By Denis Meikle
No corporation within the background of cinema did extra to legitimize the horror movie than Hammer motion pictures - the small British autonomous, which operated out of its tiny Bray Studios at the banks of the River Thames. From the Gothic beauty of The Curse of Frankenstein and Dracula to the violent sexploitation of The Vampire fanatics and Dr. Jekyll and Sister Hyde, the Hammer identify stood for something to a iteration of movies lovers, because the time period 'Hammer Horror' turned part of the language. This revised and up to date version of A historical past of Horrors strains the lifestyles and 'spirit' of Hammer, from its fledgling days within the past due Forties via its successes of the Nineteen Fifties and '60s to its decline and eventual liquidation within the overdue Seventies. With the unique participation of all the group of workers who have been key to Hammer's luck, Denis Meikle paints a vibrant and interesting photograph of the increase and fall of a movie empire, providing new and revealing insights into 'the fact in the back of the legend.' a lot has been written approximately Hammer's motion pictures, yet this is often the single e-book to inform the tale of the corporate itself from the viewpoint of these who ran it in its heyday and who helped to show it right into a common byword for terror at the display. This definitive heritage additionally contains solid and credit listings for the 'Hammer Horrors' and an entire filmography of all of Hammer's characteristic productions.
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Extra info for A History of Horrors: The Rise and Fall of the House of Hammer
The admen had a field day—“A creeping terror of destruction! ”—and before the titles, Quatermass 2 unfolds onto the screen at a fever pitch of excitement never quite attained in the previous adventure. The relentless pace that Val Guest brings to the film is helped considerably by James Bernard’s strident scoring, which orchestrates elements introduced in The Quatermass Xperiment into a symphony of sustained hysteria. Bernard had been singularly favored in reviews of the original film, and Hammer was never slow to capitalize on success.
This is to be scripted more fully after further discussion: shots to comprise of giant police dragnet spreading throughout the city for Carroon,” Guest had appended. Big Ben, Trafalgar Square, and Battersea Power Station featured in stock shots, but cameraman Len Harris provided additional footage, which gave a breadth to the narrative that would soon be noticeable by its absence, as later horrors became even more studio bound. “I was the only one to work on all three Quatermass films,” he said.
If American science fiction had sounded an occasional note of caution, Kneale’s “Quatermass” had trumpeted an unequivocal warning. But while the television serial had been designed for a British audience, the film was targeted for an American one, and its script gives short shrift to any soul-searching: Donlevy’s professor knows what he’s about, and despite a hiccup or two, the world was to be persuaded to realize that. In the teleplay, the Celtic dreamer in Kneale had taken issue with the headlong rush to oblivion that he felt was inherent in the threat of superpower technology; the film redresses the balance in favor of the technocrats.