HAMMER HORROR - Series One - Card #54 - LOST CONTINENT - Strictly Ink 2007 For Sale

HAMMER HORROR - Series One - Card #54 - LOST CONTINENT - Strictly Ink 2007

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HAMMER HORROR - Series One - Card #54 - LOST CONTINENT - Strictly Ink 2007:

HAMMERHORROR - Series One - Individual Card from Base Set - Strictly Ink, 2007 / 2008.

\"HammerHorror – Series One” features dramatic images froma great many classic HammerHorrorMovies, including:THE CURSE OF FRANKENSTEIN;













TheCurse of Frankensteinisa 1957 British horror film by Hammer Film Productions, loosely basedon the novel Frankenstein (1818) by Mary Shelley. It was Hammer\'sfirst colour horror film, and the first of their Frankenstein series.Its worldwide success led to several sequels, and the studio\'s newversions of Dracula (1958) and The Mummy (1959) and established\"Hammer Horror\" as a distinctive brand of Gothic cinema.The film was directed by Terence Fisher and stars Peter Cushing asVictor Frankenstein, Hazel Court as Elizabeth, and Christopher Lee asthe creature.


In 1818,Baron Victor Frankenstein (Peter Cushing) is in prison, awaitingexecution for murder. He tells the story of his life to a visitingpriest.

Hismother\'s death leaves the young Frankenstein (Melvyn Hayes) in solecontrol of the Frankenstein estate. He agrees to continue to pay amonthly allowance to his impoverished Aunt Sophia and his youngcousin Elizabeth (whom his aunt suggests will make him a good wife).Soon afterwards, he engages a man named Paul Krempe (Robert Urquhart)to tutor him.

Afterseveral years of intense study, Victor (Peter Cushing) learns allthat Krempe can teach him. The duo begin collaborating on scientificexperiments. One night, after a successful experiment in which theybring a dead dog back to life, Victor suggests that they create aperfect human being from body parts. Krempe assists Victor at first,but eventually withdraws, unable to tolerate the continued scavengingof human remains, particularly after Victor\'s fiancee—his nowgrown-up cousin Elizabeth--(Hazel Court) comes to live with them.Frankenstein assembles his creation with a robber\'s corpse found on agallows and both hands and eyes purchased from charnel house workers.For the brain, Victor seeks out an aging and distinguished professorso that the monster can have a sharp mind and the accumulation of alifetime of knowledge. He invites the professor to his house in theguise of a friendly visit, but pushes him off the top of a staircase,killing him in what appears to others to be an accident. After theprofessor is buried, Victor proceeds to the vault and removes hisbrain. Krempe attempts to stop him, and the brain is damaged in theensuing scuffle. Krempe also tries to persuade Elizabeth to leave thehouse, as he has before, but she refuses.

With allof the parts assembled, Frankenstein brings life to the monster(Christopher Lee). Unfortunately, the creature\'s damaged brain (andpossibly its memory of Victor\'s murder) leaves him violent andpsychotic, without the professor\'s intelligence. Frankenstein locksthe creature up, but it escapes, killing an old blind man itencounters in the woods. Victor and Krempe shoot him down with ashotgun in the head (although it leaves a small bullet wound insteadof a blasting shell damage), and bury it in the woods. After Krempeleaves town, Frankenstein digs up and revives the creature. He usesit to murder his maid, Justine (Valerie Gaunt), who claims she ispregnant by him and threatens to tell the authorities about hisstrange experiments if he refuses to marry her.

Paulreturns to the house the evening before Victor and Elizabeth are tobe married at Elizabeth\'s invitation. Victor shows Paul the revivedcreature, and Paul says that he is going to report Victor to theauthorities immediately. During the scuffle that follows, thecreature escapes to the castle roof, where it threatens Elizabeth.Victor throws an oil lantern at it, setting it aflame; it fallsthrough a skylight into a bath of acid. Its body dissolvescompletely, leaving no proof that it ever existed. Victor isimprisoned for Justine\'s murder.

Thepriest does not believe Frankenstein\'s story. When Krempe visits,Frankenstein begs him to testify that it was the creature who killedJustine, but he refuses and denies all knowledge of the experiment.Krempe leaves Frankenstein and joins Elizabeth, telling her there isnothing they can do for him. Frankenstein is led away to theguillotine.

  • Peter Cushing as Baron Victor von Frankenstein

  • Christopher Lee as the Creature

  • Hazel Court as Elizabeth

  • Robert Urquhart as Dr. Paul Krempe

  • Valerie Gaunt as Justine

  • Noel Hood as Aunt Sophia

  • Melvyn Hayes as Young Victor

  • Paul Hardtmuth as Professor Bernstein

  • Fred Johnson as Grandpa

ProductionPeterCushing, who was then best known for his leading roles in Britishtelevision, was sought out by Hammer for this film. Christopher Lee\'scasting, meanwhile, resulted largely from his height (6\' 5\").Hammer had earlier considered the even taller (6 \'7\") BernardBresslaw for the role. Universal fought hard to prevent Hammer fromduplicating aspects of their 1931 film, and so it was down to make-upartist Phil Leakey to design a new-look creature bearing noresemblance to the Boris Karloff original created by Jack Pierce.Production of TheCurse of Frankensteinbegan, with an investment of £65,000, on 19 November 1956 at BrayStudios with a scene showing Baron Frankenstein cutting down ahighwayman from a wayside gibbet. The film opened at the LondonPavilion on 2 May 1957 with an X certificate from the censors.Remastering

The filmhas been remastered in the open matte aspect ratio of 1.37:1. Therestored film will include the magnified eyeball shot, missing fromthe U.S print, but not the head in the acid bath scene which remainslost.


