The First Leading Lady of British Horror

by Kimberly Lindbergs | November 27, 2009

Categories | British Cinema, Actresses, Hammer Horror

Barbara Shelley in Quatermass and the Pit (1967)

Like many of my fellow Americans I’m enjoying the Thanksgiving holiday so I’ve been distracted by family, good food and drink. But I wanted to take a moment to shine a spotlight on The First Leading Lady of British Horror, Barbara Shelley.

Barbara starred in no less than eight Hammer films that I’m aware of including Mantrap (1953), The Camp on Blood Island (1958), Shadow of the Cat (1961), The Gorgon (1964), The Secret of Blood Island (1964) Dracula: Prince of Darkness (1966), Rasputin: The Mad Monk (1966) and Quatermass and the Pit (1967). She’s easily one of the most talented actresses that worked with the studio during the ’60s but her name isn’t as well known as many of her female costars. Her earthy beauty, seductive voice, natural grace and impressive acting abilities made her standout among her contemporaries and it’s surprising that she didn’t become a bigger and better known star. She was terrific in the horror films she made for Hammer as well as other studios which earned her the title of “The First Leading Lady of British Horror.” And she also appeared in some of Britain’s best television shows such as Danger Man, The Avengers, The Man From U.N.C.L.E. and Dr. Who but it’s a shame that she’s not better known outside of the UK.

My favorite Barbara Shelley performance can be found in the 1966 Hammer film Dracula: Prince of Darkness. In the movie Barbara plays a prim and proper British lady who turns into a bloodthirsty vampire. In an effort to keep the Hammer Glamour activities alive and well here at Cinebeats I thought I’d repost a link to my lengthy appreciation of Barbara’s standout performance in the film that I wrote back in 2007 called The Lady Is a Vamp.

Barbara Shelley in . . .
Top: The Secret of Blood Island (1964)/Dracula: Prince of Darkness (1966)
Bottom: Rasputin: The Mad Monk (1966)/Quatermass and the Pit (1967)

Barbara Shelley is still alive and well but she retired from acting in the late ’80s. She seemed rather reserved in the recent Hammer Glamour book, but most recently she participated in the DVD commentary for the British horror film Ghost Story which I wrote about earlier this month. I wish Barbara Shelley would follow in Raquel Welch’s footsteps and consider writing her own memoirs. During her lengthy acting career Barbara appeared in films with such celebrated actors as Gloria Swanson and George Sanders. She also worked with other important genre directors like Val Guest and Sergio Corbucci. During her years with Hammer studio Barbara worked almost exclusively with director Terence Fisher and appeared in films with popular Hammer stars Christopher Lee and Peter Cushing so I’m sure her insights and commentary on “The Studio That Dripped Blood” would prove invaluable to horror fans.

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Me Loana. You Tumak.

by Kimberly Lindbergs | November 25, 2009

Categories | Movie Reviews, Books, British Cinema, Actresses, Hammer Horror

Raquel Welch in One Million Years B.C. (1966)

I love Raquel Welch. She’s not a great actress but she did appear in some good films and when she’s given the right material to work with she can be very funny. I’ve always thought that Raquel’s natural appeal as a comedic actress had been overlooked due to her overwhelming sex appeal. There’s just no getting around the fact that Raquel Welch is gorgeous but she also has a great sense of humor that often seemed to be ignored by critics who couldn’t see past her incredible beauty. Of course Raquel Welch never let them. Her publicity stills continually presented the actress as a sexy film siren. Glamour (or glamor!) was obviously in Raquel’s blood and she had no intention of letting anyone forget it. And although she showed some dramatic skill in films such as Hannie Caulder (1972) and The Last of Sheila (1973), I personally think she really shined in comedies like Bedazzled (1967), Fathom (1967), Myra Breckinridge (1970) and The Three Musketeers (1973). Could she have become the Lucille Ball of her day? That’s doubtful but I often wonder what direction Raquel’s career would have taken if she had focused her attention on making funny movies and developing her comedic abilities.

Raquel Welch became an international star after appearing in the Hammer film One Million Years B.C. (1966). The movie was a remake of the 1940 Hal Roach film One Million B.C. that was nominated for two Oscars for its special effects and musical score. Hammer’s remake didn’t get any Oscar nominations but it was the studio’s most commercially successful film and featured some terrific special effects by Ray Harryhausen and a good score composed by Mario Nascimbene. But a large part of the film’s success was due to its female star. Hammer launched one of the most widely seen ad campaigns in the studio’s history for One Million Years B.C. and it paid off. Posters and publicity stills from the film featuring a fur bikini clad Raquel circulated around the globe appearing in countless magazines and newspapers. To this day Raquel Welch is one of the most widely recognized film stars in the world thanks to Hammer’s publicity blitz.

