Anthony Nelson Keys Movies

The key image of this film occurs early on, as a hideous monster removes its face, only to reveal itself as Baron Frankenstein in a mask. Hammer's fifth installment in the series sees the transformation of doctor into monster complete. Peter Cushing's portrayal of the Baron here is all insanity and hatred, rather than the misunderstood (if unethical) genius of previous entries. Frankenstein transplants the brain of an insane doctor into Freddie Jones' body, creating a pathetic, misshapen beast, while using blackmail and rape to control the people around him. This was director Terence Fisher's favorite film, and his pacing and composition have rarely been better. Jones (the nasty showman in The Elephant Man) is great at communicating the disorientation and helpless agony of his condition, and while Cushing's character is more one-dimensional than usual, he does his normal excellent job as the Baron. Hammer's next installment was the silly Horror of Frankenstein before Fisher returned to end the series with Frankenstein and the Monster from Hell. ~ Robert Firsching, All Movie Guide

A murderous mummy is on the loose and it's got the Hammer Films stamp on it, but this tame terror flick never gets the bandages off when it comes to thrills, chills, and gore. A British archeological team consisting of Sir Basil Walden (Andre Morrell), Paul Preston (David Buck), a photographer (Tim Barrett), and psychic linguist Claire (Maggie Kimberley) discover the tomb of Kah-to-Bey, a young heir to Pharaoh who died trying to escape a rebellion. The boy was buried by a loyal slave named Prem, whose mummy stands in a Cairo museum. The expedition is joined by Preston's wealthy, press-hungry father Stanley (John Phillips), who insists they return to Cairo with the body despite warnings of a curse by the tomb's guardian. The curse soon proves to be true as the slave's mummy is reanimated by the guardian and begins murdering each of the explorers who entered the tomb. While Stanley Preston unsuccessfully tries to save his own skin, Paul and Claire find themselves in a showdown with the seemingly indestructible mummy -- until they discover that the strange writing on the boy Pharaoh's shroud may be the secret to their survival. ~ Patrick Legare, All Movie Guide

This film was a pet project of Joan Fontaine, based on a novel by Peter Curtis. It was her last feature film. Fontaine stars as teacher Gwen Mayfield, who is in charge of a missionary school in Africa. A witch doctor puts a curse on her, and she has a nervous breakdown. Returning to England, she takes a job running a small rural school. In the village, there is an active voodoo cult. They have targeted a young woman named Linda (Ingrid Brett), whom they plan to offer as a virgin sacrifice. The cult members are led by journalist Stephanie Bax (Kay Walsh), whom Mayfield discovers is the head witch. Mayfield's student Ronnie Dowsett (Martin Stephens) is being harassed by the cult to keep him from protecting Linda, his girlfriend. This British production was titled The Devil's Own in the U.S. ~ Michael Betzold, All Movie Guide

A wonderfully atmospheric outing from Hammer Films, who diverged from their often successful variations on Universal's classic monsters into the world of zombies, a genre which had yet to receive its infusion of terrifying new blood with the 1968 classic Night of the Living Dead. The plot, which owes a debt to the Bela Lugosi chiller White Zombie, involves a mad Cornish squire, who solves an annoying labor crisis in his tin mines by turning local villagers into voodoo-controlled zombies. Dr. Thompson (Brook Williams) and his daughter Alice (Jacqueline Pearce) soon discover the unpleasant nocturnal habits of the shambling undead slaves -- including their tendency to go on murderous rampages when not directly under the squire's control. At the request of Alice, Sir James Forbes (André Morell) arrives on the scene to investigate. The superb script by Peter Bryan employs an interesting subtext about the rift between the British aristocracy and the exploited working class, but the film is less a political allegory than a spooky, atmospheric horror opus that ranks among Hammer Films' finest. ~ Cavett Binion, All Movie Guide