The filmwas a tremendous financial success and reportedly grossed more than70 times its production cost during its original theatrical run.


When itwas first released, TheCurse of Frankensteinoutraged many reviewers. Dilys Powell of TheSunday Timeswrote that such productions left her unable to \"defend thecinema against the charge that it debases\", while the Tribuneopined that the film was \"Depressing and degrading for anyonewho loves the cinema\".

In theUnited Kingdom, the MonthlyFilm Bulletindeclared that the Frankenstein story was \"sacrificed by anill-made script, poor direction and performance, and above all, apreoccupation with disgusting-not horrific-charnelry\" The reviewdid praise some elements of the film, noting \"excellent artdirection and colour\" and the film score.

Reactionswere mixed in the US. Film Bulletin wrote \"rattling good horrorshow . . . the Frankenstein monster has been ghoulishly and somewhatgleefully resurrected by our English cousins\". Harrison\'sReports, \"well produced but extremely gruesome . . . thephotography is very fine, and so is the acting\". Bosley Crowtherin The New York Times was dismissive \"routine horror picture\"and oddly enough opined that \"everything that happens, hashappened the same way in previous films.\" Variety noted \"PeterCushing gets every inch of drama from the leading role, making almostbelievable the ambitious urge and diabolical accomplishment.\"

The filmwas very popular with the public, however, and today\'s directors suchas Martin Scorsese and Tim Burton have paid tribute to it as aninfluence on their work. Film review aggregator Rotten Tomatoesreported an approval rating of 80%, based on 15 reviews, with arating average of 7/10.


Unlikethe Universal Frankenstein series of the 1930s and 1940s, in whichthe character of the Monster was the recurring figure while thedoctors frequently changed, it is Baron Frankenstein that is theconnective character throughout the Hammer series, while the monsterschange. Peter Cushing played the Baron in each film except for TheHorror of Frankenstein, which was a remake of the original (Curse ofFrankenstein) done with a more satiric touch, and it featured a youngcast headed by Ralph Bates and Veronica Carlson.

  • The Revenge of Frankenstein (1958)

  • The Evil of Frankenstein (1964)

  • Frankenstein Created Woman (1967)

  • Frankenstein Must Be Destroyed (1969)

  • The Horror of Frankenstein (1970, non-Cushing)

  • Frankenstein and the Monster from Hell (1974)

Inother media

Anovelization of the film was written by John Burke as part of his1966 book TheHammer Horror Film Omnibus.

The filmwas adapted as fumetti by Warren Publishing in 1966 (along withHorrorof Dracula).

It wasalso adapted into a 20-page comic strip published in two parts in theDecember 1976 and January 1977 issues of the magazine TheHouse of Hammer(volume 1, issue #\'s 2 and 3, published by General BookDistribution). It was drawn by Alberto Cuyas from a script by DonneAvenell (based on the John Burke novelization). The cover of issue 2featured a painting by Brian Lewis of the Baron being attacked by a 1958 Technicolor British horror film directed by Terence Fisherand written by Jimmy Sangster based on Bram Stoker\'s novel of thesame name. The first in the series of Hammer Horror films inspired byDracula,the film stars Christopher Lee, Peter Cushing, Michael Gough, andMelissa Stribling. In the United States, the film was retitled Horrorof Draculato avoid confusion with the earlier Dracula(1931) starring Bela Lugosi, and the film was released in the U.S. in1958 on a double bill with the Universal film TheThing That Couldn\'t Die.

Productionbegan at Bray Studios on 17 November 1957 with an investment of£81,000.


In May1885, Jonathan Harker arrives at the castle of Count Dracula nearKlausenburg (Cluj), to take up his post as librarian. Inside, he isstartled by a young woman who claims she is a prisoner and begs forhis help. Dracula then appears to greet Harker and guide him to hisroom, where he locks him in. Jonathan starts to write in his diary,and his true intentions are revealed: he is a vampire hunter and hascome to kill Dracula.

Freedsometime later, Harker again is confronted by the desperate woman.She begs him for help but then bites his neck. Just as she does,Dracula – fangs bared and lips bloody – arrives and pulls heraway. When he awakens in daylight, Harker finds the bite marks on hisneck, knowing that he is doomed to become undead unless he killsDracula. After writing his final entry, he hides his journal in ashrine to the Virgin Mary outside the castle and descends into thecrypt, where he finds Dracula and the vampire woman resting in theircoffins. Armed with a stake, he impales the woman, who, as he lookson, immediately ages from young to old. Whilst he does this, the sunsets, and when he turns to Dracula\'s coffin with the intention ofkilling the vampire, he finds it empty. Looking up, Harker is in timeto see the Count shut the door and they are both plunged intodarkness...

