Hammer made its first color horror film in 1957, and the color was blood red. [30] Peter Cushing again had top-billing, this time as Doctor Van Helsing, whilst Christopher Lee starred as Count Dracula, with direction by Terence Fisher and a set design by Bernard Robinson that was radically different from the Universal adaptation; it was so radical, in fact, that Hammer executives considered paying him off and finding another designer.[31]. (1974's Frankenstein and the Monster from Hell, for example, features a scene where the Baron treads on a discarded human brain.). [17] In 1953 the first of Hammer's science fiction films, Four Sided Triangle and Spaceways, were released. They included some of the most explicit scenes of lesbianism yet seen in mainstream English-language films, along with a corresponding increase in sequences involving nudity, despite otherwise traditional Hammer design and direction. Because of its major continuity problems, not only with other films of the series but also within itself, it is often considered not to be a part of the Dracula series, but rather another Hammer vampire film. Hammer Film: Taste The Blood Of Dracula (1970) The following year, Linda bared all in the non-Hammer horror flick Blood on Satan’s Claw (1971), then continued the trend of disrobing in a series of raunchy British comedies: Confessions of a Window Cleaner (1974) and the subtly titled Let’s Get Laid (1978).. 4. The actress was best-known for the Hammer Horror films as well as Doctor Who. He returned for a final time as yet another Van Helsing character (Professor Laurence Van Helsing) for the horror / martial arts crossover The Legend of the 7 Golden Vampires, a movie once again set in a new Dracula timeline. [51] Critics who specialise in cult films, like Kim Newman, have praised Hammer Horror more fully, enjoying their atmosphere, craftsmanship and occasional camp appeal. "[4] Since then, it has produced several films, including Let Me In (2010), The Resident (2011), The Woman in Black (2012) and The Quiet Ones (2014). This castmember list includes all major roles and many bit parts for actors in this movie. The Mummy (the title used for the remake of The Mummy's Hand, which also incorporated significant story elements from that film's first two sequels, The Mummy's Tomb and The Mummy's Ghost) was made in 1959, The Phantom of the Opera followed in 1962, and Hammer collaborated with William Castle on a remake of The Old Dark House in 1963. Hammer horror films are legendary for doing a lot with a little, while almost magically repurposing constraint to fuel creativity. 2. [...] The curse of this thing is the Technicolor blood: why need vampires be messier eaters than anyone else? (15 Items), Flesh and Blood: The Hammer Heritage of Horror. [11] He convinced Anthony Hinds to rejoin the company, and a revived Hammer Film Productions set to work on Death in High Heels, The Dark Road, and Crime Reporter. All the stories were set in contemporary England. And of course, some of the stake-work is prohibitive."[27]. Jul 23, 2017 - A photo tribute to actors and actresses that made films for Hammer Pictures--the "House of Horror". At the outbreak of World War II, James Carreras and Anthony Hinds left to join the armed forces and Exclusive continued to operate in a limited capacity. [36], Hammer also produced a half-hour pilot titled Tales of Frankenstein (1958) that was intended to premiere on American television; it was never picked up, but is now available on DVD. Anton Diffring took over Cushing's role of Baron Frankenstein.[37]. Accordingly, comments on the script from Hammer's Michael Carreras (who had joined his father James as producer in the early 1950s) were less than complimentary: "The script is badly presented. Production designer Bernard Robinson and cinematographer Jack Asher were instrumental in creating the lavish look of the early Hammer films, usually on a very restricted budget. According to an article in Variety detailing the transaction, the new Hammer Films will be run by former Liberty Global execs Simon Oakes and Marc Schipper. [10], James Carreras joined Exclusive in 1938, closely followed by William Hinds' son, Anthony. The contract meant that Lippert Pictures and Exclusive effectively exchanged products for distribution on their respective sides of the Atlantic – beginning in 1951 with The Last Page and ending with 1955's Women Without Men (a.k.a. The actress, born Barbara Kowin, was 88 years old. Hammer's horror films featured many actors who appeared repeatedly in a number of movies, forming an informal "Hammer