Land of the Minotaur

"Land of the Minotaur" aka "The Devil's Men" (1976, Kostas Karagiannis, Crown International Pictures) is a horror film set in 1970s Greece.


A group of archaeology-loving tourists begin to go missing when visiting a particular site. Could the shifty Baron Corofax (Peter Cushing) be involved? Could the whole town be in on it?! It's up to Irish Priest, Father Roche (Donald Pleasance), Milo Kaye (Mr Director himself, Kostas Karagiannis - billed here as Costas Skouras) and Laurie Gordon (Luan Peters) to uncover the mystery and put a stop to the worship and sacrifice to the Minotaur.


Both Cushing and Pleasance have led varied and extensive careers and were extremely supportive of the horror genre and its many aspiring creators, being game to appear in a true variety of quality of films. But, in spite of this, the biggest mystery by far is how they ended up in this one with so much screen time considering the other larger budget pieces they were in around the same time! Truly, we did not deserve them.


This film is a delightful piece of B-movie nonsense that includes;

• Donald Pleasance doing an Irish accent and wearing (and losing!) several hats,
• a few females in short shorts and other skimpy outfits,
• a creepy teenaged girl,
• a leading character resembling a young 70s Father Ted (I dare you to not think of it whilst watching Milo) who is nude quite a lot,
• cult worshippers in multi-coloured outfits (it seems the Baron got a discount on several metres of coloured satin at Remnant Kings - and those bejewelled eyeholes, dahling!),
• lots of shots of a convertible driving quite sensibly around Greece coupled with Donald Pleasance berating the driver for being careless,
• people haplessly digging up things on sites of archaeological interest with their bare hands,
• a mysteriously deserted town where the few townsfolk like to enjoy a beer with breakfast,
• Peter Cushing drinking beer and shooting a grandfather clock, and,
• lots of cult sacrifices to a statue of the Minotaur with a bad case of the fire sneezes and a dislike of people in his special room. 

At only 95 minutes long, it's also not too taxing a spectacle and is currently on Amazon Prime in the UK under it's UK title.

[Image: Crown International Pictures]

Hani

Shock Waves

"Shock Waves" aka "Almost Human" aka "Death Corps" (1977, Ken Wiederhorn, Zopix Company) is a shipwreck-cum-Nazi-zombie-survival movie.


Captain Ben Morris (John Carradine), his crew and his passengers are involved in an accident when travelling across sea. They are forced to abandon their wrecked boat and the survivors find their way onto an nearby island.


They are shocked to learn that the island is not completely uninhabited when they meet a reclusive SS Commander (Peter Cushing) who warns them to leave the island as it is dangerous.


Unable to heed his warning, due mostly to the fact that they lack any means of escape, the survivors find that they are being hunted by a swarm of undead Nazi super-soldiers created during WWII. The Commander had purposefully sunk his ship containing them, trapping himself on the island in the process. But, being zombies, the creatures have been lying dormant in wait of fresh victims...


A slow moving film that lacks the strong plot necessary to keep up momentum, but managing to be entertaining in its sheer silliness and feature a very cool setting. The zombies seem to be mostly aquatic and we are treated to many scenes of them slowly rising from the shallows to trap their victims, walking underwater and jumping into unused swimming pools. They are also decked out in Nazi uniforms and wearing dark goggles which protect them from the dangers of daylight.


I would have enjoyed a little more of both John Carradine and Peter Cushing in this film, but despite their relatively short screentime the film is still engaging thanks to our cast of hapless, squabbling tourists and final girl, Rose (Brooke Adams).


A slow film that does not deliver much in the way of gore or scares; most of the action is off-screen. However, the film is well made, enjoys some good underwater scenes and is nonetheless a good yarn worth checking out. Even if it's mostly just for the begoggled zombies.

[Image: Zopix Co.]

Hani

Twins of Evil

"Twins of Evil" (1971, John Hough, Rank Organisation, Universal Pictures, Hammer Film Productions) is actually the second sequel to "The Vampire Lovers" (1970) and the third film in the Karnstein trilogy, based loosely on "Carmilla" by J. Sheridan Le Fanu.

Identical twins, Maria and Frieda (former Playboy playmates, Mary and Madeleine Collinson respectively) arrive in Karnstein from Venice to live with their uncle, Gustav Weil (Peter Cushing), after the death of their parents. They are surprised to find that their uncle is a puritan witch hunter who leads a cult of fanatical witch finders who prey on the town's women, burning them in the name of god. Frieda in particular takes a severe dislike to Gustav and becomes fascinated by Count Karnstein (Damien Thomas), who enjoys a risque reputation.

Things become complicated, however, when Frieda becomes more entrenched into the darker side of Count Karnstein, much to her sister's horror.

 A schlocky film from Hammer with some well trodden, but no less fun. tropes and some opportunities for the leading ladies to show flaunt around in pretty period outfits. Although cheesy, the film is quite original and the plot spotlights evil from two different angles; the judgemental puritans, burning innocent people to sate their holy bloodlust and the unclean vampires with their own, more literal blood lust.

