She Who Must Be Obeyed

by Kimberly Lindbergs | November 30, 2009

Categories | Movie Reviews, British Cinema, Actresses, Hammer Horror, Ursula Andress

Ursula Andress in She (1965)

My favorite moment in She (1965) occurs about 90 minutes into the movie when Ursula Andress glides by Peter Cushing playing Professor Holy and Bernard Cribbins as his aspiring man servant Job. Cushing declares “By Jove!” at the sight of Ursula and Cribbins turns to his costar and utters the line, “They just don’t make them like that anymore, sir.” It’s a funny toss away line but it sums up the way I feel about all the women who populated Hammer films throughout the studio’s history. They just don’t make them like that anymore.

In Marcus Hearn’s new Hammer Glamour book he quotes the chairman of Hammer studio James Carreras from an old interview. In the interview Carreras is asked what he looks for when hiring an actress for a role. He answered that she needed “A good face and figure, of course. But it’s more than that; she has to have a special kind of magnetism. I can’t describe it, but I know it when I see it.”

I think that certain “je ne sais quoi” is what really separates the stable of Hammer actresses from today’s aspiring scream queens. The glamourous women that populated Hammer films seemed to have a kind of natural charisma that’s hard to come by. Many of the women were conventionally beautiful but they often had an original look, a sincerity, charm or acting skills that separated them from the pack. Ursula Andress had power and intensity. She was a stunning beauty but she appeared to be unafraid, independent, confident and a little dangerous in ways that can be both intimidating and incredibly alluring. These qualities made Ursula the perfect candidate to play Ayesha or “She That Must Be Obeyed” in Hammer’s fantasy epic.

She was Hammer’s big-budget adaptation of H. Rider Haggard classic novel of the same name. It tells the strange tale of three British travelers, Professor Holy (Peter Cushing), Job (Bernard Cribbins) and Leo (John Richardson) who come in contact with an immortal Queen called Ayesha (Ursula Andress) or “She That Must Be Obeyed.” Ayesha ruthlessly rules over her subjects and she believes Leo is the reincarnation of her long dead lover Kallikrates that she killed in a jealous rage centuries ago. After luring the three men to her kingdom with the help of her servant Billali (Christopher Lee), Ayesha tries to convince Leo to become immortal and rule by her side. Things get complicated when a rebellious uprising threatens to destroy everything that Ayesha holds dear.

H. Rider Haggard’s 1886 novel was filmed twice before in 1925 as a silent movie and in 1935. The 1935 film adaptation of She was nominated for an Oscar and apparently inspired many other adventure films with it’s striking set designs. Hammer’s 1965 film version of She was not nominated for any Oscars but it was one of the studios most expensive productions and it was also the first Hammer film built around a female star. The movie is rather faithful to H. Rider Haggard’s original story but it seems to lack the esoteric undertones that I personally found so interesting in the book as well as the emotional punch and character development. Hammer’s film also suffers from the dull performance of it’s male lead John Richardson who is never able to make the character of Leo convincing. Director Robert Day does a good job with the material and makes some smart directing and editing choices but the film seems a bit erratic at times. The exciting moments and inspired direction in one scene can become diminished by the static look of the next. The film also doesn’t shy away from ethnic stereotypes that can be found in the original novel but the “noble savages” in She do an admirable job with their limited roles. The movie does boast some impressive special effects and sets for the time that really help make She one of Hammer’s best looking and most enjoyable adventure movies.

Peter Cushing is very good as Professor Holy and he brings his usual gravitas and class to the film. I also think Christopher Lee is effective as the devious Billali and Bernard Cribbins is great in his small but very funny role as Job. Rosenda Monteros also appears in the movie but she’s rather forgettable as the “other woman” trying to win Leo’s affection. The star of She is Ursula Andress but her seductive, cold and unearthly performance in the film occasionally seems at odds with her character. She doesn’t have a lot of chemistry with her male love interest in the movie (the bland John Richardson) and the script lacks passion. Ursula was reluctant to play Ayesha and has often complained about her role in the movie over the years. Her dissatisfaction seems to come across on screen but I think Andress should be credited for helping to keep the movie interesting. She subtly embodies the character of Ayesha in a way that a lessor actress could never manage. Her performance also benefits from the talented cinematographer Harry Waxman who photographed the actress beautifully throughout the film. Ursula seems to glow and shimmer on screen thanks to Waxman’s camera work.

