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Post by ripper on Sept 30, 2021 9:26:40 GMT
My least favorite Hammer Dracula ending is the one in Taste the Blood of Dracula. I actually love that film but the ending makes zero sense. The movie is problematic, particularly in terms of the story; the reasons why I enjoy it have nothing to do with the screenplay. Dracula has risen from the grave is much more popular with fans but doesn't do much for me. H. I am with you here, in both cases. The ending of Taste is - again - rubbish. But it is my favorite. Full of great scenes, the for the audience sugarcoated bordello is laugh out loud, and there is Linda Hayden. What's not to like?
By the way, in the scene in AD1972 where Jessica and her boyfriend arrive at the church for the black mass and the grave of her ancestor is found, Jessica says that Laurence Van Helsing (who died in 1872) was her great grandfather. As modern day Van Helsing is her grandfather, that would make him at least 100 years old. I know that Lorimer Van Helsing was supposed to be Jessica's father in the original script but as Cushing had aged so much after his wife's death they changed it to grandfather. Now that is interesting. Never knew that. I agree about switching Beacham for Lumley. It's not just the change of actress, but the personalities of the two characters is so different. You can't imagine for a second Lumley's Jessica hanging around with those hippies from Dracula AD1972, and her language is quite different. Lumley's Jessica speaks more conventionally...no 'way out' or 'groovy'. I also have to say that Beacham's Jessica can be rather unpleasant to her grandfather. In the scene where Van Helsing catches Jessica looking through his books, he asks if she would bring her friends to meet him. She is very dismissive saying she wouldn't bring them to this mausaleum. Can't imagine Lumley's Jessica saying that. I don't know if Beacham was unwilling or unavailable to reprise her role, or perhaps Hammer felt that her characterisation wouldn't work in Satanic Rites. The two are soo different that I never thought about this. You are right. As I think I wrote a long time ago in another thread, both movies by Houghton were markedly out of date already at their release. Even after all these years it is kind of baffling that Hammer was unable to adept to the changing times. If modern day Van Helsing was Jessica's father, having 1872 Van helsing as great-grandfather makes more sense, so it may have been just a script oversight or Beacham maybe fluffed her line, saying great-grandfather instead of great-great grandfather. I think by 1972/73 Hammer were getting desperate. They were looking for a new direction without any clear idea what that direction might be. Big screen adaptations of popular sitcoms such as On the Buses and Nearest and Dearest helped them stay afloat, but as their gothic horrors waned in popularity they tried various things: moving Dracula to the modern day, creating a new hero in Kronos, teaming up with Shaw Brothers to cash in on the martial arts craze and so on. Sadly, it seems to me like the flounderings of a drowning man, clawing at anything within reach to stay above the waves. I suppose by 1973 gothic horror had just gone out of fashion, and Hammer were so closely associated with it that they couldn't break out strongly enough in a new direction, not that they appeared to know what that direction might be. |
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Post by helrunar on Sept 30, 2021 12:04:14 GMT
The last time I watched Grave, Lee's peculiar movements made me think of the Stravinsky ballet Petrushka--which is hard to explain, but seems to be about a deranged, neurotic puppet. Deliberately awkward, violent gestures and movements. The rooftop scenes which are evocative of Weimar Expressionism are justly regarded as the highlight of that picture. For me, the best scenes involve Barbara Ewing, who is terrific in what might have been a nothing role.
The whole notion of a vampire being unable to die unless somebody prays over him is ridiculous. But there you are.
Certain of the early 1970s Hammer films have been embraced by the online fandom as superb classics--some even regard these as the best films they ever produced. I don't agree with this, but it seems to have almost become the new dogma for the more doctrinaire-minded fans.
Great story about that chap who was from Lee's club. Classic, really. Thanks, Ripper!
H.
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Post by andydecker on Sept 30, 2021 15:19:15 GMT
Certain of the early 1970s Hammer films have been embraced by the online fandom as superb classics--some even regard these as the best films they ever produced. Really? How come? After 1971 most of their movies don't work well or at all. Demons of the Mind, Fear in the Night, Straight on till Morning, both Dracula's, Frankenstein and the Monster from Hell, 7 golden Vampires and the truly dire To the Devil a Daughter. A classic only because they are so old  |
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Post by Jojo Lapin X on Sept 30, 2021 16:02:40 GMT
the truly dire To the Devil a Daughter. It has its moments. Also, nobody has mentioned the splendid HANDS OF THE RIPPER (1971), possibly the most compelling thing they ever made. |
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Post by andydecker on Sept 30, 2021 16:43:58 GMT
the truly dire To the Devil a Daughter. It has its moments. Also, nobody has mentioned the splendid HANDS OF THE RIPPER (1971), possibly the most compelling thing they ever made. But only very few.
If you just consider 1971 in itself, you have all the classics. From Vampire Circus to Hands of the Ripper. But the date is interesting, as from '72 on suddenly it went downhill. |
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Post by helrunar on Sept 30, 2021 17:44:48 GMT
I know of fans who otherwise display excellent judgement and repeatedly tell me that Demons of the Mind and Straight on till Morning are both excellent films, "classics," and I've seen arguments for Demons as the best thing the studio ever produced. Similar arguments are put forth for Twins of Evil which I raffishly re-title Tatas of Evil.
I found all of them really hard to get through, though I love the eroticism Damien Thomas projects in Twins. I'm not sure I'd ever manage to sit through it a second time, nevertheless.
H.
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Post by Dr Strange on Sept 30, 2021 18:33:11 GMT
Also, nobody has mentioned the splendid HANDS OF THE RIPPER (1971), possibly the most compelling thing they ever made. And DR JEKYLL & SISTER HYDE (1971), for the idea alone if nothing else - but plot-wise it's one of their best anyway, and working both Jack the Ripper and Burke & Hare into the story was a stroke of genius. |
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Post by helrunar on Sept 30, 2021 18:36:00 GMT
Definitely a fan here of Dr J & Sister Hyde, particularly the performances of Ralph Bates and Martine Beswick.
H.
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Post by andydecker on Sept 30, 2021 18:54:13 GMT
I've seen arguments for Demons as the best thing the studio ever produced. That was a good one.  Twins on the other hand ...  |
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Post by ripper on Sept 30, 2021 20:03:17 GMT
the truly dire To the Devil a Daughter. It has its moments. Also, nobody has mentioned the splendid HANDS OF THE RIPPER (1971), possibly the most compelling thing they ever made. I like Hands of the Ripper very much. One of my favourite Hammers of the 70s. Some nicely bloody scenes and a good cast. |
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Post by Jojo Lapin X on Sept 30, 2021 20:04:41 GMT
It has its moments. Also, nobody has mentioned the splendid HANDS OF THE RIPPER (1971), possibly the most compelling thing they ever made. I like Hands of the Ripper very much. One of my favourite Hammers of the 70s. Some nicely bloody scenes and a good cast. Also, it is genuinely heart-breaking. |
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