Christopher-Lee Movie Reviews

Casting Christopher Lee against type (for a change)was a bright move. Lee makes the most out of his character and it's nice to see him be the good guy for once (although he does play bad sooo well). Charles Gray also gives a tremendous performance as the head of the Devil worshipping cult.

Terry Fisher directed a lot of fine films during his career at Hammer but none equalled Devil. Although this wasn't his swan song, it could have been since everything is just about perfect. The production values are terrific. A pity that the special effects weren't as sophisticated then as they are now. Then again they would probably sacrifice everything else just for the effects (a problem with so many current supernatural films).

The audio commentary is very informative and Lee is a delight throughout. He's full of interesting information about everything from the title sequence to the production design. A pity that Warner Brothers chose not to hire him for the audio commentary for The Mummy. Maybe they'll realize their mistake and hire him for Curse of Frankenstein and Horror of Dracula when they make them available (better get cracking guys Chris is getting up there a bit in age).

The extras are up to the usual standard we've come to expect from Anchor and Bay--great! I've always loved their reproduction of the lobby cards that they've included in the packaging. It makes each DVD a unique collectible. A pity Warner won't license Curse of Frankenstein and Horror of Dracula (they really should--they have so many titles to reissue that I'm afraid these two will get lost in the shuffle). Anchor and Bay could do a terrific job with these two titles as they have with all the Hammer titles they've licensed.

Christopher Lee is a bit miscast as Henry Baskerville and the role is significantly underwritten. Lee gives a solid performance but it's evident in watching him that he doesn't quite have a handle on the character. Part of the blame can be layed at the foot of Jimmy Sangster's occasionally incomphrensible screenplay. It's also possible that director Terence Fisher may have had a hand in rewrites as he was known to do so (and the result was usually pretty incoherent).

Fisher's direction is confident and involving although it lacks the zip he exhibited in his finest Hammer films. The color photography is stunning on this MGM/US transfer and the analog artifacts are kept to a minimum. The extras (particular the observations by Lee on his frequent co-star Cushing)are enlightening at times.

Although not the ultimate Hound adaption, Fisher's film is solid entertainment even if it does take signficant liberities with the story.

This movie was produced and released close to the same time as the ground breaking favorites, The Horror of Dracula, Curse of Frankenstein, and The Mummy. And like the other films has an excellent script and top-notch film stars. This was the beginning of Cushing's and Lee's international stardom, which has ballooned into a huge cult following over the years.

If you've got a DVD player, and are still holding onto your VHS copy, you might consider trading up. It's well worth it.

The only way that you can compare Fisher and Whale's film is in the impact both had with the public and on other horror films. Both films made the horror film a staple of movie houses (horror films had been on the decline during the 40's); both films set new standards for the "look" of horror films as well. Peter Cushing brings a vitality and cold intelligence to his role as Dr. Frankenstein. Christopher Lee's unique interpretation of the Monster steals cues from Karloff while maintaining a presence all his own. Lee has admitted that Karloff's portrayal had an impact on his own and, while there are similarities, Lee's is as unique and original in it's own way.

Warner has done a pretty good job with this disc. The picture quality, color and general look of the DVD is an improvement over The Mummy issued last year (and The Mummy looked pretty good). Curse looks better than Horror of Dracula which suffers from some grain problems and a less than stellar print.

Terence Fisher wasn't as pivotal a director as James Whale but his films weren't designed for the same audience. Fisher's films are every bit the equal of many of the horror classics he and screenwriter Jimmy Sangster remade. I'd also recommend Revenge of Frankenstein which Columbia has done a pretty good job on as well.

It isn't perfect. There could be extras (such as a running commentary from a film historian/Hammer expert and actor Christopher Lee), but I'm happy to finally have this film available again. There are lots of things anyone could find fault with but one thing you can't is that this fine film is available again. Warner took Curse and Horror, gave them a very good dusting off and let them take the stage again. We should all be thankful.

The film opens in a small, pre-industrial village that had previously been terrorized by Dracula, who is presumed to have been destroyed. As the title of the film indicates, however, Dracula soon rises from his grave to begin a new campaign of bloodsucking villainy. His foes in this film are a Catholic monsignor and the boyfriend of the monsignor's lovely niece.

