Albert Fennell Movies

Adaptation of Barbara Cartland's novel featuring a 17th century adventure romance between an aristocrat and an endangered noblewoman. ~ All Movie Guide

A late entry from the foundering Hammer Studios, this intriguing and highly original twist on the vampire motif -- featuring for once a hero more charismatic than the vampires with which he does battle -- was the first in a planned series of Kronos films, but poor planning on behalf of its overseas distributors killed the franchise's great potential in the American market. Kronos (Horst Janson) -- a kind of swashbuckling Sherlock Holmes of the occult sciences -- and his hunchbacked companion Professor Grost (John Cater), arrive in the village of Durward where the local young wenches are being victimized by a family of vampires that drain youth, not blood, from their victims, turning them into withered old hags. Kronos' mystical intuition and powers of deduction lead him to the elderly Lady Durward (Wanda Ventham) and her pompous children Paul (Shane Briant) and Sara (Lois Daine), and he soon squares off against his vampiric foes with a lethal sword (fashioned from a sacred cross) and a bag of occult tricks (including an interesting use of dead frogs). Well-photographed and cleverly directed by Brian Clemens (Dr. Jekyll & Sister Hyde), this is one of Hammer's few attempts to broaden its audience in the 1970's -- a trend which reached its zenith of zaniness with everybody kung fu fighting in the Hammer/Shaw Brothers collaboration Legend of the Seven Golden Vampires. ~ Cavett Binion, All Movie Guide

In a clever, gender-bending twist on the classic Robert Louis Stevenson tale, the research done by Dr. Henry Jekyll (Ralph Bates) in the field of artificially-induced human longevity involves experimentation with female hormones. When he partakes of his own formula and the inevitable Jekyll-into-Hyde transformation takes place, he changes into a ravishing female version of himself (famed "B"-movie siren Martine Beswick). Claiming to be Jekyll's sister, Ms. Hyde is lovely but lethal: she uses her alluring charms to seduce men then kills them and absconds with their bodies for use in further experiments. A much more interesting twist comes when Jekyll finds himself falling in love with the girl next door (Susan Brodrick), while simultaneously lusting after the girl's brother (Lewis Fiander) as Hyde. Although Brian Clemens' script manages to exploit this unique premise for shock value, the story fumbles where it counts, failing to fully explore the implicit questions of sexual identity which haunt Jekyll's psyche and burst to the surface when Hyde is on the prowl. ~ Cavett Binion, All Movie Guide

The Unearthly Stranger takes a romantic approach to standard sci-fi material. John Neville marries mysterious Gabriella Lucidi, but begins questioning his judgment when his new bride exhibits some curious behavioral traits. When he discovers that Lucidi has no pulse, Neville is really thrown for a loop. Inevitably, Lucidi reveals that she is a visitor from another planet, sent as the vanguard for an invading alien army. Neville could live with this, save for the fact that Lucidi's mind is being controlled by her outer-space superiors, forcing her to induce the deaths of anyone who draws close to her. Ultimately, Lucidi sacrifices herself for Neville, with whom she has truly fallen in love. ~ Hal Erickson, All Movie Guide

Night of the Eagle was the second film version of Fritz Leiber Jr.'s Conjure Wife (the first was Weird Woman, perhaps the best of Universal's low-budget "Inner Sanctum" series of the 1940s). The film's title was possibly meant to invoke memories of the earlier Night of the Demon (58); both films involve a rational scientist (in the case of Night of the Eagle, Peter Wyngarde) forced to accept the existence of the supernatural. All evidence points to the conclusion that the scientist's American wife Janet Blair is the reincarnation of a witch, and a practitioner of voodoo. The actual villain is supposed to be a mystery, though the identity was made clear in the Leiber original and in both other film versions of Conjure Wife (there was a 1980 parody version titled Witches Brew). The supernatural aspect of Night of the Eagle is convincingly handled, including a knockout sequence with a wild eagle rampaging through the scientist's tranquil study. Adapted by Twilight Zone stalwarts Richard Matheson and Charles Beaumont, the British-made Night of the Eagle was released in the US as Burn, Witch, Burn. ~ Hal Erickson, All Movie Guide