One Million Years B.C. is a highly entertaining fantasy film that takes place in a prehistoric world inhabited by dinosaur monsters and cave people. In the film Raquel Welch plays a young woman named “Loana the Fair One” who is part of the Shell People tribe. Loana falls in love with a man called Tumak (John Richardson) from the Rock People tribe and together the two would-be lovebirds are forced to fight for the survival of themselves and their love in a harsh world that seems determined to destroy them both. The film plays out like some kind of prehistoric retelling of Shakespeare’s Romeo & Juliet but the great special effects and nonstop action help make One Million Years B.C. one of Hammer’s most exciting and enjoyable movies.

Raquel Welch was given very little dialogue in One Million Years B.C. so she’s forced to use her body language and facial expressions to let the audience know what her character is feeling throughout the course of the film. This may sound like an easy task but it’s not and Raquel does a nice job of working with a limited vocabulary. She’s commendable in a film that doesn’t require much from her and she brings a warm sensitivity to a role that could have easily become forgettable in another actresses’ hands. Of course she also looks amazing in the movie and manages to inject lots of glamour into the rocky barren landscape of One Million Years B.C..

In 2010 Raquel Welch will be celebrating her 70th birthday and she’s kick-starting the year with the publication of her self-penned memoirs titled The Secrets of Timeless Appeal. The book is currently scheduled to be released in January of next year and focuses on her struggle to age gracefully in Hollywood where actresses are often put out to pasture before age 40. In the book Raquel supposedly opens up about being typecast as a “sex symbol” as well as her plastic surgery, struggles with aging and menopause. She also offers up beauty tips and health advice. It’s rumored that the actress might divulge intimate details about her romantic flings with other actors including Warren Beatty and Richard Burton as well as musician Alice Cooper but we’ll have to wait until January 2010 to find out.

One Million Years B.C. is available on DVD and currently selling at Amazon for just $6.99. You can also pre-order Raquel Welch’s upcoming autobiography The Secrets of Timeless Appeal at Amazon for $17.79.

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The Glamour of Hammer

by Kimberly Lindbergs | November 24, 2009

Categories | Books, British Cinema, Actresses, Hammer Horror

Hammer Glamour cover girl Madeline Smith

Hammer horror films were an essential part of my childhood and one of my favorite things about Hammer films was the glamourous female stars. While growing up I thought that the women in Hammer movies were incredibly beautiful and I still do. Big hair and big busts seemed to be one of the studios regular requirements but many of the gorgeous women who appeared in Hammer films also knew how to act. These curvaceous ladies could play naive and innocent victims in one film and bloodthirsty ferocious killers in the next. They broke rules, pushed boundaries and kept up with their male costars even when given secondary roles and third billing. Now there’s a book that gives these women the star treatment that they’ve long deserved.

In September Titan Books released Marcus Hearn’s fabulous tribute to Hammer’s female stars entitled Hammer Glamour. The term “Hammer Glamour” has been used by Hammer fans for decades but Hearn’s book is the first book that I know of that focuses solely on Hammer’s female stars. This lush coffee table collection contains over 150 pages and features profiles as well as interviews with many of the actresses who had prominent and lessor known roles in Hammer movies. The book is beautifully put together and the actresses are smartly presented in alphabetical order, which makes for easy referencing. It also includes an informative introduction by the author and a helpful index of Hammer film titles that corresponds with the actresses mentioned in the book. Hammer Glamour is a real treat for horror fans and makes a great companion to author Marcus Hearn’s previous book, The Hammer Story. Together both of Kearn’s informative texts offer new and seasoned Hammer fans a fascinating look at “The Studio That Dripped Blood.”

One of the most enjoyable aspects of Hammer Glamour is reading what the actresses have to say about their experiences working with the studio. Many of them have a great sense of humor about their work. They also express a real fondness for their co-stars and film crew. Actor Peter Cushing is often singled out for his generous behavior and good nature. It’s obvious that he was beloved by those who knew him and befriended him during his lifetime.

Top: Janette Scott and Pauline Peart
Bottom: Yutte Stensgaard and Valerie Gaunt

Finding background information about these actresses wasn’t always easy and Marcus Hearn clearly had to go out of his way to compile the profiles and interviews for Hammer Glamour. I really appreciate the author’s extraordinary efforts because the book provides Hammer fans with an unprecedented look at some of the studio’s most fascinating stars. It also contains many rare photos that I’ve never seen before and I can almost guarantee that even the most avid Hammer fans will find some surprises in Hammer Glamour.

My only complaint is that I wish the book was bigger. I think the publishers could have easily added an additional 150 pages and I’m sure it would have still found an eager audience. I’d love to see Marcus Hearn and Titan Books publish a future expanded volume of Hammer Glamour that provided even more information about the women included in the book and offered lengthier profiles of the actresses who were left out or given scant attention. I’d also love to see more photographs showcased as well since I can never get enough Hammer Glamour eye-candy.

