Cinefantastique V02n04 Summer (1973).pdf

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PUBLISHER

Frederick

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CORRESPONDENTS Davm Bumolomew (New York)

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Jeu_c‘a“de Muot (pans)

Dan R‘ scappemm (New York)

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PARALLEL WORLDS or JACQUES "rounmzun tiyiaiiiiii u¢CEiy'T6 John McCarty provides an analysis oi the thematic interests oi director Jacques Toitrneur and ptitlits iiut the sigmllrunt inllucircc on his stylt‘ and directing technique caused by tiie lilmwork oi his lather. Maurice. lii discussuiy: Tuurneur s CURSE OF THE DEMON, the‘ author attams to __ssscss_ fl}:u_ni_t1ui-‘s C0llll‘Vll_)}l\lDIl tritilr1_1lLl_l.._ewto|_i£lassics o_l the early forties. 1-in-;

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Baird Sc-arles Joel E Siege]

Peter Nicholson

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CINEFANTASTIQUE is piibiiriira qiimrriy at 7470 W. Diversey, Elmwood Park. ll1inois 50635. Single copies ordered lrnni the piblisher are $2. Subscripions: unc your (4 issues) $4. two years (8 issues) S7. three years (12 issues) $10. Foreign sul>scriptions (including Canada and Mcxiru): one year $6, two years S10. 50. ilircc years $15. payable by Intt-rn;itnin;i1 Postal Money Order or a chock drawn in U.S. Iitnds on any American hank. Contributions cl art, articles. Pltolns and rrriews are heartily encouraged but not paid tor. On substantial projects. u (S(‘\ISSltIll in advance will olten saw Wiisld lll\lt' and eitort. Contributors rt-relrn ;i iiiinniiuni ol lhrct copies iii nii- lS5t|(‘ i-iiiiiiiiiiiiiii iiirtr work on publlcatiiin. Display iirlrcriising rates and specillrntiiiiis iin l'l‘(|\l(-‘Si. For classied advertisini: l‘llll'S and iniiii-niation see page -l'i‘. A|ipli:~uti
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AWKNOWLEDGEMENTS: Academy Pic— titres Coip. Amicits Produ C\ ions Ltd (Joy lielman. Lily Poyser). Aspekt Film Ab (Calvin Floyd). Mark Frank, Hammer Films (Jean Garioch). Dennis Johnson. M-G-M. Pilgrim Productions. Dennison Thornton, Whitney Museam ol American

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‘riTE‘AiliicU§‘i‘:MPiR's W ' ' ’' ' _ iciiigiifi Chris Knight interviews Milton Suiiiitsky. screenwriter and production chief oi Amicul Productions Ltd. one oi the world's leading producers ul quality horror iilms, and reports on the filming of two [l>l‘l|lt‘ttllllIl}1 lratures. --AND NOW THE SCREAMING STARTS! and VAULT OF HORROR. s\lt)l!t5|i:y_§!l])WS an ititt_'l‘c_st and_eiithlsi;is_ni [Ql:_gi_lI£ lihiis that is exciting and refreshing.

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Gary Alan Aspenberg Lee M. Kaplan John McCarty Mike Pitts

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capsule comments on current releases

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by Jean—C1aude Morlot 38 annual report on the Spanish horror lilrn lest. the filth to lie near Barcelona. Sounds like a neat vacation; gig!

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' Baird Searles on hooksoi interest 38

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Jean-Claude

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FRANKENSTEIN AND THE MONSTER FROM HELL by Chris Knight 40 Chris Knight discovers that Hammer Films is returning to their traditional gothic approach to Iinrrui-_ L and hgyirecmpgyed thc old master. Terence Fisher, to do it. Welcome hack, Terry!

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i;i:'ci:N'i> or HELL HOUSE . by Chris itiiigm Chris Kniclit reports on the filming oi Richard Matheson's novel and interviews director John l-luugh ujhg_r_t-gards the lilni as hisggnal statement on the occult. it looks \'_8l'L]7l"Ol\'lllll'l$.

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Dale Wimigura spends lour days in the lite oi a Hollywood extra and lives to tell the tale, not to mention rnvid lilm notes on the iortliroinin Rit hard Fleischer science llction film. .

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iiii Bi’/iiU@UU§ Eilllii Chris Knight interviews Milton Subotsky,

screenwriter and production chief of Amicus Pictures, one of the world's leading producers of quoly horror films. 0m-

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nuns vihirli t-ninnmi lhi- ;il\l'\IlII\ iii laiiililsy iilni liivvrs lliriiugliiiul thr world. TiI('S\‘ I|il\\5 ll\\‘I\1d~' DR. TERROR'S |w;\|'i-d

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NOISE OF HORRORS. TORTURE GARDEN. THE SKULL. THE HOUSE TIIAT DRIPPED BLOOD l'\'l'l-|\ll)' ,\s\'i.ui.i nini llw l'XIl‘L*II\(‘|)‘ nnu lurr §\1l'k'1'§5Illi TALES FROM THE CRYPT. Th:-5|‘ t'X\'Ul‘5lul\:i Hill? th(' \A‘Itl‘I\.i nr llui In-\l‘i\br9 Wl'|‘l~ brought in min» SL'l'\'t'l\ \Ill'ii\ig|\ llit‘ |'nl1l'I\~5)'i1I

Alm\'u:~' PrriduL‘\|ul\5. .\ Crin\|1;lny livrldi-cl by [Wu Ann-r\L':\|i:i. Min 4]. Rii$r'lilil'|'i;, Will! S|)('n(.i$ mlisl U‘ his inn» ||\ Ann-i-n-.i .\rI‘i\.l\i!il\|1 iin- Iltikllulnii ui llil‘ ]il¢'lu|'l-5, ;\ll(l Mlilrili Suliiilsky. l!i(' nnnn III iimctiiciinii iii Eriiglumt. iiliu lizis il\'l'd lwrc siiico I959. Pl'l"IIi.\])§ tho niiisl |\l|'u|\i; (‘List nnii nn-.
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Tin» t».nnp.iny'.~ i>n>-.- .,r ii|)\'l'.\lltil‘lS I11 I-Iriglzind lti :\l S|l('p1wrlIil\ snninis \\I\i‘i'i Milhm Sulintsky m;Hi|l.ii|\5 his li|'ii\\'n pmlili-ti nirn-1-. on.» DI SLY <‘li;il(-ls. Llii i(i('l\lIl'i\i. il is k'i\1$|l'l‘\'(I IIt‘I\\'('Pl\ lwii

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l\'|l']i|iriill-S lwzitly shirki-rl I\\IlI(Il"l'Li:€ .iI\(i liumlrvds iii Iiuoks. |!\.\\1illll\(‘.\’, 11;i]>i-rlintks. nnri hard \'l'. ILlllI;\S)' and st-nnn-v iirliuli. Thr /\lI\l\'U5 slur)‘ i-nniiy lmgilis iii lill‘ l1\li- 19505 Llll(| il vials In Miliun Subulsky iinii i \\i-|\I In inn; iii--in (hi-\'iin1]i;my. in Iind his \'ii'\\'s --n il|l!\> .nni in \ilsl'|t\'l'l' n-inn 4005 lltlit iinnull-illlil III .1 :iu<'r‘\'>‘§iuiI|I|l\ ]1rIilI\14‘l'l‘. Miiiini \'tl\JIl| Hill lii- lH|.\lLlk\'|I (-ir i\Hy\|\ll\\1I)ul nn ,\nn~i-n-nn, with sliiililiy £l"l')llIlZ hair .\nd L\n iliirrliiius nlliliv. Ht" L!l'|'I'Il'(I l1\\‘ with ll t'nu|*u-nus "Hi tlwi-i-_" \'il‘i\I’\‘¢i .i l'IhlIl' III lil"\\'i\‘ wriui-ii .~'t'r\|its :\ml ti.|&li- l\H' sil (‘luW|‘l Lind make n\\‘si'Il at i\UII\\‘

