The pantheon of classic Universal monsters informed a great deal of our collective understanding about the lore. The Gothic continuation of German expressionism was well-performed, and smartly written. This early extended-universe also featured incredible effects and set design. However, despite a certain lagoon creature, the series trailed off. These monsters were essentially relayed to British film company, Hammer Films. This imbued the legends with newfound gore, sensuality and lush color schemes. They absolutely ooze with beautiful, vivid artistry, akin to Guillermo Del Toro. Fortunately, Hammer Films frequently featured Peter Cushing, a powerhouse actor known for Star Wars. For Halloween consideration, here’s the best films Hammer offered up.
Twins of Evil
Peter Cushing proves that he can ground anything, even this weaker Hammer Films entry. He’s actually the dividing line that allows this film to transcend some of its tackier characteristics. The twin protagonists are portrayed by former Playboy Playmates, who offer more nudity than acting ability. The twins have black-and-white personalities, which doesn’t offer much drama, despite all of the sentimental romance. However, surprisingly enough, the horror and vampirism are handled with gusto. It sustains a raw, primal tone that corresponds with instances of sensuality. Combined with Cushing’s talent, and a brisk pace, this barely nudges it above some of Hammer’s more popular vampire tales.
The Abominable Snowman
This is perhaps the only Hammer Films production to completely resemble Universal. Firstly, it’s actually a black-and-white, unusual and distinctly deliberate, given its peers. The story sends city-dwellers to an exotic setting, to methodically unfurl an original legend. This is probably the best Bigfoot movie ever put to screen, with brisk pacing and the reliably convincing Peter Cushing. The monster itself is rarely seen, but this adds to the mystery, and the attacks themselves are gripping. The filmmakers superbly make the most of their unique locale, and the tone is appropriately sincere rather than schlocky.
The Plague of the Zombies
Yes, this predates George Romero’s classic Night of the Living Dead. Including grayed and rotting zombies, and the initial suggestion of an epidemic, even its imagery is distinctly potent. There’s no doubt that it inspired a great deal of the zombie movies, and even zombie games, which would follow. Certainly given the visuals of the zombies themselves. All this, despite a story that invariably returns to voodoo, a result of Hammer’s interest in borrowing from classics. Still, this is a clear threshold—the missing link between black magic and virus, and zombies as we know them. It’s an influential must-see, driven by a compelling mystery and pure horror imagery.
The Revenge of Frankenstein
Terrence Fisher is probably anyone’s undisputed champion for Hammer Films. While the company may have featured many different directors, over countless films, Fisher developed as the most iconic and effective. This is especially handy for a creature that had already seen so much screen time. While Hammer’s first outing with the Baron more or less remade Universal’s original, this sequel soars by its own wings. The guillotine escape may be a serial’s copout, but the resulting storyline is terrific. The hunchback collaborator has a larger role than ever and allows for compelling drama and horror.
Frankenstein Must Be Destroyed
Generally speaking, diminishing returns begin to sink in by the fifth entry in any franchise. But this wildly entertaining bloodbath of a film appropriately revives the limping series. The preceding installment was certain lackluster, despite the premise. Conversely, this story revolves around a brain transfer, regarding an old associate of Frankenstein. It sounds bland, but the breakneck pacing and gory indulgences are meticulously handled. It was a refreshing return to form for director Terence Fisher. This time, Frankenstein is indeed the monster himself, with a terrifying turn of deliberate wickedness.
Taste the Blood of Dracula
This Dracula tale offers a strange blend of unconventional maneuvers and clichés. The resurrections of Dracula himself had certainly become just as preposterous as any 80’s slasher. But Christopher Lee is an absolute necessity, however little screen time he’s allowed. It’s odd that the protagonists are such detestable people. Three hedonistic men who actively cheat on their wives, deliberately seek out the imminent danger. It’s impossible to root for them, but Dracula’s revenge plot is fascinating, and the tone is apologetically indulgent. In fact, it feels somewhat disparate from the usual Hammer atmosphere. But it still offers up the same thrills, with gore and needlessly increased sexuality.
The Mummy (1959)
Here’s a monster that’s gotten a lot of re-imaginings. More extensively than any other Universal icon, since the rest have essentially remained consistent. In the 90’s, we received a terrific action-adventure with Brendan Fraser. Just recently, the reboot tried...something else. But Hammer Films provides an incredible take on the bandaged menace. The mummy itself is more of a Terminator, a ruthless and unstoppable tank. A decent amount of time is spent at golden, dusty dig sites, but it’s enriching because the story otherwise moves surprisingly quickly. It may rely on Universal’s mummy concepts from the 40’s, but this still plays like an effective greatest hits album.
The Curse of the Werewolf
This is quite unlike any other werewolf story, certainly compared to Universal’s foray into lycanthropy. This is largely due to the source material, an unapologetic novel that delivers a stark, brutal tone. This even results in a rape plot, which is always disturbing. Set in Spain, the visual atmosphere is very intriguing, and the special effects are surprisingly effective. The story progresses over an unusually lengthy period of time, but overcomes the struggles of condensing a novel. The performances are impeccable, a necessity for such a bleak subject matter. While many werewolf stories call lycanthropy a curse, this film truly treats it that way. It feels less like a gimmick, and more like an agent for compelling human drama.
Horror of Dracula
This inaugural Dracula outing doubles down on everything The Curse of Frankenstein offered up. And that cemented its position in Hammer Films history, as well as horror history. Combined with that Frankenstein depiction, this defined the company as its own genre. Christopher Lee himself, known for The Lord of the Rings and Star Wars, created such a distinct Dracula. He is far more animalistic and menacing, rather than theatrical or romantic. But there’s still eroticism underneath its violence, allowing Hammer to explore vampires with unprecedented fidelity. The action is exciting, the horror is terrifying, and the drama is compelling.
The Curse of Frankenstein
This was Hammer’s first hit adaptation of a Universal classic, and actually maintains a surprising degree of fidelity. However, it intelligently established every trait that would popularize these productions, in one fell swoop. Those distinctions which are so addictive, such as rougher violence, lavish sets and consistently engaging performances. Not to mention the unstoppable collaboration of Peter Cushing and Christopher Lee. Everything Hammer achieved has stemmed from this. Compared to Universal’s classic, however, this remake allows a far more methodical pace. Frankenstein isn’t simply a mad scientist, but slowly eases into his dark aspirations. The horror sequences feel equally suspenseful and action-oriented, slyly directed and featuring incredible effects.
