114-427: Terence Fisher (23 February 1904 – 18 June 1980) was a British film director best known for his work for Hammer Films . He was the first to bring gothic horror alive in full colour, and the sexual overtones and explicit horror in his films, while mild by modern standards, were unprecedented in his day. His first major gothic horror film was The Curse of Frankenstein (1957), which launched Hammer's association with
228-409: A 1955 adaptation of Nigel Kneale 's BBC Television science fiction serial The Quatermass Experiment , directed by Val Guest . As a consequence of the contract with Robert Lippert, American actor Brian Donlevy was imported for the lead role and the title was changed to The Quatermass Xperiment to cash in on the new X certificate for horror films. The film was unexpectedly popular, and led to
342-409: A 1955 adaptation of Nigel Kneale 's BBC Television science fiction serial The Quatermass Experiment , directed by Val Guest . As a consequence of the contract with Robert Lippert, American actor Brian Donlevy was imported for the lead role and the title was changed to The Quatermass Xperiment to cash in on the new X certificate for horror films. The film was unexpectedly popular, and led to
456-492: A film based on the present script and a revised script should be sent us for our comments, in which the overall unpleasantness should be mitigated. Regardless of the BBFC's stern warnings, Hinds supervised the shooting of an unchanged script. The film was directed by Terence Fisher, with a look that belied its modest budget. British TV star Peter Cushing portrayed Baron Victor Frankenstein , and supporting actor Christopher Lee
570-441: A film based on the present script and a revised script should be sent us for our comments, in which the overall unpleasantness should be mitigated. Regardless of the BBFC's stern warnings, Hinds supervised the shooting of an unchanged script. The film was directed by Terence Fisher, with a look that belied its modest budget. British TV star Peter Cushing portrayed Baron Victor Frankenstein , and supporting actor Christopher Lee
684-479: A half-hour pilot titled Tales of Frankenstein (1958) that was intended to premiere on American television; it was never picked up, but is now available on DVD. Anton Diffring took over Cushing's role of Baron Frankenstein. Eight sequels to Dracula were released between 1960 and 1974: Hammer Films Hammer Film Productions Ltd. is a British film production company based in London. Founded in 1934,
798-416: A one-year lease and began its 1951 production schedule with Cloudburst . The house, virtually derelict, required substantial work, but it did not have the construction restrictions that had prevented Hammer from customising previous homes. A decision was made to remodel Down Place into a substantial, custom-fitted studio complex that became known as Bray Studios . The expansive grounds were used for much of
912-416: A one-year lease and began its 1951 production schedule with Cloudburst . The house, virtually derelict, required substantial work, but it did not have the construction restrictions that had prevented Hammer from customising previous homes. A decision was made to remodel Down Place into a substantial, custom-fitted studio complex that became known as Bray Studios . The expansive grounds were used for much of
1026-628: A pair of road accidents resulted in lengthy periods of convalescence, Fisher returned to Hammer for the final time to make Frankenstein and the Monster from Hell (1974), which was to be his last film. A financial failure that was written off as being very much behind-the-times when it was first released, more recently the movie has been reappraised as a worthy and melancholic "last hurrah" for Fisher and Hammer's style of horror in general. After several years in retirement, Terence Fisher died in June 1980 at
1140-863: A personal favourite of the director, before Lippert used him once more for the black-and-white science fiction film The Earth Dies Screaming (1964), featuring American actor Willard Parker alongside Dennis Price and Fisher's close friend Thorley Walters . Fisher directed another science fiction film, Island of Terror (1966), for Planet Film Productions, which starred Cushing alongside Edward Judd . Back at Hammer he worked on further entries to their most famous franchises, with Lee, Barbara Shelley and Andrew Keir starring in Dracula: Prince of Darkness (1966), whilst Frankenstein Created Woman (1967) once again featured Cushing. Fisher, Cushing and Lee then worked together on Planet's Night of
1254-522: A revived Hammer Film Productions set to work on Death in High Heels , The Dark Road , and Crime Reporter . Not able to afford top stars, Hammer acquired the film rights to BBC radio series such as The Adventures of PC 49 and Dick Barton: Special Agent (an adaptation of the successful Dick Barton radio show). All were filmed at Marylebone Studios during 1947. During the production of Dick Barton Strikes Back (1948), it became apparent that
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#17327908900611368-463: A revived Hammer Film Productions set to work on Death in High Heels , The Dark Road , and Crime Reporter . Not able to afford top stars, Hammer acquired the film rights to BBC radio series such as The Adventures of PC 49 and Dick Barton: Special Agent (an adaptation of the successful Dick Barton radio show). All were filmed at Marylebone Studios during 1947. During the production of Dick Barton Strikes Back (1948), it became apparent that
1482-460: A science fiction story, with Howard Duff ; Blood Orange (1953), a crime film with Tom Conway ; Face the Music (1954) with Alex Nicol ; Murder by Proxy (1954) with Dane Clark ; and A Stranger Came Home (1954) with Paulette Goddard . He made Final Appointment (1954) outside Hammer with John Bentley then went back to Hammer for Mask of Dust (1954) with Richard Conte . He made
1596-417: A script for an adaptation of the novel Frankenstein . Although interested in the script, a.a.p. were not prepared to back a film made by Rosenberg and Subotsky, who had just one film to their credit. Eliot Hyman however, sent the script to his contact at Hammer. Rosenberg would often claim he 'produced' The Curse of Frankenstein , an exaggeration repeated in his obituary. Although the novel by Mary Shelley
1710-417: A script for an adaptation of the novel Frankenstein . Although interested in the script, a.a.p. were not prepared to back a film made by Rosenberg and Subotsky, who had just one film to their credit. Eliot Hyman however, sent the script to his contact at Hammer. Rosenberg would often claim he 'produced' The Curse of Frankenstein , an exaggeration repeated in his obituary. Although the novel by Mary Shelley
