Jacqueline Susann’s The Love Machine

by Kimberly Lindbergs | November 3, 2011

Categories | Movie Reviews, American Cinema, David Hemmings, Drama, John Phillip Law, Hammer Glamour, Movie Morlocks, TCM

I recently got the chance to review the Warner Archive DVD release of THE LOVE MACHINE (1971) based on Jacqueline “Valley of the Dolls” Susann’s book and naturally I jumped at the opportunity. I’ve mentioned the film at Cinebeats before during my farewell post to John Phillip Law, which was written after he passed away in 2008. I think it’s a great film so I went to bat for it at the Movie Morlocks this week. It’s not an easy movie to recommend. It’s been mocked by Mystery Science Theater 3000, bashed by an endless parade of critics over the years and celebrated as a kitsch classic worthy of cult camp status and not much else, but I think it’s got more to offer than unintentional laughs. Few films feature three leading men that I absolutely love (John Phillip Law, Robert Ryan AND David Hemmings!) as well as Hammer glamour girls, Mary and Madeleine Collinson (TWINS OF EVIL), Anitra Ford (INVASION OF THE BEE GIRLS) and ’60s beauty icon Lynda Moran just to name a few of the lovely ladies in this film. THE LOVE MACHINE also contains lots of fabulous ’70s fashions, plus stylish decor by the likes of Burke and inspired by designer Eero Saarinen. Do I need to say anymore? If you’re a Cinebeats’ reader chances are you’re going to enjoy this film as much as I do. An excerpt from my post:

“Taken seriously, THE LOVE MACHINE could be seen as an interesting predecessor to NETWORK (1976), which depicted the drama unfolding in the boardrooms and backrooms of high-powered television networks. The film also smartly critiques our blind fascination with popular news personalities who often manipulate the public trust for their own gain. Like Mark Robson, who adapted VALLEY OF THE DOLLS, director Jack Haley Jr. was obviously inspired by filmmakers like John M. Stahl and Douglas Sirk who created shrewd and stylish melodramas in the 1940s and ‘50s such as MAGNIFICENT OBSESSION, LEAVE HER TO HEAVEN and ALL THAT HEAVEN ALLOWS. And although I wouldn’t categorize THE LOVE MACHINE as a “woman’s picture” it was based on a woman’s novel that appealed to a large female audience. As a period piece, THE LOVE MACHINE is an unusal time capsule. It’s of its time and yet totally outside it. But as pure entertainment I think it has lots of visual interest and an oddly involving (and at times convoluted) plot. However you decided to approach the film, I think it makes for some unforgettable viewing.”

You can find my full post about THE LOVE MACHINE at The Movie Morlocks:
- Jacqueline Susann’s The Love Machine @ TCM’s Classic Movie Blog

I also created a Flickr Gallery for THE LOVE MACHINE that you can view here.

Comments Off

Mini Monday #6

by Kimberly Lindbergs | June 6, 2011

Categories | Actresses, Caroline Munro, Hammer Glamour, Mini Mondays

Caroline Munro and a customized British Leyland Mini

Comments Off

Remembering Ingrid Pitt 1937-2010

by Kimberly Lindbergs | November 23, 2010

Categories | News, Actresses, Hammer Horror, Hammer Glamour, Ingrid Pitt

Hammer Glamour girl, Ingrid Pitt has suddenly passed away at age 73 due to heart failure. Her unexpected death took me by surprise and my condolences go out to her friends and family.

One of my fondest blogging memories occurred in 2007. After writing up a brief birthday tribute for Ingrid Pitt and receiving a few comments from other fans, the actress herself stopped by my blog and left me a note (still posted there) in which she said:

“Mind-blowing! It really is wonderful to have so many people wishing me good fortune as I enter the ranks of the septuagenarians. I’m only sorry I didn’t find this site earlier so that I could thank you all.”

