1967 EXPLOITATION TRIPLE FEATURE: CORRUPTION, QUATERMASS AND THE PIT, AND THE FEARLESS VAMPIRE KILLERS

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We start our 1967 genre survey with a considerable amount of barrel-bottom scraping with two of Herschell Gordon Lewis‘ most execrable efforts: The Gruesome Twosome and Something Weird. He also made the somewhat better A Taste of Blood the same yearWith a bigger budget and longer running time (118 minutes), Lewis referred to Blood as his “Gone With The Wind” masterpiece.  Actually, it’s modeled more after Roger Corman than Victor Fleming. Lacking the excess of Lewis’ previous films and featuring a “classic” monster in Dracula, it’s mostly seen as a noble misfire by Lewis’ cult.

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Elsewhere in 1967, Larry Buchanan, a director on par with the likes of Lewis, William Beaudine, Ed Wood, or Phil Tucker, produced a pair of jaw-dropping bombs in Mars Needs Women and Creature of Destruction. Jean Yarbrough, who had previously helmed such masterpieces as The Devil Bat (1940), directed Basil Rathbone, Joi Lansing, John Carradine and Lon Chaney, Jr. in Hillbillies in a Haunted House. Rathbone died shortly after filming and was spared embarrassment from a film so wretched that it’s virtually unwatchable. His surviving co-stars and director weren’t as fortunate. Nazis-on-ice figure prominently in Herbert Leader’s The Frozen Dead, which at least has some unintentional humor going for it. Joan Crawford went Beserk for director Jim O’Connell. The film’s a paltry effort, but Joan is a humdinger channeling her inner Mommie Dearest.

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A blind Boris Karloff got whupped by Viveca Lindfors in Cauldron Of Blood, but the on-his-last-leg genre icon fared considerably better in Michael Reeves’ excellent cult classic, The Sorcerers. Harald Reini did Christopher Lee few favors when directing the actor for The Torture Chamber of Dr. Sadism. John Gilling likewise missed the mark in Hammer’s The Mummy’s Shroud. Away from Hammer Studios, Terence Fisher was out of his element in his final sci-fi opus[1] , Island of the Burning Damned, starring Lee and Peter Cushing. By his own admission, Fisher had no enthusiasm for science fiction and went back to his Hammer Horror niche later in 1967 with Frankenstein Created Woman.

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Fisher favorite Peter Cushing made a sharp departure from his typical acerbic-but-classy screen persona by dipping into pure sleaze for Corruption (directed by Robert Hartford-Davis). Although most sources give the release date as 1968, it’s also listed as a 1967 production. Most likely it’s the later date, but since we have that year already filled up, we’ll cheat a tad in placing it here. A sordid hybrid of The Corpse Vanishes (1942) and Eyes Without A Face (1960), Corruption can be summed up by the Blu-ray cover art image of a middle-aged Cushing taking a knife to the throat of a scantily clad buxom blonde. He plays surgeon Sir John Rowan, engaged to fashion model Lynn Nolan (Sue Lloyd). An accident (caused by Rowan) leaves Lynn disfigured. After conventional skin-grafting plastic surgery fails, Sir John resorts to slightly unorthodox methods to restore her back to potential trophy wife status, which involves medical and Egyptian mumbo jumbo along with removing the pituitary gland of a corpse. The treatment works, but only temporarily. Soon, Lynn is back to being an ugly duckling. So what does Sir John have up his sleeve? Fresher specimens, which can only be supplied via a murder spree. This being 60s swinging London, there is a ready supply of hot female victims with raging pituitaries.

PETER CUSHING, SUE LLOYD, ANTHONY BOOTH KATE OMARA DAVE LODGE VALERIE VAN OST 'CORRUPTION' 1968 Dir ROBERT HARTFORD DAVIS PETERCUSHING.ORG.UK

PETER CUSHING, SUE LLOYD, ANTHONY BOOTH KATE OMARA DAVE LODGE VALERIE VAN OST ‘CORRUPTION’ 1968 Dir ROBERT HARTFORD DAVIS PETERCUSHING.ORG.UK

Lloyd steps into the role that Luana Walters filled in The Corpse Vanishes and Cushing replaces Lugosi. It goes without saying that the Hammer thespian’s work far surpasses the Hungarian vampire’s. That might not be much of a compliment, since Lugosi was, with few exceptions, one of the horror genre’s worst actors. Cushing himself seemed to have a love-hate relationship with the film, having described it as excessively sick. His belated embarrassment aside, Cushing is superb in this atypical role. While a natural for the character’s reserved side, among the flower-power generation Cushing is the proverbial fish-out of water, which benefits the characterization. The actor excels when transforming into a batshit looney toon, even wiping the blood of one victim on her exposed breast, before one of the most outlandish finales ever committed to celluloid. Aside from Cushing, Kate O’Mara, as the sister-in-law-to-be, gives a serviceable performance, but Lloyd fails to convince in her underwritten part. Working against flat direction, an out-of-place jazz score and an unenthusiastic cast, it’s entirely Cushing’s film. It’s no Eyes Without a Face, but after being unreleased for years, Grindhouse Pictures gives it the Criterionesque treatment it deserves, with the extreme closeups of a sweaty, bug-eyed Cushing doing the dirty, popping in a glorious 60s wash. Both the (slightly longer and more risqué) international and American versions are included, along with alternate scenes, interviews, the shooting script, audio commentary, and the misogynistic trailer, which declares: “This is not a woman’s picture. No woman will go home alone after seeing Corruption. Therefore, no woman will be admitted alone to see this super shocker.”