A fewdays have passed Dr. Van Helsing then arrives in Klausenburg, lookingfor Harker. An innkeeper\'s daughter gives him Harker\'s journal. Whenhe arrives at the castle a hearse carriage speeds by with a coffin init, nearly hitting him. Searching the castle he find it desertedthough comes across the portrait Harker had of Lucy and Mina onlywith the photos now gone. Exploring further, Helsing eventuallyreaches the crypt where he finds the remains of the vampire womanand, to his horror, Harker in Dracula\'s coffin, transformed into avampire. Helsing solemnly stakes Harker before he leaves to deliverthe veiled news of Harker\'s death in person to a wary Arthur Holmwoodand his wife Mina, brother and sister-in-law of Harker\'s fiancéeLucy Holmwood. Lucy is ill, so the news is kept from her and Lucy\'slittle niece, Tania. But, when night falls, Lucy removes the crucifixfrom round her neck, opens the doors to her terrace and lays bare herneck – already, it bears the mark of a vampire bite. Soon Draculaarrives and bites her again.

Minaseeks out Van Helsing\'s aid in treating Lucy\'s declining health, butLucy begs Gerda the maid to remove his prescribed garlic bouquets,and she dies. Realizing that Lucy will arise as a vampire, VanHelsing turns over Harker\'s diary journal to the grief-strickenArthur to reveal the truth about Jonathan\'s death. Three days afterLucy is interred, Tania is spirited away into the night and isreturned by a policeman, claiming Lucy had beckoned her. Later thatsame night, Lucy, now undead and evil, lures away Tania once more toa graveyard with the intent to feed on her and turn her into avampire. But the child is saved when Arthur, after discovering Lucy\'sempty coffin, spots them and calls out to Lucy. Lucy turns herattention to him but Van Helsing manages to ward her off with a crossand forces her to flee back to her crypt. Arthur, now accepting thetruth of Lucy\'s vampirism, asks Van Helsing why Dracula targeted her.Van Helsing explains that Lucy is both Dracula\'s revenge againstHarker and a replacement for the bride killed by him. Van Helsingsuggests using Lucy as a means to find Dracula. But Arthur refuses asit runs the risk of her biting someone else, and he does not want tosee Lucy corrupted any further, so Van Helsing agrees to destroy her.After taking Tania home, they return to Lucy\'s coffin to stake her.Arthur is initially resistant to this method, describing it as\"horrible,\" but agrees after Van Helsing explains that theLucy he knows is long dead and is nothing more than a \"shell\",a walking corpse under Dracula\'s command, and the only way to granther eternal peace is to destroy her body. Van Helsing stakes her inher coffin and, when Arthur takes one final look at Lucy\'s body, hesees her body free of corruption and finally at peace.

VanHelsing and Arthur travel to the customs house in Ingolstadt to trackdown the destination of Dracula\'s coffin (which Van Helsing sawcarried away when he arrived at Dracula\'s castle). Meanwhile, Mina iscalled away from home by a message telling her to meet Arthur at anaddress in Karlstadt – the same address Arthur and Van Helsing aretold the coffin was bound for – and Dracula is indeed waiting forher.

The nextmorning, Arthur and Van Helsing find Mina in a strange state. Theyleave for the address they were given, an undertaker\'s, but find thecoffin missing. When they decide to set off again to inspect an oldgraveyard they suspect might be the coffin\'s new resting place,Arthur tries to give Mina a cross to wear, but it burns her,revealing that she is infected by vampirism and is slowly turninginto a vampire herself.

Duringthe night, Van Helsing and Arthur guard Mina\'s windows outsideagainst a return of Dracula, but Dracula nonetheless appears insidethe house and bites her. She is saved when Arthur agrees to give heran emergency blood transfusion administered by Van Helsing. WhenArthur asks Gerda to fetch some wine from the cellar, she tells himthat Mina had forofferden her to go to the cellar. Upon hearing this,Van Helsing realizes the coffin\'s location: the cellar of theHolmwoods\' own house. He bolts downstairs to find it but Dracula isnot in the coffin and instead escapes into the night with Mina,intent on making her a new bride. After planting a cross insideDracula\'s coffin, he and Holmwood realize that Dracula now has onlyhis castle to hide in.

A chasethen begins as Dracula rushes to return to his castle nearKlausenberg before sunrise. He attempts to bury Mina alive outsidethe crypts but is caught by Van Helsing and Arthur. Inside thecastle, Van Helsing and Dracula struggle. Van Helsing tears open thecurtain to let in the sunlight and, forming a cross from twocandlesticks, he forces Dracula into it. Dracula crumbles into dustas Van Helsing looks on. Mina recovers, the cross-shaped scar fadingfrom her hand, indicating that she has been saved. As she recovers,Dracula\'s ashes blow away, leaving only his clothes and ring behind.

