VIDEO REVIEW: The Phantom of the Opera

VIDEO REVIEW: The Brides of Dracula

VIDEO REVIEW: The Earth Dies Screaming

REVIEW: The Earth Dies Screaming

The Earth Dies Screaming

Director: Terence Fisher

Year 1964

The Earth Dies Screaming is a low-key, yet highly effective, science fiction film which centers around an alien invasion brought on by menacing robots and reanimated dead corpses. Shot in a classy black in white style and presented in the most earnest of ways, this engaging gem strips its scenery of life as it tells a morbidly twisted tale of Earth's demise by the hands of a mysterious foe. Focusing on its central cast to pull the viewer in, this outstanding effort has a quality to it that you don't find much anymore in this particular genre. With its beautiful photography, unsettling nature, and commendable effects, The Earth Dies Screaming is a respectable feature in which takes its otherworldly aspects and brings them to haunting life.

The film begins when the majority of the Earth's population simultaneously collapse from an unseen force. Rendering all that succumb to the strange phenomenon, a quick and effortless death, the remaining surviving population is forced to gather their wits and confront the problem at hand. A rag-tag group of survivors, led by space pilot Jeff Nolan, hold up in a small village as they try to wrap their heads around all that has been going on. Surrounded by death and without any answers, the group soon comes into contact with strange robotic beings who with one touch, can evaporate a person from existence. Not only that, but the recently dead are now walking the earth, serving as servants of some mysterious master alien race who want nothing more than to bring about the extinction of mankind.

Willard Parker plays the hero of the film, Jeff Nolan, who gathers together the remaining survivors to revolt against their alien attackers. Parker is an outstanding presence in the movie, always taking charge when the time comes for it and basically keeping the group from harms way whenever he can. With The Earth Dies Screaming being basically his only foray into the world of science fiction, I'd say he did a bang up job, and the fact that he takes on the role with a serious and no nonsense disposition makes the believability of his character that much more potent. Taking the central female role of the film is Virginia Field as she plays the character of Peggy. Always in peril and classically attractive, Field works wonders as the innocent and vulnerable woman of the ensemble. Though she is not as strong and capable as her more modern female cinema counterparts, she still manages to hold her own in this male dominated world, and now alien dominated one. The vulnerability of her character is endearing and the moments in which we find her character surrounded by the undead and robot hordes, we come to find a great attachment to her and her role in the film.

As for the rest of the cast, they each fill their respective roles and portray them equally with class, but the one main standout of the bunch is Dennis Price as the loathsome Quinn Taggart. The character is a slim ball, taking every opportunity in trying to sneak Peggy away from the rest of the group, with or without her consent. He even goes so far as to capture her at gunpoint and steal her away. Now that's a pure shithead right there! As much as you love to hate the character of Quinn Taggart, you can't deny the authenticity of Price's delivery. He portrays the man as an opportunistic scumbag, and damn does he do it well. All in all, the entire breadth of the cast is top notch and they essentially give the film a quality that is truly worth visiting again and again.

What is most impressive about The Earth Dies Screaming, is that the film is smothered in a thick ominous tone that never truly lets up. Astonishingly the filmmakers were able to maintain a tremendously effective atmosphere for the entire runtime of the film, which only serves to get more oppressive as the movie moves along. From the very early beginnings of the film, when we are presented with a string of silent depictions of the lifeless, corpse-filled villages streets, to the claustrophobic middle moments when the walking dead and imposing robots begin to terrorize the surviving group, the film makes it perfectly clear that this is a world where danger lurks around every corner. I appreciated that heightened sense of peril and it was perfectly balanced against the film's beautifully captured black and white photography.

The effects of this film are also noteworthy, not in the awe-inspiring sense, but in the practical and simplified one. This is not an over the top blockbuster, where special effects are lambasted across the screen every two or three seconds. This is a subdued and intimate story of survival, which focuses on the interactions of the characters and the altercations that they have with the handful of opposing beings that come up against them. With that in mind, the overall effects are impressive and wholly effective. From the truly mechanical look of the robots, to the dead-like eyes of the walking corpses, this film makes a definitive impression on its audience. Visually, the effects are extraordinary and help with enhancing the already astounding imagery that this production has to offer. If I could summarize this science fiction gem into one word, that word would be beautiful.