Christopher Lee dons the evil Count's cloak once again after an 8-year hiatus for this first "authentic" sequel to Hammer Studios' Horror of Dracula (the literal 1960 follow-up Brides of Dracula did not feature Lee). The story begins when two stuffy vacationing couples make an ill-fated stopover at Castle Karlsbad in the Carpathian mountains -- despite the warnings of the mysterious Fr. Sandor (Andrew Keir) and the near-destruction of their coach when the terrified driver runs for his life. After a slightly tedious stretch, one of the men (Charles Tingwell) is sacrificed in a bloody Satanic ritual, orchestrated by the Count's loyal manservant Klove (Philip Latham) to bring the legendary vampire back to life. The revived Count immediately sets his sights on the man's wife (Barbara Shelley), making her his undead bride; the surviving pair seek refuge in Fr. Sandor's abbey, with the undead bloodsuckers in hot pursuit. This stylish and chilling production is imbued with Gothic atmosphere by director Terence Fisher (one of his last films for the studio) and remains one of the classier entries from Hammer's heyday. Also known as Revenge of Dracula. ~ Cavett Binion, All Movie Guide

This British adventure is set in mid-19th century India where a half-caste officer is court-martialed for cowardice. After he is drummed out, the embittered officer joins a wandering band of bandits and gets his revenge upon those who framed him. ~ Sandra Brennan, All Movie Guide

Upon their defeat by Francis Drake, a ship's crew which served in the Spanish Armada anchors near a small coastal village in England to make repairs on their vessel. While there, the cuthroat Captain Robeles (Christopher Lee) leads his men to take control of the town in an opportunistic move, claiming to have won a naval battle. Fortunately for the villagers, they are not without means defending themselves -- especially as one crewman decides to jump ship to help them. Screenwriter Jimmy Sangster, known mostly for his horror tales, contributed yet another character for Lee as he did previously in Curse of Frankenstein, Horror of Dracula, The Mummy, and Scream of Fear. ~ Kristie Hassen, All Movie Guide

Its the Cavaliers vs. the Copperheads in this costume drama set during the 17th-century British Civil War. Our sympathies are supposed to be with Oliver Cromwell's underground troops--and they are, since the arrogant Cromwell isn't around to comprise his followers' heroism. Lionel Jeffries, loyal to Cromwell, is confounded by his daughter June Thorburn's fidelity to the Throne. Oliver Reed co-stars as Jeffries' right-hand man and June's boyfriend. Crimson Blade does little to clarify the complex issues attending the war, but it delivers the goods in the action department. ~ Hal Erickson, All Movie Guide

After injecting new life into classic movie monsters Dracula and Frankenstein, Hammer Studios apply their Gothic touch to another monster genre with this excellent, stylish piece -- probably the best of the old school (i.e. pre-Rick Baker) man-to-wolf transformation films in the mold of Universal's The Wolf Man. The title curse surfaces when a mute servant girl bears a child on Christmas day after being raped by a bestial madman and first shows itself at the infant's christening, whereupon the holy water begins to boil. Things go downhill from there, as young Leon's development is marred by savage, violent behavior during a full moon. Upon adulthood, Leon's (Oliver Reed) only relief from his murderous impulses comes from the love of Christina (Catherine Feller)... but he soon begins to fear that this cannot contain the beast within. Liberally based on Guy Endore's The Werewolf of Paris (here relocated to Spain), this film represents Hammer at their early best, building tension through mood and character (Reed turns in a bravura performance) and saving the effective monster transformation for the climax. ~ Cavett Binion, All Movie Guide

In the 17th century, the arrogant, cruel Hugo Baskerville (David Oxley) brutalizes a servant and prepares to turn the man's daughter over to his equally depraved companions, but she escapes. When he catches up with the girl in a ruined abbey, he kills her and then is attacked and killed himself by a huge hound that is never seen. The audience then learns that this story is being told in flashback to Sherlock Holmes (Peter Cushing) and Dr. Watson (Andre Morell) by Dr. Richard Mortimer (Francis DeWolff). He was the physician and friend to the late Sir Charles Baskerville, who recently died -- apparently of fright -- on the Devonshire moors near that same ruined abbey. Holmes is very skeptical, but agrees to meet Sir Henry Baskerville (Christopher Lee), who has just arrived in London to claim the estate. Sir Henry is cold and aloof but becomes convinced he's in danger when he's almost bitten by a tarantula. Holmes insists that he not go to Baskerville Hall alone, so Holmes sends Watson to Devonshire with Sir Henry.