I was stunned and absolutely thrilled that the actress took the time to read and respond to my blog post. Her generous nature was made more apparent when we exchanged a few brief emails after she left her comment. I was rather star struck because as I mentioned in my birthday tribute to the actress, Ingrid Pitt has always been one of my favorite Hammer Glamour girls. Her bold, sassy and uninhibited nature came across in every Hammer film she was in and she never shied away from her past or made excuses for appearing in horror films. Ingrid embraced her history and celebrated it. She was proud of her roles in movies like The Vampire Lovers (1970), Countess Dracula (1971), The House That Dripped Blood (1971) and The Wicker Man (1973). And of course she should be. Her beauty, brains and sense of humor shouldn’t be underestimated. Ingrid Pitt was the real “bad girl” of Hammer studio and and her edgy performances often dominated the movies she was in. She could be extremely seductive but unlike countless other onscreen beauties that have bared their fangs for the camera, Ingrid also knew how to generate fear.

I’m incredibly thankful that Ingrid took the time to contact me because it gave me the opportunity to tell her how much I admired her and appreciated her work. She was a very special lady and she’ll be sincerely missed.

Recommended Links:
- BBC News Obituary: Hammer horror actress Ingrid Pitt dies aged 73
- Pitt of Horror (Ingrid Pitt’s Official Site)
- Ingrid Pitt’s Film Column @ Den of Geek
- Hammer Films (Official Site)

Comments (8)

A Little Night Music

by Kimberly Lindbergs | December 11, 2009

Categories | Actresses, Hammer Horror, Caroline Munro, Hammer Glamour

An early glamor shot of Caroline Munro

Personal obligations and holiday plans are interfering with my blogging ambitions so apologies for the lack of updates here. In an effort to keep the Hammer Glamour alive at Cinebeats I’ve compiled a little something about one of the most popular Hammer stars and a personal favorite of mine, the lovely Caroline Munro.

Hammer Glamour girl Caroline Munro turned heads in the ’70s appearing in horror films like Dracula A.D. 1972 (1972) and Captain Kronos - Vampire Hunter (1974) as well as popular genre films such as The Golden Voyage of Sinbad (1974), At the Earth’s Core (1976) and the James Bond feature The Spy Who Loved Me (1977). Her “girl next door” sex appeal and sassy screen persona has gained Caroline a cult following over the years that even led to the making of a documentary about the actress called Caroline Munro: First Lady of Fantasy (2004) but some of my earliest memories of Caroline are linked to the music she recorded in the ’80s and the videos she appeared in. Who can forget Caroline’s sexy bedroom dance with Adam Ant in the Goody Two Shoes (1982) music video? It’s definitely one of my favorite music video moments from the ’80s! I liked the video so much that I even tried to emmulate Caroline’s hairstyle in it when I was a teenager. Caroline Munro also recorded a single with Gary Numan in 1984 that didn’t get much play in the US but found a small audience in Europe.

Before Caroline ever appeared in any films she recorded a two song demo in 1967. She was only 17-years-old at the time and trying to break into the music business. I first learned about Caroline’s early music career thanks to The World of Hammer Glamour site which mentioned that she had recorded a single called “Tar and Cement” but in the last few years I’ve learned a little bit more about the actresses first single.

Back in December of 2007 I posted a lengthy look at the musical career of British actor Richard Harris that I titled Richard Harris Sings. In that piece I briefly discussed the Al Martino song “Here In My Heart” that Harris sang during the film This Sporting Life (1963). I had read that Harris recorded a copy of “Here In My Heart” so I spent some time trying to track down the recording and in the process I stumbled across a great site focused on Caroline Munro’s musical career. At the site there is a lengthy article about Caroline’s early music recordings including her first single “Tar and Cement” that features a song called “This Sporting Life” as a b-side. In the article the writer mistakenly credits soundtrack composer Roberto Gerhard for writing the song “This Sporting Life” that Caroline recorded for her 1967 demo. Although the b-side of Caroline Munro’s first single and the Richard Harris film share the same title, the song that Caroline recorded is actually an old blues standard originally written by Brownie McGhee in the ’30s called “Sporting Life Blues.” Over the years “Sporting Life Blues” has been rearranged, retitled and recorded by a number of different artists including the Chas McDevitt Skiffle Group, Ian Whitcomb, Eric Clapton and Jimmy Page.

