Hammer Film Productions Wikipedia
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However, as dusk approaches, Tom discovers the woodcutter is Mr Ardoy as he begins to change into a werewolf and kills Tom with his axe. At the house, Sarah dies during childbirth but Mrs Ardoy and the other children welcome their new baby brother into their pack. Graham's elder brother Mark (Michael Culver) inherits the bulk of their uncle's estate, including his country mansion and his money. The younger man attempts to benefit from this by negotiating a business deal with him, but – after Graham has, on the strength of the deal, resigned from his job – Mark reneges on it, and Graham feels desperate. That night, he angrily stabs a group photograph that features Mark, and then pushes the knife into Charlie Boy. Following this, Graham's film director friend Phil likewise is accidentally killed on the set of a TV commercial, when an arrow from a crossbow hits him.
"The House That Bled to Death" (Episode
Though it must be said that the sets and costumes never convince one that the actors are inhabiting a world outside of the 1970s, it hardly matters. The Lady Vanishes immediately hits the ground running and carries itself lithely over the finish line, managing a few twists and thrills even for those that may already be familiar with the original. From pioneering '50s classics like The Curse of Frankenstein and The Mummy to 2020's The Lodge, here's EW's list of the best films from the legendary Hammer films. It's the same shops that's used in Rude Awakening when Norman walks to his... Even before you got to these conclusions – often “almost Scooby-Doo-like” endings, as Gatiss puts it, where spooky happenings are resolved as the work of scheming humans – there was a strong sense of dread in the air. A deafening, suffocating silence punctuated the dialogue, adding uncomfortable tension to the most benign scenes, while the writers often played to the basic fears of everyday things.
The Man Who Could Cheat Death
Hammer House of Horror Announces Partners for Merchandise Program - aNb Media
Hammer House of Horror Announces Partners for Merchandise Program.
Posted: Sat, 24 Oct 2020 07:00:00 GMT [source]
Clifford and his colleagues suspect Natalie, and search her entire house but find nothing. Afterwards, Clifford feels sorry for suspecting Natalie and invites her to his home for the evening. Natalie accepts his apology but, now dressed as the ancient countess herself, kills Clifford in bed. Jack, a wealthy elderly man, dies under mysterious circumstances, after which his nephew Graham (Leigh Lawson) arrives to claim the art collection his uncle bequeathed to him. Graham opts to sell most of the collection, but his wife Sarah (Angela Bruce) finds an African sculpture (called a 'fetish') with knives stuck in it. En route they are involved in a road rage incident and harassed by an intimidating car driver whom they nickname 'Scarface'.
The Brides of Dracula
There is no explanation for these events and throughout them all, James remains strangely calm and unemotional. William Morton, the 10-year-old son of botanist Terence Morton (Gary Bond) and his wife Laurie (Barbara Kellerman), dies after consuming a toxic chemical in his father's lab.
The house was renamed Bray Studios after the nearby village of Bray, and it remained Hammer's principal base until 1966.[16] In 1953, the first of Hammer's science fiction films, Four Sided Triangle and Spaceways, were released. Let Me In was Hammer's first foray back into features after its 30-year hiatus, and it heralded an intent from the studio to generate high-quality horror films for an adult audience. Moretz and McPhee are phenomenal actors, certainly two of the most emotive young performers of their generation, and their easy chemistry both grounds the film and keeps it from slipping too far into darkness and despair. Let Me In is slightly more optimistic in tone than Let the Right One In, but Reeves is a keen enough director that it feels like a spin on the material rather than a concession to Hollywood storytelling.
The funeral directors and doctors of The Thirteenth Reunion became monsters without really knowing what they were up to with the bodies that were disappearing from their hospital. Charlie Boy’s ancient African idol statue brought back the goosebumps of a feared ornament in a grandparent’s house. And it was not the dark secret of Cushing’s elderly pet shop owner in the The Silent Scream that made him so horrifying – as a kid, elderly pet shop owners were feared anyway. Where Christopher Lee’s masterful Dracula was a theatrical triumph, and movies such as Blood from the Mummy’s Tomb had a certain high-end glamour, the TV endeavour had a filmic style more in line with Minder or The Sweeney.
