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Two years after 20th Century Fox released its melodramatic disaster film Titanic in 1953, Walter Lord's meticulously researched book A Night to Remember surprised its publishers by becoming a phenomenal bestseller. Lord had an intuition that readers craved the reality of the Titanic disaster and not the romantically mythologized translations (like Fox's film, starring Barbara Stanwyck), which relied on fictional characters to "enhance" the world's worst maritime disaster. Lord's book proved that the truth was far more compelling than fiction, outlining the many "if onlys" (if only the iceberg had been spotted a few minutes earlier, etc.) that lent somber irony to the loss of 1,500 Titanic passengers. Three years after Lord's book appeared, it was brought to the screen with the kind of riveting authenticity that Lord had insisted upon in his own research. The 1958 British production of A Night to Remember remains a definitive dramatization of the disaster, adhering to the known facts of the time and achieving a documentary-like immediacy that matches (and in some ways surpasses) the James Cameron epic released 39 years later. The film erroneously perpetuates the once-common belief that the Titanic sunk in one piece (instead of breaking in half as its bow began to plunge), but many other misconceptions are accurately corrected, and the intelligent screenplay by thriller master Eric Ambler is a model of factual suspense. By making Titanic the star of the film, director Roy Baker emphasizes the excessive confidence of the booming industrial age and creates an intense you-are-there realism that pays tribute to Walter Lord's tenacious quest for truth. Matching its laserdisc edition, the Criterion Collection's DVD of A Night to Remember includes feature-length audio commentary by expert Titanic historians Don Lynch and Ken Marschall (authors of Titanic: An Illustrated History and advisors on James Cameron's Titanic); an hour-long British TV documentary about the making of the film; and both the U.S. and British theatrical trailers. A must-have for Titanic buffs, A Night to Remember has stood the test of time, compares favorably to Cameron's later epic, and is superbly presented on Criterion's splendid DVD. --Jeff Shannon ... Read more

Reviews (64)

Best Titanic movie yet.
Cameron's film has its moments, but in truth I only liked it for the chance it gave me to see a great old ocean liner brought to life again on screen. In "A Night To Remember", the effects are not nearly so impressive, but the story is far better. It's very much in the style of a docudrama, but its a docudrama about one of the most fascinating and enduring stories in all of history. I don't quite know why Cameron felt it necessary to tell a soap opera melodrama about two fictional lovers and use one of the most dramatic stories in all human history as nothing more than a backdrop. "A Night To Remember", based on Walter Lord's outstanding book of the same name, tells the story of the disaster itself. Kenneth More plays a heroic Second Officer Lightoller, and the film actually makes him out to look a little better than he did in reality - he lowered several of the lifeboats less than half loaded, and permitted no men at all to get in, even when the boats were ready to lower and no more women were nearby to board. Still, this bit of dramatic license doesn't hurt the film.

The account of Titanic's loss has something in it to appeal to everybody. For the lovers of a great story it has incredible drama and suspense. For lovers of nostalgia it is far the best documented voyage of any ship from the golden age of the great ocean liners. For those interested in tragic irony there is the story of a great ship, regarded as unsinkable going down after ominous warnings were ignored. For those interested in stories with a moral, there is the cautionary tale of placing blind faith in any work of human hands, or thinking that the things of men are impervious to the forces of nature. For students of human nature, Titanic was a microcosm of society, with the full range of human strength and weakness on display, from acts of inspiring heroism to those of despicable cowardice. For those interested in social history, there is the huge gulf between the first class passengers with their vast wealth, and those in steerage with little more than the clothes they stood up in.

Few stories have proven so enduring and so fascinating as that of the Titanic. This movie remains the best, and most faithful film version of it to this day.

One of the most moving and comprehensive Titanic movies
I've been obsessed with the Titanic since Robert Ballard found the wreck when I was only five years old. Both this film and James Cameron's Titanic are chock full of historical facts and fictions. That said, I have to say that I do enjoy A Night to Remember a bit more. I think the technical accuracies were helped by having an actual crewmember as a technical advisor. The interiors were almost spot on, with just a few minor variations. It's also nice that most, if not all, of the main characters were actual crew members and passengers. I thought it was eerie how the ship in the movie groaned and popped as she settled into the water, much like the actual Titanic. And I might be the only one who noticed, but it seems like all movies since this one have a shot of a cart in the First Class Dining Saloon rolling down the tilting floor. I also liked that the ship's orchestra played the tune Horbury to the words of Nearer, My God to Thee, my favorite setting of the hymn. The featurette was such a wonderful behind-the-scenes additon, something James Cameron might think of including on his DVD someday. All in all, A Night To Remember is a moving and touching addition to any Titanic fan's collection.

Puts Cameron's Big Deal to Shame
James Cameron's over-hyped special effects spectacle can't hold a candle to this taut, gripping, underplayed production.

Comparing what the directors do with their leads gives one an idea of their priorities. A Night to Remember's Roy Ward Baker, in juxtaposing the unflappable lead player Kenneth More with the overwhelming event, has the effect of making what we know to be inevitable that much more wrenching. On the other hand, Cameron takes Leo DeCaprio, who does a great job with what he's given, and wastes him on a cliché starcrossed-lovers subplot.

The stark black and white photography of A Night to Remember - a North Atlantic night filled with icebergs IS black and white - makes the Technicolor of Titanic seem like a waste of emulsion. And, believe it or not, there are some special effects in A Night to Remember that give Titanic a run for its mega-bucks.

A Night to Remember lets the inherent drama of the Titanic catastrophe deliver the impact, demonstrating that "They don't make them like they used to" is more than just nostalgia.

Excellent for it's time.
Wonderful production for it's time, but I must dispute the first two listed reviews that call it "more accurate" and "the best and most faithful version". These reviews make you expect more than you get. Cameron was absolute in his quest for accuracy with Titanic and his production made me feel the drama, while I only watched the drama in "Night". With that said, I rate this 5 stars and recommend it highly for every Titanic buff's video archive.

Most historically accurate film about the Titanic disaster !
This is a review for the Criterion Collection release of the film.
Now you might not think of it as accurate with this film not showing the Titanic split in two before sinking, but it still is far more accurate than any film to date Feb 2004.

This film is based ot the book of the same name by Walter Lord. Unlike every other film about the Titanic which have seen. This one is based almost solely on acutal events characters and interviews with people involved in the disaster.

An interesting nt it that the band plays the British music to the hymn "Nearer my god to thee" instead of the American version which has been played in two other Titanic films which have seen.

Many of the actors were virtaully unknown at the time of release and one Actress in the film, Honor Blackman later became famous in the 007 film Goldfinger.

The supplementary features are also very good and the Audio commentary give reference to James Cameron's film. This was a film that was quite impressive for it's time and remains popular to this day. ... Read more

Reviews (21)

The first and the best of Hammer's erotic vampire films
"The Vampire Lovers," directed by Roy Ward Baker in 1970, is the first in the Karnstein trilogy of Hammer films, all based quite loosely on Joseph Sheridan LeFanu's story "Carmilla." The Karnsteins are a clan of vampires, represented in this version by a bunch of scantily clad women. Ingrid Pitt stars as Carmilla, who also goes under the anagram names of Mircalla and Marcilla at various points in the story (yes, there is a story). The last of her clan, Carmilla is trying to rebuild, turning first to Laura (Pippa Steele), the daughter of General Spielsdorf (Peter Cushing) and then Emma (Madeleine Smith), the daughter of Roger Morton (George Cole). Along the way she turns Mademoiselle Perrodon (Kate O'Mara) into a sexual slave. In the great tradition of Dracula and most other vampire films, Laura dies before anyone recognizes the marks of the vampire and then the goal is to save poor Emma from the same fate.

There is a lot in "The Vampire Lovers" that never makes much sense. Who is the countess (Dawn Addams) who travels with Mircalla? What is up with the black-clad vampire (John Forbes Robertson) who keeps hanging around? Supposedly Mircalla is the last of her clan, but maybe not. Mircalla keeps saying she loves her victims, but they all end up dead, which certainly does not help out her clan much. In the end it is clear that Hammer, aided and abetted by American International in this instance, was making a flat-out lesbian vampire film. As such, I can honestly say that you are not going to find a better one out there. Ironically, "The Vampire Lovers" ends up being more erotic than the vast majority of films featuring heterosexual relationships between the undead and their victims.

ARE YOU A VAMPIRE LOVER?
Indeed, many fantasy mavens are vampire lovers themselves, and a lot of them got that way by being "bitten" by Hammer Studios' great vampire classics of the late 50s and early 60s, as exemplified by "Horror of Dracula" and "Brides of Dracula." Sexier and a little bloodier than previous Dracula films, Hammer's productions took the vampire movie to the next level. Unfortunately, the law of diminishing returns forced Hammer's competitors to up the ante themselves to compete, and Hammer recognized that if they wanted to keep their exalted place in horror's hierarchy they would have to raise the bar once more.