Milliiii ruii-rri-d In lilnis lillvs, and .~\ii\Cr|t':|r\ H‘ll\I\‘5 llfl‘ [tiritiiiilvd wlwrc dilh-ri;-nl. Tlir

During our ll\Il'l‘\'ll'\l‘ Il\' l|\l‘ll‘ E|Ii{il5|\ rs-l(".\sr iL'llSl'

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CI-‘Q: nnw did you b(‘l‘um(' ll'\VllIVl'd In Iiln\< nizlkinp? SUBOTSKYI lulways wanted lu mukv lilmi av» or sirc I W35 ;| kid. I was really I‘l10VIFl‘I'Il7.)’. I‘d go \U (hr muvins :‘l>|\sl:lnll)'. I remcrnbvr when I was in high sthuul, lusi-d tu st-I" six pirlures on mun9y-—| :1 Saturday. l wiiuld save up my lunch would |:u Wilhiiul l\mcties—1lnd un Saturday mornand see lhrcv IIIQL I'd nu riuwninwn‘ lii Brnuklyn, driublv rnninrns slarling early in the mnrning. My rnniiiy ihuuizhl inni Iilmmaking was n disreputable I!uSil\l-‘$5, sti I sinun-a Pngincvrlng and wt.-nl to lht‘ Cu0[)(‘I' Uniun Schoul ui Engineering in New York ni night. During (hr any l wont mil and gut n ,0» in Zl him runipnny. I was nssisturii crimoranian in diicumcnlurivs which mount lhll Idid everything. carry the cziniera. luad ii. walk behind it with inc halter)‘ licvuuse zit that \in\€* ii was battery operalud and Irum in-ni i went in Ilim editing nnu then i started wi-irinn Svripls. i went inlu the Army and wi-4-in s(‘l"l|)lS Iur levhliivui lriinim! Iilms ;|\l during the wnr and was n riini edltur pnri uI inn

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susorrsxv; Ididn‘l gel nnylrnininil ai all. By Iilm vdilur. I'd directed dot‘nninnmn-=.~ nnn I'd written in-runs. "riiey just rna

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CFQ: in 1949 ylbu Kllrllrtd In loicvisinn wnnn yini Iufmvd your uwn |)riidul'liun dislribulion (‘Ulnpuny‘ SUBOTSKY: Ai the Iimlr lh£'l'(‘ were very few Ilil IlV€lIIilI!il‘ Iur H‘I(‘\’i5lU\'\ and I mcl someone wtiii had zi lnl ul leulurcs and westerns, very old om-5. I lhoughl lh‘-\l distrihulirm could 192d to prudurliun, hor;iusi- I was II‘|l(‘l‘E5I('d in production. Igut all thvsv uld pin'l\lr(-5 Jill] started dlSll‘IIIllI'——

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Sir Rzilpli Richardson as the Crypikeeper in lhv Ilr$\Ami¢‘\.ls E.C. hul’r0rl‘nll\N‘s daplliuni TALES FROM THE CRYPT. whlth has prnven lo bu Ii\(‘ll‘ nmsl prniituble Iilni tn dale.

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Right: Scenes Irom --AND NOW THE SCREAMING STARTS! (I912). a gothit: ghost stury from At'|ilCu5 Films. which went lnt production lulInwint: ASYLUM. Top: Peter Cushinit stars as Dr. Pope. a scientist and a realist who uncovers a Supertiatttritl Curse. Middle: Roy Ward Baker directs Stephanie Beucham In a scene where she discovers a victim ul the curse. Bottom: GeolIrey Whitehead as the phantom Woodsman. Ing thent to television stations. You could sell anything at that time because they needed product So badly. I found that there were hall hour time sluts available. Sometimes yuu could sell a statiun a hall hour film il they didn‘t have time tor a 90 minute lilni. I took every one ul the Ieature lilms attd I edited them down to twettty-six minutes right on the print. I learned a great deal ahout min t.‘Ut1§tl'\tt'llUtt just taking plettlre alter picture alter picture and cutting thent down to twenty-six minutes. and in every case the twentysix ntlnute version was better than the original. I Iuund that I could take out enormous chunks and I luund out so ntueh about scripts and stories by taking completed Ieature Iilms and cutting them to a shorter length. So many scripts simply niark time Iur reel alter reel and you cuuld take out a big chunk ol it and you are itt exactly the same place. although there has been a IUI DI events. bltt as Iar as the total story is cunvernod you are still back where yuu were. I luuttd that I could do this in pit‘lt|t"t‘ alter |Jll‘IL\!‘E and it's soniethingt try to avoid being able to do in our pictures. CI-‘Q: You teamed up witlt Max -I. Rosenberg in I954 [or the elilldren's educational televtsiun series "Junior St'iettt'e. " Iluw did yuu meet? SL‘B0't‘SKY: There were some Harvard students t\'hu made Lt Iilni Called A TOUCH OF THE TIMES and they needed the money tu Iinish the sountttraek and I gave them the muney. Then I needed it distributor Itlr it 50 I Went to Max. who was a distributor at the tinte. and he was interested. He lust interest III distributing that Iilm. but we gut to talking and he asked il I had any other |!I"t)]lL‘('|5. I told him Iliad a science series Iur children called "-Iuniun St'iettt‘L~" and that each picture took one principle ol physics. explained it in terms ul experlnietits that children t'uuld do themselves with equipment they have at home and he told mt‘ it sounded ituod and asked huw ntlltih I

needed. I tuld him huw ntutlt I needed Ior thirteen and he ]tl§t shook hands with nte and said you‘ve got the nttmey. We never ttada contract. tie put up all the ntoney to make thirteen quarter hour lilms and tltett un the basis ul those thirteen he sold tltlrty-nine and We lht-It had to make the other twenty-six. We made a lot ol money out that. It's interesting. because Wt! still don't have tt C0ntl"LtL't. We've never had anything signed between its. CFQ: This period was the beginning: LII Amicus. What sort ul pressures were you under. as

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this time?

SUBOTSKY: Mtiey. We didn‘t have any money. I came tu England in I959 and until DR. TERROIVS HOUSE OF HORRORS in I964 we'd only made three Illnts! CFQ1 How ditl you devide un the littnie Antteus? SUBOTSKYI We Just tried to think ul something nice and Amieus means Irtendly. CFQ: The lirst horror picture you produced was CITY OF THE DEAD‘ although it wasn't billed as an Anticus picture. SUBOTSKY2 Atiticus was Iurnted a little later, Ilorget when. but it doesn't matter, because It's always been the same two people.