1824-546: A set design by Bernard Robinson that was radically different from the Universal adaptation; it was so radical, in fact, that Hammer executives considered paying him off and finding another designer. Dracula was an enormous success, breaking box-office records in the U.K., the U.S. (where it was released as Horror of Dracula ), Canada, and across the world. On 20 August 1958, the Daily Cinema reported: "Because of
1938-429: A set design by Bernard Robinson that was radically different from the Universal adaptation; it was so radical, in fact, that Hammer executives considered paying him off and finding another designer. Dracula was an enormous success, breaking box-office records in the U.K., the U.S. (where it was released as Horror of Dracula ), Canada, and across the world. On 20 August 1958, the Daily Cinema reported: "Because of
2052-482: Is DAY or NIGHT specified in a number of cases. The number of set-ups scripted is quite out of proportion to the length of the screenplay, and we suggest that your rewrites are done in master scene form. Further revisions were made to the script, and a working title of Frankenstein and the Monster was chosen. Plans were made to shoot the film in Eastmancolor ;– a decision which caused worry at
2166-414: Is DAY or NIGHT specified in a number of cases. The number of set-ups scripted is quite out of proportion to the length of the screenplay, and we suggest that your rewrites are done in master scene form. Further revisions were made to the script, and a working title of Frankenstein and the Monster was chosen. Plans were made to shoot the film in Eastmancolor – a decision which caused worry at
2280-769: Is keeping on and on in the same vein that makes this script so outrageous. They must take it away and prune. Before they take it away, however, I think the President [of the BBFC] should read it. I have a stronger stomach than the average (for viewing purposes) and perhaps I ought to be reacting more strongly. The scores for many Hammer horror films, including The Curse of Frankenstein and Dracula , were composed by James Bernard . Other Hammer musical personnel included Malcolm Williamson , John Hollingsworth , and Harry Robertson . Production designer Bernard Robinson and cinematographer Jack Asher were instrumental in creating
2394-661: Is keeping on and on in the same vein that makes this script so outrageous. They must take it away and prune. Before they take it away, however, I think the President [of the BBFC] should read it. I have a stronger stomach than the average (for viewing purposes) and perhaps I ought to be reacting more strongly. The scores for many Hammer horror films, including The Curse of Frankenstein and Dracula , were composed by James Bernard . Other Hammer musical personnel included Malcolm Williamson , John Hollingsworth , and Harry Robertson . Production designer Bernard Robinson and cinematographer Jack Asher were instrumental in creating
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#17327908900612508-565: Is only in recent years that Fisher has become recognised as an auteur in his own right. His most famous films are characterised by a blend of fairytale myth and the supernatural alongside themes of sexuality, morality, and "the charm of evil", often drawing heavily on a conservative Christian outlook. Fisher was born in Maida Vale , London. He left school aged 16 and served in the Merchant Navy for five years. He first broke into
2622-507: Is still alive but no one has invested in it for a long time." Since then, Hammer has produced several films, including Beyond the Rave (2008), Let Me In (2010), The Resident (2011), The Woman in Black (2012), The Quiet Ones (2014), and The Lodge (2019). In November 1934, William Hinds , a comedian and businessman, registered his film company, Hammer Productions Ltd. It
2736-404: Is still alive but no one has invested in it for a long time." Since then, Hammer has produced several films, including Beyond the Rave (2008), Let Me In (2010), The Resident (2011), The Woman in Black (2012), The Quiet Ones (2014), and The Lodge (2019). In November 1934, William Hinds , a comedian and businessman, registered his film company, Hammer Productions Ltd. It
2850-723: The ITV series on which he had previously worked with Fisher. Also featured in a supporting part was Oliver Reed shortly before Hammer cast him in the lead role of Fisher's The Curse of the Werewolf (1961). Then came The Phantom of the Opera (1962) starring Herbert Lom ; it was one of Hammer's most expensive films but proved a relative commercial letdown, and following its release Fisher did not work for Hammer again for over two years. German company CCC Film hired Fisher to make his first movie outside Hammer since 1957, Sherlock Holmes and
2964-739: The Mummy , which Hammer reintroduced to audiences by filming them in vivid colour for the first time. Hammer also produced science fiction , thrillers , film noir and comedies , as well as, in later years, television series . During its most successful years, Hammer dominated the horror film market, enjoying worldwide distribution and considerable financial success. This success was, in part, due to its distribution partnerships with American companies United Artists , Warner Bros. , Universal Pictures , Columbia Pictures , Paramount Pictures , 20th Century Studios , Metro-Goldwyn-Mayer , American International Pictures and Seven Arts Productions . During
3078-400: The horror film market, enjoying worldwide distribution and considerable financial success. This success was, in part, due to its distribution partnerships with American companies United Artists , Warner Bros. , Universal Pictures , Columbia Pictures , Paramount Pictures , 20th Century Studios , Metro-Goldwyn-Mayer , American International Pictures and Seven Arts Productions . During
3192-649: The title role with Lee and Dawn Addams in support, but it was one of the first Hammer horrors to perform disappointingly at the box office. However, Hammer didn't only assign him to gothic chillers; The Stranglers of Bombay (1959) was a different kind of horror, a tale of the thuggee cult in Imperial India starring Guy Rolfe and Allan Cuthbertson . Fisher had a change of pace when he directed Sword of Sherwood Forest (1960) for Hammer, with Richard Greene reprising his small screen role as Robin Hood from
3306-486: The 1950s Fisher also worked frequently in British television, directing episodes of series such as The Adventures of Robin Hood , Sword of Freedom and Dial 999 . Fisher's career changed direction permanently when Hammer asked him to direct The Curse of Frankenstein (1957), their first colour horror film. It was the company's most important project to date, and Fisher was hand-picked by Hammer management to helm