The result was "The Vampire Lovers," derived from J. Sheridan LeFanu's immortal short novel entitled "Carmilla." Actually preceding "Dracula" in the annals of vampire literature and even more respected by some, LeFanu's story seemed the perfect choice for Hammer to batten upon. The picturesque Styrian setting, the gothic trappings, and the tale's natural sexual subtext all seemed custom made for a splendid Hammer adaptation.

Unfortunately, Hammer's adaptation leaves much to be desired. Many love this movie because it so seamlessly blends vampirism and sex, but in fact there is nothing to the film at all besides nudity and bloodletting. The elegant narrative of LeFanu's original is reduced to a rather childish softcore exhibition of skin and blood. Granted, it seems rather tame compared to "From Dusk Til Dawn," but given its pedigree "The Vampire Lovers" should have been a classic on par with "Horror of Dracula," not the rather sorry T&A flick that is.

More's the pity because of an excellent cast, one of the best 70s Hammer would ever boast. Ingrid Pitt is an intelligent, alluring vampire seductress, albeit little resembling LeFanu's languid, frail Carmilla; Jon Finch (before his excellent performance in Roman Polanski's "Macbeth") is a rather vapid
stalwart hero; Pippa Steele is an attractive, innocent victim; and the great Peter Cushing shows up at the end as a vengeful General who could have been another Van Helsing but is never given a chance to do much of anything. These performers could have worked wonders with better action and dialogue; as it is, their considerable talents are virtually wasted (especially Cushing).

Sadly, "The Vampire Lovers" is a contribution of little value to vampire cinema. True, it made sure future vampire films would have an excuse to indulge in more and more sex and nudity, but that's hardly anything to brag about. Moreover, despite all the sexual shenanigans, the plot drags terribly and there's little real action or drama. The most exciting sequence comes at the very beginning and nothing else matches it the rest of the way. To top things off the script makes little sense, with several characters who seem to be of some importance just popping in and out a few times to no dramatic end whatsoever.

While "The Vampire Lovers" has its fans, its no classic and certainly not as good as some of its Hammer predecessors. It was a trendsetter--but in all the wrong ways.

Lavish, Beautifully Filmed Vampire Story From Hammer Studios
"The Vampire Lovers", one of the later Vampire efforts filmed by the famed Hammer Studios has always received its share of controversy from the fact that for once a female Vampire is prominently featured and the displays of nudity combined with its lesbian theme have not been to all viewers tastes. Directed with gusto by Roy Ward Baker, I believe it is an excellent effort full of lavish production values, rich colour and an exciting story that for once is not tied in with the Dracula Legend. It is obvious that a lot of care and attention was poured into this story and it is definately one of the finest of the later Hammer efforts.

Hammer Studios, long the reigning masters of the horror genre definately took a new updated tone with this production and allowed nudity and the previously not mentioned theme of lesbianism to be featured prominently. First and foremost it gave a classic role to Polish actress Ingrid Pitt who went on to appear in a number of other Hammer and Amicus productions. "The Vampire Lovers", is based on J S LeFanu's novel "Carmilla" and was the first of the "Karnstein Trilogy" which Hammer made and included "Lust for The Vampire " and the excellent "Twins Of Evil". "The Vampire Lovers",tells the story of vampire seductress Marcilla/Carmilla the last of her blood thirsty clan who at the beginning of the story is left by her "mother" the Countess (Dawn Addams) in the care of General von Spielsdorf (Peter Cushing in another of his dignified horror performances) after she is supposedly called away to the bedside of a dying friend. Soon after her stay begins with the General his daughter Laura begins to suffer from terrible nightmares which involve a monsterous cat that seemingly molests her. Suffering from a strange anemic condition Laura eventually dies after which Marcilla mysteriously disappears and moves on to the home of Laura's friend Emma Morton where a similiar situation is played out with the vampire having herself invited to stay at the home of Emma's father Sir Roger Morton. Once in residence "Carmilla" as she is now called sets her sights on the lovely young Emma and proceeds to begin to drain the blood and life out of the girl. Emma's governess Madame Peridot (Kate O'Mara in a very effective performance) is also put under Carmilla's spell with the use of a charmed brooch. Emma's friend Carl (Jon Finch) starts to suspect Carmilla of something devious and rides to the house to save Emma becoming involved in a deadly battle with Carmilla who after killing Madame Peridot retreats to her old former home, the ruined Castle Karnstein. Discovering that Carmilla is the last member of the vampiric Karnstein family General von Spielsdorf And Sir Roger pursue her to the Castle and she is eventually dispatched by the traditional means of a sharp stake driven through the heart. Her family portrait then ages before their eyes to indicate that she is now truly dead and her curse is now lifted.

Ingrid Pitt is superb as the totally evil Marcilla/Carmilla . She possesses the appropiate beauty and sense of mystery which is vital in portraying the seductive and evil villianess. Pitt went on to portray other similiar characters in the rarely seen "Countess Dracula", and the classic "The House That Dripped Blood". Her place as one of Hammer's most prominent female performers was sealed after this effort. Peter Cushing a long term performer in Hammer productions is his usual convincing self as the ardent General bent on revenge for the cold blooded murder of his daughter. No matter what the part Cushing always lent great value to any production he performed in. The cast in "The Vampire Lovers" is uniformily fine and the two young actresses who play Carmilla's main victims, Madeline Smith as Emma and Pippa Steel as Laura have the just right innocent qualities which make them believable as the victims. Hammer really spent big on this production and the film boasts beautiful on location photography, magical indoor settings, lavish costumes and tight editing.

To watch "The Vampire Lovers", is to see how far cinema had come since the time of Hammer's first vampire effort in the late 1950's the classic "Horror of Dracula", in so far as adult themes are now openly explored in this effort. The film indeed is a feast for the eyes and succeeds in never losing touch with the imporatant elements in any Vampire story, those being an exciting story, air of mystery and terror and performers who take their parts in it very seriously. I strongly recommend Hammer Studios "The Vampire Lovers", starring Ingrid Pitt and Peter Cushing to all horror buffs and lovers of intriguing vampire stories. Enjoy!

boring
I rented this because of the positive reviews, boy, was I disapointed! This film was boring, tedious, and did not make much sense. I found the female vampire to be unconvincing as a vampire and not suited to the role. Skip this film, there are better 1960's horror movies out there.

Scary!!!
They just don't make'em like this anymore! Forget the holes in the storyline that make bits and pieces of this film somewhat senseless. Just relish the overall beauty of the production, the lush musical score, and the wonderful and attractive group of actors that combine to make The Vampire Lovers one of the best of the Hammer flicks and vampire films in general. Quality of the print is excellent also. This review is based on the MGM VHS version. ... Read more

Reviews (11)

A Flawless Collector's Item!!!!!!!!!!
This is probably one of the all-time BEST performances by Bette Davis you will ever see. As I understand it, this is not easy to find and if you are a true Bette Davis fan, you simply MUST have this!

The simple plot revolves around Ms Taggert's (Bette Davis) yearly tradition of celebrating her wedding anniversary even though her husband has been dead quite some time. Not only does she insist on comemorating the occasion but DEMANDS that her sons, ALL of whom have their own issues with Mother Dear, attend along with their respective families. Then Bette proceeds to tear into them unmercifully because she knows they will put up with it all for the sake of good ol' moola! Knowing this, Bette pulls no punches and delivers one of the funniest, most brutal, scathing, lowdown,, and over-the-top CLASSIC performances in film history.

This is vintage Bette. Trust me. No Bull. You simply MUST see this! It is just a stitch!!!!!!!!!!!!!

Ultimate camp classic.
If you want to see Bette at her most outrageous and flamboyant, you've come to the right place! Here she plays the diabolical Mrs Taggart who, hands down, would win the "Most Dominating & Manipulative Mother" award. She has three sons, one a transvestite, one a coward, and one (a little harder to control) with a new fiance to whom Davis requests: "Would you mind sitting elsewhere? Body odour offends me". Davis looks like she has a field day playing the part, as most viewers will have watching the film. The film is chock full of good lines. Eg: To the cross-dressing Henry: "Wouldn't you like to get help, to stop being a pervert?" to which he replies "I like being one". The film is a full-scale opera of black humour, devious cunning, manipulation and aggression. What more could you want?

excellent, but what about a dvd release?????????
I alredy reviewed this item, this is superb Bette Davis performance although I'd recommend it for the die hard fans like me, you'll have a hell of a good time, and certainly a good laugh watching Bette's attitudes and listening to Bette's lines, she's the very best and at her very best, it definitely IS a collector item no matter what the critics say.
I wish to have a dvd release though, I can't even understand why this hasn't been done already not even in europe, this is a UK movie. Go for it without hesitation, you won't be sorry.