In Devonshire, Sir Henry and Watson learn that an escaped convict, Selden, is at large on the moor. Watson meets local Bishop Frankland (Miles Malleson), and later on the moor, Baskerville's neighbors, Stapleton (Ewen Solon) and his daughter, Cecile (Marla Landi). Watson is almost trapped in one of the many bogs that dot the moors, but he escapes. Later, leaving Sir Henry stricken with a mild heart attack at the hall, Watson ventures again onto the moors, and to his surprise, discovers Sherlock Holmes there. Holmes has been hiding and watching for developments. They hear the howl of the hound, and are too late to prevent the huge beast from killing a man they take for Sir Henry. But back at Baskerville Hall, they find Sir Henry alive and well: the dead man was the convict Selden, dressed in some old clothes of Sir Henry's. At the ruined abbey, they find evidence that a strange rite has been performed.

When Holmes visits Frankland for information, he learns that someone has stolen the bishop's tarantula. (He's an amateur naturalist.) Meanwhile, near Baskerville Hall, Sir Henry meets Cecile, and they are attracted to one another. Holmes, Mortimer and Stapleton descend into a disused tin mine in search of evidence, but a cave-in almost traps Holmes. That evening, when Sir Henry goes to meet Cecile on the moors, he learns that she actually hates him, and that the hound is now on his trail. Holmes and Watson arrive almost too late to save him, but Holmes kills the hound and reveals it's an ordinary, if large, dog in a mask. The villain is a descendant of Sir Hugo's from "the wrong side of the sheets"; he and his daughter were determined to use the legend of the Hound to kill those standing between them and Baskerville Hall.
No movie version of Sir Arthur Conan Doyle's most famous novel follows its source very closely, and this colorful Hammer film is no exception. An extra killer is added, events are compressed, and even the novel's most famous line -- "they were the tracks of an enormous hound!" -- is omitted. The film also suffers at times from a budget too low for its ambitions and by extraneous elements aimed at making it more like a Hammer movie, such as the unexplained "rite." However, the movie has a brisk pace and particularly strong characters. Lee, initially icy and arrogant -- perhaps to remind us of Sir Hugo -- thaws into a likable person romantic enough to fall in love, atypically for Lee. Andre Morell is one of the most solid and realistic Watsons ever; there's nothing whatever of the harrumphing Nigel Bruce, no comedy elements to the role at all. He's straightforward, heroic in his own right. But the triumph of the film
was the casting of Peter Cushing as Sherlock Holmes. Cushing's Holmes is vivid, dynamic and arrogant; the actor does not even attempt to make Holmes likable, but instead plays the character exactly as Doyle wrote him. It's a performance of steely integrity and terrific skill, one of the greatest Holmes performances ever. Cushing later played Holmes in a television series, and became as identified with the role in England as Basil Rathbone was in the United States. Cushing returned once again to the role late in life, in the TV movie The Masks of Death, as well as writing about Holmes for several books. ~ Bill Warren, All Movie Guide

This is a so-so early Hammer horror film from Nigel Kneale, who also wrote The Quatermass Experiment. Forrest Tucker and botanist Peter Cushing lead an expedition to the Himalayan Mountains (actually the Pyrenees, but who's complaining?) in search of the legendary Yeti. Several mysterious locals tell them to stay away with the sort of cryptic warnings found only in horror movies, but they carry on regardless. As expected, the furry beast is alive and well and mangles the explorers one by one until the predictable final showdown. The monster isn't shown very often and looks silly when it finally shows up, but there is a fair amount of atmosphere, and the stars are always fun to watch. Director Val Guest's career continued to slide from its 1940's highs until, by the '70s, he was making leering nonsense like The Au Pair Girls. ~ Robert Firsching, All Movie Guide

The Sea Shall Not Have Them is our candidate for the most dramatic title of any British World War II film. Happily, the film itself upholds the promise of its name. The focus of the story is a dramatic rescue at sea, which consumes well over a third of the running time. A British bomber carrying high-ranking officer Michael Redgrave, commander Dirk Bogarde and two other men is blasted out of the sky by a German plane. The four men survive, board an inflatable dinghy, and patiently await rescue in the storm-tossed Atlantic. The Air-Sea Rescue Units are poised to write off the search for the downed flyers as hopeless, but Redgrave is carrying vital documents, and is therefore not expendable. Based on a novel by John Harris, The Sea Shall Not Have Them scores highest on its suspense content, and lowest on its banal dialogue exchanges. ~ Hal Erickson, All Movie Guide