3420-487: The Association of Cinematograph Technicians blocked this proposal, and the company purchased the freehold of Down Place instead. The house was renamed Bray Studios after the nearby village of Bray , and it remained Hammer's principal base until 1966. In 1953, the first of Hammer's science fiction films, Four Sided Triangle and Spaceways , were released. Hammer's first significant experiment with horror came in
3534-427: The Association of Cinematograph Technicians blocked this proposal, and the company purchased the freehold of Down Place instead. The house was renamed Bray Studios after the nearby village of Bray , and it remained Hammer's principal base until 1966. In 1953, the first of Hammer's science fiction films, Four Sided Triangle and Spaceways , were released. Hammer's first significant experiment with horror came in
Terence Fisher - Misplaced Pages Continue
3648-542: The BBFC. Not only did the script contain horror and graphic violence, but it would be portrayed in vivid colour. The project was handed to Tony Hinds, who was less impressed with the script than Michael Carreras, and whose vision for the film was a simple black-and-white 'quickie' made in three weeks. Concerned that Subotsky and Rosenberg's script had too many similarities to the Universal films, Hinds commissioned Jimmy Sangster to rewrite it as The Curse of Frankenstein . Sangster's treatment impressed Hammer enough to rescue
3762-542: The BBFC. Not only did the script contain horror and graphic violence, but it would be portrayed in vivid colour. The project was handed to Tony Hinds, who was less impressed with the script than Michael Carreras, and whose vision for the film was a simple black-and-white 'quickie' made in three weeks. Concerned that Subotsky and Rosenberg's script had too many similarities to the Universal films, Hinds commissioned Jimmy Sangster to rewrite it as The Curse of Frankenstein . Sangster's treatment impressed Hammer enough to rescue
3876-692: The Big Heat (1967), adapted from a sci-fi story by John Lymington . For Hammer, Fisher and Lee next made The Devil Rides Out (1968), from the novel by Dennis Wheatley , which is now a very highly regarded genre classic, whilst Cushing starred in Frankenstein Must Be Destroyed (1969), which was conceived as a climax to the Frankenstein series; it was another favourite of Fisher's and stands up as one of his most suspenseful and exciting movies. After injuries sustained in
3990-445: The British film industry forced Hammer into bankruptcy , and the company went into liquidation in 1937. Exclusive survived and on 20 July 1937 purchased the leasehold on 113-117 Wardour Street and continued to distribute films made by other companies. James Carreras , Enrique's son, joined Exclusive in 1938, closely followed by William Hinds' son, Anthony. At the outbreak of World War II, James Carreras and Anthony Hinds left to join
4104-445: The British film industry forced Hammer into bankruptcy , and the company went into liquidation in 1937. Exclusive survived and on 20 July 1937 purchased the leasehold on 113-117 Wardour Street and continued to distribute films made by other companies. James Carreras , Enrique's son, joined Exclusive in 1938, closely followed by William Hinds' son, Anthony. At the outbreak of World War II, James Carreras and Anthony Hinds left to join
4218-490: The Deadly Necklace (1962), starring Lee as Holmes, but making the film was an unhappy experience for the director and it remains an obscurity. Lippert Pictures then employed Fisher for The Horror of It All (1963), a horror comedy starring Pat Boone , but it received poor reviews and was not a success. He finally worked for Hammer again when they reunited him with both Cushing and Lee for The Gorgon (1964),
4332-629: The Door (1949), What the Butler Saw (1950), The Lady Craved Excitement (1950). In 1950, Hammer moved again to Gilston Park, a country club in Harlow, Essex, which hosted The Black Widow , The Rossiter Case , To Have and to Hold and The Dark Light (all 1950). In 1951, Hammer began shooting at their most fondly-remembered base, Down Place, on the banks of the Thames. The company signed
4446-413: The Door (1949), What the Butler Saw (1950), The Lady Craved Excitement (1950). In 1950, Hammer moved again to Gilston Park, a country club in Harlow, Essex, which hosted The Black Widow , The Rossiter Case , To Have and to Hold and The Dark Light (all 1950). In 1951, Hammer began shooting at their most fondly-remembered base, Down Place, on the banks of the Thames. The company signed
4560-470: The Exclusive offices in 113-117 Wardour Street, and the building was rechristened "Hammer House". In August 1949, complaints from locals about noise during night filming forced Hammer to leave Dial Close and move into another mansion, Oakley Court , also on the banks of the Thames between Windsor and Maidenhead. Five films were produced there: Man in Black (1949), Room to Let (1949), Someone at
4674-413: The Exclusive offices in 113-117 Wardour Street, and the building was rechristened "Hammer House". In August 1949, complaints from locals about noise during night filming forced Hammer to leave Dial Close and move into another mansion, Oakley Court , also on the banks of the Thames between Windsor and Maidenhead. Five films were produced there: Man in Black (1949), Room to Let (1949), Someone at
Terence Fisher - Misplaced Pages Continue
4788-879: The Fair (1950) with Dirk Bogarde and Jean Simmons . Fisher returned to supporting features with Home to Danger (1951) for Eros Films . Fisher's first feature for Hammer Films was The Last Page (1951), one of a number of low budget thrillers that studio were then making, usually with an imported American star to appeal to the US market; The Last Page featured George Brent and Diana Dors . Hammer liked Fisher's work and kept him on for Wings of Danger (1952) with Zachary Scott , and Stolen Face (1952) with Paul Henreid and Lizabeth Scott . After making Distant Trumpet (1952) for Meridian Films, Fisher returned to Hammer for Mantrap (1953) with Henreid; Four Sided Triangle (1953) with Barbara Payton ; Spaceways (1953),
4902-454: The Frankenstein story, it re-tells the Baron's history in flashbacks that bear no resemblance to the two earlier Hammer Frankenstein films and it portrays the Baron with a very different personality, resulting in a film which permanently breaks the chronological continuity of the series. Each subsequent movie in the series contains elements that do not relate to (or flatly contradict) the events of