WHOA!
Bette's back...and she's BAD as the meanest one-eyed mother of them all!

Right Up There With Baby Jane and Hush,Hush Sweet Charlotte!
This is one of the best Bette Davis movies I have ever seen! I couldn't controll myself! Bette has some of the funniest lines In the history of film! Well worth your time and money and if your a Davis fan,save a spot on the shelf between Baby Jane and Hush Hush Sweet Charlotte! that spot is well deserved! ... Read more

Reviews (14)

Underated flick from Hammer Films
DR. JEKYLL AND SISTER HYDE is a very good movie. This is the bizaar tale of how one man-and one woman try to exist in the same body. RALPH BATES plays Dr. Jekyll, a man working on a potion that will change him forever. MARTINE BESWICK plays evil SISTER HYDE and goes on a killing rampage. The plot twists when she falls in love with another man, complicating Mr. Hyde's character. At times, this movie tries to be romantic, but in the end, it all ends up tragic! A very different horror movie from most Hammer films. I guess that's why I recommend it, because it is different. This version contains an additional 3 minutes of footage not seen in previous versions of the film! Order today!

Hammer's Intriguing Twist On The Jekyll & Hyde Story
Considering their masterful adaptions of most of the great literary horror classics, it was surprising that England's Hammer Studios rarely tackled the famous story of Dr. Jekyll and Mr. Hyde in their film work. One attempt in the early 1960's "The Two Faces of Dr. Jekyll", was their sole effort up till when they mounted this elaborate and handsome production of "Dr. Jekyll and Sister Hyde". This film provided the story with not only a unique gender twist but managed to mesh it with elements of the horrific Jack the Ripper case which occured around the same period this story is set. In my belief one of the better Hammer efforts from this period credit must go not only to Hammer's superbly atmospheric production but also to Ralph Bates in the central role of Dr. Jekyll who experiments with the essence of life to his own great personal cost. Talented actor Bates was perfect for these period dramas and had just the right combination of personal charisma and good looks to be ideal as the lead character. At this time he was being groomed as Hammer Studio's new star with the gradual phasing out of stalwarts Christopher Lee and Peter Cushing.

Making alterations to a great classic for film work is always a difficult task much open to criticism but here Hammer have successfully taken the great classic novel by Robert Louis Stevenson and transformed it into an intriguing horror story where the real villian of the piece is a female, the "Sister Hyde", of the title who gradually takes over the body and soul of Dr. Jekyll with terrifying results. As the story opens Dr. Jekyll a prosperous London doctor has been experimenting on finding cures for some of the rare diseases. Discovering that cures will take longer than the average life span he alters his research into finding an elixir of life that will prolong the lifespan of mankind. Experimenting first on insects he discovers that by injecting female hormones (obtained from fresh corpses from underground sources), he can extend their lifespan, however a disturbing element arises where it is noticed that the fly in question has also changed gender and taken on a female form. As the obssession to find the correct formula for extending life takes hold of him Dr. Jekyll begins to experiment on himself with tragic results as he transforms into a woman, the "Sister Hyde",( a stunning Martine Beswick), of the title who possesses a personality of pure evil and begins over time to fight with Dr. Jekyll for possession of not only his mind but also his body. To continue his research Dr. Jekyll continually needs fresh bodies and he begins a killing spree among the prostitutes of the White Chapel district of London. The brutal murders create panic among all the citizens as the bodies are all found to have been surgically dismembered which arouses the suspicions of Dr. Jekyll's collegue Prof. Robertson (Gerald Sim).He begins to suspect his collegue of these crimes as he knows of the dangerous life enhancing experiments the doctor is undertaking. Dr. Jekyll finds that the transformations only last a short while and he passes off "Sister Hyde", as his own sister. This causes him added complications in particular when he finds neighbour Susan (Susan Broderick) falling in love with him and the seductive Sister Hyde arousing the passion of both Susan's brother Howard and Professor Robertson. The police with the professor's help begin to close in on Dr Jekyll and continuing her murderous streak Sister Hyde then murders Professor Robertson and seeks out Susan as her next victim. In the thrilling climax as the police break into Dr. Jekyll's lab the doctor attempts to escape over the roofs of the neighbouring houses however he ends up falling and to the horror of onlookers his shattered body lying on the street transforms one final time into the murderous "Sister Hyde".

The work by Ralph Bates and Martine Beswick as Jekyll and female Hyde is exceptional and as has been noted by others the physical resemblance between the two makes this premise believable. Much controversy was raised at the time of the films release by the gender transformations and the "risque" element of a man turning into a woman. Those scenes are very well handled and it says much for the talents of Bates and Beswick that at no time are those scenes anything but the horrific episodes they were intended to be. Ralph Bates in particular gives one of his very best performances here. Totally at home as the affluent Victorian doctor he is superb in his scenes as the murderous man willing to go to any lengths to complete his research, even if it means sacrificing human life to do it. Hammer Studios which set so many of their features in Victorian times does a superb job here in recreating all the seedy elements of the White Chapel area of London in the late Nineteenth Century. The period clothing, mist shrouded streets, carriages and Gas Lamps are all authentically reproduced in this exciting and atmospheric production. Indeed I can see alot of the inspiration for the recent "From Hell" with Johnny Depp, in "Dr. Jekyll and Sister Hyde", right down to Dr. Jekyll's sinister surgical instruments used in the murders.

Directed by Hammer regular Roy Ward Baker "Dr. Jekyll and Sister Hyde", really represents the last flowering of the creative elements of Hammer Studios in the early 1970's. It manages to be not only a great horror tale with an original premise but also a rather tragic story with elements of romance included as well. Ralph Bates with Martine Bewick's assistance really carries the film and he was to appear in other interesting Hammer efforts around this time like the much maligned "Horror of Frankenstein", and "Fear in the Night", both really excellent vehicles for his talents. Enjoy a new slant on the old Robert Louis Stevenson classic in Hammer's exciting "Dr. Jekyll and Sister Hyde".

High-grade B movie
I enjoyed this movie. By modern standards, the gore is subdued, and the acting is first rate. It runs a tight one and a half hours, and the plot zips right along. As the movie extras reveal, the sets were borrowed from other, higher budget movies, so there is nothing cheap about the look of the film. I'm glad someone thought enough of this film to put it on DVD.

Don't Pass This One By!
If you're a horror fan over the age of 35, you probably remember some of the old horror flicks from Hammer Studios. Some of them were creepy, some of them silly, and some of them downright awful. But a few of them were really good. 'Dr. Jekyll and Sister Hyde' is one of the good ones that horror fans should rediscover.

Dr. Jekyll (Ralph Bates) sits in his laboratory, lamenting the fact that man will never live long enough to cure many of the diseases that afflict humanity. Jekyll discovers that by injecting female hormones into a male fly, he can greatly extend the life of the fly. He tries the experiment on himself. Then he notices that the fly is no longer male. Oops.

Jekyll's alter-ego, whom he explains away as his sister, Ms Hyde (Martine Beswick), quickly becomes responsible for all kinds of mayhem. The running dilemma in the movie becomes "Who will win the battle for control of Jekyll's body? Man or woman?"

I didn't really expect much from 'Dr. Jekyll and Sister Hyde,' but I must admit I was pleasantly surprised. Sure, the film has plot holes everywhere, but director Roy Ward Baker focuses on the story and keeps it moving well with a few interesting (and humorous) romantic subplots. Yet the most remarkable element of the film is in its casting. Bates and Beswick bear an uncanny resemblance to one another, making the film's premise believable and enjoyable. So sit back, and enjoy a really fun horror film from the imaginative 70's. And tell yourself that those Hammer films weren't so bad after all.
97 minutes
Rated R for violence and brief nudity

Cropped SEVERELY to 1.85:1 rather than shown properly.
This DVD was made using a "master" which was cropped in on the sides and then severely cropped down from the top and up from the bottom to yield the much sought-after concept of "letterboxing" at an aspect ratio of 1.85:1 which is altogether too narrow. Films made at this time in Britain were to be shown at 1.66:1 at the most, and as a result of the cropping-on-the-sides and cropping-top-and-bottom what you see on this DVD is missing QUITE a bit of visual information on All Four Sides. You might as well be watching the actual film through a mailslot in a door. This is not the first title Anchor Bay has cropped inaccurately, erring unfortunately on the side that says, "make it fit Academy ratio, even if we show less than we should". At one time AB argued it cropped to Academy ratio to conform to anamorphic standards, but that's bogus. A film can be shown anamorphically at 1.66:1. What IS a big shame is that this title will probably not be re-released in a more complete visual form. The audio commentary from paricipants Roy Ward Baker and Martine Beswick is most welcome, however, and a good enough reason to watch. Just know that visually, you're missing a lot of what you should be seeing -- this entertaining film isn't framed properly, and quite a bit of visual information available even in the Lumiere VHS version is missing from the DVD. Release to DVD is no insurance against bad handling, unfortunately, and even by AB, which is doubly shocking. ... Read more

Amazon.com

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

Reviews (46)

Can't say enough about this exciting sci-fi flick.
This was the first of 7 films that Roy Ward Baker directed for Hammer. I also feel that it was possibly Hammer's finest moment. I have seen this movie at least 5 times and I still love it. This is a remake of a British television series entitled Quatermass and the Pit. The same writer was used on the film and much of the same dialogue is used. And maybe Hammer has some other moments as equally fine as this, but this is such a good movie.