  • Christopher Lee as Count Dracula

  • Peter Cushing as Abraham Van Helsing

  • Michael Gough as Arthur Holmwood

  • Melissa Stribling as Mina Holmwood

  • Carol Marsh as Lucy Holmwood

  • John Van Eyssen as Jonathan Harker

  • Janina Faye as Tania

  • Charles Lloyd-Pack as John Seward

  • George Merritt as Policeman

  • George Woodbridge as Landlord

  • George Benson as Frontier Official

  • Miles Malleson as Undertaker

  • Geoffrey Bayldon as Porter

  • Olga Dickie as Gerda

  • Barbara Archer as Inga

  • Valerie Gaunt as a Bride of Dracula of Dracula\'s destruction included a shot in which Draculaappears to peel away his decaying skin. This was accomplished byputting a layer of red makeup on Lee\'s face, and then covering hisentire face with a thin coating of mortician\'s wax, which was thenmade up to conform to his normal skin tone. When he raked his fingersacross the wax, it revealed the \"raw\" marks underneath.This startling sequence was cut out, but was restored for the 2012Blu-ray release, using footage from a badly damaged Japanese print.

    Zodiacwheel in final scene

    At theend of the film, Dracula is destroyed on an inlaid Zodiac wheel onthe floor, which has several quotes in Latin and Greek. The innercircle in Greek has a quote from Homer\'s Odyssey Book18.136–7: \"τοῖος γὰρ νόος ἐστὶνἐπιχθονίων ἀνθρώπων οἷον ἐπ᾽ ἦμαρἄγησι πατὴρ ἀνδρῶν τε θεῶν τε\"(\"The mind of men who live on the earth is such as the day thefather of gods and men [Zeus] brings upon them.\") The outerwheel is written in Latin, and is a quote from Hesiod via BartolomeoAnglico (De proprietatibus rerum, Book 8, Chapter 2): \"Tellusvero primum siquidem genuit parem sibi coelum stellis ornatum, utipsam totam obtegat, utque esset beatis Diis sedes tuta semper.\"(\"And Earth first bare starry Heaven, equal to herself, to coverher on every side, and to be an ever-sure aoffering-place for theblessed gods.\") Dracula\'s ring is left on the glyph of the signof Aquarius on the Zodiac wheel.


    Draculawas a critical and commercial success upon its release and was wellreceived by critics and fans of Stoker\'s works. The film currentlyscores 91% on review aggregator website Rotten Tomatoes based on 32reviews, with an average rating of 7.8/10. The site\'s consensusstates: \"Trading gore for grandeur, Horrorof Draculamarks an impressive turn for inveterate Christopher Lee as thetitular vampire, and a typical Hammer mood that makes aristocracyquite sexy.\"

    Thetrade journal reviews from 1958 were very positive. Film Bulletinnoted, \"As produced by Anthony Hinds in somber mid-Victorianbackgrounds . . . and directed by Terence Fisher with an immenseflair for the blood-curdling shot, this Technicolor nightmare shouldprove a real treat. The James Bernard score is monumentally sinisterand the Jack Asher photography full of foreboding atmosphere.\"

    Harrison\'sReports was particularly enthusiastic, \"Of all the \"Dracula\"horror pictures thus far produced, this one, made in Britain andphotographed in Technicolor, tops them all. Its shock impact is, infact, so great that it may well be considered as one of the besthorror films ever made. What makes this picture superior is theexpert treatment that takes full advantage of the story\'s shockvalues.\"

    VincentCanby in MotionPicture Dailysaid, \"Hammer Films, the same British production unit which lastyear restored Mary Shelley\'s Frankensteinto its rightful place in the screen\'s chamber of horrors, has noweven more successfully brought back the granddaddy of all vampires,Count Dracula. It\'s chillingly realistic in detail (and at times asgory as the law allows). The physical production is first rate,including the settings, costumes, Eastman Color photography andspecial effects.\".


    The filmwas released in the U.S. in 1958 on a double bill with the Universalfilm TheThing That Couldn\'t Die.


    The filmmade its first appearance on DVD in 2002 in a US stand-alone and waslater re-released on 6 November 2007 in a film pack along withDraculaHas Risen from the Grave,Tastethe Blood of Dracula,and DraculaA.D. 1972;which was part of Warner Bros. and New Line Cinema\'s \"4 FilmFavorites\" line of DVDs. On 7 September 2010, Turner ClassicMovies released the film in a 4-Pack along with DraculaHas Risen from the Grave,TheCurse of Frankensteinand FrankensteinMust Be Destroyed.The film was released on DVD in the UK in October 2002 alongside TheCurse of Frankensteinand TheMummyin a box-set entitled HammerHorror Originals.

    The filmwas digitally restored and re-released in the UK by the BFI in 2007.When the film was originally released in the UK, the BBFC gave it anX rating, being cut, while the 2007 uncut re-release was given a 12A.

    For manyyears historians have pointed to the fact that an even longer, moreexplicit, version of the film played in Japanese and European cinemasin 1958. Efforts to locate the legendary \"Japanese version\"of Dracula had been fruitless.