5016-402: The Frankenstein story, it re-tells the Baron's history in flashbacks that bear no resemblance to the two earlier Hammer Frankenstein films and it portrays the Baron with a very different personality, resulting in a film which permanently breaks the chronological continuity of the series. Each subsequent movie in the series contains elements that do not relate to (or flatly contradict) the events of
5130-639: The Night of the Fire (1939), Atlantic Ferry (1940), The Peterville Diamond (1941), and Flying Fortress (1942). Fisher did Tomorrow We Live (1943) and Candlelight in Algeria (1944) for British Aviation Films, They Met in the Dark (1943) for Marcel Hellman , The Dark Tower (1943) for Warners, and One Exciting Night (1944). Among his final films as editor were The Wicked Lady (1945), one of
5244-510: The U.S.) led to two sequels: There were also two Quatermass -style films: Six sequels to The Curse of Frankenstein were released between 1958 and 1974: All starred Peter Cushing as Baron Frankenstein, except The Horror of Frankenstein (which was not a sequel, but a tongue-in-cheek remake of The Curse of Frankenstein ), in which Ralph Bates took the title role. The Evil of Frankenstein stars Cushing but due to an agreement made with Universal to more closely pastiche their version of
5358-510: The U.S.) led to two sequels: There were also two Quatermass -style films: Six sequels to The Curse of Frankenstein were released between 1958 and 1974: All starred Peter Cushing as Baron Frankenstein, except The Horror of Frankenstein (which was not a sequel, but a tongue-in-cheek remake of The Curse of Frankenstein ), in which Ralph Bates took the title role. The Evil of Frankenstein stars Cushing but due to an agreement made with Universal to more closely pastiche their version of
5472-511: The age of 76. The following is a list of the theatrical films in which Terence Fisher received screen credit. Sources for this section include. Hammer Film Productions Hammer Film Productions Ltd. is a British film production company based in London. Founded in 1934, the company is best known for a series of Gothic horror and fantasy films made from the mid-1950s until the 1970s. Many of these involve classic horror characters such as Baron Victor Frankenstein , Count Dracula , and
5586-527: The agreement in place, Hammer's executives had their pick of Universal International's horror icons and chose to remake The Invisible Man , The Phantom of the Opera , and The Mummy's Hand . All were to be filmed in colour at Bray Studios, by the same team responsible for The Curse of Frankenstein and Dracula . The Mummy (the title used for the remake of The Mummy's Hand , which also incorporated significant story elements from that film's first two sequels, The Mummy's Tomb and The Mummy's Ghost )
5700-527: The agreement in place, Hammer's executives had their pick of Universal International's horror icons and chose to remake The Invisible Man , The Phantom of the Opera , and The Mummy's Hand . All were to be filmed in colour at Bray Studios, by the same team responsible for The Curse of Frankenstein and Dracula . The Mummy (the title used for the remake of The Mummy's Hand , which also incorporated significant story elements from that film's first two sequels, The Mummy's Tomb and The Mummy's Ghost )
5814-412: The armed forces and Exclusive continued to operate in a limited capacity. In 1946, James Carreras rejoined the company after demobilisation . He resurrected Hammer as the film production arm of Exclusive with a view to supplying ' quota-quickies ', cheaply made domestic films designed to fill gaps in cinema schedules and support more expensive features. He convinced Anthony Hinds to rejoin the company, and
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#17327908900615928-412: The armed forces and Exclusive continued to operate in a limited capacity. In 1946, James Carreras rejoined the company after demobilisation . He resurrected Hammer as the film production arm of Exclusive with a view to supplying ' quota-quickies ', cheaply made domestic films designed to fill gaps in cinema schedules and support more expensive features. He convinced Anthony Hinds to rejoin the company, and
6042-508: The celebrated credits sequence – blood being spattered from off-screen over the Count's coffin". The film magazine Empire ranked Lee's portrayal as Dracula the 7th Greatest Horror Movie Character of All Time. 1960 saw the release of the first in a long line of sequels, The Brides of Dracula , with Cushing returning to the role of Van Helsing, though Lee did not play Dracula again until Dracula: Prince of Darkness , released in 1966. With
6156-456: The celebrated credits sequence – blood being spattered from off-screen over the Count's coffin". The film magazine Empire ranked Lee's portrayal as Dracula the 7th Greatest Horror Movie Character of All Time. 1960 saw the release of the first in a long line of sequels, The Brides of Dracula , with Cushing returning to the role of Van Helsing, though Lee did not play Dracula again until Dracula: Prince of Darkness , released in 1966. With
6270-479: The comedy Children Galore (1955) and the Final Appointment sequel Stolen Assignment (1955). Next came another movie with Bentley, The Flaw (1955) before he made two crime films, The Gelignite Gang (1956) and The Last Man to Hang? (1956). He was hired by Tempean Films to make a final crime thriller with an imported American star, Kill Me Tomorrow (1957) with Pat O'Brien . During
6384-590: The company could save money by shooting in country houses instead of studios. For the next production, Dr Morelle – The Case of the Missing Heiress (another radio adaptation), Hammer rented Dial Close, a 23 bedroom mansion beside the River Thames , at Cookham Dean , Maidenhead . On 12 February 1949, Exclusive registered "Hammer Film Productions" as a company with Enrique and James Carreras, and William and Tony Hinds as directors. Hammer moved into
6498-465: The company could save money by shooting in country houses instead of studios. For the next production, Dr Morelle – The Case of the Missing Heiress (another radio adaptation), Hammer rented Dial Close, a 23 bedroom mansion beside the River Thames , at Cookham Dean , Maidenhead . On 12 February 1949, Exclusive registered "Hammer Film Productions" as a company with Enrique and James Carreras, and William and Tony Hinds as directors. Hammer moved into