CFQ: I understand there was a great deal ol ti-ntthte getting the script ready tot crrv or THE DEAD? SUBUTSKY: I Came over to do it in I959. and re written the original story which George Baxt had turned into a script. We were supposed to cue produce it With Hannah Weinstein who did "Robin Hood" and all those television series at Waltun Studios. which lias since closed. Wheit I came over llound they only had a sixty minute script and they thought ul It as a secundleature. That was impossible. It was a cheap Iilnt. unly lorty-live thousand pounds. but yuu couldn't recoup that on a second Ieature. so the lirst thing I ditl was to add twenty minutes to the script. I added a character and It turned out to blend very welt with the ori'HOR.ROR HOTEL.

Fr“

Trans-Lux. I960.

In

w

artificial medium. They are rarely a real medium about real people and real problems. They are primarily entertainment, and the horror film is a big part of it. I think there will always be a market for a good horror film. At the moment, the business seems to be growing bigger for some reason. Perhaps it's that times are worse and people are looking more to fantasy Films are an

ttiiial story lieeause nobody vttultt tell where the

additions were made. By then. Walton was eltts» trig. so we made it at Sheppt-rton. lt was direvted tiy .hihii MIIXFY iiihirs IID\\' iii Callluftiiil doing a lut iit tt=i-i-ititt- l(‘It‘tllSiDIi tltms. bill it was a very good lilm. I thought. What was interesting about the lilm was that lt bore certain similarities to PSYCHO ltetnre PSYCHQ Was made. We killed oll the heroine. and then had someone t*ttmt- ill and investigate what happened to her. Nutmdy had done this tn tilnts as tar as l know. and we did it

ttrst.

CFQ: Yiiiir i)Iil_V eretiit tor CITY or THE DEAD is given as original story. Why weren't you given eredit tor rewriting the script. atid to what extent were yiiii illill Max IIl\‘t>I\'l‘(i iii pi-odtit('i}Z

it?

oritliitill story. ll was first produetion in England and I actually |)roduet-ll it. although Donald Taylor’ is given ererltt. Ma.\ and t giit ltall ttit- ttnaheihiz iii Amt-i-ti-a and the other hat! was put up by a British C0|\'t|XItty and they pitt Uli the British |ll‘tId\i\(‘(‘l'. Niiit- at that time I wasn't yet rexldent in England and l had come over with permission to stay tor just three or six months. I had to rt-new the permit all the tiiiie aiiu t itiitii't know lt) what extent lwuuld |iiallowed to work here and t'ould put my name on as a prudut~t~r. So what happened. I think. was that there was a British |lrodut.‘(‘r and the lellow lrtlm the other liltanring t‘0m|.\1ny and I were put on as exevutive produvers. l didn't take Credit tor the rewriting beeausv t didn't want to. tt was Cit-urge Baxt's Script. but it was only an hour srri and I added twenty minutes to it. CFQ: Although you added twenty minutes tn the script oi CITY OF THE DEAD. its llnal running time. at least In itti U.S. release. Only 72 mitiutes. That's a very short lilm. Was something t‘ut'? SUBOTSKY: The linal running time ul CITY OF THE DEAD it-i 72 minutes in America bet-ause they riit ihit eight minutes. Artiiatty they ptayi-it ilftltltitl with the AIt\(‘l‘it‘aIi \'l‘t‘§ittli. They tried to add some It»D sequenees and it didn't work. CFQ: You have had rt lung and profitable assoeiation with Robert Bloch. Could you tell us hiiw this develotied and l'ttlW yiiii Wtlflt \ti|{¢‘lI\|‘l'? SUBOTSKY3 Qlr ln\’ol\'ement wtthRobertBlorh began when I read his short story "The Skull ot the Marquis De saite" and saw that Wt" riiiitit tiii-n it into aliint. What l liked about it was that I saw we could do the last tour reels without any dtalotzue. whit-h is ]llSl the way we did it. We got the rights tlllll t tl'l'tYlt‘ thi- svi-rt-iiiitay anit ti-iini there we went on to other things with Robert Bloch. We did THE PSYCNOPATH. which was based on his SUBOTSKYZ I wrote the

our

I‘

ii

pa

Q}

original unpublished short story. TORTURE(iARDEN. ASYLUM and THE HOUSE THAT DRIPPED BL%D. Whatl do is Seleet lour ot his stories and invent ll lritmework. and then I send it oft to him aha it he likes it he Iltl(‘5 a st'ri|Jl hast-ii Ott it. We work very well together. He's niee to work with altd he writes line stories. I hope to do :tntltl‘tt‘l' t't\tllll~Slttt'_V titni ii-ith hini it we i-ah d(‘t‘Id(‘ on the tour stories to use. Ct-‘Q: You also iisrrt Wl‘II—klttJ\\'ll§tCl1‘ll\‘('Ill‘|lUKl writer ilohti Drutiner to $('t'l|1l THE TERRORNAt"l‘S. Was llllS ii Sut‘t‘l‘55lt-II aSSttt‘i2llltitl ahii why-itidii'i it riiiiiiiiiii-1'

—

'Crt'tliti*d as prottuet-r on HORROR HOTEL. and llttl Ill tii- t'tltlItlS(‘d ii-iih the ztiiini-ii-an llil'£‘t‘ltlt‘ til the Sillill‘ IillI'tI(‘. Lelt: A scene lrttm ASYLUM. an Aniirus Produt'— ttun t'urrentl_\‘ in relt-ttse through Ctnt~r:tm:t Rt~tetisiitg Corp. tii the tit-st til ti-itr tales tiitdtiy iiintales nl an insane asylum. railed "Frozen Fear." Walter lRit‘h;trd Todd) is pursued alitl .\'lt‘€.tI\t.Zll*l| tiy lite (liSltIl‘Iilll(‘l'(‘(I tinny III his Wilt‘ whom ttt- had itturttt-rt-it. t-hoped ltltti piet-rs. anti stored :tw;t_v tlt the ltasentt-nt lrerler. Authttr Riitii-rt miii~ti iiitiiiitin t-.iii- HI his tt\t'It Slit!" Sttll‘lt‘S ll! INTI“ thi- .\‘t'rt‘t‘lt|1l;.\)' tiir the tilni.

run

SUBOTSKY3 Brunner is a triend ol mine and so I called him in to do the serltn on THE TERRORNAUTS. He did a good srrlpt. The trouble was that the ilflltitl tti
Another seienee lit'tion writer. Mirhttet Muora script tor us on Edgar Rit-e Burroughs The Lattd That Time Forgot. whirh we hope tn make next year. The only reason we didn't mnttiiiie the assiii-iatiiin with ttriiniirr is that we didn't have atiy other lilmrt tor hint to do in that area. We would certainly work with him again. Cl-‘Q: Ynii seem tiinrt iit itttllltlllitly lms: ‘t‘0R~ TURE GARDEN. ASYLUM. TALES FROM THE CRYPT, THE HOUSE TIIAT DRIPPED BLOOD and your tirst. DR. 1‘ERROR'S HOUSE OF HOR-

cork. just did

RORS. why? SUBOTSKY3 So you don't bore an audienre. It's very hard tn tind a story that (‘an S\iiSlZliIt iIlll‘i"t‘5l tor ninety minutes. In the segment ttltns you ran tell tuur or live stories and each story only runs

the leItt!th oi time that it 5hould— its natural tehirth. You rah inatiti a very tast i'l\tI\‘iti|; vai-ii-ty show tit dillerent kinds nl hnrrnr Stories and audiences seem to like it. tlike it. CFQ1 ttave you st-en the iiwknowledged t‘lassit‘! ot this torntat. DEAD OF NIGHT and TALES OF TERROR. and how would you rate your own stteeess t'om|xtrezt to these films‘! SUBOTSKYI Actually DEAD OF NIGHT is what we tnttern our anthology tilms on. DR. TERROR'S HOUSE OF HORRORS and all the ntultistory lilms we've done were patterned alter DEAD OF NIGHT. Ottr tiltns aren't like TALES OF TERROR whieh didn't have tratnework story like DEAD OF NIGHT. lt'5 |ust three Edgar AlIan Poe stories. DEAD OF‘ NIGHT was not a sueeesdul iitm in

