THE CORPSE VANISHES

1942. Directed by Wallace Fox

Brides are dying at the altar and their bodies are going missing. Who could be so deviant as to kill young, innocent women and then steal the body? Enter Dr Lorenz (Bela Lugosi) and his cronies.

Lorenz extracts a special fluid from the glands of his victims to keep his ancient wife young and beautiful. He is aided in his crimes by an old woman and her two sons - a vicious dwarf and a simpleton savage. Lorenz seems to have a strange hold on the family and even though he treats them quite brutally they serve him faithfully.

The crimes attract the attention of the local media and in particular roving reporter Patricia Hunter (Luana Walters). Hunter notes that all the brides were wearing a strange scented orchid, of which Lorenz is the creator. Determined to question the mad Doctor Hunter makes her way to his home via a hitchhiked ride from a Dr Foster (Tristam Coffin) who is also on his way to the same address for a meeting with the unhinged murderer.

The tale unravels and Lugosi hams it up in usual style and contributes to a fairly decent film. It's hardly a classic but moments of cold vindictiveness, a fair plot and the atmospheric ambience all add to it's quality.

I, MONSTER

1971. Directed by Stephen Weeks

Another incarnation of Robert Louis Stevensons classic 'The Strange Case of Dr Jekyll and Mr Hyde' this time with Cushing and Lee at the helm. This is a sombre movie of very little pace which sees Dr Charles Marlowe (Christopher Lee) instead of Dr Jekyll taking a series of intravenous drugs in the attempt to release his inhibitions and make him a more carefree person. He does indeed bring about a release! In fact it is the release of a one Edward Blake (instead of Mr Hyde) and on a mischevious adventure he goes. The atmosphere throughout is quite unique and the minor characters all have a certain individualism I feel.

Cushing and Lee can make any film work and they do so here despite the labouring tempo. There are some very watchable moments with the final showdown between Marlowe and his nemesis Dr Utterson (Cushing) being neatly done. The subtle tension is held throughout, Lee plays the troubled character with his usual icy authority and the inclusion of Mike Raven a pleasing touch for afficianados.

The film is quite short but as it is dealt by the skeletal hand of Amicus Studios so of course, it is well worth a look.

MAGIC MOMENT - The street scuffle between Edward Blake and a local street yob is tickling in the extreme and you can't help but be pleased with that cocky urchin gets his comeuppance.

NIGHT OF THE EAGLE

1962. Directed by Sidney Hayers

An overlooked classic to say the least with a psychological tale of witchcraft and superstition and the penalties paid for its disregard.

New college professor Norman Taylor (Peter Wyngarde) is ruffling the feathers of his more experienced comrades with his ability to get the best grades from his students. The other staff are far from happy and when Taylor seems favourite to pick up an award for his efforts plans are afoot to hinder his progress. Little do we know how these plans will turn out but the suspense is kept high throughout. Taylor has a skeptical streak and when he learns that his wife Tansy (Janet Blair) has become involved in an all-consuming witchcraft the story really unfolds and reveals a sinister underlying element that takes both Taylor and the viewer by surprise.

A great atmosphere pervades throughout, some solid acting and a nicely paced storyline that holds attention quite forcibly. Taylors career and life are under severe threat and unless he changes his mind and realises that dark forces are indeed at work then all is lost. This will not disappoint.

DR JEKYLL AND SISTER HYDE

1971. Directed by Roy Ward Baker

Another twist on the Robert Louis Stevenson novel this time seeing the misdirected Doctor Jekyll (Ralph Bates) create a life giving elixir from the hormones of dead prostitutes with the consequence being a longer life, albeit in the female form of Mrs Hyde (Martine Beswick).

There is not a lot to say about the plot of this movie really as it has been retold countless times although the inclusion of Burke and Hare and a Jack the Ripper overtone does add a subtle extra twist to a formula that is highly structured and overcooked.  Bates takes to his role with usual frosty efficiency and the sexually deviant Professor Robertson (Gerald Sim) is an interesting character that is not used to the utmost effect.
 
One or two sequences work well with a few of the transformation scenes being particularly disturbing especially the cuts from male to female and back again (who is that man's hand on Mrs Hyde's breast).  The overall androgyny of these sequences and the questionning sexuality/behaviour of the lead character make the film watchable but as an out and out horror it pales somewhat against more gratuitous counterparts.
 
The somewhat tongue-in-cheek inuendoes may take the edge off the film for hardcore connoiseurs and one or two Carry-On one liners are unnecessary and dilute the whole effect somewhat. Having said this, what we have here is one of those films that entertains and does so in quite a unique way. Bates is a ham and a fine ham at that and with an abundance of overacting and a few gruesome murder scenes the end is result is somewhat gratifying.

MAGIC MOMENT - The final scene where Jekyll clings on to a gutter for dear life is filled with tension and the use of stained glass windows to bring about the he/she change as well as that chilling final scream end the picture on a sincere highpoint.

THE THING

1982. Directed by John Carpenter

A remake here of the original 1951 classic 'The Thing From Another World'. This really is a modernisation of a good yarn and quite surprisingly this effort is as good as the black and white original albeit more reliant on special effects and oozing gore.

In the desolate wastes of the Antarctic we follow a helicopter chasing a dog through the snowy land trying it seems to kill it.. The dog makes for the base of an American research team whereupon the passengers in the helicopter (two Norwegians from a distant research camp) land and pursue the dog on foot. The Americans try to intervene which ends in the death of the two outsiders. The dog is adopted unbeknown that all is not what it seems.

R. J. MacReady (Kurt Russell) wonders why the Norwegians were keen to kill the animal and upon investigating their research area finds all members dead. A crashed UFO is located nearby and what seems to be the corpse of something human. They return with the cadaver and attempts to reveal the truth are made.

From here on in the alien is amongst the crew and with various bloodthirsty deaths, high paranoid tension and some neat special FX the film does indeed hold the attention. It is however of its time but for me is a minor classic of a period when this blood and guts style was shockingly overdone.

THE HAUNTING

1963. Directed by Robert Wise

I first saw this film many full moons ago and despite the critical acclaim it had received I remained unimpressed. Having recently purchased a copy I was really looking to have my opnion changed and to be chilled to the marrow by a very atmospheric film and one that many a horror buff still enthuses about.

The tale revolves around a Dr Markway and his attempt to prove the existence of ghosts and other paranornmal activity by staying with 3 other guests in Hill House, an abode filled with tragedy. The 3 guests are Theodora (Claire Bloom) a clairvoyant, Eleanor (Julie Harris) who was victim to poltergeist activity when younger and Luke Sanderson (Russ Tamblyn) a young cynic sent by the owners to see that the property is kept unmolested. Luke is set to inherit the property so the interest is more than obvious.

There is a distinct edginess throughout the film and the whole package is reliant on atmosphere and sublety as well as whispered terror and the unsettled sounds of spirits ill at ease. The bending doors are a nice touch and only when the ghostly activity is in full swing does the film really get going.

In truth I am still far from impressed but acknowledge a nicely made film with some good chills and acting performances. Maybe the next viewing will convince me otherwise.