Monday, December 20, 2010

Hammer what ifs and if onlys

by Matthew ConiamI first watched Blood From the Mummy’s Tomb on the 23rd of December, 1983. I was ten years old, and by the time 1984 rolled round I’d seen it at least twice more. Since then it’s become a regular Christmas ritual, and I’ve often written about my uncertainty as to the ratio of objectivity to nostalgia informing my conviction that it is by a comfortable margin the best film Hammer ever made in the nineteen-seventies.
But could it have been even better? It was very nearly considerably different. I’m not sure how much difference it would have made to the end product if director Seth Holt had lived long enough to supervise the final cut: it's to Michael Carreras’s credit that the film never overtly betrays the presence of a substitute director.
What is regrettable, however, is the loss of Peter Cushing in the central role of Professor Fuchs. Not because there’s much wrong with Andrew Keir, Cushing’s last minute replacement when he left the film to tend his ailing wife: there isn’t. But all Hammer fans know that a Cushing performance adds to any movie. It's partly that he spells Hammer like no other actor, and his presence is so reassuring a symbol of continuity in the studio’s output, a fixed point in the studio's fifties, sixties and seventies incarnations. It’s such a shame he wasn’t able to lend that presence to this one. Had he done so, I think we’d all be calling the film a masterpiece.
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I suspect all Hammer fans have their own list of what ifs - not just the might have beens and the nearly weres, but also the if onlys, where our imaginations run wilder even than that of James Carreras looking at a picture of Victoria Vetri and a rubber dinosaur.
As well as the Hammer films that really did nearly star Cary Grant, Brigitte Bardot and Vincent Price there are those which were never even considered but of which I dream all the same: Barbara Steele in The Vampire Lovers, for instance.
But no fantasy casting can seem as odd today as the genuine what if prospect of Bernard Bresslaw as the Creature in Curse of Frankenstein.
The irony has been noted that Christopher Lee owed his Hammer career to the very thing that had stood in his way as a leading man hitherto: his slightly otherworldly demeanour and his considerable height. But how much stranger that those same characteristics might have made a horror icon of Bernie! All the studio were looking for when casting the role, when Bresslaw was top of their list, was physical suitability, and Bresslaw would certainly have fit the bill in that department. Separate his features from their association with goonish comedy roles in the Carry On series and they start to seem surprisingly appropriate too. Bresslaw was soon to appear in Blood of the Vampire, written by Jimmy Sangster, and he was certainly no stranger to Hammer, for whom he appeared on a number of occasions, most notably as a comic Jekyll and Hyde in The Ugly Duckling.
But still, how strange to speculate on what might have happened - both to Bresslaw's career and to Lee's - if the original casting had prevailed! Might Bresslaw have become an international horror star? Probably not - he could never have played Dracula.
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Then there are all those unrealised projects, the famous posters for movies that were never made: Victim of His Imagination, Nessie, Vampirella or of course my personal favourite, Zeppelin Vs Pterodactyls. And imagine if The Hound of the Baskervilles had rung the box office bell a little more resoundingly, and Hammer had responded with a whole series of richly coloured, horror-tinged Sherlock Holmes movies. That, surely, is a prospect to savour: imagine Hammer’s take on The Speckled Band, The Devil’s Foot, The Sussex Vampire, The Creeping Man...
This what-if game can get mighty infectious!
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Returning to Blood From the Mummy's Tomb, though, I can't help thinking that we can justifiably curse the fact that Valerie Leon's was a one-shot performance for the company, and in particular that she was never cast as a vampiress.
Critical consensus has never been too effusive about her performance in Blood, but time has rightly made an icon of her all the same. None of the studio's other starlets was so genuinely spooky, so weirdly sensual and ethereal, an effect accentuated by her transfixing eyes and eerily melodious voice.
I don't know and will never understand why her performance is so consistently underrated, or how it didn't lead to other starring roles for the studio (or, indeed, any studio: it's her only ever movie lead). How did she never get to play a vampire? Think of her in Adrienne Corri's role in Vampire Circus, Anoushka Hempel's in Scars of Dracula, even, dare I say it, Martine Beswick's in Dr Jekyll and Sister Hyde? Leon had a very special quality that was tailor-made for horror films, that went far deeper than mere gorgeousness and physical majesty, the only attributes that were tapped in her more frequent appearances in British comedies.
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But the Hammer what if my imagination grapples with most often is one that was all set to become reality, and yet remains almost completely unimaginable: Lust For a Vampire directed by Terence Fisher.
The first, Bray-era classics with which Fisher's name is synonymous seem a world away from the later, more brazenly exploitational films of the studio’s final decade, of which Lust For a Vampire is so emblematic. It's hard placing Terence Fisher and Yutte Stensgaard in the same universe - the idea of them collaborating on the same film is just ridiculous.
And yet, but for a twist of fate, not only would the film have starred Cushing in Ralph Bates’s pervy headmaster role, but it would indeed have been directed by Fisher, who was signed and ready before being forced to pull out after breaking his leg in a traffic accident.
I just can't begin to imagine how the film might differ with Fisher at the helm, what he would have chosen to play up or play down, how he would have handled the script's emphasis on softcore eroticism, if he would have attempted to reign in some of its more absurd or excessive contrivances or just rolled with them, and what his working relationship with Fine and Style would have been.
I don't have many bad words to say about Lust as it exists: it seems to me one of the most unfairly maligned of the later Hammers. But still, Fisher's version is one I'd give anything to see, and an unfortunate loss to the studio's filmography.
.Ready when you are, Mr Fisher...
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What unrealised Hammer projects most excite your imagination? If any readers would like to submit their own favourite what ifs and if onlys in the comments, please do so!

