Read Ebook {PDF EPUB} House of Horror The Complete Hammer Films Story by Allen Eyles . James Henry "Jimmy" Kinmel Sangster (born December 2, 1927 in Kinmel Bay, Wales , † August 19, 2011 in London ) was a British director , screenwriter and writer , who was mainly through his manuscripts for the central productions of got known. contents. Sangster came to film in 1941 as a second camera assistant. From 1946 to 1954 he worked on numerous films (including for Ealing Studios ) as an assistant director, including no fewer than 29 B-productions for Hammer, before he was promoted to production manager . After the enormous success of the SF thriller Schock , in which he had worked with the second unit for a few nights , he sat with the hammer producers Anthony Hinds and and discussed possible further science fiction plots. Thirty minutes later he was hired by Hinds as a screenwriter for XX unknown : "If we like it, we'll pay you. If we don't, tough shit. You're still on the payroll as a production manager so what have you got to lose. " With his manuscripts for the remakes of famous horror film classics such as Frankenstein's Curse , and The Revenge of the Pharaohs , which were staged by Terence Fisher , he was instrumental in the success story of the small British production company towards the end of the 1950s. Fisher paid him respect in the early 1970s. Regarding the great success of the Gothic horror film Frankenstein's Curse , he said: "The greatest credit ought to go to Jimmy Sangster, who wrote the scripts and managed to make the original story so cinematic". Early on, Sangster, who occasionally wrote scripts for other production companies, switched to writing psychological thrillers for Hammer that gave him more pleasure than the Gothic horror films. His first script in this direction was The Snorkel in 1958 . Films such as A Dead Plays the Piano or House of Horror followed , often directed by Sangster's close friend Freddie Francis . His sixth and final "Mini-Hitchcock" for Hammer was The Fear , which Sangster himself directed. The film was also Sangster's third and last directorial work after the parodistic Frankenstein's horror , the script revision of which he had only taken on under the premise of being allowed to produce and direct, and Only Kiss Bloody , where he stood in for the accident Terence Fisher at extremely short notice and had no influence on the script or cast. All three directorial works by Sangster are considered to be of little significance. In the early 1970s, Sangster moved to Los Angeles, where he worked primarily as a script consultant and occasionally as a screenwriter on television series such as Cannon , The Boss , Columbo , The Night Hunter and The Six Million Dollar Man . From time to time he also wrote television and feature films before more or less retired in the 80s. He had already started writing detective novels in the 1960s, two of which were filmed for American television. By 1987 a total of eight novels from his pen appeared. Touchfeather (1968) and Touchfeather, Too (1970) have also appeared in German under the titles Die Lady flieg zum Hölle and Die Lady im Goldsarg . In 1977 Sangster was awarded the Golden Scroll, the predecessor of the Awards , by the Academy of Science Fiction, Fantasy & Horror Films for his career as a screenwriter . In the 1990s, a German production company acquired an old, unfilmed script from Sangster, which he slightly revised. After another extensive revision by Natalie Scharf , with which Sangster was only partially satisfied, the German thriller Flashback - Murderous Holidays 2000 came into the cinemas with modest success. Jimmy Sangster, whose first marriage to Hammer hairdresser Monica Hustler and third marriage to actress Mary Peach , wrote an autobiography that appeared in 1997 and a book published in 2001 of his memories of working for Hammer Film Productions. Posts. House Of Horror traces the complete history of Hammer Films, from its early origins through to its golden era of classic horror movies, and presents a comprehensive overview of Hammer's importance and influence in world cinema. Author : Jack Hunter. Publisher: Creation Books. ISBN: STANFORD:36105110226805. Category: Performing Arts. Hammer House of Horror. Author : Howard Maxford. Publisher: B. T. Batsford Limited. ISBN: STANFORD:36105017740825. Category: Horror films. Hammer House of Horror the Television Years. Hammer House of Horror! Hammer House of Mystery and Suspense! A comprehensive episode by episode guide to Hammer's cult television years. Author : Tom Bryce. ISBN: 1717805507. A History of Horrors. ' Much has been written about Hammer's films, but this is the only book to tell the story of the company itself from the perspective of those who ran it in its heyday and who helped to turn it into a universal byword for terror on the . Author : Denis Meikle. Publisher: Scarecrow Press. ISBN: 0810863545. Category: Performing Arts. Hammer Complete. . The Silent Scream (1980, TV [episode of Hammer House of Horror ], camera operator), The Two Faces of Evil (1980, TV [episode of Hammer House of Horror ], camera operator), Witching Time (1980, TV [episode of Hammer House of Horror ] . Author : Howard Maxford. Publisher: McFarland. ISBN: 9781476629148. Category: Performing