I

Atlteriea. tihaiictatty. Artiiiiiriitty. t itiin't thiiik any til our titiiis are as tllbttd as it. yi-t. Parts tit our litnts are better than parts of DEAD OI-‘ NIGHT. but t don't think any tttm we've made. eonstdt-red as an entity, is as good. But of t-uurse they had lltll‘ top direelnrs and they had tii-st rate original stories liy hit; writers. We'll get there. tsttt to me, that ts the itri-at tint-. Cl-‘Q: D0 yiiii kvi-ii the AIlit’l'lt‘Cl.tt market iii mind more than the tlritish market in designing your tilms? SUBUTSKYi

iiariirs ltl

he a

We know that we need

llt|l tnatiirt-.

air

rt-rtatn

])it"l\|t'l‘S ai-i- tiiiii-

geted at around $450,000 to S5t)t].lJ0|J and you can't get that bark il you are a en-feature. You have to be a top teature. and to make a ton leature you not only have to make it quality ttlm you have to put a lew good names in tl. This is lot‘ every market. Right now we are thinking ol the cOi1liIt(‘I‘tlIlI |‘IIL\l"I((‘t and we are ll'_\'ltttl ll) get Uri!‘ or two good names tor this market. I tried to get some tor ASYLUM hut I t'ouldn'l. Cl-‘Q: The titin tiiisini-ss as a wh-ite seems to have abandoned the "star system" as any kind ot }liii;\!'LtI‘tl(‘t‘ Ill Stlt'l‘t‘S5. why do you stilt |)rt|t'ti('(‘

it?

t iiiay hi- wt-iiiii; tlt this. it titni iii I-tllltllill t-atti~d DEATHI.lNE' whtrh had two names in it. Donald Pit-asanre and cllt'i$ltl|1Ii(‘l" Lee who was brought ih siniiity lltr his !li2ll't]\i(‘(‘ i-iitiir as his sia-iir was

sut:to1'st<\': At‘ltlalIy

They l‘t‘t‘l'ntly shot

totally utinefessary. DEATHLINE dttt iri-iiiriitiiiiis l)ll§iI‘ll‘ES anti it wasn't at vi-ry tgiiiiti titni. tint it had iiiiniettiiiiii. At-tiiatty ttir >'t‘l'tt\"$ that Wtifked were the set-nes Without the nantes. The seenes ln the Underground with the ghoul were itreat. hut the .\'l‘t‘tIt‘s with the d(‘t('t'll\'l‘$ and tiitnttttt t'lt~;tsance didn't work at all. But e\‘en so. they had to have the name Value. The lt'0ll|lll' is that l.I yiiii rhiirt iiiii llllI‘tIl‘5 ltt it. you t-:ttt't get the picture shown. ttntt you tttin't have a thint: to sell altroad. You won't hate a ‘See "Coming" §t‘t‘lltlIi, |:it;t- 42.

loreipttt market on a hnrror lilm withitut any names at all. They don't necessarily have to he horror names as was shown hy TALES FROM THE cmrt>1'. EXt‘l‘])l lttt’ Pi-ti-r Cushinpz wt» had ttti hnri-iir haint-s in that. aha ii \\'ttl"k('(‘I well at thiItoxottiee. CFQ: The gt-neral otliliittn ol the Londont'rilil's was that DEATHLINE was tar too gruesome and sickly. tlow do you it-t>l about that '.' SUBOTSKY: Well. it's that kind tit lilm. tt'5 murh l)t‘llt'l' than anything ttantmer ever dues. lteeause there it was in the nature ot the fantasy til the 5tJI)|l‘('l illid yiiii i-iiiitit il(‘t‘l‘])l it. whereas llammer throws ttt \'tolent'e and brutality and the gore for its own stke. whit-h adds nothing to the story. tn a titni |iki- nattos or ‘rut: RIPPER all that |.{tll"|.‘ is faluittlusi There's Yltl ptllltl lit it. tt Wasn't neressary. whereas in DEATHLINE it was Called tor l))’ the story. CFQ: Antieus is based itt England and otwiuttsly it is cheaper ltl ttiltkt.‘ iiii-tiiri-ii ltl't‘l’ than iii lht’ States. but are there atty other reasons behind yiiiir helm: lIl‘l"("i' SUBOTSKYZ The-re are two reasons lor making tilms in England. One is that it is t-heaper. hut not all that eht-aper. because salaries are lower hiii on the other hand _Vt.t\| shti-it l'liUt'(‘ stiiwty. FIN‘ example. people have shown me lilms made in America that weren't very igood hut whieh were titmed in about two weeks. They van possibly ntake them eheaper hut they won't be as good. They're made tor l(‘I(‘\‘lSltilt and they're not nearly as good as the lllms we make. The st-eund reasun is that you ean gel a marvellous quality here. You have wonderful aetttrs. good tet-hnivians and a very good pool ut actors to rhttose lrom. You van get tt titm that limks very good and has very good people itt it. The other t-.tt~tor is ntoney. When our lilms ‘:0 out on release we (‘an roltr-et an additional 40'?‘ in the English market and that ran he a very substantial sum. Even on our small titms it t‘ouId he upwards oi sixty-thuusnad iiiiniids. There isnodislriI1utor'Ftsharetakenoll sii that [1005 l‘t|.!ht tiai-k lli pay iirt the riist iii produetion and it's a very bit; advantage. Cl-‘Q: Do you have any ])l't|llI|‘H'l§ tinanring your

