By Denis Meikle
No corporation within the historical past of cinema did extra to legitimize the horror movie than Hammer motion pictures - the small British self reliant, which operated out of its tiny Bray Studios at the banks of the River Thames. From the Gothic splendor of The Curse of Frankenstein and Dracula to the violent sexploitation of The Vampire fans and Dr. Jekyll and Sister Hyde, the Hammer identify stood for something to a new release of flicks enthusiasts, because the time period 'Hammer Horror' turned part of the language. This revised and up to date variation of A historical past of Horrors strains the existence and 'spirit' of Hammer, from its fledgling days within the overdue Forties via its successes of the Nineteen Fifties and '60s to its decline and eventual liquidation within the overdue Nineteen Seventies. With the unique participation of the entire team of workers who have been key to Hammer's luck, Denis Meikle paints a bright and interesting photograph of the increase and fall of a movie empire, supplying new and revealing insights into 'the fact in the back of the legend.' a lot has been written approximately Hammer's movies, yet this can be the one publication 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 reveal. This definitive background additionally contains solid and credit listings for the 'Hammer Horrors' and an entire filmography of all of Hammer's function productions.
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Extra info for A History of Horrors: The Rise and Fall of the House of Hammer
Considering the industry’s predicament at the time of its production, it opens on an appropriately ominous note. The credits roll against an overcast sky, to the accompaniment of the first of James Bernard’s many doom-laden scores for Hammer. From this point on, Guest goes straight for the jugular. The film abandons Kneale’s exposition and begins by crashing its spaceship straight into Oakley Green. The hull of the rocket was built on a field next to the Bray back lot, adjacent to Water Oakley Farm.
With the threat defeated, Quatermass determines to press on with the exploration of space. Screenwriter Richard Landau had condensed Kneale’s 200-page television draft into a 150-page breakdown. ” Most of this montage was intended to take place behind the main titles, to create a mood of tension and unease. ” He also updated and improved the sequence where the protagonists discover what happened in the rocket. On television, this was conveyed From Exclusive to Xperiment, 1947–1955 3 21 The Quatermass Xperiment (Brian Donlevy).
Morelle). 3 It’s the Quatermass experiment. I’m afraid you’ll have to take it right to top level, sir—I need troops and the civil defense. —Inspector Lomax, The Quatermass Xperiment The director’s chair for Quatermass was offered to Val Guest, who already had helmed four films for Hammer: Life with the Lyons (1953), The Men of Sherwood Forest (1954), The Lyons in Paris (aka The Lyons Abroad, 1955), and Break in the Circle (1954). The breezy Londoner was unimpressed with the idea at first, his only experience of science fiction having been to cowrite and direct a comic fantasy called Bees in Paradise for Gainsborough in 1944, but he was eventually persuaded to join the proj- ect by his actress wife Yolande Donlan.