Monty Berman Movies

The original British title for No Place Like Homicide was What a Carve-Up. This level of sophistication was maintained for the film itself, a horror film parody served up by members of the Carry On gang. There's a wisp of plot about an wealthy recluse who apparently dies, then equally apparently comes to life again to bump off his greedy relatives. For the most part, the scripters use the story as an excuse for irreverent and tasteless haunted-house gags. No Place Like Homicide was a remake of the deadly serious 1933 Boris Karloff vehicle The Ghoul, though a cursory comparison of the two films reveals precious little resemblance between them. ~ Hal Erickson, Rovi

Although released in the United States as a 63-minute black-and-white film, this 93-minute British swashbuckler from the producer/directors of Jack the Ripper is actually a lush color spectacle which looks like one of the Hammer Films adventures of the time, even though it was produced by New World. The similarities are not only cosmetic, however, as the film was co-written by Hammer stalwart Jimmy Sangster and co-stars studio regulars Peter Cushing, Miles Malleson, the dwarf Skip Martin, and Adrienne Corri (the future Clockwork Orange starlet who has a discreet nude scene here with German actress Kai Fischer). The ridiculous story concerns Jason, the young son of the notoriously decadent pervert Lord Netherton (Andrew Faulds), leader of London's infamous sex den, the Hellfire Club. Jason's mother (Jean Lodge) flees with the child after he is viciously whipped for walking in on one of his father's orgies. Many years later, his parents have died and Jason (Keith Michell) has become a Dutch circus acrobat, but decides to return to England to claim the ancestral mansion which is rightfully his. Posing as a coachman to his evil, perverse cousin Thomas (Peter Arne), whose oversight of the Hellfire Club has lifted its kinky membership into being the de facto power behind King George II's rule, Jason tries to defeat the club, gain back his inheritance, and rescue his childhood love (Fischer), whom Thomas kidnaps. ~ Robert Firsching, Rovi

Mania is the venerable Burke and Hare story, previously cinematized by producer Val Lewton as The Body Snatcher. Peter Cushing plays a respectable 19th-century Edinburgh doctor who needs fresh cadavers in order to continue his crucial research. Since the exhuming of bodies for medical purposes is illegal, Lee must rely upon grave-robbers George Rose and Donald Pleasance for his corpse supply. What Lee doesn't know is that Rose and Pleasance frequently cut out the middleman by "creating" their own corpses. The good doctor catches on when the latest cadaver turns out to be his own fiancee. Its excessively violent climax has prevented Mania from being shown completely intact on commercial television. ~ Hal Erickson, Rovi

A real-life incident became the basis for this highly fictionalized drama about a January 1911 confrontation between political anarchists and London police in that city's Whitechapel district that resulted in an infamous, blazing gun battle. Sara (Nicole Berger) is an orphaned Russian girl who works as a singer in a nightclub. There she meets Peter (Peter Wyngarde), anarchist leader of expatriate Latvians agitating for the independence of their home country following the failed revolt of 1905. At first, Sara is sympathetic to Peter and his cause, but she soon discovers that the rebels are using whatever means necessary, including robbery and murder, to raise money for their crusade, and that Peter himself has an overly pragmatic, callous attitude toward the taking of innocent life. The group's nefarious activities have attracted the attention of London police, and an inspector, Mannering (Donald Sinden) goes undercover with the anarchists in order to help bring them to justice. Mannering feels sympathy for Sara and befriends her, coming to understand her lonely attraction to Peter. The gang's violent onslaught continues unabated and results in a raid that pits gang members against hundreds of armed police. ~ Karl Williams, Rovi

This well-acted drama about an Irishman just released from jail is filled with rich characterization. The story is adapted from a stage play by Walter Macken who also plays the role of the ex-convict Paddo in this screen version. Direction is by J. Fielder Cook. Once Paddo returns home after being sentenced to five years for killing a man, his old friends try to put him back in their niche of local hero but Paddo will have none of it. He is disillusioned and changed. His son Willie (Arthur Kennedy) walks with a limp that keeps him too self-conscious to assert himself as he would like with the young woman of his dreams. While other people come in and out of Paddo's life, from his taciturn friend the trapper to the local tinker, it is Paddo's son Willie suffering from his own disability who makes the difference in his father's life. ~ Eleanor Mannikka, Rovi

A palatable combination of horror and science fiction, Blood of the Vampire takes place in 19th century Transylvania-and never mind that all the locals have cockney accents. British stage star Donald Wolfit, who never spoke when shouting would do, plays the vampiric Dr. Callistratus. Though we see Callistratus being dispatched in traditional stake-through-the-heart fashion during the opening credits, it isn't long before he returns to life, this time in the guise of a prison warden. Using his criminally insane charges as his guinea pigs, Callistratus drains their bodies of blood in order to stay alive. In the film's incredibly busy climax, Callistratus is prevented from carving up the toothsome Madeleine (Barbara Shelley) by his hunchbacked assistant Carl (Victor Maddern). We didn't see the kitchen sink, but we'll bet that that's in here somewhere too. Often mistaken for a Hammer film production (mainly because it was written by perennial Hammer scrivener Jimmy Sangster), Blood of the Vampire was actually produced by the short-lived Artistes Alliance Ltd. ~ Hal Erickson, Rovi

