La Chair du diable

British horror icons Peter Cushing and Christopher Lee co-star in this fascinating bit of Victorian pseudo-scientific nonsense which will have you entertained until the very last scene. The bad news is that they share very little on screen time, in fact there isn't all that much Lee content at all. But that is my only gripe about this terrific horror thriller. If you want to see the two REALLY co-star go to their many Hammer classics or the brilliant 'Horror Express' from around the same period as this. Cushing plays a familiar role, Hildern, a scientist with good intentions who meddles with something he shouldn't have. He shares a home with his adult daughter, the sweet and innocent Penelope. She believes that her mother died many years before not realizing the truth, that she was a fun loving floozie who flipped out and spent many years in an asylum, run by Cushing's ambitious half-brother James (Lee). Hildern returns from an expedition from New Guinea with a mysterious skeleton of a giant creature which he believes predates man. On his arrival home he is greeted with the news that his insane wife has finally died. He still hides this knowledge from his daughter, fearing for her own mental well being. Hildern and his assistant experiment on the skeleton and he believes that it can unlock the secret of evil, which he theorizes can be innoculated against. When a hysterical Penelope finally stumbles across the truth about her mother, Hildern, with the best of intentions, tries the experimental anti-evil vaccine on her. This proves to have disastrous results, and matters are further complicated when James, who both envies and resents his more respected brother, gets wind of what is going on and plans to steal the skeleton for his own research. If you take all the "science" in this movie with a pinch of salt you'll find it to be one of the most enjoyable horror movies Cushing and Lee were ever involved in. A most underrated movie, highly recommended to all fans of late 60s/early 70s British horror.

Although "The Creeping Flesh" (1973) is not technically a Hammer film, it was made by a rival British company with Hammer alumni Christopher Lee, Peter Cushing and director Freddie Francis.

Lee and Cushing play two rival half-brothers; Lee runs a mental asylum and Cushing is a scientist trying to cure humanity of evil and insanity. Lee, it turns out, is also trying to find the same cure by experimenting on the lunatics in his asylum.

Cushing is driven by the insanity and recent death of his wife. He is so paranoid about the "infection" of evil and madness that he overprotects his daughter.

He discovers an 8-foot tall diabolical skeleton on one of his expeditions in New Guinea and becomes convinced that evil itself is somehow linked to this figure. He discovers that the skeleton strangely acquires flesh/blood when it gets wet. He subsequently develops a "vaccination" from the blood to supposedly give people immunization from evil and insanity, which he then administers to his daughter (!).

As you can see, the plot is highly creative, if nothing else. Numerous issues are touched on in the storyline, including:

The origin of evil and insanity. Sibling rivalry. The consequences of overprotection. Is evil and madness a disease for which a person can be vaccinated? The (lack of) ethics of "scientists." An escaped lunatic running amok. Having a carnal celebration after years of repression. The 19th century English pub scene (alcohol, whores and brawls). An 8-foot creeping horror.

Some would contend that "The Creeping Flesh" bites off more than it can chew (especially at only 95 minutes). Yet, I would say that it addresses all of these items very well. I should also point out that it's not hard to follow, as another reviewer argues.

Two parts of the film are very well done: First, when Cushing's daughter, Lorna Hailbron, finally escapes her father's overprotective clutches and attempts to "paint the town red" (naturally). Lorna does an exquisite job portraying the daughter in both her initial naive, modest state and, later, in her wild first-time-party-girl condition.

Second, when the skeleton finally comes to life after acquiring all its flesh. You can see it lurking in the moonlight with a hood and cowl. This creepy image brought to memory artist depictions of the Flatwoods monster that supposedly appeared near that West Virginia village in September 1952.

Interestingly, "The Creeping Flesh" has many similarities to "Horror Express," another Hammeresque film made the very same year. Each film stars Lee and Cushing; each features an ancient recently-discovered artifact that emanates evil (a skeleton and a frozen neanderthal respectively); each features numerous shots of people analyzing "evil" blood samples through a microscope. I like both films about equally, but give the slight edge to "The Creeping Flesh."

Don't hesitate to check out "The Creeping Flesh" if this sounds like your cup of java.

GRADE: B+

This film's idea of a reviving ancient flesh when in contact with water is truly original, its sordid atmosphere is very well achieved and Peter Cushing and Cristopher Lee's presence give it a sort of category in the genre. In fact, when Cushing arrives back in England with a strange scary huge skeleton from New Guinea and you learn that water could bring it back to life you have the feeling you'll watch a most interesting horror picture focused mainly in that strange fact.

But then other story appears about Cushing's insane wife's death and their daughter's obsession with her mother that turns into a parallel plot. And that's when "The Creeping Flesh" looses quality and sense -in its genre of course- and things start to mix up badly; there is also a mad killer at large (not frightening at all). What I mean is that so many different topics -unrelated between them- is too much for just one film, and the final outcome is not a good product. Besides, the special effects of the Papuan monster came to life are poor, even for 1973.

Perhaps a better product would have come out if the film had stayed with just the archaelogical evil creature, but it seems the writers couldn't find a way to develop the subject and make a full script out of it.

The picture has some good moments, but in my opinion it is just for Cushing and Lee's fans and no more than that.

In the late 19th century, scientist Emmanuel Hildern (Peter Cushing) returns home to London with a prehistoric skeleton that he acquired in Papua New Guinea. While cleaning the skeleton, he learns that water triggers a horrific reaction - reanimation. He slices off the finger, now covered in flesh, and preserves it for later experiments.

While having breakfast with his daughter, Penelope (the breathtaking Lorna Heilbron), Emmanuel reads a letter informing him of his wife's death. Unbeknowst to Penelope, her mother has been in an insane asylum since she was a little girl. Fearful that his wife's mental illness may be hereditary, Emmanuel has sheltered his daughter at their estate with only the servants to keep her company. She's not allowed outside, except for short walks within the gated premises.

Emmanuel travels to the institution where his wife died. He meets up with his half-brother, James (Christopher Lee), who happens to be the insane asylum's director and a competing scientist. Emmanuel was always the favorite of the two siblings, the one destined to achieve greatness, so it's with great pleasure that James tells him that he is in the running for the prestigious Richter Award. In addition, he will no longer fund Emmanuel's transcontinental trips.

I'm not familiar with most horror predating 1980. I rate this somewhere between 60%-70% (about a 6.5/10). I've never watched a movie, horror or other genre, with so much anticipation and dread for what may come. The climax is truly a frightening one. The suspense is nail-biting! Lee and Cushing are great but it's the beautiful Heilbron who steals the show. I want to watch more films she stars in.

I recommend this to horror fans who want to explore the classics. No gore, torture, or loud music cues to instill a false sense of fear. I liked it!

Throw in Peter Cushing, Christopher Lee, Hammer director Freddie Francis, a wonderful story about the found remains of a giant beast, gothic, Victorian sets and costumes, an eerie score, a wonderfully ironic and unexpected ending, and the philosophical question about the nature of evil...and you have The Creeping Flesh, and one HELL of a good film! The cast is superb, and this is probably one Of Cushing's best roles in the 70s as a good-natured, yet-determined anthropologist seeking to rid humanity of evil through the aid of some giant skeletal remains found in New Guinea that fleshes out with water contact. The plot is interesting...and complex...and a bit like Swiss Cheese...yet it is great fun in the hands of Francis(underrated as a director in my humble opinion!) Lee is as ever cold and austere and a joy to behold. The rest of the cast is quite good. The sets are lavish and the costumes very Victorian. The skeleton itself is most impressive! A wonderful way to spend the evening and a wonderful ending for the viewer unawares!