Arts. The BFI Companion to Horror. Author : . Publisher: Burns & Oates. ISBN: STANFORD:36105019489199. Category: Performing Arts. The Encyclopedia of Hammer Films. HAMMER . HORROR : A. FAN'S. GUIDE. See A Fan's Guide to Hammer House of Horror . HAMMER . HOUSE . When London business entrepreneur William Hinds —alias Will Hammer — formed his own motion picture company, Hammer . Author : Chris Fellner. Publisher: Rowman & Littlefield. ISBN: 9781538126592. Category: Performing Arts. The House of Horror. Author : Allen Eyles. ISBN: STANFORD:36105039834028. Category: Horror films. Horrors of Hammer. Finally , they located the company within the confines of an old gothic structure known as the Hampden House and production on the series began . The title of the series was changed to “ The Hammer House of Horror ” and the first series was . Author : Robert Marrero. ISBN: IND:39000000736921. Category: Horror films. Contemporary British Horror Cinema. . to its former production accountant, Roy Skeggs, in either late 1980 or early 1981.4 Having bought the company for £100,000 (Pirie 2008: 191), Skeggs turned Hammer to TV production in 1980, with the series Hammer House of Horror and, . Author : Johnny Walker. Publisher: Edinburgh University Press. ISBN: 9780748689743. Category: Business & Economics. The Women of Hammer Horror. (1957–. ) REAL NAME: Suzanne Morris; BIRTHPLACE: London, England. TELEVISION: Hammer House ofHorror: “Carpathian Eagle,” 1980 (Natalie Bell) BIOGRAPHY—Beautiful Suzanne Danielle was born in London and trained as a dancer . Author : Robert Michael “Bobb” Cotter. Publisher: McFarland. ISBN: 9781476602011. Category: Performing Arts. The House of Horror. The Story of Hammer Films Allen Eyles, Robert V. Adkinson, Nicholas Fry. HAMMER RIDES OUT THE RETURN OF FRANKENSTEIN. many of To every keen filmgoer , the word " Hammer " is synonymous with horror . But when Hammer made . Author : Allen Eyles. ISBN: STANFORD:36105036892490. Category: Horror films. Horror and Science Fiction Films III. The Finger People " to the dining - room gatherers here ) . Tepid , drawn - out mystery - with - ahorror - payoff . HAMMER HOUSE OF HORROR DOUBLE FEATURE : CHILDREN OF THE FULL MOON / VISITOR FROM THE GRAVE ( B ) 1980 . Author : Donald C. Willis. Publisher: Metuchen, N.J. : Scarecrow Press. ISBN: UOM:39015015867552. Category: Performing Arts. The Mammoth Book of Best New Horror 20. . The Avengers , Randall and Hopkirk ( Deceased ) , The Guardians , , Space : 1999 , Blakes 7 and Hammer House of Mystery and Suspense ( " Czech Mate ” ) . Handsome American leading man John Philip Law , best known for . Author : Stephen Jones. Publisher: Running Press. ISBN: 0762437278. Category: Fiction. English Gothic. Traces the rise and fall of the horror genre from its nineteenth century beginnings to the present day, encompassing the lost films of the silent era, the Karloff and Lugosi chillers of the 1930's, the lurid classics from Hammer's house of . Author : Jonathan Rigby. ISBN: STANFORD:36105119834294. Category: Performing Arts. The A Z of Horror Films. Author : Howard Maxford. ISBN: 0253332532. Category: Performing Arts. Film Review. FREE HAMMER HORROR COVER DISC ! 20 issues of Horror per edition ! MAGAZINE www.visimac.com FREE DISC 120155960226 complete Episode at HAMMER HOUSE OF Ta testera HORROR Presenting the The Silent Scream WOS . ISBN: STANFORD:36105115064342. Category: Motion pictures. Little Shoppe of Horrors 37. Little Shoppe of Horrors presents Little Shoppe of Horrors #37 "A Living Hell That Time Forgot!” The Making of Hammer's 1967 THE LOST CONTINENT . or "Beasts, Bosoms and Balloons -- Hammer's Wildest Movie! Author : Little Shoppe of Horrors. Publisher: Little Shoppe of Horrors & BearManor Media. Category: Performing Arts. The Cinematic Rebirths of Frankenstein. House of Dracula Review , ” December 22 , 1945 . Found in University of Southern California Film Archive , file on “ Frankenstein Meets the Wolfman . ” Maxford , Howard . Hammer , House of Horror ; Behind the Screams . Woodstock and New . The House of Horror: A History of Hammer Films. Hammer was a small, family-run British film production company that once dominated the global horror market and remains hugely influential. Hammer resurrected the gothic icons discarded by Hollywood after the war in stylish, sexy and violent films that captured the essence of the original literary form, and functioned as dark reflections of the conventional costume drama in much the same way that gothic narratives inverted nineteenth century realist discourse. Although the golden age of Hammer ended in the early-seventies, the brand remains synonymous with horror, and the studio, much like Dracula, has recently risen from the grave. Will Hammer was the stage name of William Hinds, who co-founded the film distribution company Exclusive with cinema owner Enrique Carreras in 1934. Hammer Productions Ltd was a symbiotic offshoot. The first Hammer film was The Public Life of Henry the Ninth (1935), a rags-to- riches comedy. Hammer followed this with The Mystery of the Marie Celeste (1936), a tale of insanity, revenge and murder starring Bela Lugosi. Hammer made only three more films before going bankrupt during the British film industry slump of 1937. Exclusive, however, survived. After the war, Exclusive cut a deal to supply low-budget supporting features to the ABC cinema chain and Hammer was reformed as a production subsidiary in 1947. The first project was River Patrol (1948), a thriller about nylon smugglers. Hammer next adopted the astute formula of adapting established radio serials, for example Dick Barton, Special Agent (1948) and The Adventures of P.C. 49 (1949). Exclusive registered ‘Hammer Film Productions Ltd’ in 1949 with the father-and-son teams of Enrique and James Carreras, and William and Tony Hinds as company directors. Hammer moved into the Exclusive offices in Wardour Street, renaming the building ‘Hammer House.’ In 1951, the company purchased Down Place (one of the best known buildings in gothic cinema), later expanding the house into Bray Studios. Hammer worked like a small studio, building a repertory company of domestic talent at Bray. Filming ’s popular BBC sci-fi-shocker The Quatermass Experiment in 1955 was an obvious next move. The Quatermass Experiment is a very British combination of Edwardian science fiction and Hollywood monster movies. Professor Quatermass puts Britain’s first into space, and it returns with one traumatised survivor infected by an alien force that slowly transforms him into a monster. Richard Wordsworth plays the tragic astronaut with the kind of pathos and dignity that Karloff had brought to Frankenstein (1931). The film grossed almost £1,000,000 worldwide. Maurice Sellar has argued that Hammer moved towards horror in this period because of the competition with television, which did not offer enough sex and violence (Sellar: 1987, 134), while Adkinson, Eyles and Fry cite Hammer’s own market research, that audiences preferred humanoid monsters over outer space blobs (Adkinson et al : 1981, 29). Hammer therefore made the monumental move towards the gothic. British gothic cinema was not without precedent. Ealing’s anthology horror film Dead of Night (1945) had been a major success, while the United Kingdom was the cradle of the gothic novel. There was also a gap in the international market after the collapse into self-parody of Universal Studios’ monsters, while smaller companies, meanwhile, were targeting a new teenage demographic, and dumbing down accordingly. The world was far from prepared for Hammer’s adult, violent, bleak and morally complex re-invention of The Curse of Frankenstein in 1957. Terence Fisher directed, and the British character actor Peter Cushing was cast as Baron Victor von Frankenstein, with the relatively unknown, but very tall, Christopher Lee playing his creation. Visually, the style was theatrical rather than Expressionist (as had been the case with the Universal Studios classics of the 1930s), and the influence of the Victorian stage and the pre-war revivals of George King and Tod Slaughter were apparent through period melodramadrama. Universal denied Hammer the right to use Jack Pierce’s design for Karloff’s monster, and the critical orthodoxy is that this represents a lack, although it could equally be argued that further distance from the stereotype was an advantage. Whereas Karloff played it with the soul of a troubled child, Lee’s creature is agile, brutal and animalistic while Cushing’s baron is cultured, brilliant, arrogant, and utterly ruthless, murdering Professor Bernstein for his brain, and using his creature to dispose of his pregnant maid, Justine. The creature is finally destroyed with acid, and only Victor’s assistant, Paul Krempe, knows the truth. Victor is charged with Justine’s murder and Krempe lets him go to the guillotine. The film is framed by Victor’s confession from the condemned cell. Although made for a mere £65,000, the film is beautifully shot in Eastmancolor with convincing sets, costumes and effects, and a rich musical score. The acting is impeccable; Cushing’s dignified performance, in particular, gave the film a gravitas rarely seen in the genre before or since. The film still outraged domestic reviewers, with C.A. Lejeune of The Observer describing it as ‘among the half-dozen most repulsive films I have ever encountered’ (McCarty: 1984, 20). Audiences, however, queued around the block and The Curse of Frankenstein was the most successful British film of the year. Hammer were quick to follow up using the same principal cast and crew, releasing Dracula the next year, with Lee as the Count and Cushing as Van Helsing. Scriptwriter Jimmy Sangster’s Dracula has more in common with Polidori’s Ruthven than Stoker’s savage immortal: Lee’s Byronic vampire was handsome and sexually magnetic, and when he bit, his victim closed her eyes in obvious ecstasy. Cushing’s edgy and driven Van Helsing was the perfect nemesis, and the film’s climax – as Van Helsing hurls himself at ancient drapes, and drives Dracula into the corrosive sunlight with crossed candlesticks – is an iconic moment in cinema. The visual style is perfect, and this gothic mise-en-scène became Hammer’s signature style. Domestic critics hated Dracula even more than Frankenstein , with Lejeune famously apologising on behalf of British Culture to ‘all decent Americans for sending them a work in such sickening bad taste.’ A minor moral panic erupted, and it became trendy for journalists to denounce Hammer as ‘For Sadists Only’ (McCarty: 1984, 20; Hutchinson: 1974, 44). Sadism sold, however, and Dracula was a huge international success. Impressed, Universal executives made their entire back-catalogue available to Hammer. This was the beginning of Hammer’s gothic golden age. Victor returned in The Revenge of Frankenstein (1958), his priest beheaded and buried in his place. The Mummy followed in 1959 (again starring Cushing and Lee and directed by Fisher). Fisher directed The Two Faces of Dr Jekyll , and in 1960; Oliver Reed moved from supporting actor to star in The Curse of the Werewolf in 1961; while Herbert Lom became The Phantom of the Opera in 1962. Traditional gothic themes continued to be reworked in the sixties, alongside a steady stream of second features in other genres, from comedy to war to psychological thrillers. There were three Frankenstein sequels starring Cushing: (1964); Frankenstein Created Woman (1967); and Frankenstein Must Be Destroyed (1969); while Lee reprised his role in Dracula: Prince of Darkness (1966); Dracula Has Risen from the Grave (1968); and Taste the Blood of Dracula (1969). The Mummy also returned, twice, and Fisher directed the gothic fairytale in 1964. The Gorgon took a magical realist turn that can also be seen in John Gilling’s The Plague of the Zombies in 1966, which is period and surreal, and looks back to Jacques Tourneur and Val Lewton rather than forward to George A. Romero. The dream sequence where the zombies rise from their graves has been endlessly copied. In characteristic ‘Rep’ style, the Hammer team made fifty-nine films between 1960 and 1969, so Cushing also starred in Captain Clegg (1962), and She (1965), while Lee can be seen in two pirate and four Fu Manchu films, Rasputin: The Mad Monk (1966), and The Devil Rides Out (1968). In 1966, Hammer also worked with Ray Harryhausen on One Million Years BC , starring Raquel Welch and a bunch of stop-motion dinosaurs, while Peter Rogers and Gerald Thomas affectionately sent up the studio and its output in Carry On Screaming. Hammer moved to Elstree Studios in 1967, and received the Queen’s Award for Industry the following year, closing out the decade with Moon Zero Two , a sci-fi western. The sixties saw competition and change. American International Pictures’ ‘Poe Cycle’ (from The Fall of the House of Usher , 1960, to The Tomb of Ligeia , 1964), starring Vincent Price and directed by Roger Corman, were a direct challenge, while in the UK Tigon had co-produced Michael Reeves’ seminal Witchfinder General with AIP (1968), while Amicus were specialising in EC comics inspired portmanteau horror, often using Hammer talent; Dr Terror’s House of Horrors (1964), for example, starred Cushing and Lee and was directed by Freddie Francis . More worryingly, next to Romero’s eerily postmodern Night of the Living Dead (1968), the traditional gothic of Hammer suddenly looked very dated. Hammer in the seventies was compelled to respond to market changes, updating settings, which usually didn’t work, and sexing-up, which did. Lee began the decade with (1970), but was transported to a contemporary setting for Dracula AD 1972 (1972), and the apocalyptic The Satanic Rites of Dracula (1973), scenarios to which he objected, refusing to play the Count again. The Horror of Frankenstein (1970) stars Ralph Bates instead of Peter Cushing, and is a black comedy. The series ended with Frankenstein and the Monster from Hell in 1974. Cushing’s Baron by then completely mad, the film is set in an asylum. Dr. Jekyll and Sister Hyde (1971) combined elements of Jack the Ripper with Burke and Hare, and the moment when Ralph Bates turns into Martine Beswick is certainly memorable. The Legend of the Seven Golden (1974) is a curious Kung-Fu collaboration with the Shaw Brothers that might have worked ten years later, while Captain Kronos: Vampire Hunter (1974) was a pilot for a TV show that never was. The last truly gothic Hammer films were the so-called ‘Karnstein Trilogy’: (1970), (1971), and (1972), all loosely based on J.S. Le Fanu’s (1872), with an emphasis on the lesbian possibilities of the story. Both gothic and erotic, these films look great and remain very popular within contemporary ‘goth’ fashion circles. (1976) had an international cast and high production values, but was too late to catch The Exorcist wave, and The Lady Vanishes (1979) flopped so badly it almost bankrupt the studio. The studio was also still popular enough in the era of punk rock to support The magazine between 1976 and 1978, an influential publication that combined articles about classic and contemporary horror cinema with graphic adaptations of Hammer films. House of Hammer was the brainchild of the visionary British editor Dez Skinn, and for my generation – pre-video and reliant on our parents for permission to watch the horror double bills on summer Saturday nights on BBC 2 – this was the gateway to horror and the introduction to Hammer, although the only studio release concurrent with the magazine was To The Devil a Daughter. Down, but not yet out, Hammer produced two TV horror series in the eighties before finally ceasing production: Hammer House of Horror , and Hammer House of Mystery and Suspense . Each series comprised thirteen self-contained horror stories with contemporary settings, Hammer