While digging a new subway tunnel underneath London, a large, metallic object is discovered. Different experts are brought in and the official story from the military is that it is an experimental type of bomb from from the Germans from WW II that didn't work. Others aren't so sure, including Professor Quatermass (Andrew Keir).

A little bit of detective work by Professor Quatermass and his assistant Barbara Judd (Barbara Shelley) turns up that the area of London that the object was discovered at, Hobbs Lane, has had a history of strange phenomena going back centuries. In fact the name Hobbs as it turns out, is actually a medieval name for the Devil.

Quatermass proposes that the object is an alien craft that has been buried for centuries, if not millennia, despite the military's insistence that it is a German dud. And soon after the discovery of the object, workers start dying or start having psychotic episodes with visions of seeing aliens that look like insects (kind of like a cross between a praying mantis and a grasshopper actually). The military is trying every tool they can to drill into the object, but to no effect. A cover finally opens up and all hell starts breaking loose around Hobbs Lane. Winds are blowing and people are being driven mad by the visions they are seeing. There is also a giant apparition of an alien that appears in the sky above Hobbs Lane. The Professor figures out a way to bring the power in the spaceship to a halt by running a giant electrified crane into the apparition and save London.

If you have ever seen Lifeforce (1985), you'll notice the endings are somewhat similar. There are winds swirling around London with debris flying everywhere and sirens going off and some terrific noise all around. People are running through the streets either out of their minds or trying to get away from the madness. And one lone figure knows how to put a stop to all of it.

I hope my description of the movie doesn't turn you off, because despite the goofy sounding story it really is a well done movie. All of the principle actors do an outstanding job, especially Barbara Shelley and Andrew Kier. The first time I saw this movie on TV in the late 70's it was under the title 5 Million Years to Earth. It was probably 10 years before I saw the movie again on TV, and I was so excited to be seeing it again. Fortunately for all of us, Anchor Bay has released this movie on dvd in 1998. What is included on the disk is a commentary by director Roy Ward Baker and a World of Hammer episode entitled "Sci-Fi". I have only ever seen one copy in dvd stores and of course I bought it. So I know it is not a very common title to have in stock at most outlets. I highly recommend buying this for your permanent movie collection.

Brother, can you spare a Quatermass?
Quatermass and the Pit (1968) is the third in the Quatermass series, beginning with The Quatermass Xperiment (1955), and followed by Quatermass 2 (1957), all written by Nigel Kneale, and is certainly one of the better Hammer Studios releases. (That's a whole lot of Quatermass...)

The film starts out with an interesting find during the renovation of an underground subway station in the English town of Hobb's End. Seems the workers found some ancient skeletal remains, early primate man it appears, prompting the work to stop, allowing for Dr. Mathew Roney (James Donald), his assistant Barbara Judd (Barbara Shelley, yowsa, yowsa) and a group of anthropologists to catalogue this remarkable discovery. The situation soon turns from fantastic to frightening, as part of a large, metal object is uncovered, leading some to believe it may be an unexploded German bomb from the last world war. Professor Bernard Quatermass (Andrew Kier), a physicist and rocket scientist, along with Colonel Breen (Julian Glover, who later appeared in Indiana Jones and the Last Crusade) and the military soon arrive to deal with the situation, but further digging reveals the large object not to be a remnant of a past war. Turns out, it's not even an object of this Earth, as various attempts to penetrate the hull prove fruitless, as the object is of a material not recognizable to anyone. Not only that, but a secret compartment reveals child-sized inhabitants of a bug-like nature. As the scientists, the military, and the government grapple with this incredible find and all its' possible implications, the dissention amongst the parties involved begins, as not only of the origin of the object, and how best to disseminate information to the questioning public.

After Barbara, with the flaming red hair and beckoning green eyes (sorry...I got a little carried away) uncovers information about past odd happenings in the Hobb's End area, Professor Quatermass develops some interesting theories about the possibility of alien intervention in human development and reasons why. This opens a whole new can of worms, and to say Colonel Breen and various high-ranking government officials were less than receptive to these theories is putting it lightly. There position, akin to an ostrich putting its' head in the sand, is that the object and anything within was all a part of some German propaganda during the past war, designed to sow confusion and fear. This turns out not to be true, as everyone learns later. More scientific investigation reveals some truly interesting, and somewhat terrifying details. In the end, the terror becomes a reality, and the stuff really hits the fan as the object turns out to be much more than anyone had expected or could have conceived.

To me, this is an excellent example of a true science fiction film. The story is thick with rich, creamy flavor as elements are revealed, tying in not only with the present, but also the past. The conclusion to the story is satisfying, but one is left with any number of questions that may never be answered, due to the plot intricacies developed through the film. I really liked the portrayal of the powers that be in that they weren't trying to cover up some big secret, but just unwilling to face certain facts for fear that this information would have repercussions beyond the imagination, and most would probably not be able to even begin to wrap their minds around the possibilities presented with the alien object. There is a real depth to this movie, one that keeps drawing you deeper and deeper, heaping implications on top of implications, giving this viewer the sense that his mind was actually being blown. The whole affair was very intelligent and well put together, leading up to a very exciting climax. I would recommend this to any fan of true science fiction, as it exemplifies what can be achieved when all the pieces come together. This would certainly be the career highlight of capable director Roy Ward Baker, who also directed such films as Scars of Dracula (1970), Asylum (1972), And Now the Screaming Starts (1973), and The Monster Club (1980). James Donald (Dr. Mathew Roney) also appeared prominently the classic WWII film The Great Escape (1963). Andrew Kier (Prof. Quatermass) appeared in other Hammer films like Dracula: Prince of Darkness (1966), along with costar Barbara Shelley, and also the less than stellar The Viking Queen (1967).

The wide screen print on the disc looks very good, with only very minor signs of wear in a couple of places, and special features, which are on the flipside of the disc, include US and UK theatrical trailers, TV spots, a feature length commentary track by director Roy Ward Baker and writer Nigel Kneale, and a World of Hammer episode entitled 'Sci-Fi'. If you're in the mood for an intelligent and highly entertaining science fiction film, you won't be disappointed in Quatermass and the Pit.

Cookieman108

This third movie is probably the best one to get
I saw this film as a child on television many times and I guess I should admit to some bias here as it had a lasting effect on me.

I bought the movie on the strength of that feeling and it didn't disappoint me to see it again as an adult.
Although I bought all three movies, this is my favourite Quatermass movie because the acting is so much better than the first two films.

Andrew Keir is the best and most sympathetic Quatermass in my opinion and the supporting cast, particularly James Donald (the real hero) and Barbara Shelley help raise the overall quality of the film.
Credit must also go to the author Nigel Kneale who has some terrific ideas and a real feel for science fiction. He also researches his subject well so his stories generally contain 'believable' science( the odd plant man not withstanding).

The way he weaves the old tales of goblins and devil folklore into the story is impressive and original, making the sudden discovery of these creatures less far-fetched and ultimately quite courageous for it's time, considering the heresy at the heart of the story, that we owe our existence and evolution to clever insectoid martians!

The special effects are good considering the lack of technology available at the time and the story kicks along at a cracking pace. Be warned though, you may well be repeating lines in the pub like ....they were leaping and jumping!!! for days afterwards with a bug-eyed expression on your face.

Or is that just me? (I'll get my coat.........)

I would say you if you like science fiction films you won't feel let down if you buy this movie. It's a movie worthy of the title 'classic'and I think stands up pretty well against today's efforts.