tilms? svtaorstcvi

We dlIti'l i-i-any have lt'Utll)l(‘ tn tinanelng a lllm. we have trouble getting srripts. My partner is marvellous. He ran get all the tii'\£IIl(‘lt't}Z wt» nni-it tIIit‘l' we have the Sl‘l'l|)l in giiiid shape, but to get a script into good shape is a very ditt'it~ult jlll). We each read ti\*t- hundred novels a year and tl we ltnd twtt stories out thi-ni. it's Very tltitidi We (‘tlIt'lt‘ iip with ideas aiiit give them to Wl'll(‘I'.'i to work on. all sorts ol thirttzs. You know. the ltlnt Itusttiess is a funny hustness. lt is totally tum-t'on\|ietttt\'e. Anytmtty ran get ttttaltred. We had a lellow railed Mike Redbtiurne who was a tlulilitntz editor and who Worked lIIl' its Iilt a niimhi-r .it iiiir ltlnts. He lltll a st'rt|I railed THE CREEPING FLESH‘ and he got Christopher Lee and Peter Cashing; and he went iilll and spent a Iitll tltltt‘ iiiiit tlltl it l|tI;l|ti‘L'd .iiiit now he's it prollueer. II you've tint it tzood srript ytiii ran |ll"l'l>Il'lt‘ ii |)t'tld\lt'(‘l" sii easily without t-vi-h knowiln: anything lierause you van get pt~u|ile who klltltk tlllli|1S iii wiirk ltll’ _\’tlll it yihi ll'l them rtii llil'tr ]t)I)§. tt helps it ytlt-t do kiiiiir Slbnlelhlh. tiiit the main thintt a prndueer has ttt do ts ltlid the material atid get it tttio proper .\‘ha|it' and east the iiii-iiiri- right iiiirt get ll yiihirt till‘t"t‘lttt‘ It)!‘ it. l)\ll the hardest part is thi- srriiit. CFQ: What (Ill yiiit think it st-ii-y must have tii |lt‘l‘lllt\t‘ a ood Ni‘rtDt'-' SUIIOTSKYI First oi all It has to have it lresh ldea. What I really look tor when I rt-ad it hook ts ltt get iiitdertieath the dtaltigiti-. the \\'l't|tt\l:. ev-

ll

t'r)'th|n|.!. Sonietttitt-s lmttks are ierrtlily written. |h>orly tlialotiul-rt and tinre you are utiderneath all that aha $00 ii-hat ttii- ltI('1l -it ihi- Itlltik is. yiiii SIN‘ whi-thrr tt'.~s it .~atlettti|i- idea ‘ll’ an utiusutit Idea

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Scenes lrom HORROR HOTEL (1959), the HIS! the Amicus Iturrur films, produced in association with Max J. Rosenberg and Millun &lh0tsky long heturo the Amicus name came into use. Tnp: Patrititl Jesse] and Christopher Lee as New England devil wnrshippers about tu make at virgin

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sacriliee. Middle: A nttltmthly yuulhlul Chrls|u< pher Lee as the lilm's Prutessur Drtsrull. cl practleloner of the bl;\t‘k arts who lures one ul his lovely students (Betta S. John) to her d(‘lllll as a virgin sat'rll'iet' tu luciler. This neat little hurrur entry‘ With llS wtntderlully atmusplterlv !'(‘|!l'9$('I\iLllltlll ll rural New England‘ prvll!:|l1l)' stands as the llnt-st rontrlllullun Amleus has yet made lu the hurrtrr genre. lts dirt-vtur. Jultlt (Llewellyn) Muxey has sinee gum‘ mt tn an tlnsuperb telvplay adallallun -1 ‘rm-: STRANGE CASE OF DR. JEKYLL AND MR. HYDE (1967). and last year's highly uctlillnied lt~lt-lllnl 'rtll~; NIGHT STALKER H972)‘ lllllh fur prtltlueer l).t|l clll'llS- Bottom: John Pertwee AIS tlw vtttn. su-.u;~ gering horror tllnt star Whit t--tttttratlly turns tnt-» a real vnntplrr when he huys tlle ttutltt-ttltc rape ttl Count Drueul.-l [rum u mysu-rtnus ;tnttqut- cit-uler. This Satire Of htlrrur lms and their Il\ttRl'l‘S |l\' authnr Rtrhert Blneh was the ilnest .\'l‘}1II\l'I\l ll Ami(‘us' THE HOUSE THAT DHIPPED BLOOD (1910). and ts it lirrstlnal l;l\'tlrill- til |lrudut't*l‘ Milton Sulltllsky. rtlgnitltln ill any Amtrus mm. is lhztt duo In ll_\' t‘utlnec'tlIm with the uld l‘Iln\ll‘ llnllksi’ SUBOTSKYI That'spi1rl ul the reztsutl, Tllt~r|-‘s an mudienre fnr E.C. rllnilvs. and tht-re are the petlple whtl renivnlher ll. Altllnugll TALES FROM THE CRYPT did make the most motley lll llll_\' lll our films‘ it didn't get the best t‘l‘lll(‘lll l\4VllK‘l‘.\'. Critically, the best ret'|'l\'ed was THE HOUSE THAT DRIPPED BLOOD, lA'l‘ll(‘ll dldn'l nttike anywhere near the money. lt‘s hard to say what sells a picture and What duesn't. THE HOUSE THAT DRIPPED BLOOD did Very well. and was Ll philillble lilm. but ll made nowhere near the llruht <1 nur ltl-st t-:.c. mimics adaptnttt-n. nnd I tttlnk tt was a lletter iilnl. TALES had mnre 1lllt1ll‘l1l‘I' appeat. There are thlngs the €l\ldl(‘ll('|'S llkrtl tn talk ;l.huUl like Nigel Pzttrivk walking thrnugll the l‘l|l‘— rldnr -ll razor blades, Lind Peter Cushlng l‘l>'Illl: out -ll the grave. Cushlng luved that rule. by the way‘ and ll was very close tu him ill llte timt-. l think all you need ltlr 1| lllm are these lew plums, and \\'ht:reaS HOUSE was ;\ better qualitv lllm twerzill. it has none Ill these plums vt'lllt*h |>etlplt~ talk ahuul and remember.

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l‘t‘l higher than the usual Amlvus |)t'Il(ltll‘ll4||\ Ilet‘ause it was dune ltlr Melrnnledizli’ SCBOTSKY: Ntl. We dutl'l m:|kt- any hurrur films iur more than $500,000, and this was hud-

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gvted below um, CFQ: Which ul yuur lilnts have lliadv the must mtmeyl’ SUBUTSKYI TALES FROM THE CRYPT llus made lhe must. S0mehu\\' it hit very big. and we dun’! kn0\i' why. lt could he heeztuse oi Its basis in the l-Lc. eumirs. The reasnn ts pmlnthly tllul penple liked il and sent other peple tu see ll. ll had something special that uur ttther llllll5 didn't have and Max and l can't put our lingers mt it. Strangely enough. SCREAM AND SCREAM A» GAIN made lut cl rnuney and that Willi dl."(‘l"t'l\l tram any other lllm we've ever dune. I dun’! knuw why. it wasn't all that gtnld. It might have been because we used three top htlrrur slurs and ll had il very good tllle. CFQt Freddie Franris seems ttl lie the d|rm'tur oi ehtlice on many Ill yuur lilms. What do you like about Working with him and why have yuu used hint sll dten? SUIJUTSKYI The thingl like mnsl about working with Freddie is that he‘s gnl LI lanl:|slit' vlezual sense and these Illnls need a visual style. He ran give the picture rt better lullk than any ntnt-r an revlnr. There are other areas where he's nut as gtllld. Fnr example. l dun'l think he run handle zieturs as well as. say. Roy w~.tt-ll Baker. t dml't think he understands 5(‘l"ipl and stnry 15 well as some utllef dtreelnrs. CFQ: SCREAM AND SCREAM AGAIN was the rst and only Anileus illm to vtlntaln lenlale nudity and rem-tve an ll rating. was lhe nudtly nskt-:1 tur by All-7 tlr was it your deelsibn tu make an R

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Above: A l‘ll"l‘\lS vampire lruni Haninler's VAlVlPIRE cmcus, Hill‘ Ill ilu- lew uulslanding hurriir lilms Hammer has pl’I|dlll‘L‘d in rerenl years.