    InSeptember 2011, Hammer announced that part of the Japanese releasehad been found by writer and cartoonist Simon Rowson in the NationalFilm Center at the National Museum of Modern Art, Tokyo. The firstfive reels of the film held by the center were destroyed in a fire in1984, but the last four reels were recovered. The recovered reelsinclude the last 36 minutes of the film and includes two extendedscenes, one of which is the discovery of a complete version of thefilm\'s iconic disintegration scene. The announcement mentioned a HDtelecine transfer of all four reels with a view for a future UKrelease.

    On 29December 2012, Hammer announced that the restored film would bereleased on a three-disc, double play Blu-ray Disc set in the UK on18 March 2013. This release contains the 2007 BFI restoration alongwith the 2012 high-definition Hammer restoration which includesfootage which was previously believed to be lost. The set containsboth Blu-ray Disc and DVD copies of the film as well as several bonusdocumentaries covering the film\'s production, censorship andrestoration processes.

    Comicbook adaption
    • The House of Hammer #1 (October 1976)


    Afterthe success of Dracula,Hammer went on to produce eight sequels, six of which feature Leereprising the titular role, and four of which feature Cushingreprising the role of Van Helsing.

    • The Brides of Dracula (1960)

    • Dracula: Prince of Darkness (1966)

    • Dracula Has Risen from the Grave (1968)

    • Taste the Blood of Dracula (1970)

    • Scars of Dracula (1970)

    • Dracula A.D. 1972 (1972)

    • The Satanic Rites of Dracula (1973)

    • The Legend of the 7 Golden Vampires (1974) – Vampire Hunteris a 1974 British horror film. It was written and directed by BrianClemens, produced by Clemens and Albert Fennell for Hammer FilmProductions, and belatedly released on 7 April 1974. It stars HorstJanson in the title role, along with John Carson, Shane Briant andCaroline Munro. The music score was composed by Laurie Johnson,supervised by Philip Martell. It was intended as the first of aseries of films focused on the title character and his companions.The film was rated R in North America. This was Clemens\'s onlyproject as a director.


      When hisvillage is plagued by mysterious deaths, marked by highly acceleratedaging, Dr. Marcus calls in his army friend, Captain Kronos. Kronosand his companion, the hunchback Hieronymus Grost, are professionalvampire hunters. Grost explains to the initially sceptical Marcusthat the dead women are victims of a vampire who drains not blood butyouth, and that there are \"as many species of vampire as thereare beasts of prey.\" The discovery of another victim confirmsGrost\'s explanation. Along the way, Kronos and Grost take in a localbarefoot gypsy girl, Carla, who had been sentenced to the stocks fordancing on the Sabbath. She repays them by helping them hunt thevampire; she later becomes Kronos\' lover.

      Grostand Kronos conduct a mystical test that indicates the presence ofvampires. Their findings are contradicted by an eyewitness who claimsto have seen \"someone old, very old\", whereas ayouth-draining vampire should appear youthful.

      Marcusvisits the family of his late friend, Lord Hagen Durward, and speakswith Durward\'s son, Paul (Shane Briant), and his beautiful sisterSara (Lois Daine). He must leave before speaking with the bed-riddenLady Durward. While riding through the woods, Marcus encounters acloaked figure that leaves him shaken, and he finds blood on hislips.

      At atavern, Kronos defeats thugs led by Kerro, who were hired by LadyDurward\'s coachman to murder him. Kronos, Grost, Marcus and Carla setup a network of alarm bells in the woods to announce the passage ofvampires. Meanwhile, a large bat attacks and kills a young woman.Marcus realises that he has become a vampire and begs Kronos to killhim. After various methods (including impalement with a stake andhanging) fail, Kronos accidentally pierces Marcus\'s chest with across of steel that Marcus had been wearing round his neck.

      Havingthus determined the vampire’s weakness, Kronos and Grost obtain aniron cross from a cemetery. They are accosted by angry villagers whobelieve that they murdered Dr. Marcus. Grost forges the cross into asword while Kronos conducts a knightly vigil. After seeing theDurward carriage flee the scene of a vampire attack, Kronos suspectsSara as the vampire.

      Carlaseeks refuge at Durward Manor to distract the household while Kronossneaks inside. The \"bedridden\" Lady Durward reveals herselfas the newly-youthful vampire, and she hypnotises Carla and theDurward siblings. Lady Durward has raised her husband Hagen from thegrave. She offers the mesmerised Carla to her husband, but Kronoserupts from hiding. Kronos uses the new sword\'s mirrored blade toturn Lady Durward’s hypnotic gaze against her. He kills LordDurward in a duel, and then destroys Lady Durward.

      The nextday, Kronos offers Carla goodbye, before he and Grost ride on to newadventures.