Children of the Full Moon
Desperate, Penny tells Margaret to bring Gupta from India, and that she will pay him £150,000 in order to start his ashram in the UK. Terrified and no longer able to bear the stress, Penny locks herself in the bedroom and shoots herself with the rifle. Men are being murdered in bed by a mysterious, attractive woman with a European accent whom they pick up. Their hearts are ripped out with a curved weapon like the claw of an eagle. Suspecting a serial killer at large, Inspector Clifford (Anthony Valentine) investigates the case and learns of author Natalie Bell (Suzanne Danielle), who is writing a book about an ancient Carpathian Countess who had murdered men the same way. Natalie says she got the idea from Mrs. Henska (Siân Phillips), a middle-aged lady who claims to be the last living descendant of the notorious Countess.
Hammer Films had commercial success with some atypical output during this period, with film versions of several British TV situation comedies, most notably the ITV series On the Buses (1971). During its most successful years, Hammer dominated the horror film market, enjoying worldwide distribution and considerable financial success. This success was, in part, due to its distribution partnerships with American companies United Artists, Warner Bros., Universal Pictures, Columbia Pictures, Paramount Pictures, 20th Century Studios, Metro-Goldwyn-Mayer, American International Pictures and Seven Arts Productions. The Abominable Snowman of the Himalayas is The Treasure of the Sierra Madre of monster movies. It's as much about man's folly as it is a great, big, hairy monster tromping around the snow-capped mountains. Kneale's stories were always subtextually rich, and here he does not disappoint.
In addition to being a rollicking adventure and a bone-chilling horror picture with the ethereal dread of Kubrick, it's a parable about the quest for fame and fortune versus the quest for scientific explanations, and how both of those things can potentially lead to ruin. Horror Express, which was shot in Madrid, feels like the work of a director who was a fan of the horror genre and wished to elevate the material beyond pure camp. Its rollicking pace is reminiscent of Tremors, quite a different alien-buddy movie, but a relative nonetheless. In 1953, The Quatermass Experiment — about a doomed space mission that results in two members of the crew going missing and a third returning to Earth possessed by an alien parasite — aired as a six-part miniseries on the BBC. Hammer's second addition to its 21st-century canon is certainly an adult thriller, but one of a different shade than Let Me In, the film that resurrected the studio. The Resident finds Hilary Swank as a recently divorced doctor moving into her dream loft in Brooklyn only to discover that her landlord (Jeffrey Dean Morgan) has a bit of an obsession with her.
Tom confides to his colleague Harry about this and the preceding experiences, and Harry agrees with him that it is unlikely it was all a dream. Weeks later, Sarah reveals she is eight weeks pregnant and the fetus is growing unnaturally rapidly. Her portrait is already framed in the house and her room is ready for the delivery, and her bed is dressed as a deathbed. As he begins searching for the house, he comes across a woodcutter who denies any knowledge of the house or of any supernatural creatures in the woods.
In several sections, The Quatermass Xperiment even plays with the found-footage genre, surely one of the first movies to do so. While the film is beyond tame nowadays in its depiction of violence, it does feature (like many Hammer productions) a few scenes that are shockingly explicit for the time. The creature effects here are brilliant as well, used sparingly, but effectively, so that they ring out all the more when they do appear. Things changed for the homegrown enterprise around 1955, when the sci-fi yarn The Quatermass Xperiment ushered in a new era of programming within the studio. Two years later, Peter Cushing and Christopher Lee, who would become and remain the two names most synonymous with the horror studio, starred in The Curse of Frankenstein. That film was directed by Terence Fisher and written by Jimmy Sangster, both of whom would contribute a great deal of Hammer's most well-known and respected horror pictures over the years.
Since then, Hammer has produced several films, including Beyond the Rave (2008), Let Me In (2010), The Resident (2011), The Woman in Black (2012), The Quiet Ones (2014), and The Lodge (2019). The Devil Rides Out is a supremely creepy occult thriller that treats its subjects with documentary-like precision. Fisher's film is in many ways more restrained than a great deal of Hammer's output, yet that allows its punches to land even harder. The wave of devil-cult thrillers in the 1970s roundly attempted to harness the same realism that Fisher brings out in this film, but none of them could match the truly outré quality here.
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