WE ARE NOT ALONE
THIS ONE OF THE BEST HAMMER PICTURES,THE STORY IS FILLED WITH SUSPENSE AND GREAT SPECIAL EFFECTS FOR THAT TIME.THE ACTING IS FIRST RATE AND THE END OF MOVIE WILL GIVE UP YOU CHILLS.

EXCELLENT HAMMER SCI-FI THRILLER....
Workers in a London underground railway station unearth humanoid skeletons---setting off excitement among the scientific and anthropological experts. But then a stranger object is found and the military gets involved, believing it to be a bomb. It turns out to be a spacecraft. Col.Breen (Julian Glover) explains it all away as a German craft left over from WWII. Dr.Roney (James Donald) and his assistant Barbara Judd (Barbara Shelley) are skeptical due to the skeletons but the estimable physicist Prof.Quatermass (Andrew Keir) thinks there's a more otherworldly explanation. There are legends and superstitions around the railway station area of hauntings and "goblins" that are too well documented to be ignored. Then strange vibrations begin to eminate from the spacecraft and the remains of the hideous crew are discovered. Breen and his superiors go into complete denial of extraterrestrial visitation while Roney, Barbara and Quatermass bond together to explore things further. And the results are horrifying. Superior Martian lifeforms that resemble giant locusts came to earth in these ships and took back with them ape-like early human beings to mutate with in an attempt to cleanse their own race...then returned with them to earth to repopulate on our planet as Mars was no longer capable of supporting life. Thus, we are descended from this unspeakable union! What's more, this arthropodic race of Martians were evil---capable of creating such powerful telekinetic energy that could create havoc and destroy as well as control the minds of lesser beings. When the ship vibrates to life, sending telekinetic energy every which way, all hell breaks loose. This is an incredible, intelligent sci-fi/horror story with a matchless cast delivering expert performances. A truly superior Hammer film. Excellent color, claustrophobic atmosphere and modest but remarkable special effects with top-notch direction from Roy Ward Baker make this a collector's item for any sci-fi/horror/Hammer fan. Excellent DVD treatment from Anchor Bay as well. Highly recommended all around. ... Read more

Reviews (39)

Underrated and Truly Chilling!
The first time I saw this movie was many years ago and I still remember being in complete awe over the fact that it was so much different than what I had expected. It was so incredibly dark and sadistic (which was very uncharacteristic for Hammer Studios, let alone any other film of this period) and it actually left a lasting impression on me for days. The entire look and feel of the movie was somehow EXACTLY the way I had always pictured old horror movies to be. I feel this is one of Hammer Studios best films and one of the best Dracula movies ever made. (which unfortunately isn't saying much.)

For once, Dracula gets to deliver some good dialouge and do some pretty cool things like scaling his castle walls, torturing his nim-witted servant, and might I also mention the inclusion of the most dramatic "Dracula demise" in the entire series. Christopher Lee will always be the irreplaceable crown prince of terror and the one and only Dracula! However, one has to wonder why Peter Cushing wasn't cast as the village priest. His great acting skills and shiny charisma always added a lot of needed credibility to these so called "B grade" imported horror films.

Anyway, if you like castles, costumes, and old fashioned gothic horror films you need to give this one a try! Just don't get yourself too upset over the fake looking bats!

EXCELLENT ATMOSPHERIC HORROR!
This entry in the series is perhaps the best, though it can be surpassed by HORROR OF DRACULA in some respects. A young couple runs afoul of the revived Count Dracula and his servant Klove, while in search of the man's missing brother. This film benefits greatly by an original and more elaborate screenplay, and Lee's phenomonal performance. Dracula is once again a more central character, giving him more to do and better lines. Lee gives his GREATEST performance yet, even though he personally disliked doing alot of Dracula films. Hammer also borrowed Universal's classic "firey mob" sequence for this film's opening, which also adds some early excitment as the mob of villagers attempts to end Dracula's reign by burning his castle. More is borrowed from Stoker's novel, such as Dracula scaling the castle walls and his vampire bats, whom he commands. This film is a bit gorier and has more sex than its predecessors, but don't let that stop you from buying this film(the gross scenes are few and brief). The night scenes filmed in daylight didn't bother me. Who cares? When you see Dracula awake, its night, so it doesn't matter. It helps the mood. The scenes outside the castle are dark, others are more light. This entry is very eerie, and well acted. Dracula's demise, while unorthodox, is the most original and is pretty cool!! Don't waste time, get SCARS OF DRACULA. It's the best example of Lee as Dracula, and is perhaps the darkest of the series!

Not the best, but the most horiffic of the entire series!
Great movie although I still say "Horror Of Dracula" was the best of them all. This film is the best of the sequels. Only one confusing part of it though. In "Taste The Blood Of Dracula", he is destroyed and rots away into dust at that ruined church. "Scars" begins, presumably, right after that film, yet we see Dracula's remains lying on a stone slab at a castle. How did this happen? Did someone pick up his dust at the church and then sprinkle it in the castle? Maybe it was the bat who comes in to drip blood on the remains? Who knows?

In any case, this was a rather good film. Unlike the previous one, Dracula is present for nearly the entire film this time. And, a great demise at the end this time.

If you buy any of the Hammer "Dracula" films, stick with this and the previous ones. Stay away from the ones that take place in the 20th century. Not the same.

A wasted effort...
This is one bad film. I'm a huge Hammer fan but my, what a waste of time and money. Sure Christopher Lee has more lines but they're awful lines and the film has absolutely zero artistry whereas the direction is concerned. The camerawork and photography have none of the excitement of the earlier Dracula films. The continuity is very bad indeed--night, now day, now...night again, all in the same sequence! The best set in the film is the bedroom with its black and deep red--a great looking set. Even on a low budget much can be done with lighting and camera angles, not to mention camera speeds and editing but apparently no one thought of those things when this film was made. This film is only slightly better than Dracula AD 1972, and not as good as Satanic Rites of Dracula which was awful. The only reason to own this DVD is if you're a Hammer completist. Then again, the commentary is mildly interesting because of Christopher Lee--also the bonus disc in interesting. In Dracula Prince of Darkness, Lee may have had no lines but it was an infinitely better looking film with more interesting characters and better direction by Terence Fisher. Sometimes not saying much speaks volumes.

No bonus DVD as the cover claims!!
The movie itself is very good if your a Dracula fan like me,however, I bought this movie for the bonus DVD thats suppose to come with it, however, there is no bonus DVD! I was sent a replacement movie hoping It would come with the bonus DVD as the front cover claims, but it did not. One reviewer out there says he got the bonus DVD but I don't understand why twice I did not get it. If anyone out there bought this movie and got the bonus DVD I sure would like to hear about it. You can email me at; mrfun100@hotmail.com and I thank you! ... Read more

Reviews (10)

Pure campy fun
Curious horror anthology is loosely based on the works of horror novelist R. Chetwynd-Hayes, portrayed by John Carradine as an active partaker in his own tales. The author is invited by a smooth vampire (the fabulous Vincent Price) to go with him to The Monster Club, where he bears witness to the secret social customs of various monsters, which evidently include drinking, dancing, and watching undead stripping Go Go Ghouls. He is also educated to the mating patterns of these creatures, whose tendency to inter-breed creates such new strains of monsters. All of this is interjected by short stories featuring campy yet fun monsters running amok. A fun side note is that the movie features music by pop-reggae band UB40. Have no sense of humor? Avoid this film. Love campy fun? Don't miss out.

SIMPLY AMAZING..
I cannot recommend this disc enough. The picture and sound quality are fantastic for a film of its age and the extras are spot on as well, including the films soundtrack as a stand alone audio is a nice touch.

The only slight glich is the commentary from Beavis and Butthead (the actual people who released the dvd) who try there best to slag the film off in the most horror film nerd cliches of all time.

A brilliant budget disc that i have been waiting on for years.

Yeah, Yeah, Yeah its cornball nonsense i know but.....

MONSTERS RULE OK!

"Monsters Rule O.K."
Back in the mid 60's to early 70's, Amicus Productions (The Studio That Dripped Blood) rivaled the famous Hammer Studios and its' horror films, and the releases from the two English studios were often confused as they often used many of the same actors and directors. Amicus Productions was most famous for its' creepy horror anthologies, including The House that Dripped Blood (1970), Tales from the Crypt (1972), Asylum (1972), The Vault of Horror (1974), and From Beyond the Grave (1975). Amicus, formed by a partnership between producers Milton Subotsky and Max J. Rosenberg, dissolved in the mid 70's, as did Amicus Productions. While many fans mourned the passing of this wonderful and short-lived institution, Subotosky did go on to form Sword and Sorcery Productions, which released The Monster Club (1980), bringing back some of the magic of a time since past.

