Hammer Productions

Quatermass and the Pit

We have met the enemy, and it is us: when a Martian spacecraft with a terrifying link to the origins of humanity is unearthed beneath a London tube station, only the esteemed Professor Bernard Quatermass (a very British--and possibly mad--precursor to Mulder and Scully) can save London's suddenly murderous population from itself. One of the most intelligently paranoid science fiction films ever produced, this pessimistic masterpiece functions as a dark flip side to the relatively optimistic alien-induced evolution theory presented in the later 2001: A Space Odyssey. Nigel Kneale's brilliant script (which posits a surprisingly plausible, otherworldly rationale for the existence of the supernatural) was later appropriated by acknowledged fan John Carpenter for his underrated Prince of Darkness. In addition to boasting a flawless widescreen print, this marvelous tape also features a hilariously overdone original U.S. trailer ("Women will be defiled by the invaders from outer space!" it erroneously shrieks). A must-see for horror and science fiction aficionados. This film is also known as Five Million Years to Earth. --Andrew Wright

The Mummy's Shroud

The Abominable Snowman

Made the same year as the gory gothic hit The Curse of Frankenstein, this smartly written, philosophically grounded Hammer studios adventure written by Nigel Kneale (who also wrote the excellent science fiction thriller Quatermass and its two sequels) was lost in the flesh and blood of Hammer's new vein of horror. Peter Cushing, best known for his ruthless portrayals of Dr. Frankenstein and his more tempered rationalist skew on vampire hunter Van Helsing, plays another scientist driven to prove his unpopular theories. Against the advice of his wife and a kindly but firm Tibetan monk, he leads blustery American showman Forrest Tucker and his party of explorers up the frozen peaks (the Pyrenees standing in quite spectacularly for the Himalayas) to track the fabled Yeti. When he discovers that this is no scientific expedition but a hunting party he starts to have second thoughts, which are only reinforced by Tucker's mercenary behavior when he kills one of the creatures. Director Val Guest keeps the "monsters" hidden until the final showdown, where their hulking silhouettes loom over the cave entrance, but their mournful cries haunt the camp like wailing ghosts, slowly driving the party members mad. While it lacks the edgy desperation and inventiveness of Kneale's Quatermass features, The Abominable Snowman is a taut thriller that contrasts the gorgeous aerial mountain photography with the claustrophobic atmosphere of the tents and caves of the base camp. --Sean Axmaker

The Plague of the Zombies

Anticipating Night of the Living Dead by a couple of years, the John Gilling-directed Plague of the Zombies gives the gothic treatment to the stumbling undead. André Morell plays an unassuming medical professor called by a former student, village doctor Peter Tompson (Brook Williams), to investigate a mysterious plague in a small Cornish village. They uncover an unholy plot by the devilishly decadent local Squire (John Carson), who has been using black magic to create an army of laborers to work his failing tin mine and has now infected William's sickly young wife. Gilling sets a spooky atmosphere, a fog-drenched village where the inhabitants live as if under a cloud of doom, dominated by the arrogant squire, who bullies his way about with his gang of cruel, aristocratic thugs. The film's highlight is the eerie introduction of the zombies, clawing their way up through the earth and emerging as lumbering, death-masked ghouls. The film has been remastered from the original 35mm negatives in the Hammer vaults, and letterboxed to its original aspect ratio. --Sean Axmaker

Rasputin, the Mad Monk

The life of the legendary Russian villain Grigori Rasputin was a natural for the Hammer's Gothic style and lurid edge, and the commanding Christopher Lee is the perfect star for the role. With his deep baritone voice and dark, deep-set eyes, Lee creates an intense figure as the diabolical healer and mesmerist with a thirst for power. The film begins with the unapologetically crude and barbaric Rasputin expelled from his monastery for his hard-drinking hedonism and violent behavior, and before long he sets his sights on the bustling city of St. Petersburg. Within no time he has seduced Sonia (Barbara Shelley), lady-in-waiting to the Queen, with his hypnotic gaze and soon insinuates himself into the Royal Family. Lee's lusty portrayal is the highlight of this modest production, which presents an all-too-brief rise to infamy and disappointingly cuts short his notorious death. But if it's not prime Hammer horror, it remains a moody chamber piece with a mesmerizing performance from Lee (one of his best for the studio) and a very different take from MGM's handsome, classy 1932 production Rasputin and the Empress starring the three Barrymores. --Sean Axmaker

Quatermass 2

Considered by many critics to be the finest in the series, Hammer's second Quatermass feature (adapted from the television serial by Nigel Kneale) is a subversive alien invasion story. Professor Quatermass (Brian Donlevy) stumbles onto a top-secret government base near a rural location that has been inundated by a steady stream of meteors. His investigations, which are met with distrust by suspicious townspeople and outright hostility by the base guards, uncover a conspiracy originating in the highest reaches of government. With few he can trust and fewer he can convince of his suspicions, Quatermass decides to meet the menace head-on. Director Val Guest, who cowrote the screenplay with Kneale, loads his film with fascinating detail (the whiz of the falling meteors--actually space pods--recalls the buzz bombs of the London blitz, and the antipathy of the high-strung locals adds a curious element of class conflict), but really brings the picture to life with its stark black-and-white look and overpowering mood of paranoia. The base, the very picture of industrial modernity in the midst of rural nothingness, is given a creepy emptiness as Quatermass wanders through, dwarfed in the giant maze of pipes and towers centered by enormous spherical containers and huge domes. You'll likely never forget the image of a government investigator covered in a smoking black substance, stumbling down the steps of the stark white container. --Sean Axmaker

The Satanic Rites of Dracula

The Legend of the Seven Golden Vampires/The Seven Brothers meet Dracula

Four Sided Triangle

The Witches