The Earth Dies Screaming is a picturesque depiction of what would happen if the world suddenly became a barren and lifeless wasteland in the blink of an eye. Its quiet approach to this concept is exceptionally rendered onto the silver screen, capturing all of those somber moments in an overpowering atmosphere that just blankets this film in a foggy haze of dire circumstance. You truly feel the loneliness of the moment and the seclusion that these characters are going through, and when the antagonists of the picture finally do show up, you feel as if lost in a dream. That's a powerful thing to recreate, but the filmmakers do it with sparing flair, opting to emphasize its overall atmosphere with haunting moments of stillness.

Highlighting this delicate approach is a cast of characters that just seem to inhabit this world through and through. Lost in the same nightmarish dreamscape, the group struggles with the trials and tribulations of this brave new world. As actors in such a unique genre effort, the entire cast does an exceptional job, but it is the standouts of Willard Parker, Virginia Field, and Dennis Price, that truly captivate the focus of this film. Juxtaposed off of them is an outstandingly simple collection of practical effects that only serve to enhance the already otherworldly aspect of the production. Needless to say, I'm a sucker for old black and white science fiction tales, and this one is among one of the finest. Filmed in earnest fashion and constructed with a love for the genre, you really can't ask for more from a film than that. The Earth Dies Screaming is a simple yet effective sci-fi effort with a heavy dose of atmosphere. This flick is.....

Get up you lazy good for nothings!

Something's wrong... Something's amiss!

Alien apocalypse staring contest..... GO!

You know you can't park here buddy.

Damn you and your zombie cleavage!

Creepy robots... are watching you. They see your every move.

You'll never get my groceries! NEVER!

Tell us another story Grandpa Parker.

I see you over there you little sneak.

Taxi! Wait up! Damn! What's a robot got to do to get a ride around this place?

Let me ask again.... Would you like to have sex with me?

Get off the road you stupid robot!

What are you weirdos looking at?

Virginia Field is the next contestant on the Price is Right!

Look what they did to my little robot boy.

Gee Mr. Wizard.... what does that do?

Take this you alien scum!

Shit! Nazi Robots! Damn you Hitler! Damn you to HELL!

LET'S GET HAMMER'D: The Phantom of the Opera

The Phantom of the Opera
Director: Terence Fisher
Year 1962
 
The Phantom of the Opera is an excellent Hammer Film Productions adaption of the famous Gaston Leroux novel by the same name. Set in a number of elaborately gothic locations and centered on an ornate opera house, the movie boasts a lucid atmosphere that commendably captures Leroux’s writings, while ate the same time, the production stakes claim to a few stylistic choices of its own. High on production value and ambience, this horror entry blends the famous Hammer style with the conventions of the legendary story of The Phantom of the Opera to make a cinematic spectacle that any genre lover should appreciate.
 
The film follows the haunting occurrences at a London opera house by an illusive specter who seems determined to halt production on the theater’s next play. With a determined director named Harry Hunter and a ruthless producer named Lord Ambrose d’Arcy, the opera pushes forward through the sabotage, but it isn’t until the lead actress of the play, Christine Charles, is kidnapped that people start to question if the Phantom of the Opera is indeed a ghost, or a jaded individual with other motives in mind. Driven by his love for Ms. Charles and resolute in keeping the opera afloat, Harry sets off on a quest to track down the Phantom of the Opera, but what he finds is a storied past that flips his perception of the play he is directing and the producer behind it.

Edward de Souza plays the role of Harry Hunter, the director with a heart of gold and an attitude to match. As the hero of the piece, Edward is tasked with the larger than life obstacle of getting the audience to support him every inch of the way and Edward does that commendably. With a sharp wit and a charismatic demeanor, Edward lives it up as the central actor of the production. Pairing with him is the lovely Heather Sears playing the role of Christine Charles. Christine is a shy and timid character who slowly blossoms as the film moves along. When we first see her she is auditioning for a part in the play and in these moments she is a bit restrained and apprehensive about her future at the opera house, but after she gets the part and becomes more confident we start to see a more outgoing sort of character that still holds on to that delicate aspect that made her so endearing. Sears is perfect in the role and her performance is heartfelt and somber.
 
