Title: The Beast Must Die
Year of Release: 1974
Director: Paul Annett
Length: 89 mins
Starring: Anton Diffring, Calvin Lockhart, Marlene Clark, Charles Gray, Peter Cushing
As regular readers of the world-renowned Retview series will know, I’m a sucker for a good werewolf movie. Or even a bad one. You could say werewolves are my favourite mythical supernatural beastie, as evidenced by previous instalments covering An American Werewolf in London, The Howling, Dog Soldiers, and Hound of the Baskervilles. Okay, spoiler alert, that last one turned out to be more of a massive painted dog than a werewolf, but the viewer doesn’t know that until right at the very end when Sherlock Holmes helpfully breaks it all down. Ironically, Peter Cushing, the actor who played Holmes in that classic pops up again here in a role so fitting that it could have been (and perhaps was) written especially for him. Even before the opening credits kick in, the brief is laid bare with a bold voiceover proclaiming, “This film is a detective story in which you are the detective. The question is not, ‘Who is the murderer?’ but, ‘Who is the werewolf?’
Dum, dum, DUM!
And we’re off. Millionaire Tom Newcliffe (Lockhart) has invited an eclectic bunch of acquaintances including an artist, a famous pianist, an archaeologist and a diplomat to his mansion in rural England, every inch of which has been placed under surveillance by a high-tech security system featuring CCTV, motion-detectors and all manner of other (then) advanced technological wizardry. In time, Newcliffe and his wife (Clark) reveal to the group that one of their collected number is a werewolf, and the reason for the soiree is to find out who it is and then kill it, hence the title.
And so the fun begins.
All manner of lycanthropic lore is then called upon in a concerted attempt to uncover the beast in question, from using the wolfsbane flower to silver bullets. Needless to say a few suspects get eaten along the way, along with someone’s dog, when the werewolf goes on the rampage and starts steadily reducing the list of suspects. In fact, it probably can’t believe it’s luck. As intimated earlier, it is then up to the viewer to solve the mystery and unmask the beast.
Like Dr Terror’s House of Horrors almost a decade before, the Beast Must Die was made by Amicus Studios, a production company based at Shepperton Studios which flourished between 1962 and 1977, and came near the end of their reign. This was an era when horror movies were just beginning to come into their own, and many studios tried to be innovative and push the boundaries in a variety of ways. This particular effort was marketed as a horror mystery, and challenged the viewer to uncover the identity of the werewolf by picking up clues along the way and distinguishing them from the multitude of red herrings typical of 1970s cinema.
Conversely, near the climax there is a 30-second semi-interactive ‘werewolf break’ where viewers are encouraged to put their momney where their mouths are and name their suspect, which you can see would provoke some discourse between viewers. Though it also heavily features elements drawn from elsewhere, The Beast Must Die is based on the short story ‘There shall be No Darkness’ by American sci-fi writer James Blish, which was published in the pulp magazine thrilling Wonder Stories.
Despite a campy, seventies feel exasperated by a soundtrack that wouldn’t be out of place in Shaft and some gloriously hammed-up acting, since it’s release, The Beast Must Die has enjoyed several re-issues, most notably in 2006, and garnered some generally favourable contemporary reviews mostly along the lines of, “Absolute Cushing classic,” and “Cracking little horror film that deserves a wider audience,” all of which which make it the very epitomization of a cult classic. An alternate version of the film omitting the ‘werewolf break,’ of which Annett was reportedly never a fan (he blamed the whole thing on producer Milton Subotsky), was later released under the title Black Werewolf (which rather gives a lot away) and you can watch the full movie, including the controversial ‘werewolf break,’ RIGHT HERE.
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Due to the miniscule production budget, the ‘werewolf’ was played by a German Shepherd kitted out in shaggy dark fur to give it a larger, more ‘otherworldly’ look.