      • Horst Janson as Captain Kronos

      • John Cater as Professor Hieronymus Grost

      • Caroline Munro as Carla

      • John Carson as Dr. Marcus

      • Shane Briant as Paul Durward

      • Lois Daine as Sara Durward

      • Wanda Ventham as Lady Durward

      • Ian Hendry as Kerro

      • William Hobbs as Hagen

      • Paul Greenwood as Giles

      • Lisa Collings as Vanda Sorell

      • Brian Tully as George Sorell

      • Robert James as Pointer

      • Perry Soblosky as Barlow

      • John Hollis as Barman

      • Susanna East as Isabella Sorell

      • Stafford Gordon as Barton Sorell

      • Elizabeth Dear as Ann Sorell

      • Joanna Ross as Myra

      • Neil Seiler as Priest

      • Olga Anthony as Lilian

      • Gigi Gurpinar as Blind Girl

      • Peter Davidson as Big Man

      • Terence Sewards as Tom

      • Trevor Lawrence as Deke

      • Jacqui Cook as Barmaid

      • B. H. Barry, Michael Buchanan, Steve James, Ian McKay, Barry Smith, Roger Williams as Villagers

      • Linda Cunningham as Jane

      • Caroline Villiers as Petra

      • Julian Holloway - Kronos\'s voice it \"one of the last great Hammer Films productions.\"In later years, the film became a cult classic, largely because ofits unusual mix of supernatural horror and swashbuckling action. Itwas to launch a set of new Hammer films, but into the 1970s thestudio landed in financial troubles and ended up shutting down.


        Anovelisation of the film was released, written by Guy Adams under thetitle Kronosand published by Arrow Publishing in association with Hammer and theRandom House Group in 2011.

        Comicbook adaption
        • The House of Hammer #1-3 (October 1976-January 1977)

        Frankensteinand the Monster From Hellis a 1974 British horror film, directed by Terence Fisher andproduced by Hammer Film Productions. It stars Peter Cushing, ShaneBriant and David Prowse. Filmed at Elstree Studios in 1972 but notreleased until 1974, it was the final chapter in the HammerFrankensteinsaga of films as well as director Fisher\'s last film.

        The filmwas released on UK DVD+Blu-ray on 28 April 2014, with all previouslycensored scenes restored.


        BaronVictor Frankenstein (Cushing) is housed at an insane asylum where hehas been made a surgeon at the asylum, and has a number ofprivileges, as he holds secret information on Adolf Klauss, theasylum\'s corrupt and perverted director (John Stratton). The Baron,under the alias of Dr. Carl Victor, uses his position to continue hisexperiments in the creation of man.

        WhenSimon Helder (Briant), a young doctor and an admirer of the Baron\'swork, arrives as an inmate for bodysnatching, the Baron is impressedby Helder\'s talents and takes him under his wing as an apprentice.Together they work on the design for a new creature. Unknown toSimon, however, Frankenstein is acquiring body parts by murdering hispatients.

        TheBaron\'s new experiment is the hulking, ape-like Herr Schneider(Prowse), a homicidal inmate whom he has kept alive after a violentsuicide attempt and on whom he has grafted the hands of a recentlydeceased sculptor (Bernard Lee). Since Frankenstein\'s hands werebadly burned in the name of science (possibly in TheEvil of Frankensteinor FrankensteinMust Be Destroyed),the shabby stitch-work was done by Sarah (Madeline Smith), abeautiful mute girl who assists the surgeon, and who is nicknamed\"Angel\". Simon tells the Baron that he is a surgeon and theproblem is solved. The Baron reveals that Sarah is the daughter ofthe director and has been mute ever since he tried to rape her.

        Soon neweyes and a new brain are given to the creature. When the creature –lumbering, hirsute and dumb – is complete, it becomes bitter andintent on revenge. It ultimately runs mad on a killing spree in theasylum, killing several individuals, including Klauss. Eventually, itis fully overpowered and destroyed by a mob of inmates. Simon isdevastated by the loss of life and reports to Frankenstein; however,the Baron feels that it was the best that could happen to such acreature, and is already considering a new experiment with otherinvoluntary donors. The three start tidying up the laboratory whilstFrankenstein ponders who should be first to \"donate\"...

        • Peter Cushing as Baron Victor Frankenstein/ Dr. Carl Victor

        • Shane Briant as Dr. Simon Helder

        • Madeline Smith as Sarah \"Angel\" Klauss

        • David Prowse as the Creature/ Herr Schneider

        • John Stratton as Asylum Director Adolf Klauss

        • Michael Ward as Transient

        • Elsie Wagstaff as Wild one

        • Norman Mitchell as Police Sergeant

        • Clifford Mollison as Judge

        • Patrick Troughton as Bodysnatcher

        • Philip Voss as Ernst

        • Christopher Cunningham as Hans

        • Charles Lloyd-Pack as Professor Durendel

        • Lucy Griffiths as Old hag

        • Bernard Lee as Tarmut

        • Sydney Bromley as Muller

        • Andrea Lawrence as Brassy girl

        • Jerold Wells as Landlord

        • Sheila Dunion as Gerda

        • Mischa de la Motte as Twitch

        • Norman Atkyns as Smiler

        • Victor Woolf as Letch

        • Winifred Sabine as Mouse

        • Janet Hargreaves as Challer

        • Peter Madden as Coach driver


        This wasthe sixth and last time that Peter Cushing portrayed the role of theobsessively driven Baron Frankenstein, a part he originated in 1957\'sTheCurse of Frankenstein.Cushing had long been known throughout his career for his meticulousattention to detail, even in the planned handling and usage of props.For this film, he helped to design the wig that he wore, but yearsafterward regretted the outcome, and jokingly quipped that it madehim look more like stage and screen actress Helen Hayes. ButCushing\'s dedication to his role was never truly dampened, and at age59, looking somewhat gaunt and fragile, he still insisted uponperforming a daring stunt which required him to leap from a tabletoponto the hulking creature\'s back, spinning wildly in circles tosubdue the monster gone amok with a sedative.

