Tag Archives: Christopher Lee

RetView #34 – Dr. Terror’s House of Horrors (1965)

Title: Dr. Terror’s House of Horrors

Year of Release: 1965

Director: Freddie Francis

Length: 98 mins

Starring: Peter Cushing, Christopher Lee, Neil McCallum, Alan Freeman, Max Adrian, Ann Bell, Donald Sutherland, Roy Castle.

dr terrors house of horrors

I love a good anthology film. It’s like getting four stories (or in this case, five) for the price of one. This little gem, not to be confused with the unrelated Dr. Terror and his Gallery of Horrors (1967), was the first in a series of horror omnibuses made by the Shepperton Studios-based Amicus Productions between 1965 and 1974.  Later, more accomplished efforts included The House that Dripped Blood (1970), Tales from the Crypt (1972) and the outstanding Vault of Horror (1973). One of the company’s founders, American Milton Subotsky, also wrote the screenplay for Dr. Terror’s House of Horrors, among other things, and later in his career went on to work on several Stephen King adaptations, notably Maximum Overdrive (1986) and Sometimes They Come Back (1991).

Five men board a train at a London station and are joined by a mysterious sixth, the enigmatic and, quite frankly, scary as fuck Dr. Schreck (Cushing). The name, he helpfully explains, is German for ‘terror,’ like that’s going to make anyone feel better. Dr. Schreck then whips out a deck of tarot cards, which he calls his ‘house of horrors,’ and proceeds to reveal the destiny of each of the travellers in turn. Again, not creepy at all. By this time, you are beginning to think that this dude is an absolute riot at parties. The preamble provides the backdrop and framework in which to tell five separate stories, all connected by the aforementioned scenario.

Werewolf: The title kinda gives this one away, except it doesn’t really, if you know what I mean. The narrative follows Jim Dawson (McCallum) who returns to his ancestral home on a remote Scottish island where he finds himself embroiled in the culmination of a family curse and a centuries-old feud. This isn’t quite as straight-forward as it sounds, and the twisty ending is really quite clever.

Creeping Vine: Bill Rogers (Freeman) and his wife (Bell) return from holiday to find a creepy (boom!) vine growing in the garden. Soon, the vine develops a life of its own, along with a killer instinct. This one could almost be lifted straight from a vintage edition of Tales from the Crypt.

Voodoo: Biff Bailey (Castle) is a jobbing musician who accepts a gig in the West Indies where he stumbles across a voodoo ceremony. He memorizes the tune they are playing, and despite being warned, goes back to London and plays it, thereby unwittingly unleashing all manner of fuckery. Plagiarism is not cool, kids. ‘Probably’ based on a short story by Cornell Woolrich who, ironically enough given the subject matter, is uncredited.

Disembodied Hand: This one is, ahem, hands down the grisliest, and probably the best, story of the lot. It follows the misadventures of pompous art critic Franklyn Marsh (Lee) who falls victim to karma after causing a tortured artist to lose his hand.

Vampire: Dr. Bob Carroll (Sutherland) returns to the states with his new French bride. Back home, a spate of killings occurs, which seem to have been carried out by a vampire. Bob’s friend (Adrian), convinces him that his pretty new wife is responsible for the murders and Bob kills her. However, as he is being led away by the police, the friend says to himself that the city isn’t big enough for two doctors, or two vampires, and turns into a bat. The bastard.

As you can see, all the stories have twists, and this tradition is continued within the wraparound story, as in the end it is revealed that all five men were already dead, having copped it when the train they boarded crashed, and Dr. Schreck was actually death himself. Wow, right?

As they did in The Hound of the Baskervilles, and just about every other film they ever appeared in together, Peter Cushing and Christopher Lee, the horror film equivalent of Starsky and Hutch, put in a couple of truly memorable performances. In fact, the entire cast excels. A special mention should also go to the director Freddie Francis, who achieved most of his success as a cinematographer, winning two Academy Awards and working on classics such as The Elephant Man (1980), Dune (1984) and Cape Fear (1991). All this natural talent, combined with the overall tongue-in-cheek approach and clever, quirky writing, makes Dr. Terror’s House of Horror a worthy addition to any horror collection.

Trivia Corner:

Jazz musician Acker Bilk was originally cast to play the part of Biff Bailey, but he suffered a heart attack and was replaced by Roy Castle, later of Record Breakers fame, in his theatrical movie debut.