On the other side of the coin we have Michael Gough taking on the role of Lord Ambrose d’Arcy, the biggest asshole in the world. Gough is in top form, portraying the spineless dirt-bag to the letter and his venomous nature and heartless attitude is exceptionally devilish. It’s hard to believe that this actor would later in life play the sweet role of Alfred in Tim Burton’s Batman, but I guess that is a testament to his quality as an actor. Opposing Gough’s Lord Ambrose d’Arcy is Herbert Lom in the role of The Phantom. Lom is one of those classic actors who often gets lost in the shuffle and passing of time, doomed to be forgotten by the majority of the movie watching public, but the man has garnered quiet an impressive career throughout the years. From his work on Spartacus, to Mysterious Island, to Bang! Bang! You’re Dead!, to Journey to the Far Side of the Sun, to Mark of the Devil, to Murders in the Rue Morgue, to Asylum, to The Dead Zone, to King Solomon’s Mines, the guy is a walking talking genre mastermind. Sadly he passed away this year, but his legend will not be forgotten by this reviewer and by the huge following of cult fans that have followed his work. His role in The Phantom of the Opera was definitely one of his best, and his portrayal of the haunted composer is one of my personal favorites.

As this is a Hammer film, the production value of this movie is of the highest of qualities. The sets are lavish, the locations are gothic, and the overall feel of the film is abundantly classy. There is also a great deal of variety to the locations of the movie. We’re given numerous glimpses of the expansive opera house, both in the concert hall and in the behind the scenes locations. From the dressing rooms and lobbies, to the dark and dank underbelly of the opera house’s underground tunnels, the film spares no expense in giving us a plethora of interesting locales for the story to take place in. I especially enjoyed The Phantom’s cavernous lair, as it really spoke for the scope of the production.
 
The scale of the film can also be seen in the time frame in which the narrative takes place. We are given a large breadth of history in both the origin story of The Phantom and how he came to be and also with the sordid involvement of a certain opera producer and the ramifications that come about from his one heinous act. I loved the scale of the story and I felt that it added to the epic nature of the production. This is not uncommon for a Hammer film to do, because it seems to be a tradition for the production company to tell larger than life tales, giving us all the aspects and storied facts. I loved the thorough approach to this famous story and I personally feel that this is the most accomplished imagining of Gaston Leroux’s novel to date. All in all, The Phantom of the Opera is a Hammer produced entry that really gives respect to the source material in that it fleshes out its characters and allows us to appreciate the scope and heart of this most heralded tale.

The Phantom of the Opera is a sorely underrated Hammer effort that tells a compelling story about one man’s horrifying transformation into a monster and his agonizing struggle to reclaim himself and everything he lost. Terence Fisher knocks another one out of the park with this entry and his expert eye can be seen throughout this entire production. With a cast of highly capable actors it isn’t hard to guess that this film is extremely entertaining and surprisingly fresh for being a retelling of a classic novel.
 
Surrounded in that distinct style that only Hammer can bring, the film is lavishly depicted and classically portrayed. Every inch of the frame is coated in that haunting atmosphere that seems to infect every Hammer produced movie. With its gothic locations, both above and below ground, the moments in this film are just so surreal and astounding that you have to respect the artistry on display. When tackling this film, I wasn’t to optimistic on being blown away by the story, but the fairytale quality that the movie omits is quite intoxicating and especially inviting. You’ll find yourself being swept up in the mystery and hopefully my review will lead some of you to take on the film for yourself. It really is a special interpretation of the classic story and if anything else, you really can’t go wrong with a Hammer film. Check it out! The Phantom of the Opera is…..

This dude loves to just hang around the set.

Just look at how Lord Ambrose d'Arcy sits. What an asshole!

Watch out! Rat Boy will stick ya!

Christine doesn't appreciate it when you pass gas while on a hansome cab ride.