Minor complaint aside, Marcus Hearn’s Hammer Glamour is truly a feast for the senses and it should find a place in every serious Hammer fan’s library. I suspect that anyone who is interested in British film history might also find Hammer Glamour worth reading because the book indirectly provides a unique look at what it was like to work as an actress within the British film industry during the late 1950s, ’60s and ’70s.

Hammer Glamour retails for $29.95 but it’s currently on sale at Amazon for just $19.77. I really can’t recommend the book enough so if you’re looking for the perfect holiday gift for a friend or yourself I suggest picking up a copy of Marcus Hearn’s book. For more information about Hammer Glamour visit the official Titan Book site: Hammer Glamour

I also recommend a visit to Holger Haase’s fabulous World of Hammer Glamour fan site.

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Hammer Glamour November 24-30th

by Kimberly Lindbergs | November 23, 2009

Categories | News, British Cinema, Actresses, Hammer Horror

This month marks the 75th anniversary of Hammer Films. In November of 1934 the failed comedian and successful jeweler William Hinds (stage name Will Hammer) formed Hammer Productions Ltd. that would later be known as “The Studio That Dripped Blood.”

I’ve decided to postpone Modern Mondays and all other activity at Cinebeats to spend the rest of the month celebrating the 75th Anniversary of Hammer Films with a special look at some of the female stars of Hammer movies. These glamourous, beautiful and talented actresses often get overshadowed by their iconic male costars but from November 24-30th Cinebeats will be shining a spotlight on them and highlighting some of their best performances and most important movies.

Move over Christopher Lee! Make way Peter Cushing! Roll out the red carpet for Hammer Glamour week here at Cinebeats!

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Die, Monster, Die! (1965)

by Kimberly Lindbergs | November 22, 2009

Categories | Movie Reviews, Horror, American Cinema, Blogathons, Roger Corman

Frankenstenia is celebrating the life and career of one of my favorite actors with The Boris Karloff Blogathon taking place Nov. 23-29th. I didn’t sign-up to participate because I couldn’t commit to anything. My current blogging schedule is sporadic and a bit crazy because at the moment most of my attention is focused on trying to buy my first home. But I did mange to find some time to write a little something about one of my favorite ’60s era Karloff films, Die, Monster, Die!

Die, Monster, Die! was produced by Samuel Z. Arkoff for AIP (American International Picture) and directed by horror film veteran Daniel Haller. Haller started his career as an art director and production designer and he worked with AIP for many years before he began directing films for the company. Haller’s early work with Roger Corman is especially noteworthy since he helped give Corman’s Edgar Allen Poe adaptations a distinct look and feel. During the ’60s Daniel Haller collaborated with Roger Corman on some of his best films including Pit and the Pendulum (1961), Premature Burial (1962), The Raven (1963), The Haunted Palace (1963) and The Tomb of Ligeia (1964) before directing his first film; the Karloff feature Die, Monster, Die! in 1965.

In the film Boris Karloff plays a crazy old curmudgeon named Nahum Witley who is keeping a dark secret from his family in an attempt to better their fortune and bring honor to the family name. The plot of Die, Monster, Die! is based on H.P. Lovecraft’s short story The Colour Out of Space which was originally published in 1927. Haller’s film plays fast and loose with Lovecraft’s original tale but it’s an entertaining mess of a movie that benefit’s greatly from Karloff’s presence. Die, Monster, Die! is notable because it gave the 78 year-old Karloff one of his last opportunities to play a monster in a horror film. Although Karloff’s transformation from stately Nahum Witley to radioactive zombie in Die, Monster, Die! is all too brief and a far, far cry from his amazing and better known performance as Frankenstein’s monster in the classic Universal horror films, Karloff did seem to have some fun with his role. Die, Monster, Die! isn’t one of Karloff’s best movies but it does hold some appeal if you happen to to be a Karloff fan and appreciate gothic horror films as well as creative adaptations of Lovecraft’s stories as much as I do.

I happen to own the 1966 Dell comic book adaptation of Die, Monster, Die! and I thought it would be fun to share some pages of it with my readers as well as other comic book fans. I’m afraid that I don’t know who the original artist is and an extensive online search didn’t provide me with any clues* but I like the artwork and figured other Karloff fans might appreciate it too. I’ve posted a small sample of the comic book below but if you want to see more (and larger) pages from the Die, Monster, Die! comic book you’re going to have to visit Curt Purcell’s always fabulous Groovy Age of Horror blog.