Top: Caroline in Dracula A.D. 1972 (1972)
Bottom: Caroline in Captain Kronos - Vampire Hunter (1974)

Caroline Munro’s version of “Sporting Life Blues” is simply called “This Sporting Life” and the arrangement can be traced to the Chas McDevitt Skiffle Group. A similar arrangement was recorded by Ian Whitcomb in 1965 and Whitecomb’s version of the song became extremely popular in the mid ’60s. I wouldn’t be surprised if 17-year-old Caroline Munro was a fan of Ian Whitcomb’s version of the song since it probably inspired her own recording. Caroline Munro’s interpretation of “This Sporting Life” can be found on the British CD compilation Dream Babes, Vol. 2: Reflections and the arrangement is credited to the renowned producer and composer Mark Wirtz. It also features some impressive backing musicians including Eric Clapton, Steve Howe, Jack Bruce and Ginger Baker. Caroline Munro’s vocals on “This Sporting Life” are not the tracks strongest element but for a first recording by an inexperienced 17-year-old I think she shows a lot of promise. There’s something really sweet, sentimental and genuinely appealing about Caroline’s interpretation of this bluesy rock song from 1967.

For fun I thought I’d share Caroline’s recording of the song here so other Hammer Glammer fans can enjoy it!
- Caroline Munro - This Sporting Life (1967)
w/ Eric Clapton, Steve Howe (from Yes) and Jack Bruce & Ginger Baker (from Cream)

If you’re interested in learning more about Caroline Munro’s music career I highly recommend visiting this terrific fan site that features more song samples as well as lots of great information and images.

Caroline Munro still occasionally appears in films and regularly attends movie conventions. She’s also involved with fundraising for the BBC Children in Need charity that helps disadvantaged children in the UK and she has written articles for the film magazine Cinema Retro. To find out more about Caroline’s recent activities visit The Official Website of Caroline Munro.

Comments (7)

Gimme Gimme Glamour!

by Kimberly Lindbergs | December 3, 2009

Categories | News, Hammer Horror, Hammer Glamour, Ingrid Pitt

I didn’t get the opportunity to write about all the films and actress I wanted to cover during my previously announced Hammer Glamour Week so I’ve decided to extend it through the month of December. I’ll be posting about other topics as well since there’s a a few more things I want to share here before the end of the year including a final “Modern Monday” that will list all my favorite films of the past decade. In the meantime you can expect to see more Hammer and more Glamour here at Cinebeats.

In other news . . .

I recently created a Tumblr account where I can share vintage fashion images, videos and whatever crosses my path. If you visit me at Flickr you’re probably well aware of the fashion images I’ve been collecting there for years so I figured I might as well make use of them. I can’t promise any regular updates but I will post random stuff there whenever the inspiration strikes. Visit: Fashion Flashback @ http://fashionflashback.tumblr.com/

Comments (9)

She Who Must Be Obeyed

by Kimberly Lindbergs | November 30, 2009

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

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.

Comments (10)

The First Leading Lady of British Horror

by Kimberly Lindbergs | November 27, 2009

Categories | British Cinema, Actresses, Hammer Horror, Barbara Shelley, Hammer Glamour, Terence Fisher

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.

Comments (8)

Me Loana. You Tumak.

by Kimberly Lindbergs | November 25, 2009

Categories | Movie Reviews, Books, British Cinema, Actresses, Hammer Horror, Hammer Glamour, Raquel Welch

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.

Comments (7)

The Glamour of Hammer

by Kimberly Lindbergs | November 24, 2009

Categories | Books, British Cinema, Actresses, Hammer Horror, Hammer Glamour

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 glamorous 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: Classic Images from the Hammer Archives. 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 and occasionally troubling 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.

Comments (8)