Ursula Andress’ first real break out role was in the hugely popular James Bond feature Dr. No (1962). Her infamous bikini scene as Honey Ryder in Dr. No made the 25-year-old actress a household name. When Hammer decided to adapt H. Rider Haggard’s novel for the screen they needed an actress who could generate ticket sales and bring an otherworldly beauty and glamour to their film. Ursula fit the bill perfectly. The statuesque beauty was born to German and Swiss parents and raised in Europe. Her international appeal has made her a lot of fans all over the world but her thick accent seemed to get in the way of her career. Directors and studio executives often thought her speaking voice was just too exotic to appeal to an English speaking audience so Ursula’s voice was dubbed in Dr. No as well as She. I think Hammer made a wise decision to cast Ursula Andress in She but their choice to dub the actress is questionable and may be part of the film’s problem. Her natural voice could have brought a little more flair to the character of Ayesha and we wouldn’t have to second guess her performance in the film. While I was recently watching She again I kept getting distracted by the occasionally awkward dub job.

After Ursula Andress made She the actress appeared in many terrific movies including What’s New Pussycat (1965), La decima vittima aka The 10th Victim (1965), Les tribulations d’un chinois en Chine aka Up to His Ears (1965), The Blue Max (1966), Casino Royale (1967), Soleil Rouge aka Red Sun (1971) and The Fifth Musketeer (1979). Outside of the amazing La decima vittima, these movies usually only provided Ursula with secondary roles and they weren’t very demanding films but they were all a lot of fun to watch. She also appeared in some very bad movies throughout her career and I think this probably tarnished Ursula’s appeal over time. After appearing in Clash of the Titans (1981) as the goddess Aphrodite Ursula seemed to take fewer and fewer roles.

In 2000 Ursula Andress was diagnosed with osteoporosis and in recent years her condition has gotten much worse but the 73-year-old actress hasn’t let the disease slow her down. She recently became an international ambassador for woman’s health and is currently working with the Timeless Women campaign in an effort to help educate women about osteoporosis. Mattel has also recently turned Ursula’s iconic character Honey Ryder into a Barbie for a series of classic Bond Girl dolls that are scheduled to be released early next year. At age 73 Ursula continues to gain new fans of all ages. Her timeless appeal obviously still resonates with the public. She seems destined to remain an ageless and glamourous beauty in our imaginations much like her character in Hammer’s She.

She is only available for sale at the Warner Brother Archives Shop. While I appreciate Warner’s efforts to make their film archives available to the public, it’s unfortunate that online rental companies like Netflix, Greencine and Blockbuster aren’t stocking these films. If you want to see She you’re going to have to buy it.

If you’d like to see more images from the film you can find them in my Flickr She Gallery.

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The First Leading Lady of British Horror

by Kimberly Lindbergs | November 27, 2009

Categories | British Cinema, Actresses, Hammer Horror, Barbara Shelley

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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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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My Favorite Scream Queen

by Kimberly Lindbergs | October 11, 2009

Categories | Rants & Raves, Horror, Actresses

Fall has finally arrived in all its gold and copper splendor. As I’ve mentioned many times before, Autumn is my favorite season. Summer be damned! I’m more than happy to see it go and I look forward with unabashed glee to dark mornings, cold evenings and watching lots of horror movies during the month of October.

Over at the TCM Movie Morlocks’ blog Richard Harland Smith has gathered together a nice collection of links to other blogs that are spending the month focusing on all things spooky and scary. I personally recommend making some time to visit The Groovy Age of Horror, Arbogast on Film, Frankensteinia, Cinema Styles and Final Girl where the fun never ends and the dead never rest!

I hope to find some time to write about a few of my favorite horror films that are in desperate need of a DVD release before the month is over, but in the meantime I thought I’d share some lovely pictures that I recently came across of my favorite Scream Queen, the beautiful and terrifying Barbara Steele from a 1958 issue of Life magazine.

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