repertory company". Each subsequent movie in the series contains elements that do not relate to (or flatly contradict) the events of the movie that went before, whilst the characteristics of Cushing's Baron vary wildly from film to film, resulting in a series that does not progress as a self-contained narrative cycle. Hammer consolidated their success by turning their most successful films into series. Although no longer a force in horror cinema, Hammer discovered another outlet for horror product – television. In the late 1960s, with the release of Hollywood films like Bonnie and Clyde, Rosemary's Baby, and The Wild Bunch, the studio struggled to maintain its place in the market. The film is titled Wake Wood and was scheduled for release in the United Kingdom in the Autumn of 2009. The same novel served as the basis for the 1980 Charlton Heston film The Awakening and a later direct-to-video feature, Bram Stoker's Legend of the Mummy, starring Lou Gossett Jr. Other horror films produced by Hammer included: In addition to their Dracula series, Hammer produced a number of other horror movies on the vampire theme, including: Hammer also made a loose trilogy of films based on Sheridan Le Fanu's early vampire novella Carmilla, written by newcomer Tudor Gates. Barbara Shelley — the Hammer icon known as "the first leading lady of British horror" — has died. The first spin-off made was Hammer's biggest domestic earner of the 1970s and was popular enough to produce two sequels, Mutiny on the Buses (1972) and Holiday on the Buses (1973), seeing Hammer return to their pre-horror practice of adapting television properties for the cinema as they had once done with PC 49 and Dick Barton. During this period, two young American filmmakers, Max J. Rosenberg and Milton Subotsky, who later established Hammer's rival Amicus, submitted to a.a.p. [48] The Quiet Ones tells the story of an unorthodox professor (Jared Harris) who uses controversial methods and leads his best students off the grid to take part in a dangerous experiment: to create a poltergeist. Hammer's financial success also meant the winding-down of the parent film distribution company Exclusive, leaving Hammer to concentrate on filmmaking.[26]. They must take it away and prune. [8] During this time Hinds met Spanish émigré Enrique Carreras, a former cinema owner, and on 10 May 1935 they formed the film distribution company Exclusive Films, operating from an office at 60-66 National House, Wardour Street. "Altogether this is a horrific film and sometimes a crude film, but by no means an unimpressive piece of melodramatic storytelling" wrote one critic of Dracula in The Times in 1958. In addition, Guy East and Nigel Sinclair of L.A.-based Spitfire Pictures are on board to produce two to three horror films or thrillers a year for the U.K.-based studio. [44][45] It was released in the US and UK in March 2011. The film was directed by Terence Fisher, with a look that belied its modest budget. [18] In the meantime, Hammer produced another Quatermass -style horror film, X the Unknown, originally intended as part of the series until Kneale denied them permission to use his characters (the writer is known to have disliked Donlevy's performance as Quatermass). Despite the success of The Curse of Frankenstein, the financing of Dracula proved awkward. The company tackled other genres, including psychological thrillers, sci-fi, noir and historical epic. The Brides of Dracula did not include Dracula but is still considered part of the series since Peter Cushing reprises his role as Dr. J. This list of the The Horror of Hammer actors’ names (actors in the movie The Horror of Hammer) contains photos of the cast members when available. The next two were not period pieces like their predecessors, but had a contemporary 1970s London setting. The number of set-ups scripted is quite out of proportion to the length of the screenplay, and we suggest that your rewrites are done in master scene form. Questions of guilt circulate in these films, where the virtuous can be transformed into vampires through one moment of sexual weakness...