stalwarts and American guest stars. Some were garden variety, others, like the ghost story ‘The House that Bled to Death’ (1980), traumatised a generation. After effectively going dormant, Hammer’s original gothic style nonetheless remained a mise-en-scènic benchmark, to the extent that when Kenneth Branagh and Francis Ford Coppola both claimed to return to the original nineteenth century gothic texts in their interpretations of Dracula (1992) and Frankenstein (1994), they had ‘Hammer’ scrawled all over them in blue light, blood and black lace, while Jake West’s Razor Blade Smile (1998) was a clear and honest homage, as was Tobe Hooper’s underrated Lifeforce in 1985. In 2007, Dutch producer John De Mol acquired Hammer via his consortium Cyrte Investments, gaining the rights to over 300 Hammer films and restarting the studio. The Hammer revival began in earnest the following year, with the company producing Matthias Hoene’s Beyond the Rave , a twenty-part serial about modern vampires originally released on MySpace. This was followed by a co-production credit on Let Me In (2010), a remake of the 2008 Swedish film Let the Right One In ( Låt den rätte komma in ) with the action shifted to New Mexico starring Chloë Grace Moretz as the immortal child, Abby. In 2011, Hammer released the stalker thriller The Resident – which includes a cameo by Christopher Lee and is again set in the US – and , an atmospheric blend of Pet Sematary and The Wicker Man shot and set in Northern Island which could be argued to represent a symbolic and semiotic return to the ‘classic’ Hammer style of edgy, British gothic. For many fans, the rebrand was cemented in 2012 with the excellent adaptation of Susan Hill’s novel The Woman in Black starring Daniel Radcliffe and directed by James Watkins, a beautifully realised and genuinely frightening Victorian ghost story. This was followed by The Quiet Ones in 2014, directed by John Pogue, a period piece set in the early-seventies about an off-the-grid poltergeist experiment conducted by an Oxford academic. Although not a critical success, The Quiet Ones was an interesting, understated film that managed to evoke the craze for the occult at the time – for example the ‘Enfield Haunting’ – and the TV drama that reflected it such as Nigel Kneale’s The Stone Tapes and the Christmas ghost stories of Lawrence Gordon Clarke, while at the same time exploiting the current enthusiasm for found footage supernatural horror reignited by the success of Paranormal Activity in 2007. In terms of narrative and visual style, it would not have looked out of place as an episode of Hammer House of Horror. To date, the last Hammer film to be released was The Woman in Black: Angel of Death (2015), directed by Tom Harper, being a sequel to The Woman in Black set in the Second World War, with the notorious Eel Marsh House now a military psychiatric hospital. The film is visually slick, but more ‘Hollywood’ than its predecessor, which detracts from the combination of classic and contemporary gothic that Watkins achieved in the original. Hammer’s latest project, Winchester Mystery House – presumably based on the reputedly haunted mansion in San Jose, California – is under development and scheduled for release in 2017. The film is to be written and directed by Michael and Peter Spierig, who are probably best known for Daybreakers (2009), and is to star Helen Mirren. Although there is necessarily something quite hyper-real about the new crop of Hammer films, it cannot be denied that they continue to look the part in a crowded marketplace hawking a style that the studio itself perfected in the glory days of post-Suez anxiety and the sixties before they swung. Purest may argue that the era of Cushing and Lee and Fisher and Francis cannot easily be matched, but that is the nature of cultural history. There will never be another Elvis or Michael Jackson either. That said, for me, the shades of the great Hammer ensemble could still be glimpsed in Wake Wood , The Quiet Ones and, especially, the original Woman in Black , like spirits gazing out from a mirror. One cannot but hope that they approve. This is an updated version of an original piece first published in The Wiley-Blackwell Encyclopedia of the Gothic (2012) edited by W. Hughes, D. Punter & A. Smith. Barnes, Alan & Hearne, Marcus. (2007). The Hammer Story . London: . Chibnall, Steve & Petley, Julian. (2001). British Horror Cinema. London: Routledge. Cushing, Peter, (1986). Peter Cushing: An Autobiography . London: Weidenfeld and Nicolson. Eyles, Allen, Adkinson, Robert, & Fry, Nicholas (Eds). (1981). The House of Horror . 