Directed by Roy Ward Baker, who also did Asylum and The Vault of Horror, along with numerous Hammer films, The Monster Club, based on a book by famed and prolific author R. Chetwynd-Hayes boasts a plethora of stars including Vincent Price, John Carradine, Donald Pleasance, Britt Ekland, Stuart Whitman, and Patrick Magee, among others. There are three stories here, loosely tied together with a wrap-around story and a number of musical performances (B.A. Robertson is great performing 'Sucker for Your Love'), all wonderful in their own right.

The film starts off with the wrap-around story, as we meet a character named after the author of the book the film is based on, R. Chetwynd-Hayes (Carradine) being approached by a man looking for a bite, as he hasn't eaten in a couple of weeks. Chetwynd-Hayes offers assistance in the form of money, but the man, named Eramus (Price) isn't speaking of eating in the normal sense, as he's a vampire and takes some of Chetwynd-Hayes blood, but not to the point where he infects the author. Learning of the man's identity and feeling a debt of gratitude is due, Eramus offers to take Chetwynd-Hayes to a exclusive club, a sort of monster disco, where monsters reside, allowing for the author to gather new material for a future book. After some tongue-in-cheek humor, we are treated to three tales of varying degrees of horror.

The first tale involves couple, George and Angela, of dubious nature looking for their next scheme, and it comes in the form of a position cataloging antiquities for a odd looking man named Raven who rarely leaves his large and expansive estate. Angela applies, but soon balks as she has great apprehension about the man, given his strange appearance. George talks her into going back, and she assumes the position. He seems nice enough, despite his ghoulish appearance, and he certainly has a tempting amount of valuables ripe for the taking. Raven soon becomes enamored with Angela and proposes marriage, to which George sees as a perfect opportunity to have access to Raven's wealth. Well, things soon sour, and we learn Raven is much more than an odd-looking fellow, possessing an interesting method of dealing with those who anger him.

The second story deals with a shy, young boy and his parents, to which the father has a job that requires him to stay out all night, and sleep during the day. Also, the boy learns that he's descended from noble lineage, his father being a count. Can you guess where this is leading? Anyway, not to give too much away, the story deals with vampires and vampires hunters, and actually is the more humorous, despite its' dour beginnings, of the three tales, providing a couple of nice twists at the end. This story stars Britt Ekland and Donald Pleasance.

The third story tells a tale of a director named Sam (Whitman) scouting locations for a new horror film, looking for a village with lots and lots of atmosphere, which he finds, but soon regrets. The village, populated by ghouls, has plans for Sam, and they don't involve making a movie. Sam finds assistance in the form of a girl, and both take refuge in an abandoned church, where Sam learns the awful history of the village, and how it came to such a state that it's in now. Do Sam and the girl manage an escape? Maybe they do, maybe they don't...you'll just have to watch. This tale has the strongest horror element, and a really wonderful, thick, brooding sense of atmosphere. Reminds me a little of a film Vincent Price did back in the day called The Last Man on Earth (1964).

Pathfinder Home Entertainment provides a pretty good wide screen, non-anamorphic print here, which does show minor speckling and occasional murkiness, to which we learn that this was the only print available to them with a on-screen note prior to the beginning of the film. As far as special features go, there are a ton of them. There's a complete musical soundtrack, with the ability to listen to any song from the movie, and there's a lot, with artists like The Pretty Things, UB40, B.A. Robertson, and The Viewers, to name a few. There's also a separate commentary by film critics Luke Y. Thompson and Gregory Weinkauf, a theatrical trailer for the film, detailed biographies of most of the films stars, extensive production notes, original press notes, a photo still gallery, essays by film critic George Reis and, a bit by Vincent Price and his views on horror movies in general, and even a hidden feature accessed by clicking on the doctor's stomach in the special features menu. All in all, this is a great little horror anthology infused with a good dose of silly humor, one that fans of the long gone but not forgotten Amicus films will enjoy. But be warned, as the real horror doesn't come until the end, when Vincent Price and John Carradine proceed to get 'jiggy' with it on the dance floor.

Cookieman108

60's throwback - but fun!
It's hard to believe this film was made in 1980 - that's after the exorcist, after texas chainsaw massacre, after many of the gory italian horrors - yet here the monster club is made in the authentic style of the amicus horror films of the 60's.
it's no surprise it wasn't a big success.
but looking back now, it's great fun - and a great tribute to those films.
there are problems, the monsters in the club itself look awful.
in an interview vincent price revealed that they were actually made for a pittance by a milkman - really!
the songs date it also, yet at the same time provide part of the charm.
as ever the main attraction is the stories themselves. surprisingly only one story (the ghostly village) is from the original book of the monster club. all the others are either totally different, or altered a fair bit - i've no idea why they didn't adapt the stories from the book - such as the story of the boy who becomes a werewolf without knowing it, and falls in love with a vampire girl - without knowing that either.
having said that the stories here are still very good.
so it's reccomended for fans of similar films - just don't expect a bloodbath!

Creepy Campy Fun!
Any fan of campy horror flicks will love this series of vignettes told by an aging vamp (Vincent Price) to a curious writer--his guest--at the local "Monster Club". frequented by the town vamps, werewolves, ghouls, etc.The vignettes range from scary to funny to rather sad, but they all make for a most entertaimning video! ... Read more

Description

From England's celebrated horror specialists Amicus Studios (TheBeast Must Die, And Now the Screaming Starts, Tales From the Crypt) and Americanscreenwriter Robert Bloch (the novel "Psycho") come four jolting tales of terror andinsanity. Inmates in the ... Read more

Reviews (14)

Well, Doctor, which inmate used to run the asylum?
We were pretty leery of horror films back in the early Seventies in those dark, dreary days before "Halloween" ushered in the era of the slasher film ad infinitim. But the more you heard about "Asylum" the more you had to be optimistic. First, you have Robert "Psycho" Bloch as the writer. Second, it is a British film, and while Amicus Productions did not have the cinematic cachet of Hammer Studios, it is still British, which was always better than being American back then. Third, you throw in director Roy Ward Baker, who directed one of my all-time favorite horror flicks known as "Quatermass and the Pit" over there and "Five Million Years to Earth" on this side of the pond. Fourth, as a corollary to the second point, you have British actors in general and Peter Cushing, Patrick Magee, Barry Morse, Herbert Lom and Robert Powell on the eve of the role of his lifetime in "Jesus of Nazareth." Then we have Britt Eklund, Charlotte Rampling, and Barbara Perkins. Sold yet?

Oh, you want to know the story Bloch came up with.

Well, Powell plays Dr. Martin, who has arrived at the friendly neighborhood mental institution to see if he can land a job. "Asylum" offers up four bloody little stories of madness and murder told by four inmates. Yes, it is an "anthology" film, but remember all those good points up above and try to think about all the bad anthology films you have seen in your life. But this is Bloch. There is a twist. Dr. Martin gets the post if he can figure out which of the four inmates telling the story is the former head of the asylum: There is Bonnie (Perkins), who was attacked by her lover's dead wife; Bruno (Morse), who makes a magical suit that brings back the dead son of one of his customers (Cushing); Barbara (Rampling/Ekland) a schizophrenic who is being made paranoid by her brother; and Byron (Lom) who puts his consciousness in a killer little doll. "Asylum" stops short of being great, but it is certainly very good. There are moments of silliness, but the horror elements still win out in the end. Plus, you know Bloch has something up his sleeve for the ending.

THOUROUGHLY ENJOYABLE......
I've had this on DVD for some time now and enjoy watching it when I'm in the mood. It's an anthology film from the old British Amicus studios with a quartet of horror tales related by four inmates of an asylum to the new doctor on staff. It's also a beautiful print from Image. My favorite is the "Frozen Fear" piece with Barbara Parkins as the mistress of a married man who murders his occult obsessed wife, chops her up and stores her in the freezer wrapped in freezer paper. The wife's occult beliefs turn the tables and her body parts reanimate and kill the husband. When Parkins comes by (they were planning to run away together) she is attacked by all the parts shuffling and crawling around on the floor jumping on her as she tries to beat them off. This is very well done and really eerie. The other stories are good too. They include Charlotte Rampling, Britt Ekland and Patrick Mcghee in great performances. The direction by Roy Ward Baker is tight and Robert Bloch contributed the material. This may be OOP but there are still copies in stores. I recommend this for horror buffs and those who remember the horror anthologies from the 70's. Completely enjoyable.

A GOOD ONE TO OWN
Perfect to own, you will find youself wanting to watch it again. The mood is eerie enough, the stories keep you interested and it's made well. It's all about the atmosphere, get this DVD.