Peter Cushing plays the villain with a scary coldness that brings some ominous presence to the film. And Damien Thomas' villainous vampire is devious and horny, a scary mix.

Definitely a worthwhile entry from Hammer's latter films, and while flawed, a good bit of fun.

[Image: Hammer Film Productions]

Hani 

The Brides of Dracula

"The Brides of Dracula" (1960, Terence Fisher, Hammer Film Productions, Universal-International) is a Hammer Horror sequel to "Dracula" (1958) although it does not feature the prince of darkness himself.

Marianne (Yvonne Monlaur) is a young, French teacher on her way through the Transylvanian countryside to take up a job. She is abandoned by her coach driver and is invited to take refuge for the night at a large, impressive castle by an elderly noblewoman called Baroness Meinster (Martita Hunt). Of course, the Baroness has devious plans for young Marianne...

At the castle Marianne happens across the Baroness' handsome son, the Baron (David Peel), whom she sees is chained up. The Baroness and her servant, Greta (Freda Jackson), inform her to take no heed of the young Baron; he is insane. Having taken pity on the Baron, however, Marianne frees him of his shackles before fleeing. Dr. Van Helsing (Peter Cushing) arrives, having been called due to the suspicious death of a young lady on the first night of the Baron's freedom. But can he stop the villainous vampire before he claims every fair maiden in the village in his quest to create an army of sultry, vampire vixens!

A very typical Hammer Horror production with wonderful sets, some cheesiness and beautiful 60s colour cinematography. While we lack Christopher Lee's ominous presence as Dracula, Peter Cushing brings a touch of class to the production with his effortless style and presence. The vampires enjoy some extra skills that Dracula himself did not get to enjoy and we get to see some lady vampires rise from their graves.

[Image: Hammer Film Productions]

 

Hani

The House that Dripped Blood

"The House that Dripped Blood" (1971, Peter Duffell, Amicus Productions) is a British horror anthology about a cursed house which sees the strange and unusual deaths of its inhabitants. I actually watched it as part of my personal homage to the life and works of Christopher Lee upon his recent passing. But, in true Hani style, I didn't actually get around to writing up the blog post until now!

We follow Inspector Holloway (John Bennett) as he is summoned to solve the disappearance of someone in the house. He goes to the local police station where he is told several tales of the house's strange past and we are taken along for the ride.

Each short is about the house's previous inhabitants. There are 4 shorts in all.

"Method for Murder" starring Denholm Elliot, Joanna Dunham and Tom Adams is about a horror writer who begins to see his new creation stalking him. It's a nicely realised piece with some quite disturbing stealth stalking and an ending very typical of British horror shorts. But in a good way.

"Waxworks" stars the legendary Peter Cushing and Joss Ackland who are both friends who become obsessed with a local waxwork museum's prime attraction: a beautiful murderess who looks like someone they once knew. It was a little slow in the uptake, but had a lovely proper feel to it that made up for that. And who doesn't love a good severed head on a plate?

"Sweets to the sweet" stars the wonderful Christopher Lee as a widower with a young daughter (Chloe Franks) whom he treats very strictly, not even allowing her to play with dolls. The daughter's new home-school teacher (Nyree Dawn Porter) thinks that he is being very unfair and buys the girl a doll.... Big mistake. My favourite of the collection because it went a way I wasn't completely expecting. The young Chloe Franks also did a fantastic job as the creepy child.

"The Cloak" is the final short and stars Jon Pertwee as a horror movie actor/diva, who has moved into the house whilst shooting a vampire film. He sources a strange black cloak from a local antiques and oddities shop ran by Geoffrey Bayldon, only to find that the cloak has special powers. His co-star is the fabulous Ingrid Pitt.

The pieces aren't ground breaking storytelling, but they are all well made, star studded and engaging. The film holds together well as an anthology and keeps the viewer interested.

Images: Amicus Productions

Hani

The Horror Express

"The Horror Express" aka "Pánico en el Transiberiano" or "Panic on the Trans-Siberian Express" (1972, Gene Martín, Scotia International Productions, Scotia Barber Distributions, Ltd.) is a Spanish and British horror about the panic caused on a train when an anthropologist's scientific discovery, an ape-like man, comes back to life and wreaks unnatural havoc.

I picked this film up at Comic-Con thinking it would be cheesy and fun and I wasn't disappointed!

Christopher Lee gives an intense performance as the anthropologist responsible for the discovery and Peter Cushing plays his mild-mannered rival wonderfully.

The action is daft, if slightly over explained, and helps recreate the fun Hammer-esque feel. An ape man with super powers, which allow him to drink the essence of and then become anyone, is running around loose on an old fashioned train and then a group of Cossacks, lead by Kojak himself, Telly Savalas turn up to join the party.

It's like a budget version of "The Thing" but on a train and with some of the best horror icons hamming it up with glee. What is not to like?

 

 

[Image: Scotia Barber Distributions, Ltd]

Hani

Frankenstein Created Woman

"Frankenstein Created Woman" (1967, Hammer Film Productions, Warner-Pathé, 20th Century Fox, Optimum Releasing, Terence Fisher) is the fourth Hammer Horror Frankenstein feature and it is one of my favourite Peter Cushing films. I'm watching it today to celebrate what would have been his 100th Birthday. Happy Birthday, Peter Cushing you were an excellent actor and a gentleman!