6612-510: The company is best known for a series of Gothic horror and fantasy films made from the mid-1950s until the 1970s. Many of these involve classic horror characters such as Baron Victor Frankenstein , Count Dracula , and the Mummy , which Hammer reintroduced to audiences by filming them in vivid colour for the first time. Hammer also produced science fiction , thrillers , film noir and comedies , as well as, in later years, television series . During its most successful years, Hammer dominated
6726-501: The fantastic business done world-wide by Hammer's Technicolor version of Dracula , Universal-International, its distributors, have made over to Jimmy Carreras' organisation, the remake rights to their entire library of classic films." Establishing the fanged vampire in popular culture , Lee also introduced a dark, brooding sexuality to the character. The academic Christopher Frayling writes, “ Dracula introduced fangs, red contact lenses, décolletage, ready-prepared wooden stakes and – in
6840-501: The fantastic business done world-wide by Hammer's Technicolor version of Dracula , Universal-International, its distributors, have made over to Jimmy Carreras' organisation, the remake rights to their entire library of classic films." Establishing the fanged vampire in popular culture , Lee also introduced a dark, brooding sexuality to the character. The academic Christopher Frayling writes, “ Dracula introduced fangs, red contact lenses, décolletage, ready-prepared wooden stakes and – in
6954-532: The film as he had a reputation for reliability. Working from a script by Jimmy Sangster that re-imagined the lengthy original novel as a gruesome, morally ambiguous chamber piece, the film saw British TV star Peter Cushing cast as Baron Victor Frankenstein whilst the then little-known supporting actor Christopher Lee portrayed the Creature . It was a handsome-looking, quality production and an international box office smash; alarming British critics and raising
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#17327908900617068-433: The film from the 'quickie' treadmill and to produce it as a colour film. Sangster submitted his script to the BBFC for examination. Audrey Field reported on 10 October 1956: We are concerned about the flavour of this script, which, in its preoccupation with horror and gruesome detail, goes far beyond what we are accustomed to allow even for the 'X' category. I am afraid we can give no assurance that we should be able to pass
7182-433: The film from the 'quickie' treadmill and to produce it as a colour film. Sangster submitted his script to the BBFC for examination. Audrey Field reported on 10 October 1956: We are concerned about the flavour of this script, which, in its preoccupation with horror and gruesome detail, goes far beyond what we are accustomed to allow even for the 'X' category. I am afraid we can give no assurance that we should be able to pass
7296-569: The film industry as a clapper boy at Lime Grove Studios in Shepherd's Bush in 1933. Fisher did his first work as an assistant editor in 1934. At Gainsborough Pictures he received his first editor credit on Tudor Rose (1936). Following this came Jack of All Trades (1936) for Robert Stevenson , and Where There's a Will (1936) and Windbag the Sailor (1936) for William Beaudine . At Warner Bros he edited Mr. Satan (1938), On
7410-418: The genre and made British actors Peter Cushing and Christopher Lee leading horror stars of the era. He went on to film several adaptations of classic horror subjects, including Dracula (1958), The Mummy (1959), and The Curse of the Werewolf (1961). Given their subject matter and lurid approach, Fisher's films, though commercially successful, were largely dismissed by critics during his career. It
7524-459: The gravest misgivings about treatment. [...] The curse of this thing is the Technicolor blood: why need vampires be messier eaters than anyone else? Certainly strong cautions will be necessary on shots of blood. And of course, some of the stake-work is prohibitive." Despite the success of The Curse of Frankenstein , the financing of Dracula proved awkward. Universal was not interested, and
7638-399: The gravest misgivings about treatment. [...] The curse of this thing is the Technicolor blood: why need vampires be messier eaters than anyone else? Certainly strong cautions will be necessary on shots of blood. And of course, some of the stake-work is prohibitive." Despite the success of The Curse of Frankenstein , the financing of Dracula proved awkward. Universal was not interested, and
7752-545: The inevitable desire for a sequel in The Revenge of Frankenstein , and an attempt to give the Hammer treatment to another horror icon. Dracula had been a successful film character for Universal in the past, and the copyright situation was more complicated than for Frankenstein. A legal agreement between Hammer and Universal was not completed until 31 March 1958 – after the film had been shot – and
7866-434: The inevitable desire for a sequel in The Revenge of Frankenstein , and an attempt to give the Hammer treatment to another horror icon. Dracula had been a successful film character for Universal in the past, and the copyright situation was more complicated than for Frankenstein. A legal agreement between Hammer and Universal was not completed until 31 March 1958 – after the film had been shot – and
7980-551: The issue of who exactly funded Dracula is still not entirely clear (see Barnett, 'Hammering out a Deal: The Contractual and Commercial Contexts of The Curse of Frankenstein (1957) and Dracula (1958)’, Historical Journal of Film, Radio and Television , published online 19 November 2013). With a final budget of £81,412, Dracula began principal photography on 11 November 1957. Peter Cushing again had top-billing, this time as Doctor Van Helsing , whilst Christopher Lee starred as Count Dracula , with direction by Terence Fisher and
8094-551: The issue of who exactly funded Dracula is still not entirely clear (see Barnett, 'Hammering out a Deal: The Contractual and Commercial Contexts of The Curse of Frankenstein (1957) and Dracula (1958)’, Historical Journal of Film, Radio and Television , published online 19 November 2013). With a final budget of £81,412, Dracula began principal photography on 11 November 1957. Peter Cushing again had top-billing, this time as Doctor Van Helsing , whilst Christopher Lee starred as Count Dracula , with direction by Terence Fisher and
8208-513: The late 1960s and 1970s, the saturation of the horror film market by competitors and the loss of American funding forced changes to the previously lucrative Hammer formula with varying degrees of success. The company eventually ceased production in the mid-1980s. In 2000, the studio was bought by a consortium including advertising executive and art collector Charles Saatchi and publishing millionaires Neil Mendoza and William Sieghart . The company announced plans to begin making films again, but none