Decent, creepy fun only occasionally marred by cheese
This horror movie has very British sensitibilities, and you couldn't ask for a better, more entertaining introduction to the type of horror movie that was popular in the 1970s, before the era of the slasher film. It's stylish and very proper, making the gore that much more shocking.

Basically, we've got a handful of "short stories" very loosely pulled together with the framing device of a psychologist visiting the asylum being asked to "figure out" which of the patients was actually the former director of the hospital. There's very little to this part of the plot, but the various stories the patients have to tell do create varying degrees of chills.

None of the stories are great, nor are they especially surprising, but they are told quite nicely and are better acted than such low-budget stuff has a right to be. Some outstanding actors such as Herbert Lom and Charlotte Rampling are featured, along with a brief but creepy turn by Peter Cushing (who, along with Christoper Lee, owned this genre of horror movie).

In many ways the film is a period piece, not so much about an era of history, but about an era of film history. It distills the style and sensibilities of the Hammer films (so called because they were made in England's Hammer Studio) into one neat, entertaining package. Will this be your favorite movie ever? Nope. But is it an amusing diversion and a wonderful slice of what was once the height of horror film making? You bet.

Check it out!

An absolutely brilliant horror movie
As one who has often panned for gold in the stream of little-known horror delights, I have discovered much more fool's gold than gold dust, but Asylum is a magnificent gold nugget. Produced by Amicus, the British equivalent of Hammer Studios, this classic film features a remarkable cast bringing to life a compelling, delightfully shocking tale which comes straight from the pen of none other than Robert Bloch. I think the whole idea of the movie is brilliant, especially the way everything is put together, meshing four largely unrelated tales into one overall and amazingly successful story. We begin with Dr. Martin's arrival at the asylum in pursuit of a position. He is surprised to learn that Dr. Styles, the asylum director and the man he expected to speak with about the job, is now one of the incurably insane inmates housed upstairs. Dr. Rutherford is willing to hire Dr. Martin, but only if he passes a certain test. There are four inmates upstairs, and he must determine which one is actually Dr. Styles (who has assumed a brand new identity for himself). As Dr. Martin makes the rounds, accompanied by the doctor posted upstairs, we are presented with each individual's story as to how they came to be institutionalized.

The first story, that of Bonnie, is a wholly remarkable one. Her lover, having finally agreed to kill his divorce-denying wife and run off with her, chops his wife into several pieces and stows everything in the freezer, including her voodoo-ish protective bracelet He is quite shocked shortly thereafter to see the head, wrapped in butcher's paper, roll into view upstairs, and he is even more surprised by what happens next. When Bonnie arrives, she finds herself menaced and attacked by the separate body parts of the seemingly undead murdered woman. Next we have the story of Bruno the tailor. Facing economic ruin, he is offered two hundred pounds to make a suit for a rather strange gentleman named Mr. Smith (played magnificently by Peter Cushing). The suit must be created under the unusual conditions specified by the customer and must be made from the remarkable fabric Smith has provided Bruno. This metallic, strangely glittering coat is actually an instrument of magic, Bruno finds out upon delivering it. Supposedly it has the power to give or restore life to whoever wears it. Cushing's performance helps make this the strongest of the four stories, in my opinion. Next up is Barbara, who denies having committed the murders that resulted in her institutionalization. It was her friend Lucy, she says. The story plays pretty well until the end, when whatever mystery lingered concerning the truth about Lucy is rather unnecessarily done away with. Finally, we have Dr. Baron, maker of robotic men; actually, he says, the creatures are quite human on the inside, and he claims to have the power to will his own mind into one such creation and essentially make it come alive with his own consciousness. This tale has its weaknesses, but its effect on Dr. Martin is profound and sets in motion the thrilling conclusion of the movie. This conclusion, I must say, is remarkably good, treating me to a wonderful surprise and devilishly good twist.

The plot of Asylum does have a weakness or two in it, but the film's overall effect on the viewer is so gripping that minor questions cease to matter very much. Frankly, I have never seen an anthologized movie such as this succeed so well. Few movies can combine separate tales and succeed as a unified whole, but Asylum accomplishes this feat quite easily. This is an intelligent horror movie that fans of the genre can point to with great pride. ... Read more

Reviews (11)

The infamous guilty pleasure Hammer Kung Fu vampire movie
In the old days there was "Billy the Kid Meets Dracula," but for our generation it was "Legend of the Seven Golden Vampires," or, as it was released in the U.S. (with severe cuts) "The Seven Brothers Meet Dracula." This Hammer film has essentially nothing to do with any of the other Dracula or vampire movies produced by the studio, although Peter Cushing is back once again as Professor Van Helsing. What it does have to do with is the kung-fu craze sparked by all those fun Bruce Lee movies and the fact that Far Eastern audiences had been eating up Hammer's movies for years. Thus we have this collaboration between Hammer and the Shaw Brothers of Hong Kong (insert gong sound here).

It seems that back in 1804 a Chinese priest named Kah made his way to the castle of Dracula (John Forbes-Robertson this time around), to ask the Count to revive the seven vampires of his cult back in China. Dracula agrees and then we jump ahead a century to find Van Helsing lecturing on vampires in Chungking. While relating the legend of the seven golden vampires (so named becomes masks of beaten gold hide their ugly faces), he meets with Hsi Ching (David Chiang), who knows of the Professor's winning streak against Dracula and begs him to help save his village from the vampires. Ching has six brothers (hence the American title) and a sister, who are all martial arts experts. There is a bit more exposition, and then we get down to some serious fighting between the vampires and the brothers Ching. Actually, for its time, the martial arts sequences are above average. Cushing has his part nailed, as well he should by this point in his career, and Chiang is a passable Lee-clone. This one is fun, a classic example of how crazy ideas can work in the wacky world of the movies. Check this one out.

Entertaining hybrid of horror and martial arts
The movie begins with a rather stupid opening sequence with the Chinese villain Ka asking Dracula (not Christopher Lee this time) to resurrect the 7 Golden Vampires. Though Ka is speaking Chinese and Drac is speaking English, somehow they both understand what the other is saying. Soon Dracula takes on Ka's image and goes about creating an undead army to attack a small village. Billed as "the first kung fu horror spectacular" (Why wasn't the movie called ENTER THE VAMPIRE? You can imagine Bruce Lee in this) there are some exciting martial arts sequences and a good cast led by horror legend Peter Cushing, once again in his role as Van Helsing. Another special highlight is Julie Ege's generous bosom; her accent is also delighfully, chillingly erotic.(Or maybe that's just my overabundance of testosterone speaking for me). Anyhow this is a fun, unique horror/ kung fu flick. A minor cult classic ripe for rediscovery.

Peter Cushing's Final Performance Of Laurence Van Helsing
This is GREAT Fun, Peter Cushing in his final performance as Dr. Laurence Van Helsing. The plot finds Van Helsing chasing Count Dracula all over China. This Count Dracula, not Christopher Lee but John Forbes-Robertson gives a great performance as Dracula. The final is a knock out, with Dracula falling on Van Helsing's speer and turning to dust, putting the legend of Count Dracula at rest for good. This was Hammer Film's last Dracula movie, a sequel was planned with Cushing but it never saw the light of day

One of Hammers best!
If you like Cushing/Martial Arts/Vampires/Hammer Films/Dracula........then this is for you. I love this film, being a fan of this led me to "The Vampire Hunters" (much more recent)another excellent film. I've been collecting Cushing films for years, many missing in action (imagine my hapiness at locating "Shock Waves"). With Anchor Bay releasing classic B-Films perhaps they'll finish off my collection of the Cushing/Non-Hammer films (out of print). Don't miss this movie.....its a must for many people with several different genre collections.

Fan-freakin'-tastic!
If you are a Shaw Brothers fan, a "Black-Belt Theater" buff, a vampire collector, or a Peter Cushing freak, this movie is for you!

Now the fact that Peter Cushing is tracking Dracula to China is reason enough to pick up this flick. But wait, there is more!
Along the way Drac gets the help of the legendary "7 Golden Vampires" and Peter Cushing (as VonHelsing)gets some help of his own in the form of a Kung-Fu sibling team up. You see, the 7 Golden Vampires destroyed their village, and they want VonHelsing to help them get revenge.

Just when you think you couldn't fit another cliche into one movie, this movie features "Son of VonHelsing" and the Kung-Fu sister in a love element.