‘*'**"""""’ '***"' "

* ' scale. lhe Cirvus ul Nighls that has lvruiighl it to menace Sleli. Les Buwle's spefial elleels, while never llashily dominant in and oi theniselves. instead glide with Young's surrounding montage lntu the very sliill Bl magic: believable beraiise seeable. The elleets relleei at tinil-s—in the appearzlnl-es and disappearanees ul rliaraeiers lnlu and uut ul il-re trame. the leaping lrznslurmaliun ul the leupard In man. elc. —lhe very earliesl urigins at lanlastic liims. Fur they are the simple camera tricks Dl George Melies. \lIhiCh pruve here again. son-le ‘I0-plus years alter their lirsi usage. that their utter unembelllshed quality and primitlveness are ullll lllmically viable. even in this jaded age ol more leChn0l0glt:;illy hold sperial ellerts. Bill lite real credit lur VAMPIRE CIRCUS l.tt'longs tu dll'€'l‘lt2l’ Robert Young. For he has bnllEd lhis mixture over lhe luwest ul heals intu Ll Crirkling tiuhhly lrulh ul a lilm. Allhliugh lht‘ slpry and most at its elleris are simple in lhi‘ poinl ul nan-eir-. like its romantic ht-rus (Juhn Moulder-Bruwn and Lynne Frederlek. i|ll'ldelllally. the most allraclive couple llanimer has iealured lur qiiile suriie irrnei and several $l)'li5lil‘ pluys (like lhe rut lrnm llying bats lu [lying tu1lil1ler5—Melies again), Young's artual struelure ul lhe lilm is anuiher. well-vaniuullaged maller. VAMPIRE CIRCUS deltly lurtls liavk unlu llsell twice (unre. in resumpltin lll the slaughler lll lhe l0WI‘i'S youth and lwite. in Cuunt Rillenhulise's second lilellll resemble very closely in liirm Lind, niore appropriately. t'iinteni_ line til M. C. Es~ Cher‘s diabolleally eerie Mueliiiis slrips. wlule the lilrn's ending scents in iu- -uie ul ti:l)i|)lliess and triumph oi grind li\'\'l' l'\‘li. it might bi-. as in niany Ol the llllllh ill Nlrhiilas Ray. subtly di*eeplive: wlnlr all ilu- \'ill.illls are sl.iuglili'i'ud. one lune bat llil-.~ -ill illlii ilu- lllsl-illi‘\ \i'hlli- iiur reunlied l0\‘l'I‘.~ \¢.itl"ii ill llll‘ liirl-ilriltillil Fll.iraL'lei'istic to liir- i\iir>l~~ -ll llll‘ lillii. it is --lily a llriellyheld shirt. llut it \'~\l"l"\l‘> llll' lill|>li4'illlHIl iil esa Clpl-. And llll- .shiit'_< (l\1lt‘i(lll'h.\ kl‘l']1.\ llll‘ li|m'5 lml)i\‘ali-|lri- lull)‘
lllms.

VAMPIRE CIRCLE lh that r.ll'll_\‘ lil genre lilnis. even lllf li.ininil~r ii has .i lii-in i-uiiuepliun Ol Wliill it ls. Wht'i'r it is lit-iiili. and hull’ lu gel there. And ll ;\rri\'vs. “llll us lli tlivl‘. in line

spirited rundililm.

32

l);i\'id Barlhulnnii-ll-

Aliui-e: lngrid Pitt iii-l-part-s iii llLlllll' in \'|l'l!Iil'5 lilulid ltl COUNTESS DRACCLA. H;lnlnler‘s versllin iil lhe lile lil Ciiuntess Elllalli-tli Baliiury.

A

U T

...stumbles closer to Faust than ' '

COUNTESS DRACIJLA A 20th Century Fux Release. 10 ‘I2. In Color by Del.uxe. 93 minutes. A llaninier Filnl Prudueliun. Prudurl-d by Alex— ander Paal. Dii"(‘K‘l(‘d by Peter Sasdy. Srreenplay ny Jeremy Paul based tin a stnry liy Alexander Paal and Pvier Sasdy. Based en an idea liy Gabriel Runay. nireciur at phtlliigraph)‘, Ken Talliut B.S.C. Edited by ilenry Richardson. Music eumposed by Harry Rullinsun. Make—up. Tuni Smllll.

Cliunless Elizabeth Captain Dutii lnire Tllth . . . Master Fabio . . . llona . . . . .

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Ingrid Pin

Nigel Green . . . . . . Sandlir Eles .. Maurive Denham Lesley-Anne Down .

.

............... .

cenerally speaking. when at-nrr lllnls are bad. they are usually worse than that, sliding all lhe way dliwn lnr-rr Cmlhlt‘ rlipes inlti the rui, as dues the |>1'l‘ll‘l‘l example al hand. COUNTES5 DRACU— LA, in |'nil'L' ilsell in the llI\\‘l‘Sl depths ul sulldly prliven piilenlial gtine lnexpllrahly sour. Failing un alnu-st every layer til IIS threadbare eonstruCliotl. CQUNTESS DRACULA is the kind ul lilm that in lls lirsl seene. lhl-‘ Sirdunir reading Ill the will. neatly idelililies all the rhararlers with

brightly culorlul. il invisible. placards reading "villain." "aet:unipllt'e." "martyr." and "hero," an art ul brash lllnlil‘ siolidity that lilllv else in the lilm t'an erase or sullen. And lll make niatlei-s worse, Jeremy P:lul‘s script urreun_-a-luusly stretches in every runl'ei\'able way the lilm's absolutely negligible plut (aging evil euuniess discovers balheing in the bloud ul virgins restores youth). ilarnmer veteran Nigel Green. purlraylng the arromplice Captain Dlilii. raiitures ill times the anguish ul l']lE5Bl\'lIl|1 llii-e lur the (old) Countess (purely platonic lU\'(‘1 in one scene he aptly describes lheir pusstble allempi at lhe other kind as "lwn uld lntils bumbling at cine another") as lit‘ iureedly watches her gi’U\l'lI\g slowly mad; later he glee-lull)‘ prulerts the delieiuiis brutality requlred ul an all-uul \'illiiiIi. Bill alnrt lrum his polished pal-trirniarirl-. and a mid ur twu lu ivlaiirit'e Dlihini as F-iliiii. the I‘l‘Sl(ll'1ll sage and ll-

brarlin.