8322-513: The late 1960s and 1970s, the saturation of the horror film market by competitors and the loss of American funding forced changes to the previously lucrative Hammer formula with varying degrees of success. The company eventually ceased production in the mid-1980s. In 2000, the studio was bought by a consortium including advertising executive and art collector Charles Saatchi and publishing millionaires Neil Mendoza and William Sieghart . The company announced plans to begin making films again, but none
8436-560: The later location shooting in Hammer's films and are a key to the 'Hammer look'. Also in 1951, Hammer and Exclusive signed a four-year production and distribution contract with Robert Lippert , an American film producer. The contract meant that Lippert Pictures and Exclusive effectively exchanged products for distribution on their respective sides of the Atlantic – beginning in 1951 with The Last Page and ending with 1955's Women Without Men (a.k.a. Prison Story ). It
8550-505: The later location shooting in Hammer's films and are a key to the 'Hammer look'. Also in 1951, Hammer and Exclusive signed a four-year production and distribution contract with Robert Lippert , an American film producer. The contract meant that Lippert Pictures and Exclusive effectively exchanged products for distribution on their respective sides of the Atlantic – beginning in 1951 with The Last Page and ending with 1955's Women Without Men (a.k.a. Prison Story ). It
8664-697: The lavish look of the early Hammer films, usually on a very restricted budget. Hammer's horror films featured many actors who appeared repeatedly in a number of movies, forming an informal "Hammer repertory company". As production began on Quatermass 2 , Hammer started to look for another U.S. partner willing to invest in and handle the American promotion of new product. They eventually entered talks with Associated Artists Productions (a.a.p.) and head, Eliot Hyman . During this period, two young American filmmakers, Max J. Rosenberg and Milton Subotsky , who later established Hammer's rival Amicus , submitted to a.a.p.
8778-641: The lavish look of the early Hammer films, usually on a very restricted budget. Hammer's horror films featured many actors who appeared repeatedly in a number of movies, forming an informal "Hammer repertory company". As production began on Quatermass 2 , Hammer started to look for another U.S. partner willing to invest in and handle the American promotion of new product. They eventually entered talks with Associated Artists Productions (a.a.p.) and head, Eliot Hyman . During this period, two young American filmmakers, Max J. Rosenberg and Milton Subotsky , who later established Hammer's rival Amicus , submitted to a.a.p.
8892-646: The most popular British films of the time, and Master of Bankdam (1947). Fisher's first film as director was A Song for Tomorrow (1948), a second feature for Highbury Productions. For the same company he did Colonel Bogey (1948) and To the Public Danger (1948). These were low budget films, though Fisher moved over to Gainsborough for more prestigious movies: Portrait from Life (1948) with Mai Zetterling ; Marry Me! (1949) with Derek Bond ; The Astonished Heart (1950) with Noël Coward (replacing Michael Redgrave during filming); So Long at
9006-542: The movie that went before, whilst the characteristics of Cushing's Baron vary wildly from film to film, resulting in a series that does not progress as a self-contained narrative cycle. David Prowse was the only actor to star as the creature twice in the Hammer Frankenstein series; he reprised the role from The Horror of Frankenstein in Frankenstein and the Monster from Hell . Hammer also produced
9120-411: The movie that went before, whilst the characteristics of Cushing's Baron vary wildly from film to film, resulting in a series that does not progress as a self-contained narrative cycle. David Prowse was the only actor to star as the creature twice in the Hammer Frankenstein series; he reprised the role from The Horror of Frankenstein in Frankenstein and the Monster from Hell . Hammer also produced
9234-519: The popular 1957 sequel Quatermass 2 – again adapted from one of Kneale's television scripts, this time by Kneale and with a budget double that of the original: £92,000. In the meantime, Hammer produced another Quatermass -style horror film, X the Unknown , originally intended as part of the series until Kneale denied them permission to use his characters (the writer is known to have disliked Donlevy's performance as Quatermass). At
9348-464: The popular 1957 sequel Quatermass 2 – again adapted from one of Kneale's television scripts, this time by Kneale and with a budget double that of the original: £92,000. In the meantime, Hammer produced another Quatermass -style horror film, X the Unknown , originally intended as part of the series until Kneale denied them permission to use his characters (the writer is known to have disliked Donlevy's performance as Quatermass). At
9462-616: The rest of his career, Fisher worked almost exclusively within the horror genre. The Hound of the Baskervilles (1959), with Cushing, Lee, and André Morell was an adaptation of the famous Sherlock Holmes novel given a horror slant, whilst Cushing and Lee also starred in The Mummy (1959), a pastiche of the Universal Mummy movies of the 1940s. The Revenge of Frankenstein (1958), with Cushing and Francis Matthews ,
9576-447: The screenplay minimised both the geographical settings and the number of characters, and the result was a compact, atmospheric and action-packed chiller in which Lee portrayed the figure of the vampire Count Dracula as having an animalistic sexuality that had never before been presented on screen. It is today regarded as a trailblazer in the horror film genre, the archetypal Hammer film, and the greatest of Fisher's directorial efforts. For
9690-579: The search for money eventually brought Hammer back to a.a.p.'s Eliot Hyman, through another of his companies, Seven Arts (which later merged with Warner Bros. , now the successor-in-interest to a.a.p. ). Although an agreement was drawn up, it is alleged that the deal was never realised and funding for Dracula eventually came from the National Film Finance Council ( £ 33,000) and the rest from Universal in return for worldwide distribution rights. However, recent research suggests that