Get down from there Rat Boy!

Don't even think about it Rat Boy... you little perv.

Any requests?

Pull my Phantom finger.

Pull my finger or your ass is FIRED!

Talk about the recital from hell.

What a PRICK!

Take off that fake mustache you moron.

We don't need no water let the mother fucker burn!

So I kidnapped your girlfriend... big whoop.

You've got something on your face.

Watch as Lord Ambrose shits his pants.

Much love from my Phantom homie.

HAZZAH!

LET'S GET HAMMER'D: The Curse of the Werewolf

The Curse of the Werewolf
Director: Terence Fisher
Year 1961
 
The Curse of the Werewolf is a haunting tale spun by the masters of the macabre, Hammer Film Productions. Centered on a curse born from one single evil event, the film focuses on the ill effects and unexpected results that come from that one fateful day. In usual Hammer fashion, the production is drenched in atmospheric imagery and foreboding scenery, which in this particular case enhances this werewolf tale to unparalleled heights. With its exceptional cast and highly effective make-up work, The Curse of the Werewolf makes for a creepy monster movie that doesn’t shy away from making its lead protagonist sympathetic as well as tragic. This is one howl of a sick flick. Damn that line was lame, but let’s press on anyway and tackle this classic yarn.
 
The film opens up in wild fashion as we follow an intriguing tale that results in the raping of a mute chambermaid by the hands of a wrongly imprisoned and now wild and crazed hairy beggar. After escaping the clutches of the Wildman and murdering her cruel employer, the woman sets off into the wilderness in hopes of starting a new life. Lost and exhausted, she fortunately crosses paths with a nobleman named Don Alfredo Corledo and he takes it upon himself to bring her back to his chateau, where he and his servant Teresa can nurse her back to health. Upon examining, the two come to find that the woman is with child, but not all is normal with this pregnancy. A series of misfortunate events begin to arise as the mother dies soon after childbirth and the now healthy baby boy Leon is having persistent nightmares that have him scouring the countryside at night in search of fresh meat to satisfy his bloodlust. What is happening to this innocent young man and can he live a normal and productive life as he grows into adulthood? Who knows, but if I was a villager in the area I’d be stocking up on silver bullets like there was no tomorrow.

Oliver Reed takes on the role of Leon Corledo, the cursed young man who must grapple with not only coming of age and venturing out into the world, but with the reawakening of his forgotten bestial tendencies. Reed is absolutely brilliant in the tragic role, and his unusual features and wild mannerisms do wonders for bringing the character and his Werewolf alter ego to life. With a propensity to go a little over board in his performances, Reed finds the perfect rhythm and pitch in which to present this cursed man, and his trademark intensity is just spot on in balancing out the savage nature of the beast within his character. I’ve always enjoyed Oliver’s offerings throughout his long and illustrious career, from his entertaining take on Athos of the Three Musketeers, to his numerous Hammer roles, to his subdued portrayal in the obscure science fiction gem Z.P.G., to his iconic performance in Gladiator as the aged slave who one his freedom in the Coliseum, the man really knows how to steal the limelight and demand the audiences’ attention. In Curse of the Werewolf he takes center stage and really defines the film for what it is and that’s a tragic tale of one man’s cursed life.
 
Of course Reed is not alone in bringing this story to life and he is accompanied by an excellent cast of character actors that aid in rounding out the world of the film. Clifford Evans plays the role of Don Alfredo Corledo, the charitable man who takes on the weight of the world when he lets Leon’s pregnant mother into his home. Not only does Evans portray a central character that spans a number of ages, but he also narrates the film, explaining all that is going on from his perspective and what has been told to him on what occurred from the beginning of this sordid tale. Evans is great and he does an impeccable job with the material given to him. The struggle that his character is constantly plagued by in trying to find a way to make Leon’s life full and fruitful despite his inflicted curse, is heartwarming and commendable and Evans truly does the role justice.