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1966 EXPLOITATION TRIPLE FEATURE: RASPUTIN THE MAD MONK, THE REPTILE, THE PLAGUE OF THE ZOMBIES

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The 1966 horror, science fiction, and exploitation slate may be most infamous for what many claim is the worst film of all time: Manos: The Hands Of Fate. It’s also the year that Barbara Steele made her last Italian Gothic, An Angel for Satan (which we’ll cover later in a Steele retrospective). William “One-Shot” Beaudine was responsible for back-to-back western horrors: Billy The Kid Meets Dracula and Jesse James Meets Frankenstein’s Daughter. Michael Hoey banked on Marilyn-imitator Mamie Van Doren to lift Navy vs. The Night Monsters (it didn’t work) while Curtis Harrington and Michael Reeves made futile attempts to salvage films started by others: Queen of Blood and The She-Beast, respectively. Hy Averback tooted his horror horn to warn us of hooked killer Patrick O’Neil in Chamber of  Horrors and Freddie Francis had us screaming about Deadly Bees. Considerably better was Mario Bava’s Kill, Baby Kill. It was Hammer Horror and Hammer-related films, however, that owned the year’s genre product.

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Terence Fisher officially resurrected the Count in Dracula: Prince Of Darkness, with Christopher Lee and Barbara Shelley trading saliva in Anthony Hinds’ screenplay (written under his usual pseudonym John Elder). Fisher jumped ship and headed to Universal (momentarily) for Island of Terror, starring Lee and Peter Cushing, but directed with little enthusiasm.

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Lee, Shelly, and Hinds teamed again that same year for Don Sharp’s Rasputin: The Mad Monk, which is effective trash as only Hammer could deliver. Hinds’ previous writing credits include Brides Of Dracula (1960), Curse Of The Werewolf (1961) and Kiss of the Vampire (1963). 1966 was a busy year for him, having also scripted The Reptile (see below). Hinds continued writing for Hammer up until their cult TV series, “Hammer House Of Horrors” (1980).

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TERENCE FISHER’S THE GORGON (1964)

The Gorgon (1964 dir. Terence Fisher)

The Gorgon (1964) has a hopelessly silly synopsis: it’s basically a werewolf story transplanted onto a minor Greek myth with an even more ridiculously executed monster (complete with rubber snakes in her hair). Yet, with a stylish script from John Gilling, sublime characterization, and poetic beauty, Terence Fisher enthusiastically managed to transform this irredeemable trash into an artistically rewarding experience. Impossible, but true.

The Gorgon is an oddity in the Hammer cannon. Its pacing is deliberate and forlorn. The “monster” is the mythological Gorgon Megaera, inhabiting amnesiac victim Barbara Shelley, who again gives a performance well above that of the standard Hammer glamour girl. Unfortunately, Shelley does not play Megaera herself, a poor decision which blunts the tragic impact of the production. Continue reading

TERENCE FISHER’S DRACULA PRINCE OF DARKNESS (1966)

DRACULA, PRINCE OF DARKNESS POSTER

Terence Fisher is rarely counted among the great horror auteurs, yet he certainly defines our ideal of contemporary horror far more than the ethereal Tod Browning, the old world Brit James Whale or the sublime Val Lewton stalwart Jacques Tourneur.  For many years, Fishers’ Horror of Dracula (1958) was ranked by many critics and genre fans as the greatest horror film.

DRACULA, PRINCE OF DARKNESS (Dir. Terence Fisher) Poster

Dracula, Prince of Darkness (1966) is the finale of Fishers’ vampire trilogy and is generally considered the weakest. While it lacks the imaginative touch of Brides of Dracula (1960), Prince is an underrated, worthy conclusion to the trilogy, vigorously characteristic of Fishers’ penchant for fervent religious drama.

Dracula, Prince of Darkness poster

The film belongs primarily to Barbara Shelley, who was easily Hammer’s best actress and, consequently, was repeatedly used by the studio; a rarity for a studio who tended towards a new glamour girl for each film.

DRACULA,PRINCE OF DARKNESS (1965) ADDracula, Prince of Darkness . Barbara Shelley Continue reading