'

'

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mer's nmsi uiialiral-live aiirl uiilali-iilc-ii leariiiig

~

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the llClIliL1 ll\ UQVNTESS DRACULA is

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slllliy. gray. anti i Hill .l.\ ils l‘.L\ll1' ilitrrllirs Tllr lilln bears li\\' illsilllrtliiii lil iiitriilllirllii: ll.llll-

n\an—Sandlli' Eles as lil\l'|' Tuih—as Wt-ll as lillerlng une Ill the British sludlu'.~a levl‘ nlajur (‘asiing errors in the llllv rule. Ingrid Pitt, the glut‘lously abundant \'IllTIPll't‘S§ lll llliy Ward llakl-r's VAMPIRE LOVERS. neither Cun\'i|it"1~s us Ill the advanced age ul the Cuunti-ss (partly Ll failure ul pour lighting and make-up) ur, Wllal IS ili'urs('. lhl‘ youth ul the daughter she s iipiisedly ini|)e|‘slinates—"li;u"ely I9." as mu» \'ll.irat'ler ili)sL'r\'('s —lnste;id. lalling vaguely. ll beautifully. slimewhere in the middle ol the lwii exlremes. And Pill hardly limns the dlL\l)l)|l('Ll| [‘\'ll ill u wniiian til any age Whti wlluld have h(‘l‘ lIlA‘n daughter kitlliaiiped su that she euuld niake '.i pass-play l-rr the lieru. And Leslle~Anne Down as the real daughter llnna typilies the weakness Ol even lite see dur. But the lac-t remains that COUNTESS DRAGULA siluivs a rs-sourcelul (|il"l"l‘\Ul' simply guing lhruugh the motions as ll he never involved himsell ll) any exlenl in the prujerl. I‘\'l‘ll Sltipplng at line pulnl tu lilming a murder and sluw dlSS
I

v

4

DRACULA AD. 1972 Christopher Lee never leaves his dilapidated Gothic church as if in fear of being overwhelmed by 1972. DRACULA A. D. 1972 A Warner Bros Release. 11 72. 95 nilnutes. ln Clllltl". A tiantnter Film Pt"Udllt‘l.tUIt. Prudueell lty JtiSl‘|lliIn(‘ Diitlglits. Direeled by Alan Cill)SUIt. Prndurlitin supervisnr4 Rliy Skeggs. Pflitlttftllltl I‘lt;lIi1l|.!t‘l', Rhh .laeits-ih. Prudut-tlnn serretary. Cynthia Painter. First assislant dirertiir, Rltliert Lynn. Cuittlnulty. D0t'et-it Deartialey. Dirertur Ill piinlugraphy. Dlt-k Hush. Camera 0|)t'ratur_ llernie Ford. Sound niixer. Claude l“litehetit"k. Art direetur, Dun Miligityt-. Wartlrutie Stl|)t't"\’tS0l', Riislelttafy liiii-rilws. Edited by Jitittes Needs. MttStt‘ supervistlr. Phlli|i Mariell. uhh |)t|l.Ill(‘tSt. Edna Tl‘4l!t\Z\liS. '

c-him Dt’Ltl'ttlL\ Vail llelsiiig 4.. Jessica .. . . . . .

4i-llhhiy Ali.it'a1'd

..

. .

.

lnsliertitr Murray

Laura B\‘llI>\\'S Gaynur . . . . . . Ahhe Bryant .

4

.

.

.

.

.

Dnli Tarralit .. . Jue Miteham . . . . . . . Sergeant Pearsnn 4.. .

.

...

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,

.

Chrlsln|ihl'r l.ee .. Peter Cushing Stephaiiie Bearham Chl'i5tH|ih\*r Ni-ahie , , .. Mivliitel Cult-5 .4 Carulitie Munro . . . Marsha Hunt ...4.-lt|Itt‘t Key

. . . , .

. . .

.

. .. Philip Miller .. William Ellis .. David Andrews

. ,

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. . ,

Oil the tare <11 it. the idea tiehind DRACULA A. 1972 was latudalile. at least in iA'rltilig_ lur its lit>lditt'5S ii tthllttttll else. There have been \'itl'lipir-is tit mutlt-ril times tielurc. but the very idea ul utilizing the ttnlurgeltalile. indelihly ideiililied Master ill the Undead tur this getieratinti4 Lielur cli1'1S|t)|)lt('t" Lre. might well he regarded its lt|tally \llieI(|)e(‘tetl, Ltlid ttt that, ttulltlttg shitrt Ill lit)!-l>lllt‘t' gehhis, l"‘ut‘tlit't‘. the l'ttt't't' ]irt'st'nt‘e Ul D4

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-— —-

Aliuvel Chi‘i:4tu|itter Lee ltiuks the part in DRAC— ULA A. D. 1972. the eurrent entry in the steadily

d['t‘llIttl\i1llltItttltl't" Films series.

seems by tar the Wt-akesl. t‘lt-arly displaying lint unly its ltlltttl‘ seams but lliti5l‘ tit tlie httrrur genre as Well. But tli|'i"e'.~t sunietliing else aluut here. a bit niure sinister. and rt'])i'['St't\lL\ll\‘(' 01 the lurees and attitudes ltl \\'hit'h \‘_t1it-11ititi.s't_t(\l|t' itlid IIllil‘l' genres as wt-ll are iurtleularl)‘ suseepltble and tu \\'ll1t‘h larger prestige prtlduetinns an-. tn a greater extent. lt'til"ttlliIl'. COUNTESS DRACULA has suttered thrliugh a dlsasternus ii tiiurky juust with thuse Wundertttl tulkr; at the MPAA ultlee whu su relentless!) stand guard over American niuratity. Equally at taiilt tor playing this lliiiltilt game ls the lilni‘s distributtir, 20th Century Fux, who have niert'ilessly t‘ut several seenes fur Utiited States release su that the lilni eould be re— rated {rum its initial R tu a more box uitice»|xtlaliilile PG: i.e. the mm literally lust silntelhittg ln its tri|ial‘i‘tl5S the Atlantic. The result ill this laundering is that the t‘li— hi=it-tit- >~t~t-he U1 COUNTEZSS DRACULA. where ltht-e dlsruvt-rs the tlluutl-yulltli business, 1S ,;ai-liled lit-ytind ruherenee Whifh Iurther thruws the rest ul the ltlni into sumethlng bordering un the irl'atiUii;\l. Oi euurse. nut even the resittralt-tn hi this Chupped lutitage ehiilti save the liltlti ill (‘liftt-erh here. especially th harried genre fans whh suller this kind til shuddy wheeling and dealing the must. is the |irlli(‘i)tlt-‘ and nut the S|)(‘L'll1t‘. But tinatty. nut only its handlers. liut the lilnt itsell is dishutit-st. ur at least dtshuiiestly titled (Fux again?) sinee vanipirisni plays nu part in it —eVen the ads lie; "The more she drinks. the prettier she gets." ln truth the lilnt stuttitlles closer til Faust than til Dt‘t\t't1ltl. liut l SU|l|)tise atiptili (rightlully) lielieved driipiiiiig the latter name Wllilld draw t'tiI|t‘(' pen|ile ilittl thetltt-atre thati the rather aeadeniie-sliundilig lnritier. The Iilni is liased. it lmisely. tin llil' lite tit U111‘ Culintess Elizabeth Batitury. a legend-eiisiliruuded llgure Wliti has served its the Stlll]\'t‘t --l anulher trim. ‘Harry Kuhn-‘t's 'mtu','li'l't-ma 01- unwaNESS4 nhth ltlttis aplxtrenll)‘ Pllntiileted pl‘udttt‘tlun in 1970. hut Kuntel‘s tllni Winn the lntpurlant rare tu the earlier relt-use tiatelattd rightlully 5tl, it is tar Slliiertltrl lt'tt\'tttg Sandy's lilni stranded and tlalliertiig dust mt at rvhihte shell at 20th Century Fox. Until nttiv. Willi a llllll‘ liinilillng help [rum Fnx. COUNTESS DR.-\Cl.JLA is easily the least salislylng tlltii in rulluut under the Hltnnier imprint lit niaiiy years. D2I\‘I(l