RetView #27 – The Hound of the Baskervilles (1959)

Title: The Hound of the Baskervilles

Year of Release: 1959

Director: Terence Fisher

Length: 87 mins

Starring: Peter Cushing, Christopher Lee, Andre Morell, John Le Mesurier, Francis de Wolff

The-Hound-of-the-Baskervilles-1959-poster-1

Sit down and buckle up for the second Hammer Horror film in my RetView series, following the trailblazing Witchfinder General. There have been numerous other adaptations of the Hound of the Baskervilles. But even over half a century later, none are as critically acclaimed as this version of the classic gothic horror. Why? Because few cinematic partnerships make the hairs on the back of your neck stand up in quite the same way was Peter Cushing and Christopher Lee do. The quintessential British duo starred together in dozens of films, and became as synonymous with each other as tea and biscuits. Director Terence Fisher (who also directed Dracula, The Curse of Frankenstein,The Mummy, and The Two Faces of Dr. Jeckyll, among ,any others) also deserves credit for his efforts. Add to the mix the fact that this was the first Hound of the Baskervilles adaptation ever to be filmed in colour, and you have a perfect storm of superlative talent, excellent source material, and groundbreaking technological advances which may go some way to explaining this particular film’s cultural impact and enduring popularity.

Given that The Hound of the Baskervilles is one of Sir Arthur Conan Doyle’s best-loved Sherlock Holmes novels first published in serial form in the Strand magazine in 1901-02, the plot itself should require little introduction or explanation. But for those unfamiliar with it, it concerns a Dr Mortimer (de Wolff) who asks Sherlock (Cushing) and his intrepid sidekick Watson (Morell) to investigate the death of his friend Sir Charles Baskerville, who he believes was killed by a huge, bloodthirsty dog prevalent in a family course. Furthermore, he believes the new owner of Baskerville hall, Sir Henry (Lee), is next in line. These fears are confounded when he loses his shoe and a tarantula attacks him. Really. And Dr Watson is assigned to ‘look after’ Sir Henry until Sherlock is good and ready to hook up with them. My favourite character in the whole film is the butler, Barrymore (Le Mesurier, from Dad’s Army). Unfortunately he isn’t there when Watson falls into some quicksand near Baskerville Hall, as you do, but luckily a man named Stapleton and his daughter Cecile are there to save the venerable doctor.

That night, Watson sees a strange light on the moors and goes to investigate with Sir Henry, but after seeing a mysterious figure and hearing the mournful howl of a hound, their escapade is cut short when Sir Henry is taken ill. That mysterious figure is later revealed to be Sherlock himself, who arrived at Baskerville Hall ‘a few hours’ after Dr Watson. For some bizarre reason that is never explained, the enigmatic and eccentric detective then chose to sleep rough, rather than announce his presence. After Sherlock stops acting out, he solves the mystery pretty quickly. The ghostly, mythical Hound of the Baskervilles is a mutt with a mask (at least in the book he is painted with phosphorous paint so he glows in the dark) who is kept in an abandoned mine shaft by Stapleton and his daughter, who turn out to be illegitimate descendants of the original Sir Baskerville and stand to inherit a fortune if the rest of the Baskervilles die.

Motive enough for murder?

You bet.

The climax sees Watson shoot Stapleton, who is then attacked by his own mask-wearing dog. Watson shoots that, too, just for good measure, and Cecile falls into the quick sand (you’d think she’d know where it was by now) and dies a horrible death.

This version of The Hound of the Baskervilles is so well loved that it is one of a very select few to achieve a faultless 100% rating on Rotten Tomatoes. The book is also considered one of Conan Doyle’s best. It was Sherlock Holmes’ first outing in eight years, since his apparent death in The Final Problem, though it is set two years before the events in that story. The inspiration for The Hound of the Baskervilles is believed to have come from the ferocious black dogs of English folklore. Stories concerning these mysterious, red-eyed creatures are widespread and the entity is known by numerous names, the most popular being Black shuck. Devil Dog (not to be confused with hell hounds) is a convenient group name, and they are usually considered to be harbingers of death.

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Trivia corner

The Baskerville Hall set is the same set that was used for Dracula (1958). The Hound of the Baskervilles also borrowed some music (composed by James Bernard) from the same film.


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