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Portable Grindhouse: The Lost Art of the VHS

by Kimberly Lindbergs | November 19, 2009

Categories | News, Books

I grew up in the video age and I’m still in awe of the technology that first allowed me to watch thousands of movies in the privacy of my own home. Call me sentimental and nostalgic, but when I first got wind of Jacques Boyreau’s upcoming book Portable Grindhouse: The Lost Art of the VHS Box it made me giddy with excitement. From the publisher (Fantagraphics) site:

“Harken back to those thrilling days of yesteryear when the advent of rental videos astonished the movie-going consumer who could only feed his addiction by going to the theater or watching chopped up movies in between commercials on TV. Like vinyl, here is the revenge of another analog cast-off: the VHS is once again insinuating itself into American culture, and this book celebrates the anarchic design art of those early VHS boxes.”

The design of the book is fantastic and Fantagraphics recently released a video that showcases the book’s impressive design that I’ve posted below:

Author Jacques BoyreauIf is responsible for one of my favorite film poster books, Trash: The Graphic Genius of Xploitation Movie Posters, so I suspect Portable Grindhouse: The Lost Art of the VHS will be just as good. If you want to know more about the book I recommend visiting Fantagraphics website where you can pre-order yourself a copy.

Many thanks to Cat for making me aware of the book!

Bonus Material:
- Read About My First VHS Purchase

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Art Film As Fashion Trend

by Kimberly Lindbergs | November 17, 2009

Categories | French Cinema, Actresses, Delphine Seyrig, Fashion & Film

In 1962 Alain Resnais’ film Last Year at Marienbad aka L’année dernière à Marienbad (1961) debuted in America and made quite a splash with film critics as well as fashionistas. As the following fashion article from ‘62 makes clear, women were obviously inspired by the lovely Delphine Seyrig and attempted to mimic her look including fashion designer Gloria Vanderbilt and American actress Elizabeth Ashley. Today actresses in popular films seem to dictate many fashion trends but I found this fashion piece about Last Year at Marienbad really surprising and a fun read so I thought I’d share it here. Delphine Seyrig’s one of my favorite actresses and I love the idea of her as a smart trendsetting ’60s style icon in the same league as Jean Seberg and Audrey Hepburn. Make way ladies! Here comes Delphine Seyrig…

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Modern Mondays: Gus Van Sant’s “Death Trilogy” 2002-2005

by Kimberly Lindbergs | November 16, 2009

Categories | Movie Reviews, American Cinema, Modern Mondays, Gay Interest

“Ours is a culture notoriously uncomfortable with death. We’ve minimized and sterilized our rituals for processing it; we pack it away in Styrofoam and plastic wrap at the grocery store; we worship our children and pour our resources into the fantasy of postponing old age. Yet it courses into our collective consciousness with renewed insistence every day. Death in Iraq, death in New Orleans, death in Sudan, Afghanistan, Israel, Indonesia. Death on local streetcorners and in apartment buildings down the block. More death than it seems possible to comprehend.”
- Holly Myers

I’ve admired Gus Van Sant’s films since first seeing Drugstore Cowboy (1989) and My Own Private Idaho (1991) in the early ’90s but my relationship with the director’s work has occasionally been strained. I still don’t understand why Gus Van Sant thought remaking Hitchcock’s Psycho (1998) was a good idea and I’ve found some of his films such as Even Cowgirls Get the Blues (1993) unwatchable but I keep coming back to his work. Van Sant has been very active in the last 10 years and his films have received a lot of critical attention but I think his “Death Trilogy” which included the movies Gerry (2002), Elephant (2003) and Last Days (2005) are the director’s most interesting recent films. They’re good movies on their own but together they make up one of the most compelling cinematic experiences I’ve had in the last 10 years.

The three movies that form Van Sant’s “Death Trilogy” are not easy viewing and demand a lot from their audience. They also deserve more attention than I can give them at the moment so I thought I’d share some excerpts from one of my favorite pieces written about the films by the Los Angeles based critic Holly Myers for n+1. In Myers’ lengthy piece called Nothing Happens to No One: The Death Trilogy of Gus Van Sant she brilliantly explains exactly why I find the director’s “Death Trilogy” so intriguing. She also does a terrific job of pointing out the importance of these American films and why they’ve made such a lasting impression on me.

“Like the two subsequent films—Elephant (2003), based on the 1999 Columbine High School shootings, and Last Days (2005), a fictionalized account of the death of Kurt Cobain—Gerry cuts through the shock, the bafflement, the extravagant displays of empathy and moralistic hand-wringing that invariably characterizes Hollywood and the media’s treatment of death-stories by dispensing with the basic conventions of narrative and character. Van Sant does not sensationalize. Instead, in each film we see plot distilled to a single, profound arc: the slow, strange transition of a body from being alive to not being alive. Taking the silence, the mystery, the essential unknowability of death as a given, Van Sant makes no attempt to interrogate or explain. He simply enacts this transition and encourages his viewers to watch.

The result is closer to meditation than to storytelling, and the films are difficult in the way that meditation is difficult, which has made them—Gerry in particular—a hard sell.”

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