9804-495: The search for money eventually brought Hammer back to a.a.p.'s Eliot Hyman, through another of his companies, Seven Arts (which later merged with Warner Bros. , now the successor-in-interest to a.a.p. ). Although an agreement was drawn up, it is alleged that the deal was never realised and funding for Dracula eventually came from the National Film Finance Council ( £ 33,000) and the rest from Universal in return for worldwide distribution rights. However, recent research suggests that
9918-441: The standard for what was acceptable in terms of on-screen violence and gore, the film established Hammer as a leading brand name in the British film industry. Hammer had even more financial success with Fisher's second gothic horror film Dracula (1958), starring Lee in the title role and Cushing as his adversary Doctor Van Helsing . Once again reducing the scope of its source novel in line with Hammer's budgetary constraints,
10032-534: The story of Henry Henry, an unemployed London street musician, and the title was a "playful tribute" to Alexander Korda 's The Private Life of Henry VIII which was Britain's first Academy Award for Best Picture nominee in 1934. During this time Hinds met Spanish émigré Enrique Carreras, a former cinema owner, and on 10 May 1935 they formed the film distribution company Exclusive Films, operating from an office at 60-66 National House, Wardour Street . Hammer produced four films distributed by Exclusive: A slump in
10146-534: The story of Henry Henry, an unemployed London street musician, and the title was a "playful tribute" to Alexander Korda 's The Private Life of Henry VIII which was Britain's first Academy Award for Best Picture nominee in 1934. During this time Hinds met Spanish émigré Enrique Carreras, a former cinema owner, and on 10 May 1935 they formed the film distribution company Exclusive Films, operating from an office at 60-66 National House, Wardour Street . Hammer produced four films distributed by Exclusive: A slump in
10260-606: The time, Hammer voluntarily submitted scripts to the British Board of Film Censors (BBFC) for comment before production. Regarding the script of X the Unknown , one reader/examiner (Audrey Field) commented on 24 November: Well, no one can say the customers won't have had their money's worth by now. In fact, someone will almost certainly have been sick. We must have a great deal more restraint, and much more done by onlookers' reactions instead of by shots of 'pulsating obscenity', hideous scars, hideous sightless faces, etc, etc. It
10374-544: The time, Hammer voluntarily submitted scripts to the British Board of Film Censors (BBFC) for comment before production. Regarding the script of X the Unknown , one reader/examiner (Audrey Field) commented on 24 November: Well, no one can say the customers won't have had their money's worth by now. In fact, someone will almost certainly have been sick. We must have a great deal more restraint, and much more done by onlookers' reactions instead of by shots of 'pulsating obscenity', hideous scars, hideous sightless faces, etc, etc. It
10488-408: The winding-down of the parent film distribution company Exclusive, leaving Hammer to concentrate on filmmaking. Work continued on the script for Dracula , and the second draft was submitted to the BBFC. Audrey Field commented on 8 October 1957: "The uncouth, uneducated, disgusting and vulgar style of Mr Jimmy Sangster cannot quite obscure the remnants of a good horror story, though they do give one
10602-408: The winding-down of the parent film distribution company Exclusive, leaving Hammer to concentrate on filmmaking. Work continued on the script for Dracula , and the second draft was submitted to the BBFC. Audrey Field commented on 8 October 1957: "The uncouth, uneducated, disgusting and vulgar style of Mr Jimmy Sangster cannot quite obscure the remnants of a good horror story, though they do give one
10716-448: Was 80 pages long. Meanwhile, the financial arrangement between a.a.p. and Hammer had broken down when money promised by a.a.p. had not arrived. Hammer began looking for alternatives, and with the success of The Curse of Frankenstein signed with Columbia Pictures to distribute The Revenge of Frankenstein and two films from the defaulted a.a.p. deal, The Camp on Blood Island and The Snorkel . Hammer's financial success also meant
10830-448: Was 80 pages long. Meanwhile, the financial arrangement between a.a.p. and Hammer had broken down when money promised by a.a.p. had not arrived. Hammer began looking for alternatives, and with the success of The Curse of Frankenstein signed with Columbia Pictures to distribute The Revenge of Frankenstein and two films from the defaulted a.a.p. deal, The Camp on Blood Island and The Snorkel . Hammer's financial success also meant
10944-542: Was Lippert's insistence on an American star in the Hammer films he was to distribute that led to the prevalence of American leads in many of the company's productions during the 1950s. It was for The Last Page that Hammer made a significant appointment when they hired film director Terence Fisher , who played a critical role in the forthcoming horror cycle. Towards the end of 1951, the one-year lease on Down Place expired, and with its growing success Hammer looked towards more conventional studio-based productions. A dispute with
11058-542: Was Lippert's insistence on an American star in the Hammer films he was to distribute that led to the prevalence of American leads in many of the company's productions during the 1950s. It was for The Last Page that Hammer made a significant appointment when they hired film director Terence Fisher , who played a critical role in the forthcoming horror cycle. Towards the end of 1951, the one-year lease on Down Place expired, and with its growing success Hammer looked towards more conventional studio-based productions. A dispute with
11172-508: Was a successful sequel to The Curse of Frankenstein , whilst The Man Who Could Cheat Death (1959) was a remake of The Man in Half Moon Street (1945), and featured Lee in a more heroic role than usual, opposite Anton Diffring . Fisher directed another hit sequel, The Brides of Dracula (1960) starring Cushing, Freda Jackson , Martita Hunt and David Peel , whilst The Two Faces of Dr. Jekyll (1960) had Paul Massie in
11286-638: Was bright red, and the camera lingered on it. The film was an enormous success, not only in Great Britain, but also in the U.S., where it inspired numerous imitations from, amongst others, Roger Corman and American International Pictures (with their series largely based on Edgar Allan Poe – the so-called "Poe Cycle"). It found success on the European continent also, where Italian directors and audiences were particularly receptive. The huge box office success of The Curse of Frankenstein led to