In this espionage film, an American journalist goes to London. There he becomes friends with a young woman who is really a secret agent carrying an important list of enemy spies disguised as a diary. When she drops it, he picks it up and finds himself facing a gun barrel. They get involved in a scuffle and the woman ends up accidentally dead. Now the reporter has the secret list. He finds himself the target of spies desperate for the information. ~ Sandra Brennan, Rovi

The Trollenberg Terror, authored by Peter Key and directed by Quentin Lawrence, started life on British television as a six-part installment of ITV's Saturday Serial in late 1956 and early 1957. The big-screen version, was adapted by Jimmy Sangster, who compressed most of the best horrific and mystery elements of the original into an under-90-minute vehicle, which Lawrence directed. At a remote Alpine village, mountaineers suddenly start dying, their bodies horribly multilated -- at first, these incidents seem like they could just be accidents. But the arrival of a pair of sisters (Janet Munro, Jennifer Jayne), one of whom feels an almost telepathic connection with someone or something on the mountain, attracts the interest of American Alan Brooks (Forrest Tucker), a trouble-shooter for the United Nations. He and Prof. Crevett (Warren Mitchell), who has been monitoring the radiation levels in the area from a research station set up by the government, determine that there is a pattern to these deaths that Brooks has seen before, in a prior incident in the Andes Mountains. They determine that the Earth has been invaded, at high altitude, by a race of gigantic, tentacled aliens who live in thin atmosphere and at extremely low temperatures. Camouflaging themselves in a dense radioactive cloud, they've been content up until now to hide their existence while experimenting with the inhabitants of their new world -- they've taken over some human subjects telepathically, and also re-animated dead bodies. And they've killed those -- such as the hapless mountaineers who have stumbled upon their new lair, or those few humans whose stronger-than-usual mental powers have allow them to sense the aliens' presence -- who threaten to discover them. But now Crevett sees that the aliens are adapting and moving down the mountain, the cloud bringing their necessary cold temperatures with them, and threatening to engulf the village as prelude to an attack on it and all that lies beyond. The Trollenberg Terror was retitled The Crawling Eye when it was released in the United States, in an obvious attempt to draw the same audience that had made the previous year's British film adaptation of a tv serial -- The Quatermass Xperiment, renamed The Creeping Unknown -- into a huge hit in the US. ~ Bruce Eder, Rovi

In this romantic comedy, four children are seemingly orphaned and remanded to their aunt and uncle's custody after their parents, renowned explorers, are lost. The proper English aunt is the sister of the missing mother; the playboy uncle is the brother of their father. Both are single and whichever marries first is the one who will get full custody. Naturally, the disparate duo dislike each other at first. But this is a movie, and after much mayhem, they fall in love, marry and adopt the children. ~ Sandra Brennan, Rovi

In this British mystery, set backstage at a theater, a beautiful actress is starring in a successful playwright's newest hit. Unbeknownst to her, the writer is in love with her. Because he is jealous of all those who might steal her away, he refuses to allow her to break her contract and work in an American playwright's newest show. Trouble ensues when the jealous playwright is found stabbed with a pair of the actress's scissors. The American is afraid that she is being framed and so helps her move the body. When the police find it, everyone becomes a suspect until it is learned that the actress was guilty all along. The American, who also loves her, takes the rap for her crime. ~ Sandra Brennan, Rovi

Tom Conway essays one of his last starring roles in the British melodrama Murder on Approval. Conway is cast as special investigator Duke Martin (a character he'd later essay in the 1956 feature Breakaway), in London to investigate the authenticity of a rare postage stamp called the Barbados Overplate. Someone is willing to commit murder to get his or her hands on the stamp, which puts a crimp in Duke's efforts to romance every beautiful woman he meets. Delphi Lawrence is the principal female attraction, while Michael Balfour provides laughs as Martin's obligatory ex-convict assistant. Distributed in the US by RKO Radio, Murder on Approval was originally released in England as Barbados Quest. ~ Hal Erickson, Rovi

Passport to Treason was put together by Robert S. Baker and Monty Berman, the same team who'd later collaborate on the TV series The Saint. Rod Cameron stars as an American private eye, stationed in London. For the sake of a murdered friend, the detective takes over the dead man's case, which turns out to have international ramifications. The villains are members of a phony pacifistic society, all of whom harbor plans for taking over the world. Aiding and abetting Cameron is Lois Maxwell, several years away from her duties as Miss Moneypenny in the "James Bond" series. ~ Hal Erickson, Rovi

In this comedy, a clever chemist develops a pill that cures smokers of nicotine addiction. Realizing the marketing potential, he makes his discovery public, but encounters strong resistance from the international tobacco industry, which does its best to stop him. ~ Sandra Brennan, Rovi