2 nd ed. London: Lorrimer. Hutchins, Peter. (1993). Hammer and Beyond: The British Horror Film . Manchester: Manchester University Press. Hutchinson, Tom. (1974). Horror and Fantasy in the Cinema. London: Studio Vista. Kinsey, Wayne. (2002). Hammer Films: The Bray Studio Years. London: Reynolds & Hearn. Kinsey, Wayne. (2007). Hammer Films: The Elstree Studio Years. London: Tomahawk Press. McCarty, John. (1984). Splatter Movies . London: Columbus. Meikle, Denis. (1996). A History of Horrors: The Rise and Fall of the House of Hammer. London: Scarcrow Press. Pirie, David. (2007). A New Heritage of Horror: The English Gothic Cinema. London: I.B. Tauris & Co. Rigby, Jonathan, (2000). English Gothic: A Century of Horror Cinema . London: Reynolds & Hearn. Sellar, Maurice. (1987). Best of British: A Celebration of Rank Film Classics. London: Sphere. Sinclair McKay (2007) A Thing of Unspeakable Horror: The History of Hammer Films . London: Aurum Press. Top 30 Best Hammer Horror Films of All Time + BONUS. This list attempts to rundown the best Hammer Horror titles. All films are produced by Hammer Film Productions 1935 - Present and listed Horror or Thriller. Info, Trivia, Plot and Trailer links included. **Possible Spoiler Warning** Which of these high rated Hammer Horror classics is your favourite? Genres Movies or TV IMDb Rating In Theaters Release Year Keywords. 1. Дракула (1958) 16 | 82 min | Drama, Horror. Jonathan Harker begets the ire of after he accepts a job at the vampire's castle under false pretenses, forcing his colleague Dr. Van Helsing to hunt the predatory villain when he targets Harker's loved ones. Hammer's first in the series of films inspired by Dracula. Known as "Horror of Dracula" in the US, the film stars the classic casting of Chistopher Lee (Count Dracula) and Peter Cushing (Doctor Van Helsing). PLOT - After Jonathan Harker attacks Dracula at his castle, the vampire travels to a nearby city, where he preys on the family of Harker's fiancée. The only one who may be able to protect them is Dr. van Helsing, Harker's friend and fellow-student of vampires, who is determined to destroy Dracula, whatever the cost. 2. Вкус страха (1961) 16 | 81 min | Horror, Thriller. A wheelchair-bound young woman returns to her father's estate after ten years, and although she's told he's away, she keeps seeing his dead body on the estate. This sees Hammer legend Christopher Lee (Dr. Pierre Gerrard) in a supporting role. Lee has been quoted as saying " was the best film that I was in that Hammer ever made. It had the best director, the best cast and the best story." Susan Strasberg (Penny Appleby) plays the lead. (Scream of Fear - US) PLOT - Penny Applebee's parents divorced when she was quite young and so, she grew up with her mother. After her mother's death, the wheelchair-bound Penny accepted her father's invitation to live with him. She arrives only to learn that her father is away though, her stepmother - who she is meeting for the first time - proves to be quite welcoming. On her first night however, she sees a light in the summerhouse and upon investigation, sees her father sitting there, apparently dead. Others can find nothing there and tell her she must have imagined it. These episodes recur. She deduces that her stepmother and her father's friend, Doctor Pierre Gerard, are plotting to drive her insane. Chauffeur, Bob, offers a sympathetic ear and feels there has to be some rational explanation for what has been happening. 3. Няня (1965) 91 min | Mystery, Thriller. There's just something not quite right when Bette Davis stars as an English nanny. And is her 10-year-old charge an emotionally disturbed murderer or just an insolent brat? Probably better described as a suspense film, The Nanny was well received by critics. It is based on a novel of the same name by Evelyn Piper. The lead is played by the incomparable Bette Davis (Nanny). PLOT - An English nanny is appointed a rude 10 year old Joey, who was just discharged from a disturbed children's home. He'd spent two years undergoing treatment for drowning his little sister in the bath. He returns to an unloving father, fragile mother, and doting nanny - whom he hates. Suspicion arises again when his mother is poisoned, and Joey continues to insist Nanny is responsible. Joey contends the nanny was responsible for his little sister's death, and only the upstairs neighbour girl believes him. 4. Никогда не бери сладости у незнакомых (1960) 16 | 81 min | Drama, Horror, Mystery. Peter Carter meets official resistance when he finds his 9 year old daughter has been the victim of the pedophile patriarch of the town's most powerful family. A thought provoking and deeply disturbing film. The themes are pedophilia, the sexual abuse of children and and the way in which those with sufficient pull can corrupt and manipulate the legal system to evade responsibility for their actions. The film is regarded as bold and uncompromising for its time in the way in which it handles the subject matter. (Never Take Candy from a Stranger - US) PLOT - Peter Carter meets official resistance when he finds his nine year old daughter has been the victim of the pedophile patriarch of the town's most powerful family. 5. Проклятие Франкенштейна (1957) 16 | 82 min | Horror, Sci-Fi, Thriller. While awaiting execution for murder, Baron tells the story of a creature he built and brought to life - only for it to behave not as he intended. Votes: 9 908 | Gross: $17.44M. This was Hammer's first colour horror film, and the first of their Frankenstein series loosely based on the Mary Shelley novel. Peter Cushing (Baron Victor Frankenstein) and Christopher Lee (The Creature) star. PLOT - Baron Victor Frankenstein, in prison for murder and trying to evade the guillotine, tells a priest how he and his mentor, Paul Krempe, had performed many scientific experiments, eventually leading to the resurrection of a dead body. The baron's obsession and the monster's homicidal nature cause the deaths of several of those around them. Finally the Baron is confronted by an enraged monster about to throw Victor's fiancée Elizabeth, from the castle parapet. 