[52], This was a fantasy, science fiction and supernatural anthology series which dealt with normal people in everyday situations that found themselves having to experience something out of the ordinary. A dispute with the Association of Cinematograph Technicians blocked this proposal, and instead the company purchased the freehold of Down Place. Hammer's first significant experiment with horror came in a 1955 adaptation of Nigel Kneale's BBC Television science fiction serial The Quatermass Experiment, directed by Val Guest. The huge box office success of The Curse of Frankenstein led to the inevitable desire for a sequel in The Revenge of Frankenstein, and an attempt to give the Hammer treatment to another horror icon. 1. https://www.denofgeek.com/movies/13-greatest-hammer-horror-monsters Lee speaks at least one line taken from Bram Stoker in every Dracula film he appeared in, except for Dracula: Prince of Darkness in which the Count does not talk at all (Lee claimed repeatedly he was appalled by his dialogue in that film and refused to speak it, but Jimmy Sangster rebutted that no dialogue was written for the character). The Horror of Hammer cast members have done many other films so be sure to check out the filmographies and individual pages of the stars of The Horror of Hammer. They play out a 1950s reverie of contagion, lust and post-Suez anxiety. “When I first started doing Hammer, all the so-called classic actors looked down on the horror film. [25], Meanwhile, the financial arrangement between a.a.p. were not prepared to back a film made by Rosenberg and Subotsky, who had just one film to their credit. Daniel Radcliffe stars as lawyer Arthur Kipps. Eventually Hammer upped the graphic violence and gore with Scars of Dracula in an attempt to re-imagine the character to appeal to a younger audience, but the movie's commercial failure led to a further change of style with the following films. This wiki covers all the Hammer Horror films as well as the characters in their films, the actors and the writers, producers and hammer studios history in general. Rosenberg would often claim he 'produced' The Curse of Frankenstein, an exaggeration repeated in his obituary. In 1969 Tony Hinds resigned from the Hammer board and retired from the industry. 3. Hammer produced seven/eight other Dracula films between 1960 and 1974: The first five were direct sequels to the original. These latter films were not successful and drew fire not only from critics but from Christopher Lee himself, who refused to appear in any more Dracula films after these. The Horror of Hammer cast list. The company eventually ceased production in the mid-1980s. [47] In February 2012, the Hammer and Alliance Films adaptation of The Woman in Black was released. They eventually entered talks with Associated Artists Productions (a.a.p.) In 2010, Hammer, in partnership with Overture Films and Relativity Media, released Let Me In, a remake of Swedish vampire film Let the Right One In.[46]. Barbara was popular for her roles in classic horror films which were produced by London-based Hammer Film Productions, including The Gorgon, The Pit and Quatermass. Certainly strong cautions will be necessary on shots of blood. In April 2012, the company announced it was to make a sequel to The Woman in Black titled The Woman in Black: Angel of Death. The actress - who starred in 1950s and 1960s Hammer Horror films - acted with other icons including Peter Cushing and Christopher Lee. 1. In the latter part of the 1970s, Hammer made fewer films, and attempts were made to break away from the then-unfashionable Gothic horror films on which the studio had built its reputation. Eliot Hyman however, sent the script to his contact at Hammer. 17 episodes of approximately 50 minutes each were produced by Hammer Film Productions and 20th Century Fox Television. [13], On 12 February 1949, Exclusive registered "Hammer Film Productions" as a company with Enrique and James Carreras, and William and Tony Hinds as directors. “Hammer was like a family, a very talented family… with a wonderful atmosphere on the set and a wonderful sense of humour,” said Shelley, who born Barbara Kowin in London in 1932. However, only 1/3rd of Hammer films were horror! While the studio remained true to previous period settings in their 1971 release Vampire Circus, Dracula AD 1972 and The Satanic Rites of Dracula (1973), for example, abandoned period settings in pursuit of a modern-day setting and a "swinging London" feel. Many of these involved classic horror characters such as Baron Victor Frankenstein, Count Dracula, and the Mummy, which Hammer reintroduced to audiences by filming them in vivid colour for the first time. The leaves fall, and the light shines golden and clear; compared with the well-lit contemporary look of the "angry young men" films, Hammer's mournful sumptuousness must have been even more striking. length as their previous series, but it was decided to expand them to feature-length to market them as 'movies of the week' in the US. 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