15 comments:

Holger Haase said...

Matthew, thank you so much for this post. Just this morning I was contemplating how empty this blog was for December.... and now you saved it with this really fantastic post.

I am currently looking forward to LAST BUS FROM BRAY and once I have it may be in a better position to judge my favourite What Ifs but I am really sorry to that Hammer never continued with a proper Sherlock Holmes series following the HOUND, one of my favourite Hammer films ever.

Court said...

And imagine if The Hound of the Baskervilles had rung the box office bell a little more resoundingly, and Hammer had responded with a whole series of richly coloured, horror-tinged Sherlock Holmes movies. That, surely, is a prospect to savour: imagine Hammer’s take on The Speckled Band, The Devil’s Foot, The Sussex Vampire, The Creeping Man...

That actually physically hurts to read/think about.

Sam said...

Am afraid you've spelled out the number one 'what if' in the Lust For A Vampire and Terence Fisher collaboration that almost happened. I have wished on so many occasions to see the film this would have been with Fisher at the helm (am convinced it would have been superb). Thank you for voicing my frustration so eloquently!

I also wish the beautiful and so obviously talented Veronica Carlson had been given more to do after her superb performance in Frankenstein Must Be Destroyed. It is a crying shame her acting ability was not recognized at the time and a long and fruitful career of challenging roles did not follow...

Matthew Coniam said...

Thanks all! Interesting that the Holmes series prospect struck such a chord... and I agree about Veronica. I'd think her reticence over nudity is the only reason she didn't become Hammer's most regular starlet in the seventies.

Steve said...

What if: Hammer had stopped making dirge after 1970 and made something of value instead of useless lesbo/vampire films, then they might, just might have been a current film company rather than a re-vitalised effort, fronted by people who have no previous Hammer history, but hey what if....

Steve said...

Sorry that was a bit strong that...but I do feel that more effort should have been made with other projects other than, say vampire's and frankenstein's. The company may have survived if it had looked elsewhere for it's inspiration. Maybe thrillers, or even something totally out of the ordinary like more fantasy related projects along the line of 'Lord of the Rings' etc, but no they were quite happy to plod along doing the same old thing, which in the end killed them.

Holger Haase said...

Haha, no that's OK, Steve. Tell us what you really feel. ;-)

One of these days I need to come around to post my defense of 70s Hammer. I do feel that they did often try to explore new ways and in actual fact feel that I am drawn more to some of their later productions than to a number of the earlier ones.

But as I said: That's something for another post. Or if Matthew would like to do the honour if he feels similarly. ;-)

Radio London said...

It's my understanding that Hammer (or at least Michael Carreras) did want to branch out in other directions, but couldn't get the financing. U.S. studios had mostly pulled out of the British film industry and only wanted more of the same old horrors.

Matthew Coniam said...

I certainly agree with Holger that what problems Hammer had in the seventies were nothing to do with being too set in their ways. They were relentlessly experimental in those years.
Ultimately, none of the new ideas and directions took off, but I think that was more to do with people's assumptions about the brand and what it represented rather than the product itself. The whole idea of Hammer just came to feel old-fashioned, and the idea of reinvention seemed like an admission of that. As usual, people seemed to want something entirely new, not the old guard playing catch up.
But the films of these final years at Hammer are full of strange new ideas.
Actually, Holger, you have inspired me to say a few more words on this after Christmas - perhaps we could both offer our thoughts on the subject?

Holger Haase said...

Matthew, it sounds like you and I are both on a level about those 70s movies. Yeah, let's both plan some posts. I probably won't have much time for writing until the middle of January with Christmas, New Year and a trip to Germany on the horizon. Drop me a line in the New Year when you're ready to post something about this and I'll put my thoughts in writing as well.

AndyDecker said...

Great post. I also don´t understand why Valerie Leon didn´t do more things. Imagine her in Vampire Circus, what an idea.

I came late to be a Hammer fan; I watched a lot of the movies only in the last few years. And sure there some which are hard to defend because they were, well, boring. But a lot of them are great, and the bit of harmless nudity in the later ones didn´t hurt. Just the opposite. Imagine the Vampire Lovers without it. It just wouldn´t work.

But if you compare, say, Satanic Rites of Dracula to a lot of then contemporary movies, it just feels tired and out of sync with the era. The magic was gone, and no talent could have steered that ship again on course.

Cal (YB) said...

As much as I love Frankenstein and the monster from hell (1972) a proper ending to the series would have been fantastic. Maybye the baron tries to duplicate himself so he can continue the work but the duplicate has other ideas? any peter cushing fan must love the idea of him having one of his famous face off scenes against himself!

Matthew Coniam said...

Love it! Technically he's been a clone since the end of Revenge of Frankenstein, so they could easily have a bit where someone revives the original one again, sans brain, and it goes after the duplicate. The idea could have been cooked up by the daughter of Elizabeth and Paul Krempe, who has now grown to full womanhood and discovered the Baron's notebooks, which her parents kept in the attic. And when I say 'grown to full womanhood' I do mean played by Valerie Leon.

RoseOfTransylvania said...

Ah, Lust and Fisher! I love the film, it is essential piece of 1970´s Hammer Gothic: silly and sublime, with castles, costumes and vampires, beautiful lighting and lovely score; acting wobbles, sometimes really badly, but my God, it´s never dull. What comes to softcore elements, they are silly rather than sleazy, methinks.
I read an interview from Little shoppe of horrors, where Valerie said she would have wanted to make "odd vampire film, like Ingrid Pitt".

Mark said...

Oof! Just the thought of Valerie as a Vampiress *sighs* May need a lie down now! Haha