Get a pizza and phone the friends, this movie is a non-stop laugh riot. ... Read more

Reviews (21)

The first and the best of Hammer's erotic vampire films
"The Vampire Lovers," directed by Roy Ward Baker in 1970, is the first in the Karnstein trilogy of Hammer films, all based quite loosely on Joseph Sheridan LeFanu's story "Carmilla." The Karnsteins are a clan of vampires, represented in this version by a bunch of scantily clad women. Ingrid Pitt stars as Carmilla, who also goes under the anagram names of Mircalla and Marcilla at various points in the story (yes, there is a story). The last of her clan, Carmilla is trying to rebuild, turning first to Laura (Pippa Steele), the daughter of General Spielsdorf (Peter Cushing) and then Emma (Madeleine Smith), the daughter of Roger Morton (George Cole). Along the way she turns Mademoiselle Perrodon (Kate O'Mara) into a sexual slave. In the great tradition of Dracula and most other vampire films, Laura dies before anyone recognizes the marks of the vampire and then the goal is to save poor Emma from the same fate.

There is a lot in "The Vampire Lovers" that never makes much sense. Who is the countess (Dawn Addams) who travels with Mircalla? What is up with the black-clad vampire (John Forbes Robertson) who keeps hanging around? Supposedly Mircalla is the last of her clan, but maybe not. Mircalla keeps saying she loves her victims, but they all end up dead, which certainly does not help out her clan much. In the end it is clear that Hammer, aided and abetted by American International in this instance, was making a flat-out lesbian vampire film. As such, I can honestly say that you are not going to find a better one out there. Ironically, "The Vampire Lovers" ends up being more erotic than the vast majority of films featuring heterosexual relationships between the undead and their victims.

ARE YOU A VAMPIRE LOVER?
Indeed, many fantasy mavens are vampire lovers themselves, and a lot of them got that way by being "bitten" by Hammer Studios' great vampire classics of the late 50s and early 60s, as exemplified by "Horror of Dracula" and "Brides of Dracula." Sexier and a little bloodier than previous Dracula films, Hammer's productions took the vampire movie to the next level. Unfortunately, the law of diminishing returns forced Hammer's competitors to up the ante themselves to compete, and Hammer recognized that if they wanted to keep their exalted place in horror's hierarchy they would have to raise the bar once more.

The result was "The Vampire Lovers," derived from J. Sheridan LeFanu's immortal short novel entitled "Carmilla." Actually preceding "Dracula" in the annals of vampire literature and even more respected by some, LeFanu's story seemed the perfect choice for Hammer to batten upon. The picturesque Styrian setting, the gothic trappings, and the tale's natural sexual subtext all seemed custom made for a splendid Hammer adaptation.

Unfortunately, Hammer's adaptation leaves much to be desired. Many love this movie because it so seamlessly blends vampirism and sex, but in fact there is nothing to the film at all besides nudity and bloodletting. The elegant narrative of LeFanu's original is reduced to a rather childish softcore exhibition of skin and blood. Granted, it seems rather tame compared to "From Dusk Til Dawn," but given its pedigree "The Vampire Lovers" should have been a classic on par with "Horror of Dracula," not the rather sorry T&A flick that is.

More's the pity because of an excellent cast, one of the best 70s Hammer would ever boast. Ingrid Pitt is an intelligent, alluring vampire seductress, albeit little resembling LeFanu's languid, frail Carmilla; Jon Finch (before his excellent performance in Roman Polanski's "Macbeth") is a rather vapid
stalwart hero; Pippa Steele is an attractive, innocent victim; and the great Peter Cushing shows up at the end as a vengeful General who could have been another Van Helsing but is never given a chance to do much of anything. These performers could have worked wonders with better action and dialogue; as it is, their considerable talents are virtually wasted (especially Cushing).

Sadly, "The Vampire Lovers" is a contribution of little value to vampire cinema. True, it made sure future vampire films would have an excuse to indulge in more and more sex and nudity, but that's hardly anything to brag about. Moreover, despite all the sexual shenanigans, the plot drags terribly and there's little real action or drama. The most exciting sequence comes at the very beginning and nothing else matches it the rest of the way. To top things off the script makes little sense, with several characters who seem to be of some importance just popping in and out a few times to no dramatic end whatsoever.

While "The Vampire Lovers" has its fans, its no classic and certainly not as good as some of its Hammer predecessors. It was a trendsetter--but in all the wrong ways.

Lavish, Beautifully Filmed Vampire Story From Hammer Studios
"The Vampire Lovers", one of the later Vampire efforts filmed by the famed Hammer Studios has always received its share of controversy from the fact that for once a female Vampire is prominently featured and the displays of nudity combined with its lesbian theme have not been to all viewers tastes. Directed with gusto by Roy Ward Baker, I believe it is an excellent effort full of lavish production values, rich colour and an exciting story that for once is not tied in with the Dracula Legend. It is obvious that a lot of care and attention was poured into this story and it is definately one of the finest of the later Hammer efforts.

Hammer Studios, long the reigning masters of the horror genre definately took a new updated tone with this production and allowed nudity and the previously not mentioned theme of lesbianism to be featured prominently. First and foremost it gave a classic role to Polish actress Ingrid Pitt who went on to appear in a number of other Hammer and Amicus productions. "The Vampire Lovers", is based on J S LeFanu's novel "Carmilla" and was the first of the "Karnstein Trilogy" which Hammer made and included "Lust for The Vampire " and the excellent "Twins Of Evil". "The Vampire Lovers",tells the story of vampire seductress Marcilla/Carmilla the last of her blood thirsty clan who at the beginning of the story is left by her "mother" the Countess (Dawn Addams) in the care of General von Spielsdorf (Peter Cushing in another of his dignified horror performances) after she is supposedly called away to the bedside of a dying friend. Soon after her stay begins with the General his daughter Laura begins to suffer from terrible nightmares which involve a monsterous cat that seemingly molests her. Suffering from a strange anemic condition Laura eventually dies after which Marcilla mysteriously disappears and moves on to the home of Laura's friend Emma Morton where a similiar situation is played out with the vampire having herself invited to stay at the home of Emma's father Sir Roger Morton. Once in residence "Carmilla" as she is now called sets her sights on the lovely young Emma and proceeds to begin to drain the blood and life out of the girl. Emma's governess Madame Peridot (Kate O'Mara in a very effective performance) is also put under Carmilla's spell with the use of a charmed brooch. Emma's friend Carl (Jon Finch) starts to suspect Carmilla of something devious and rides to the house to save Emma becoming involved in a deadly battle with Carmilla who after killing Madame Peridot retreats to her old former home, the ruined Castle Karnstein. Discovering that Carmilla is the last member of the vampiric Karnstein family General von Spielsdorf And Sir Roger pursue her to the Castle and she is eventually dispatched by the traditional means of a sharp stake driven through the heart. Her family portrait then ages before their eyes to indicate that she is now truly dead and her curse is now lifted.

Ingrid Pitt is superb as the totally evil Marcilla/Carmilla . She possesses the appropiate beauty and sense of mystery which is vital in portraying the seductive and evil villianess. Pitt went on to portray other similiar characters in the rarely seen "Countess Dracula", and the classic "The House That Dripped Blood". Her place as one of Hammer's most prominent female performers was sealed after this effort. Peter Cushing a long term performer in Hammer productions is his usual convincing self as the ardent General bent on revenge for the cold blooded murder of his daughter. No matter what the part Cushing always lent great value to any production he performed in. The cast in "The Vampire Lovers" is uniformily fine and the two young actresses who play Carmilla's main victims, Madeline Smith as Emma and Pippa Steel as Laura have the just right innocent qualities which make them believable as the victims. Hammer really spent big on this production and the film boasts beautiful on location photography, magical indoor settings, lavish costumes and tight editing.

To watch "The Vampire Lovers", is to see how far cinema had come since the time of Hammer's first vampire effort in the late 1950's the classic "Horror of Dracula", in so far as adult themes are now openly explored in this effort. The film indeed is a feast for the eyes and succeeds in never losing touch with the imporatant elements in any Vampire story, those being an exciting story, air of mystery and terror and performers who take their parts in it very seriously. I strongly recommend Hammer Studios "The Vampire Lovers", starring Ingrid Pitt and Peter Cushing to all horror buffs and lovers of intriguing vampire stories. Enjoy!

boring
I rented this because of the positive reviews, boy, was I disapointed! This film was boring, tedious, and did not make much sense. I found the female vampire to be unconvincing as a vampire and not suited to the role. Skip this film, there are better 1960's horror movies out there.

Scary!!!
They just don't make'em like this anymore! Forget the holes in the storyline that make bits and pieces of this film somewhat senseless. Just relish the overall beauty of the production, the lush musical score, and the wonderful and attractive group of actors that combine to make The Vampire Lovers one of the best of the Hammer flicks and vampire films in general. Quality of the print is excellent also. This review is based on the MGM VHS version. ... Read more