Lee wnuld tiuulittt-ssly lie ill iittmeasuratile value ttl such at lilni. And tu euiitplete the ttt!i|!1l';ttt4bt'\. the ttl*r;tld>i\'|irttly, lutig»;t\t':tlted return til tlte induniitalile Prutessor Vail Helstng (ustensilily in retirement stnee the deliitse ul Harlin Meiltster in BRIDES OF DRACULA. 1960) in the persnn lit the tieliived Peter Cushitig. Cushing and Lee. nulily synilinlillng the tinielt-ssness 01 gmid and evil. t-4;t~tht-i- again and. iii";\i>it' ht-. tt.~= the Ittlltit stars. tlut what llaninter dz-livers betrays the (‘i)Iit‘£‘pt ltl TV-nmvie i»aliie.-; a (‘tJtttl)tl'lL\tlUI‘t Uly0t1ll't. the necull, and supt riiatural beings. The yuuth are tun ridieutuusly pseudo-hip. the stury is tl)U (‘0tttrived. and the lttit‘l'ti!' elenieiit is tu laughably blatant. Tu add tn this. the t‘"t't'l is nt1tthl‘niatie— ally pr:-else: a nit-diuere rut'k—eulture drama ramnivd he-adrlirst intu a traditional. equally t'lt(‘di4lt'i'l‘ pt-rind l1ti!‘l‘|il' lilin. The sereenplay i-e(uses tu let t'lllt\’l‘IIttt|tt yield tu the runtentpurary elemeiit (unlike either Cuunl Ylirga lilnt) and there ls it resultant Ititlltlltl alitttglltilsttt wherein neither genre 15 allowed the de;;i-t-t- til vitality pusessed in even their Wurst respeeiiw ntctnilt-st:itiuns. This is true In the extent that intentional humor, the surt that ii-tvl-5 in and uul t-ttortlt-ssty

iii this type ul htirror niuvle. remains an uneasy eunipitilt-iii with Hammer as yet. There is an utldly Wellk. allliust non-exlstant attempt at eurt‘)'ttig ".-ihi>tter" laughter. hut the residue [alts suniewht-re belnw the t-rt-titty standard set by HORROR OF FRANKENSTEIN, The ltlni's Iiuill-in anaehrunisni, the very gininilt-k. and seemingly the lm‘: one real sliuree 01 last-inatinn. are t-to leetily expluited that line (eels eht-att-ti. A ruek grtiup in at Dracula tilrii? tt hardly matters when the etteet is that ot twu dillereiit ntuvies having been spliced t0gEther. Chrieitupher Lee never leaves his dilapidated Cnthie ehur\'li its tl in tear ul tiring uverwhetmed liy lsnz, LI view presunialily shared liy the writer and (lll‘(‘t‘tll1'. Sn why did they put Dracula ln 1972 at all‘? ln a dillert-‘nt way. Peter Cushlng seems riiiS|)lLil‘t‘d hihulhihg the same dialogue we know he Mould have had. had this been |ust another slt‘Zltglil1Ut"Wllt'd Dracula tilnl. On the plus side there are sunte good sets (the Uld ehtii-eh. however, has Wiirlted hvt-rtihie) and pleasant euturs. The liln't's 1872 prutugue. with van H4=lsin|1‘ra death and vtetury uvt-r Draeuta. is depleted in a slirl lit dint, utl—tune eulor that evtrkes an exiraurdinarily unearthly sense. even it ll is eluntsily ehureugraphed. This sequence is blended in nirely with the switch to 1972, symbolt¢(‘d aptly by a it-t plane l'UZ|l'iIit! through the sky.

ettet'tt\'e and

t'U!tl‘1S(‘ prmmum-t-mt-nt or the ut deixtrturet The return DI Les lluwie pruduees sunie line special effects work, althuugh UIIP dtSttttL‘|,{l";ltitltt ill the C0tlnt would

an

lilm's puint

lttlVt‘liet-nthuruugltly Sullleiettl. Direetiir Alan Glllstltt, whu displayed 1 trace Ul talent in the ehallengllig CRESCENDOla challenge irhieh. alas. deleated htm in the end). is all thumbs with Dracula, as directors Freddie Frantis and Rtiy Ward Baker have lieen. hut Gibson's Ilanitiuyanize here is tar inure annoying than the lacklustre vmrk ul I-‘ranvis nit DRACULA HAS R1SEN FROM THE GRAVE ur the simple dt-it-at tll

Baker by SCANS O1" DRACULA. His wurk here diiiiilays the l\rl1llli’il‘SS lhit 1tl5titht'(‘t’tt|y-ltl';\dedness U1 the ('lititt(' lwitlt iht-iri. Peter Ctlslittig Slt’tt|lglt'$ valiently Zlttd t‘0l'l't(‘S Ull lietter than ailytlne else lit spite ut his lines, but what Vain eimi-t! Christiiilher Lee IS ei-eh less lucky. As he‘d |irul)a.lily lie the first tn say. the lxtrt ut Draeula is nut a meaty une (nut these days at least) but it he is given dialogue. lt uught tu he more than those internal hisses and bassu-prci< ltlndti leers. U1‘ else he Sllllllld t-ethaih mute. t-:ither way. Lee's vanipire is ruming tutti hard tlnies ni>it'aday5—\\'hiie-laced, hairline steadily reel-ding. luuking Etlid behaving h~t~~.ti»y ut it alt. tlis aetiuns are stitl aha iiht-ertaih It» say the least. The rharaeter needs a physle and—daret say it'.'—a translusiun. Lee M. Kaplan

ere 7—~~—~ Sltenes lrunt DRACULA A.D. 1972. A Hanttiter Film Pruduetiutl ellrrently iii release thmugh Warner it during at iiatalile ritual—R0nieu Brits, Lelti Stephaiiie Ht-arhani and her liuylriend Philip Miller niitke and -lultet amnng the tlltt\lIS|littl'5. Right: Christopher Neatite its Juhnny Alueard, teenage vampire. ls this H:tninier's idea Hl a hnrrnr lilnt HI‘ are they pulling uur legs? DRACULA A. D. 1972 is a mediurre roek drzttita rantnit-d ht-ad rst lttlti all equally nit-tliitt-re permit iturrnr iilni. The 4‘it‘l"t't*It])l;t)‘ reluses to let t'IIt\\‘t'ttlIiItt yield tn the t'ti|itl*fl\|)iil‘;ii’_\' elenient. V

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Look Back with Lave at Yesterdays Great Movies. There were h un d reds of memorable . . oments in the movies of the Thirties and Forties, and Wamer Brothers made man) of the most exhilarating ones. Warncr Brothers P resents recalls the best of them, makes them live again for you. All th e stars wllio peopled these lms are here, 1'0m snar ing tough guys like ' Bogart a 11 d R0l)ll]1S0n to leading ladies both demure ( O ivia de Havilland) and sew (Ann lik Sheridan); from " resti ge"st ' “m's MisterE PaulMuni an dC eorge Ariss (witli before bothnames) . to such reliable character a c t ors as Frank Mcugh, Alan Hale and Glenda Farrell. .

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