6. Впусти меня. Сага (I) (2010) 16 | 116 min | Drama, Fantasy, Horror. A bullied young boy befriends a young female vampire who lives in secrecy with her guardian. Votes: 114 912 | Gross: $12.13M. This 2010 American-British romantic horror film is a remake of the 2008 Swedish film Let the Right One In. PLOT - In Los Alamos, New Mexico, the twelve year-old Owen is a lonely and outcast boy bullied in school by Kenny and two other classmates; at home, Owen dreams of avenging himself against the trio of bullies. He befriends his twelve-year-old next door neighbor, Abby, who only appears during the night in the playground of their building. Meanwhile, Abby's father is a wanted serial-killer who drains the blood of his victims to supply Abby, who is actually an ancient vampire. Abby advises Owen to fight Kenny; however, soon he discovers that she is a vampire, and he feels fear and love for the girl. Meanwhile a police officer is investigating the murder cases, believing that it is a satanic cult. 7. Куотермасс и колодец (1967) 16 | 97 min | Horror, Mystery, Sci-Fi. A mysterious artifact is unearthed in London, and famous scientist Bernard Quatermass is called into to divine its origins and explain its strange effects on people. A British science fiction horror film from Hammer Film Productions - a sequel to the earlier Hammer films and Quatermass 2. Like its predecessors it is based on a BBC Television serial – . (Five Million Years to Earth - US) PLOT - Whilst digging a new subway line in London, a construction crew discovers first: a skeleton and then what they think is an old World War II German missile. Upon closer examination the "missile" appears to be not of this earth, asking the age old question, how we came to be on this planet? 8. Явление дьявола (1968) 16 | 96 min | Horror. Devil worshipers plan to convert two new victims. A film based on the 1934 novel of the same name by Dennis Wheatley and made on the insistence of Christopher Lee (Duc de Richleau). (The Devil's Bride - US) PLOT - In the countryside of England, the Duc de Richleau aka Nicholas welcomes his old friend Rex Van Ryn that has flown to meet him and Simon Aron, who is the son of an old friend of them that had passed away but charged them the task of watching the youngster. Nicholas and Rex unexpectedly visit Simon that is receiving twelve mysterious friends. Sooner Nicholas, who is proficient in black magic, learns that the guests are member of a satanic cult and Simon and his friend Tanith Carlisle will be baptized by the powerful leader Mocata to serve the devil. The two friends abduct Simon and Tanith expecting to save their souls but Mocata summons the Angel of Death and the Goat of Mendes to help him in a battle between the good and the forces of evil. 9. Собака Баскервилей (1959) 16 | 87 min | Horror, Mystery. When a nobleman is threatened by a family curse on his newly inherited estate, detective Sherlock Holmes is hired to investigate. Based on the classic novel of the same name by Sir Arthur Conan Doyle, It stars Peter Cushing (Sherlock Holmes), Christopher Lee (Sir Henry Baskerville) and André Morell (Doctor Watson). It is the first film adaptation of the novel to be filmed in colour and one of the most critically acclaimed films in Hammer Film Productions’ history. PLOT - Returning to his family's manor house on the lonely moors after his father dies under mysterious circumstances, Sir Henry Baskerville is confronted with the mystery of the supernatural hound that supposedly takes revenge upon the Baskerville family. The famous detective Sherlock Holmes and his assistant Dr. Watson are brought in to investigate. 10. Куотермасс 2 (1957) 18 | 85 min | Sci-Fi, Horror. Professor Quatermass, trying to gather support for his Lunar colonisation project, is intrigued by mysterious traces that have been showing up. Like its predecessor, it is based on the BBC Television serial Quatermass II written by Nigel Kneale. This was one of the first films (if not the very first) ever to use the number 2 as an indicator that it was the sequel to another film. (Enemy from Space - US) PLOT - Professor Quatermass, trying to gather support for Moon colonisation his project to colonize the Moon, is intrigued by the mysterious traces that have been showing up on his radar - meteorites crashing down?. Following them to the place where they should be landing he finds a destroyed village, a mysterious factory too close to his designs for the Moon colony for comfort, and some strange, aerodynamic objects containing a mysterious, -based gas that infects one of his assistants. Officially, the factory is producing synthetic food; but despite the veil of secrecy surrounding it Quatermass succeeds in finding out it harbours aliens with deadly designs on the Earth. 