Showing posts with label Hammer. Show all posts
Showing posts with label Hammer. Show all posts

Monday, 11 July 2011

To the Devil a Daughter (1976) - Peter Sykes



There's only a handful of Hammer films that I could really claim as firm favourites, and even fewer that I'd say were beautiful to watch. To the Devil a Daughter manages to tick both of those boxes for me though. After all, just like The Devil Rides Out (which if push comes to shove I'd say is my favourite Hammer flick), it's Christopher Lee in an adaptation of a story by Dennis Wheatley. It's not only that though, the cast is eclectic enough to make my mouth water. There's Richard Widmark proving that even in his twilight years he had a menace about him, and could slap people about with the best of them, Nastassja Kinski making up for what she lacks in acting chops by giving mid seventies Britain some full frontal nudity and Denholm Elliott giving a wonderfully nervous performance, as Denholm at his best always did. Then there's a gaggle of smaller roles filled by such actors as Honor Blackman and Frances de la Tour all of whom have little to do, but do it well.

Plot wise, Catherine (Nastassja Kinski) has been raised as a nun since childbirth by Father Michael (Christopher Lee). However it soon becomes apparent that things aren't quite what they seem, Lee for starters has set up a church that looks Catholic to the outside world but is actually worshiping a demon called Astaroth. For some reason or other Catherine's dad (Denholm Elliott) has agreed for her to give up her body on her eighteenth birthday so that Astaroth may walk the earth. You know like you do. As the day approaches Denholm bottles it and backs out of the deal, persuading occult writer John Verney (Richard Widmark) to take care of her while he tries to sort everything out.

Most of the above makes sense as you're watching it, but after that things start to get a little odd, and to be honest I normally struggle to keep up with some of the logic in the film. Lee is great as Father Michael, leering into the camera at every opportunity, he was a big star by now and this would end up being his last Hammer role. It's funny to think that two men in their sixties can be so entertaining when pitted against each other, but Widmark and Lee battling it out for Kinski's soul are the real high points of the film.

It's almost inevitable that the The Devil Rides Out and To the Devil a Daughter will always be intertwined despite being made some eight years apart, since they share the same studio, star and source novelist. But whereas The Devil Rides Out is the better film by an absolute country mile, To the Devil a Daughter is the better looking, thanks to Sykes really being able to frame shots well whilst still telling the story. Splitting the screen into four with a crucifix for example at the start, or that gorgeous tracking shot up Christ's body in the same section. Great locations scenes too, with loads of the film being set in St Katharine Docks in London.

Something that works less well, and might have been better if Sykes had a bit more clout is the wrinkly embryo devil thing, which looks pretty naff. Watch the scenes it's in with the sound off and you'll think of The Muppets.  Now that can't be good for a horror can it? But that pales next to the biggest problem the film has, the end scene. It's all really abrupt and has the feel of studio interference all over it. Still it's not enough to ruin the film, it's not like Lee breaks out in song, although I'm sure he would have if given the chance.

The Exorcist really changed the horror landscape forever, overnight Hammer films looked incredibly passe and it became obvious that they were either going to have to up their game or become a relic of the past. To the Devil a Daughter feels to me that they did too little too late. Only one more Hammer film dribbled out of the studio after this - '79's remake of The Lady Vanishes. It flopped and the studio folded. It's a shame since if To the Devil a Daughter had been made just a few years earlier, Hammer's fortunes might have been totally different. If you're a Hammer head then you've seen this multiple times, if you're not but like your British horror then you could do far worse than seeing this.

Thursday, 9 June 2011

Prehistoric Women (1967) - Michael Carreras


Thursday 9th June 2011.

Now it's not often I struggle to watch a film, but this just takes the biscuit. It's Hammer at it's absolute nadir, some old rubbish about tribes of women in darkest Africa that can talk English perfectly. Karl (our hero) stumbles into their world and manages to get himself mixed up in an uprising. You see the blondes are the slaves of the brunettes, and a little further down the ladder are the menfolk. Laughable stuff really, and you know it's all going pear shaped when early on Karl witness's a tribal dance and then has a natter to the tribesmen in (you've guessed it) English. They explain that they are going to have to kill him. 'Is there nothing I can do to change your mind?' yawns the bored sounding Karl, blah blah blah. Then a huge white plastic rhino shoots out of a wall, Karl grips it's horn and the tribesmen are frozen just as they are about to spear him. Jesus wept.

On the one hand you want to believe this is an attempt at showing how women have been oppressed throughout time, but of course it really isn't that. It's just an excuse to have huge stacks of women flesh packed into animal skin bathing suits. Woeful is too positive a word for this. I'm actually writing this while the film is still on, that's how tragic it is. Totally studio bound, with the cheapest of cheap jungle sets, if the camera work was any more static it would be considered still photography. The only thing it has going for it is Steven Berkoff, but even that's not enough to make me smile. I can't even bring myself to waste more time by writing this, which I see more as a warning than a review, since I'll never get the 90 minutes I spent watching this back. So if you ever get the chance to see this, just say no. You've been warned.
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