In this British comedy, an amiable demolitions expert finds himself entangled with a band of criminals masquerading as doctors. In this guise, the thieves attempt to build a tunnel between the hospital and the bank next door. The expert successfully blows open the vault, and the criminals escape with their loot, leaving the hapless safecracker to take the rap. Five years pass before he is released from prison. The man has learned his lesson and tries to reform by taking a job in a small resort. More trouble ensues when he sees the most prominent citizen in town cheating his neighbors by selling bogus shares in the future of the town. To stop him the ex-safecracker enlists the aid of his old gang who begin masquerading as American soldiers offering to build a missile base in the town. Naturally the avaricious businessman desires a piece of the pie and so buys back all of the land he had sold. Using his special talent, the hero blows up the villain's land. Fortunately, the real American army gets involved by offering to rebuild the destroyed town on the land, causing the townsfolk to cheer the former con-man on as the police haul him back to prison. ~ Sandra Brennan, All Movie Guide

Michael Powell's controversial meditation on violence and voyeurism effectively destroyed his career when it was first released, but later generations have come to regard it as a masterpiece. Karl Heinz Boehm stars as Mark, the son of a psychologist who kept a video journal of the boy's upbringing for research purposes. The constant intrusions profoundly affected the boy, who grew up to be a photographer himself; but his principal subject matter consists of women whom he murders before the camera. He then runs the films of his victims in their final throes so that he can study their reactions to death--a perverse extension of his father's experiments, which tormented Mark to analyze his reactions to raw fear. The British press had long been hostile to the unorthodox films of Powell and his partner Emeric Pressburger; when Peeping Tom came around, they used the film to castigate him as "sick" and tawdry. The passage of time has proven Peeping Tom as profound and accomplished as any of Powell's earlier films, and it ranks with Alfred Hitchcock's Rear Window (1954) and Vertigo (1958) as a landmark exploration of the links among voyeurism, violence, and male sexual desire. Powell himself plays the evil father in the flashback sequences, and his son Colomba plays Mark as a child. ~ Hal Erickson, All Movie Guide

The Horse's Mouth is an acting and a writing tour de force for Alec Guinness, who authored the screenplay in addition to starring in the film. Gulley Jimson (Alec Guinness) is an aging artist with a reputation as a genius, though he lives an impoverished life. Jimson has reached the point in his life where he no longer feels any need to moderate his irascible persona -- he has a taste for alcohol and a tendency toward boisterous spirits where the ladies are concerned -- in search of canvasses to paint and commissions that will allow him to live comfortably, and Guinness lives the role to the hilt. Released from jail for some indiscretion, he immediately begins harassing his wealthiest patron, Hickson (Ernest Thesiger), for money. When that fails, he insinuates himself into the home of a would-be patron, Sir William and Lady Beeder (Robert Coote, Veronica Turleigh), and manages to destroy their home and that of their downstairs neighbor with a huge block of stone and some help from a sculptor friend (Michael Gough). Courted by a potential buyer, he is desperate to retrieve one of his early works from his former wife, but even that prospect is closed off to him. Finally, with help from his young admirer, Nosey (Mike Morgan), his friend, Coker (Kay Walsh), and some art students eager to work with the legendary Gulley Jimson, he begins painting his largest canvas of all. The painting is completed and promptly destroyed. Jimson finally takes off in his wreck of a houseboat for the open sea, eyeing the huge hulls of the passing ships as potential canvasses to paint. As he disappears up the river, Coker looks on in panic and Nosey calls after him, declaring his admiration for Jimson and who he is and what his work means -- knowing for certain that he can't be heard. ~ Bruce Eder, All Movie Guide

The Green Scarf may be set in France, but its cast, crew, and overall tone is impeccably British. Michael Redgrave, hidden beneath a mattress of whiskers, portrays a French lawyer who takes on a seemingly hopeless case. His client, Kieron Moore, is a blind deaf-mute seaman accused of murder. Moore has already confessed to the crime, but Redgrave is sworn to give the best defense possible. At times, however, it is the dullest defense possible, despite a few random spurts of imagination. The Green Scarf was adapted from the novel The Brute by Guy des Cars. ~ Hal Erickson, All Movie Guide

British actor Robert Donat's one-and-only film directorial effort was Cure for Love. Adapted from a popular stage play by Walter Greenwood, the film stars Donat as Jack, an army sergeant who returns home on leave. Having falling in love, Jack hopes that his hometown girl friend has forgotten his impulsive marriage proposal, but she hasn't. The film's comic complications arise from the fact that Jack, a war hero of conspicuous courage, turns into a quivering mass of jelly whenever dealing with affairs of the heart. The thick Lancashire dialect used by practically everyone in Cure for Love may be a bit difficult to comprehend for American audiences. ~ Hal Erickson, All Movie Guide