11400-520: Was bright red, and the camera lingered on it. The film was an enormous success, not only in Great Britain, but also in the U.S., where it inspired numerous imitations from, amongst others, Roger Corman and American International Pictures (with their series largely based on Edgar Allan Poe – the so-called "Poe Cycle"). It found success on the European continent also, where Italian directors and audiences were particularly receptive. The huge box office success of The Curse of Frankenstein led to
11514-425: Was cast as the imposingly tall, brutish Creature . With a budget of £65,000 and a cast and crew that would become the backbone of later films, Hammer's first Gothic horror went into production. The use of colour encouraged a previously unseen level of gore. Until The Curse of Frankenstein , horror films had not shown blood in a graphic way, or when they did, it was concealed by monochrome photography. In this film, it
11628-425: Was cast as the imposingly tall, brutish Creature . With a budget of £65,000 and a cast and crew that would become the backbone of later films, Hammer's first Gothic horror went into production. The use of colour encouraged a previously unseen level of gore. Until The Curse of Frankenstein , horror films had not shown blood in a graphic way, or when they did, it was concealed by monochrome photography. In this film, it
11742-614: Was directed by Terence Fisher from a screenplay from Jimmy Sangster. The Mummy went into general release on 23 October 1959 and broke the box-office records set by Dracula the previous year, both in Great Britain and the U.S. when it was released there in December. Hammer consolidated their success by turning their most successful films into series. This was a practice they had making Dick Barton movies which they continued to their horror movies and other genres. The success of The Quatermass Xperiment (1955; The Creeping Unknown in
11856-558: Was directed by Terence Fisher from a screenplay from Jimmy Sangster. The Mummy went into general release on 23 October 1959 and broke the box-office records set by Dracula the previous year, both in Great Britain and the U.S. when it was released there in December. Hammer consolidated their success by turning their most successful films into series. This was a practice they had making Dick Barton movies which they continued to their horror movies and other genres. The success of The Quatermass Xperiment (1955; The Creeping Unknown in
11970-514: Was housed in a three-room office suite at Imperial House, Regent Street , London. The company name came from Hinds' stage name, Will Hammer, which he had taken from the area of London in which he lived, Hammersmith . Work began almost immediately on the first film, a now lost comedy, The Public Life of Henry the Ninth at the MGM/ATP studios. Filming concluded on 2 January 1935. The film tells
12084-407: Was housed in a three-room office suite at Imperial House, Regent Street , London. The company name came from Hinds' stage name, Will Hammer, which he had taken from the area of London in which he lived, Hammersmith . Work began almost immediately on the first film, a now lost comedy, The Public Life of Henry the Ninth at the MGM/ATP studios. Filming concluded on 2 January 1935. The film tells
12198-423: Was long since in the public domain , Anthony Hinds was unsure about the story, as Subotsky's script adhered closely to the plot of the 1939 Universal film Son of Frankenstein , featuring a second-generation Baron Frankenstein emulating his father, the original monster-maker. This put the project at risk of a copyright infringement lawsuit by Universal. In addition a great deal of polishing and additional material
12312-423: Was long since in the public domain , Anthony Hinds was unsure about the story, as Subotsky's script adhered closely to the plot of the 1939 Universal film Son of Frankenstein , featuring a second-generation Baron Frankenstein emulating his father, the original monster-maker. This put the project at risk of a copyright infringement lawsuit by Universal. In addition a great deal of polishing and additional material
12426-453: Was made in 1959, The Phantom of the Opera followed in 1962, and Hammer collaborated with William Castle on a remake of The Old Dark House in 1963. The Invisible Man was never produced. Principal photography for The Mummy began on 23 February 1959 and lasted until 16 April 1959. Once again it starred both Peter Cushing (as John Banning) and Christopher Lee (as Kharis the Mummy), and
12540-401: Was made in 1959, The Phantom of the Opera followed in 1962, and Hammer collaborated with William Castle on a remake of The Old Dark House in 1963. The Invisible Man was never produced. Principal photography for The Mummy began on 23 February 1959 and lasted until 16 April 1959. Once again it starred both Peter Cushing (as John Banning) and Christopher Lee (as Kharis the Mummy), and
12654-414: Was needed, as the short script had an estimated running time of just 55 minutes, far less than the minimum of 90 minutes needed for distribution in the U.K. Accordingly, comments on the script from Hammer's Michael Carreras (who had joined his father James as producer in the early 1950s) were less than complimentary: The script is badly presented. The sets are not marked clearly on the shot headings, neither
12768-414: Was needed, as the short script had an estimated running time of just 55 minutes, far less than the minimum of 90 minutes needed for distribution in the U.K. Accordingly, comments on the script from Hammer's Michael Carreras (who had joined his father James as producer in the early 1950s) were less than complimentary: The script is badly presented. The sets are not marked clearly on the shot headings, neither
12882-447: Was produced. In May 2007, the company name was sold to a consortium headed by Dutch media tycoon John de Mol , who announced plans to spend some $ 50 million (£25m) on new horror films. The new organization acquired the Hammer group's film library of 295 pictures. Simon Oakes , who took over as CEO of the new Hammer, said, "Hammer is a great British brand—we intend to take it back into production and develop its global potential. The brand
12996-447: Was produced. In May 2007, the company name was sold to a consortium headed by Dutch media tycoon John de Mol , who announced plans to spend some $ 50 million (£25m) on new horror films. The new organization acquired the Hammer group's film library of 295 pictures. Simon Oakes , who took over as CEO of the new Hammer, said, "Hammer is a great British brand—we intend to take it back into production and develop its global potential. The brand
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