11. Параноик (1963) 16 | 80 min | Drama, Horror, Mystery. A man long believed dead returns to the family estate to claim his inheritance. Based loosely on the 1949 crime novel, Brat Farrar by Josephine Tey. The great Oliver Reed (Simon Ashby) leads with Janette Scott (Eleanor Ashby) from The Day of the Triffids. PLOT - Eleven years earlier, the wealthy Ashby family was shattered when Mr and Mrs Ashby died in an airplane crash and their grieving son Tony committed suicide. All that remains of the family is cruel Simon, an alcoholic in desperate need of funds, his mentally fragile sister Eleanor and his protective aunt Harriet. Simon is just weeks away from receiving his inheritance, but there is a hitch in his plans when the long believed dead Tony Ashby suddenly returns. 12. Месть Франкенштейна (1958) 16 | 90 min | Horror, Sci-Fi. Having escaped execution and assumed an alias, Baron Frankenstein transplants his deformed underling's brain into a perfect body, but the effectiveness of the process and the secret of his identity soon begin to unravel. The sequel to The Curse of Frankenstein, the studio's 1957 adaptation of Mary Shelley's novel Frankenstein. In 1958, the Daily Telegraph was so horrified by what they saw onscreen that they suggested the BBFC create a special new category for the film - "For Sadists Only". PLOT - Having escaped death by the guillotine, Dr. Frankenstein relocates to Carlsbruck. There, as Dr. Victor Stein, he successfully establishes himself as a physician with a large practice and a hospital for the poor. After three years however, he is recognized by Dr. Hans Kleve but rather than expose him, the young doctor wants to join him in his research. Frankenstein has resumed his experiments and is on the verge of re-animating a body he has constructed using the brain of Fritz, the deformed assistant who helped him escape from his death sentence. 13. Франкенштейн должен быть уничтожен (1969) 16 | 98 min | Drama, Horror, Sci-Fi. Baron Frankenstein, with the aid of a young doctor and his fiancée, kidnaps the mentally sick Dr. Brandt in order to perform the first brain transplant operation. Votes: 4 361 | Gross: $0.10M. The film is the fifth in a series of Hammer films centering on Dr. Frankenstein (Peter Cushing). Cushing deplored the inclusion of a controversial rape scene was added at the last minute, after shooting was nearly complete, because Hammer studio head Sir James Carreras thought the film "lacked sex". PLOT - Baron Frankenstein is once again working with illegal medical experiments. Together with a young doctor, Karl and his fiancée Anna, they kidnap the mentally sick Dr. Brandt, to perform the first brain transplantation ever. 14. Дыхательная трубка (1958) 16 | 90 min | Crime, Horror, Mystery. Although the police have termed her mother's death a suicide, a teenage girl believes her step-father murdered her. This is the last film ever made by child actress Mandy Miller (Candy Brown) - famous for singing Nellie the Elephant. PLOT - Paul Decker murders his wife in her Italian villa by drugging her milk and asphyxiating her by gas. He cleverly locks the bedroom from the inside and hides inside a trapdoor in the floor until after the body is discovered by servants. He uses a scuba snorkel connected to tubes on the outside to breathe during the ordeal. Decker's stepdaughter Candy suspects him immediately, especially since no suicide note was found. She also is convinced that he murdered her father years before, but her accusations fall on deaf ears. The ruthless Decker even poisons the family spaniel when the pet takes too great an interest in the mask and realizes he will ultimately have to get rid of Candy too. 15. Проклятые (1962) 16 | 87 min | Drama, Fantasy, Horror. An American tourist, a youth gang leader, and his troubled sister find themselves trapped in a top secret government facility experimenting on children. A Hammer Film production based on H.L. Lawrence's novel The Children of Light. English punk/Gothic band, The Damned took their name from this film. PLOT - The middle-aged American Simon Wells sails in his boat to Weymouth and stumbles with the twenty year-old Joan on the street. He believes that she is a prostitute but she is actually part of a scheme of a motorcycle gang to rob tourists. Simon is brutally beaten up by her brother King and his gang. The policemen find the wounded Simon and take him to a bar to recover, where he meets the military Bernard and his mistress Freya Neilson. On the next morning, Joan challenges King and meets Simon in his boat, and King and his gang hunts Simon down. Joan and Simon spend the night together in an isolated house and on the morning, they are located by the gang. They try to flee and stumble in a top-secret military facility managed by Bernard. They are helped by children and brought to their hideout in a cave. King falls in the sea while chasing the couple and is also helped by a boy and brought to the same place. Soon Joan finds that the children are cold as if they were dead. What is the secret of the children and the military staff? House of Horror: The Complete Hammer Films Story by Allen Eyles. Hooray! You've discovered a title that's missing from our library. Can you help donate a copy? If you own this book, you can mail it to our address below. You can also purchase this book from a vendor and ship it to our address: Better World Books Amazon More Bookshop.org. When you buy books using these links the Internet Archive may earn a small commission. Benefits of donating. 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