Aside from Clifford Evans’ efforts in the film, there are a string of strong female characters that help push the story along and introduce us to Leon’s softer side and possibly saving grace from changing into the beast. Catherine Feller plays the most important role in tempering Leon’s savage qualities, as she personifies the love of his life in the form of Cristina Fernando. Though not in the film as nearly as much as I’d like, Catherine’s appearances are exceptional and she puts a great deal of sympathy into her character’s persona. The same can be said for Hira Talfrey in the role of Teresa. She takes on the mother figure role to Leon’s parentless upbringing, and she makes one half of Leon’s new family alongside Don Alfredo Corledo. Talfrey plays the most haunted of all the characters as she is the first to point out that the date of Leon’s birth is a bad omen and she seems to feel the foreboding storm coming the most out of all involved in his life. Her performance is grand in the scheme of all things, but she projects her emotions in the most subtle and poetic of ways. Lastly is the role of Leon’s biological mother played by the ridiculously attractive Yvonne Romain. Her role is the shortest of the film, but her fleeting moments on screen last to the bitter end not only because she looks absolutely stunning but because the horrible acts that set this whole curse into motion can be felt during the climax of the film, giving the story a cyclical feel that can only be ended in a turbulent and tragic fashion.
 
With all of these characters in place and the stage set for an epic tragedy, the film does a tremendous job in allowing the tensions of the moment to spring forward and propel the story along. The tense sequences in which Leon is bracing for the change, from normal and passive young man to savage and uncontrollable beast, are extremely powerful, and the make-up effects that follow these palpable moments are equal in their impact to the atmosphere of the film. Being a Hammer production, you know you’re in for a treat when it comes to the look and feel of the movie, and when it comes to The Curse of the Werewolf you’ve got nothing to fear in that department. The locations and sets are lavishly gothic as they’re all shot in that stylistic way that sets Hammer films apart from the rest of the pack. The night time scenes especially have that Hammer glow and there’s not a better example than when the villagers are chasing Leon as the Werewolf around the town with torches and pitchforks in tow. Overall the film is visual poetry with a mournful allegory that pulls at the heart strings as well as scratches that insatiable itch for slickly presented horror.

The Curse of the Werewolf is a classically filmed Hammer entry, as if there was any other kind, which allows the emotions of the characters involved to move the narrative along. Neck deep in foreboding tone and saturated in a stylistic haze, the movie is exceptionally crafted and expertly showcased. Though some people might be taken aback by the film’s episodic structure, I find that the end result gives the production a more theatrical feel and it is one that sets it apart from other iterations of its ilk.
 
As mentioned before, the cast is extremely devoted in emphasizing the doom that lays at the end of this twisted path and each actor brings their A game in presenting this fact with great lament and substantial remorse. The pain that is laced in the faces of everyone involved seems to perfectly mirror the dire situation that this film tackles. An innocent born into a cursed life is the central fixture of the story, and this unfortunate circumstance is felt throughout the runtime of this movie, almost to unbearable degrees. Though the theatrical nature of the production doesn’t showcase this bitter sweet agony as being rather severe, the overall powerful atmosphere that it creates is absolutely compelling. As I’ve previously stated, Oliver Reed is fantastic in the role of Leon Corledo and he tackles the sensitive and savage natures of his character with expert professionalism. When it comes to Werewolves, Reed makes for a frightening beast. The Curse of the Werewolf is a…..

Lady, I've got the same expression, but for different reasons. Wowza!

Sir.... you disgust me.

Hey kid pull my finger.

Listen man, the pull my finger joke has to stop. It's lame dude... so lame.

Try getting out now you little bastard.

What a nice young man.

I know that face. That boy's got to take a shit!

Son of a bitch! Did I crap the bed again?

Listen to me Leon! You have to stop pooping in your pants!

Sir, as Chief of the Poopy Pants Brigade I'm placing you under arrest.

Let me out of here! I have to use the little werewolf's room!

These guys are styling and profiling.

You can't arrest a man for pooping his pants!

Seriously honey.... take off the stupid hat.

It's true! Masterbating too much does give you hairy palms! Noooooo!

I see you over there you hairy devil!

Get down from there you stupid werewolf. Who do you think you are? Jackie Chan?

Hey you kids! Get off my lawn!