on could prove very difficult. Time is against him, as are a number of people who no longer seem in control of their own minds.

Thanks to his character being slightly less arrogant in this outing, Brian Donlevy fares better in the main role than he did the first time. He is the pursued as opposed to the pursuer in this tale, seeking help from others as opposed to nominating himself as the one and only chance of fixing a situation. John Longden is very good as Lomax, someone who might just be the help that Quatermass needs, and it's great to see Sid James in a fairly straight role, playing a reporter named Jimmy Hall who likes to drink a bit too much, but works best when all sobered up. The rest of the cast includes William Franklyn, Vera Day, Charles Lloyd Pack and Hammer stalwart Michael Ripper. They may not all get to play particularly memorable characters, but the performances are just fine.

It may not feel quite as quintessentially British as the first movie, but this is a fine sci-fi drama with a fair share of thrills, one or two decent shocks (okay, nothing in the movie shocks nowadays, but back in 1957 this could have been gasp-inducing stuff) and a nice development of the plot that keeps it all entertaining enough to stop viewers from picking over the implausibility of it all. While it's not on a par with the first movie in terms of intelligence and tone it remains an equally enjoyable piece of entertainment.

7/10

http://www.amazon.co.uk/The-Quatermass-Collection-Experiment-Pit/dp/B000772838/ref=sr_1_4?ie=UTF8&qid=1366773093&sr=8-4&keywords=quatermass+2

The Revenge Of Frankenstein (1958)

Following on from The Curse Of Frankenstein, and with the three main players back for more (Terence Fisher directing, Jimmy Sangster writing - with additional dialogue from Hurford Janes and an uncredited George Baxt - and the irreplaceable Peter Cushing as the Baron) we get a lot of familiar fun in this Hammer horror movie.

Taken to the guillotine for the deaths that resulted from his handiwork in the previous movie, Baron Frankenstein stages a sneaky escape and sets himself up in practice far away in an area where he hopes not to be recognised. He even completely changes his name to Doctor Victor Stein. However did he think that one up? The bad news is that he is recognised by someone but the good news is that the person who recognises him wants to help him carry on his scientific work. The venue may have changed but the song remains the same as Frankenstein and his new assistant (Doctor Hans Kleve, played by Francis Matthews) set about to take the brain of trusty Karl (Michael Gwynn) and place it in a superior body. Let's just hope that nothing happens to knock the brain while it's adjusting to it's new home as that could lead to madness, murder and cannibalism. But I'm sure nothing will disturb the Baron's good work. Aren't you?

Cushing is as great as ever in this film with Baron Frankenstein being, arguably, his greatest characterisation. The mix of superiority, charm, intelligence and arrogance so superbly moulded into one of the most likable rogues in horror movie history is a result of both the great writing and Cushing's own delivery of the material. Matthews is very good as the eager assistant who shares Frankenstein's progressive thinking and Gwynn is very good, whether playing a damaged human being or a damaged experiment gone awry. Eunice Gayson is the lady unwittingly endangering herself this time around and she does fine with her role. Michael Ripper fans will be pleased to see the actor in a small role (his first for Hammer) and George Woodbridge is either amusing or annoying, depending on how you react to his character.

Full of many moments of black humour, as most of the Frankenstein movies are (the subject matter seems to practically beg for it), the film is a swift, entertaining romp that may not really scare anyone but that does have one or two shocking moments here and there en route to it's enjoyable final scene, a fun if implausible punchline that will hopefully make viewers smile as opposed to scowl.

7/10

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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