The film opens to a guillotine and the beheading of a father while his young son, Hans looks on.

Fast forward several years and Hans (Robert Morris) is now a young man working for Dr. Hertz (Thorley Walters) and assistant to Baron Victor Frankenstein (Peter Cushing).

Frankenstein has developed his work of 'giving life' much further than his previous patchwork creations and is now dabbling with the more spiritual theories of the soul. He has found that the soul remains intact after death and can be restored after life. Yep, ol' Frankie's outdone himself with his new bolt-free creations!

After a series of unfortunate events and general mishandling of situations, feisty young Hans is sentenced to the guillotine for a murder he did not commit. Facing the same fate as his father, Hans cannot explain that he has an alibi because he was making love to the local barmaid, the disfigured but kind Christina (Susan Denberg), a love interest he has been barred from pursuing by Christina's father. Plus who would believe a murderer's son over the word of three snobby young toffs with lots of cash?

Christina is too late to save Hans from his fate and, in despair, she commits suicide inadvertently providing Frankenstein with two fresh bodies to experiment on! But, perhaps the Baron's scientific theory is not fully correct...! Could his beautiful new scar-free creation be just as much a monster as his last attempts?!

Cushing delivers a cold and calculating Dr. Frankenstein who is witty, clever and driven. His Dr. Frankenstein character is always the best in my opinion!

Susan Denberg also excels in her role switching from sweet and innocent bar wench to sultry vixen to crazed lady.

A fun little Hammer Horror with a nice alteration to the usual Frankenstein story and some really lovely decapitation scenes filmed in characteristic Hammer fashion; showing little while letting your imagination fill in the gaps with some dripping blood here and there.

If you haven't seen this film yet, I recommend giving it a try from some old school Hammer viewing.

[Image: Hammer Film Productions]

Hani

The Curse of Frankenstein

"The Curse of Frankenstein" (1957, Terence Fisher, Hammer Film Productions, Warner Brothers) is Hammer's first colour horror movie, and also the first of their many renditions of the Frankenstein story based on the novel by Mary Shelley.

Peter Cushing, who is also well known for portraying Van Helsing in the Hammer Dracula series of films, stars as Baron Victor Frankenstein, who we find in prison awaiting the death sentence. A priest enters and Frankenstein recounts his life story to him.

Young Frankenstein (Melvyn Hayes, who was famed for playing 'Gloria' Gunner Bombadier Beaumont in the "It Ain't Half Hot, Mum" TV series) takes on a mentor and tutor, Paul Krempe (Robert Urquhart), since inheriting the estate from his late father.

There's a montage of he and Paul working on science and maths throughout the years, as Hayes becomes Cushing. Finally we see that Frankenstein and Paul have brought a dead dog back to life! Oooh!

Dissatisfied with this enormous feat, Frankenstein begins working on creating life and a 'perfect' man, by stitching together bits of corpse. He's also not too scrupulous about how he comes about these bits of corpse...

Paul becomes uncomfortable with the turn in events and tells Frankenstein he is leaving, until a young woman, Elizabeth (Hazel Court), who is Frankenstein's cousin, appears and tells Paul that she has come to live with and marry her cousin! Fearing for the young woman's safety, Paul sticks around to protect her from her crazy fiancé-cousin.

Little known to either of them, ol' Frankie is knocking off the maid, Justine (Valerie Gaunt)! 

Wanting his creature to be perfect, Frankenstein invites 'round a scholar and decorated scientist, Professor Bernstein (Paul Hardtmuth), kills him and then grave-robs his brain! What a loon!

Paul, suspicious now, catches him in the act and accidentally damages the genious brain in the scuffle. Oops!

Frankie perseveres, and we witness the consequences. The monster is played by another Hammer favourite, Christopher Lee! Who is one of my all-time favourite actors and thespians. He plays the monster in some very original monster makeup. No green, square heads and bolts for this guy! Lee looks painfully dead.

A fun adaptation of the book, which is itself an excellent story and a very dark read.

With excellent performances from Cushing, Lee, et al, the film keeps a good pace and doesn't feel dated.

Lee's monster isn't given enough screen time in my opinion, but the time he does get he uses to create a sad and very 'dead' creature, which is unstable, awkward and animalistic, unlike other Frankenstein's Monsters from past and present, who are always more human... 'Humanising' the monster can be very effective, such as it is in the big screen 1994 adaptation starring Robert De Niro, but in this version, the monster isn't the real villian of the piece.

Cushing gives an excellent performance as a the disturbed and determined Baron. The end scene is very emotional, and Frankenstein's desperate pleas seem very heartfelt. Like most crazy people, the Baron didn't think what he was doing was crazy! And considering how much his friends deny his tale, maybe it didn't even happen at all!

Definitely a version of the story you should see. One of my favourite Hammer Horrors, too!

[Picture: Hammer Film Productions & Warner Bros.]

Hani