        DavidProwse makes his second appearance as a Frankenstein laboratorycreation in this film, his first having been in TheHorror of Frankenstein.He is the only actor to have played a Hammer Frankenstein\'s monstermore than once. During the DVD commentary session for this movie,Prowse said that his daily transformation into \"The Monster FromHell\" went fairly quickly, being able to suit up and pull on themask in only about 30 minutes – whereas his time in the make-upchair for his previous Hammer monster role typically required severaltedious the Monster from Hellhas received a mixed reception from critics. Of the film, TheHammer Story: The Authorised History of Hammer Filmswrote: \"Terence Fisher\'s haunting, melancholy swansong would bean epitaph for Hammer horror itself.\" Time Out wrote, \"Fisher\'slast film is a disappointment.\"

        The filmitself performed poorly at the box office.But despite this, the filmcurrently holds an average three star rating (6.3/10) on IMDb and hasfared better with modern critics. It was released in certain marketswith another Hammer film, CaptainKronos – Vampire Hunter.

        record at the time of the film\'s release.

        Handsof the Ripperis a 1971 British horror film directed by Peter Sasdy for Hammer FilmProductions. It was written by L. W. Davidson from a story by EdwardSpencer Shew, and produced by Aida Young.


        Theinfant daughter of Jack the Ripper is witness to the brutal murder ofher mother by her father. Fifteen years later she is a troubled youngwoman who is seemingly possessed by the spirit of her late father.While in a trance she continues his murderous killing spree but hasno recollection of the events afterwards. A sympathetic psychiatristtakes her in and is convinced he can cure her condition. However, hesoon regrets his decision...

        • Eric Porter as Dr. John Pritchard

        • Angharad Rees as Anna

        • Jane Merrow as Laura

        • Keith Bell as Michael Pritchard

        • Derek Godfrey as Mr. Dysart

        • Dora Bryan as Mrs. \"Granny\" Golding

        • Marjorie Rhodes as Mrs. Bryant

        • Lynda Baron as Long Liz

        • Marjie Lawrence as Dolly, the maid

        • Margaret Rawlings as Madame Bullard

        • Elizabeth MacLennan as Mrs. Wilson

        • Barry Lowe as Mr. Wilson

        • April Wilding as Catherine


        The filmfeatured veteran British actor Eric Porter as the doctor and alsostars Jane Merrow, Keith Bell and Derek Godfrey. The film had anearly starring role for Angharad Rees. Later in the 1970s, sheappeared with Robin Ellis, Ralph Bates and an all star cast in theBBC TV costume drama Poldark.

        It wasfilmed at Pinewood Studios, with some location work at St. Paul\'sCathedral, aggregator Rotten Tomatoes reported an approval rating of 80%,based on 5 reviews, with a rating average of 7.1/10. However audiencereviews were mixed with and approval rating of 50% based on 137reviews, with a rating average of 3.2/5.

        Filmcritic Leonard Maltin gave the film 2 1/2out of a possible 4 stars. In his review he stated that the film had\"[a] good atmosphere and solid performances, but after a goodstart, dissolves into a series of bloody murders.\" TheHammer Story: The Authorised History of Hammer Filmswrote that the film \"expertly mixes the sophistication expect ofHammer\'s films with the gore its new audiences demanded.\" AndyBoot considers the film \"flawed, and so close to the fag end ofGothic that it could almost be a parody,\" but that it is \"nonetheless a film well worth watching\". He opines that PeterSasdy \"atoned for his appalling Countess Dracula with a muchpacier handling of this story.\" Film review aggregator RottenTomatoes reported an approval rating of 80%, based on 5 reviews, witha rating average of 7.1/10. However audience reviews were mixed withand approval rating of 50% based on 137 reviews, with a ratingaverage of 3.2/5.

        Twinsof Evilis a 1971 horror film by Hammer Film Productions starring PeterCushing, with Damien Thomas and the real-life twins and formerPlayboy Playmates Mary and Madeleine Collinson.

        It isthe third film of the Karnstein Trilogy, based on the vampire taleCarmillaby Sheridan Le Fanu. The film has the least resemblance to the noveland adds a witchfinding theme to the vampire story. Much of theinterest of the film revolves around the contrasting evil and goodnatures of two beautiful sisters, Frieda and Maria Gellhorn. Unlikethe previous two entries in the series, this film contains only abrief vampire lesbian element.

        Someconsidered the film a prequel to TheVampire Loversand Lustfor a Vampire.


        Mariaand Frieda, recently orphaned identical twin teenage girls, move fromVenice to Karnstein in Central Europe to live with their uncle GustavWeil. Weil is a stern puritan and leader of the fanaticalwitch-hunting \'Brotherhood\'. Both twins resent their uncle\'ssternness and one of them, Frieda, looks for a way to escape.Resenting her uncle, she becomes fascinated by the local CountKarnstein, who has the reputation of being \"a wicked man\".

        CountKarnstein, who enjoys the Emperor\'s favour and thus remains untouchedby the Brotherhood, is indeed wicked and interested in Satanism andblack magic. Trying to emulate his evil ancestors, he murders a girlas a human sacrifice, calling forth Countess Mircalla Karnstein fromher grave. Mircalla turns the Count into a vampire.

        Frieda,following an invitation from the Count, steals away to the castle atnight, while Maria covers for her absence. In the castle, the Counttransforms Frieda into a vampire, offering her a beautiful youngchained victim. Returning home, Frieda threatens Maria to keepcovering for her nightly excursions, but secretly fearing she mightbite her sister.

        Meanwhile,Maria becomes interested in the handsome young teacher, Anton, who isinitially infatuated with the more mysterious Frieda. Anton hasstudied what he calls \"superstition\", but becomes convincedof the existence of vampires when his sister falls victim to one. Onenight, when Frieda attacks a member of the Brotherhood, she iscaptured by her uncle and put in jail. While the Brotherhood debatesthe vampire woman\'s fate, the Count and his servants kidnap Maria andexchange her for Frieda in the cell. Anton goes to see Maria, notknowing that she is actually Frieda. She tries to seduce him, but hesees her lack of reflection in a mirror and repels her with a cross.Anton rushes to rescue Maria from burning. Maria kisses a cross,revealing her innocence.

        Weil nowlistens to Anton\'s advice on the proper ways to fight vampires, andthe two men lead the Brotherhood and villagers to Karnstein Castle toconfront the Count. The Count and Frieda attempt to escape, but theyare surprised by Weil, who beheads Frieda. Maria is captured by theCount, who uses her as a shield. Weil challenges the Count and iskilled, giving Anton the opportunity to pierce the distracted Count\'sheart with a spear. Anton and Maria are united as Karnstein crumblesto corruption.

        • Peter Cushing as Gustav Weil

        • Kathleen Byron as Katy Weil

        • Mary Collinson as Maria Gellhorn

        • Madeleine Collinson as Frieda Gellhorn

        • David Warbeck as Anton Hoffer

        • Damien Thomas as Count Karnstein

        • Katya Wyeth as Countess Mircalla

        • Roy Stewart as Joachim

        • Isobel Black as Ingrid Hoffer

        • Harvey Hall as Franz

        • Alex Scott as Hermann

        • Dennis Price as Dietrich

        • Sheelah Wilcox as lady in coach

        • Inigo Jackson as woodman

        • Judy Matheson as woodman\'s daughter

        • Kirsten Lindholm as young girl at stake

        • Luan Peters as Gerta

        • Peter Thompson as gaoler


        Hammerwas originally going to make a film called Vampire Virgins.However producer Harry Fine saw a Playboy spread involving theCollinson twins and decided to make a film focusing on them.

        • Ingrid Pitt was offered the part of Countess Mircalla but refused.

        • The same sets were used for Vampire Circus.

        • Harvey Hall and Kirsten Lindholm appear in all three films of the trilogy, although in different roles in each one. Peter Cushing also played one of the leads in the first, The Vampire Lovers. (A part was written for Cushing in the second film, but he dropped out of the production due to the illness of his wife. The role was taken over by Ralph Bates.) Luan Peters, who plays a small role in this film, also appeared in the second film, Lust for a Vampire, as did Judy Matheson.

        • The original film included a short scene, which is now edited out, in which the evil twin approaches her uncle. The scene is out of place as their uncle is busy burning the other sister; somehow he teleports back home and the evil twin gives him a show. Cut out for American audiences and possibly to maintain story line continuity, the original scene was aired on public television in the 1980s.


        Filmcritic Leonard Maltin gave the film a passing grade of two and a halfstars, calling it \"engaging\" and \"inspired\" inits use of the Collinson twins. A.H. Weiler wrote in TheNew York Timesthat the Collinson twins made the film interesting, but \"Therest of the costumed crew... hardly give Twinsof Evila good name.\"

        Inother media

        Anovelisation of the film was written by Shaun Hutson and published byArrow Publishing in association with Hammer and the Random HouseGroup in 2011, ISBN 978-0-09-955619-0. The book contains anintroduction by the film\'s director, John Hough.

        The filmwas adapted into an 18-page comic strip for the January–February1977 issue of the magazine Houseof Hammer(volume 1, # 7, published by General Book Distribution). It was drawnby Blas Gallego from a script by Chris Lowder. The cover of the issuefeatured a painting by Brian Lewis based on imagery from the film.

        TheBritish music duo Collinson Twin (formed 2009) are named in tributeto the Twins of Evil stars. Another British music group TheTwin Dracula are thought to be named after the characters.

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