Bernard's solid score is complemented by good art direction. Francis makes effective use of forest and rooftop settings as Dracula pursues his ends. Lee gets solid support from the rest of the cast. Barry Andrews makes a particularly appealing young hero as Paul, the boyfriend of the monsignor's niece. I also was impressed by Barbara Ewing's performance as Paul's sexy co-worker.

There is a pronounced sexual feel to vampirism in this film (as in the other Lee Dracula films I have seen), so there is a delicious irony to the fact that one of Dracula's key foes here is a Catholic monsignor, and thus presumably celibate. Also, a religous controversy among Dracula's foes makes for an interesting contrast to their battle against the undead villain. Overall, a well made and solidly entertaining film.

The film opens in a small, pre-industrial village that had previously been terrorized by Dracula, who is presumed to have been destroyed. As the title of the film indicates, however, Dracula soon rises from his grave to begin a new campaign of bloodsucking villainy. His foes in this film are a Catholic monsignor and the boyfriend of the monsignor's lovely niece.

Bernard's solid score is complemented by good art direction. Francis makes effective use of forest and rooftop settings as Dracula pursues his ends. Lee gets solid support from the rest of the cast. Barry Andrews makes a particularly appealing young hero as Paul, the boyfriend of the monsignor's niece. I also was impressed by Barbara Ewing's performance as Paul's sexy co-worker.

There is a pronounced sexual feel to vampirism in this film (as in the other Lee Dracula films I have seen), so there is a delicious irony to the fact that one of Dracula's key foes here is a Catholic monsignor, and thus presumably celibate. Also, a religous controversy among Dracula's foes makes for an interesting contrast to their battle against the undead villain. Overall, a well made and solidly entertaining film.

Hugh plays John Truscott, an idealistic and naive British diplomatic assigned to learn about the culture and peoples of Sarawak. There he meets and is "given" Selima (Jessica Alba) as a "guide" (his "sleeping dictionary" who teaches him a thing or two about her peoples' ways). The two fall in love and come in conflict with his responsibilities as a diplomat, the rules and mores of British society and her ethnic/tribal customs. Will love triumph over adversity and social constraints?

The cast is strong (with supporting roles by Brenda Blethyn and Bob Hoskins) and Dancy is charismatic and believable as our hero.
Jessica Alba is perhaps a weaker link but the story itself is compelling and you find yourself rooting for our hero and heroine. It is a sweet love story and Hugh Dancy is so wonderful to look at, that I find it well worth the price of the DVD just to stare at him for 2 hours (superficial, I know, but the women readers will understand).

If you enjoy this film, may I also recommend Hugh in "Daniel Deronda" (an excellent BBC period piece based on George Eliot's novel) as well as "The Bounty" starring a young Mel Gibson and Anthony Hopkins (which follows a similar story thread to this film).

All in all, I highly recommend "Sleeping Dictionary" and I dare any female viewers out there not to fall in love with Hugh once they've seen him in this one.

Horror legends Christopher Lee and Peter Cushing reunite once more in a colourful tale of terror, and as always deliver delightful performances. The film's period setting is memorable, as is the cameo by Telly Savalas as a Cossack officer. The fiery finale, featuring possession, the living dead, and a train wreck is wonderfully entertaining. A marvelous piece of hokum.

Another passenger on the train is a wacko hippie priest who believes this is the work of the devil and that the contents of the crate is "unholy", as all uninformed nincompoops do when confronted with things they don't understand or that don't conform to their personal belief system. The preacher presents a rock solid argument in his favor when he remarks "There is the stink of hell on this train. Even the dog knows it". (NB: There IS in fact a dog on board too, who is obviously smarter than the Hellfire Hippie.)

Also amusing is the following exchange between Cushing & Lee when the creature escapes:
Cushing: "Are you telling me that an ape that lived two million years ago got out of that crate, killed the baggage man and put him in there; then loaded everything up neat and tidy, and got away?"
Lee: "YES! I AM!".
In case you're wondering, I haven't forgotten about Telly Savalas. In spite of his co-star billing he doesn't appear in his role as Captain Kazak until the last third of the movie; unless as I also mentioned, the film makers used his dome for "brain" close-ups.
DVD extras include trailers and a bio and filmography for Lee, but none for Cushing, which is odd. This DVD obviously offers nothing special in terms of special features but it's loads of fun and a good bargain for collectors.

Horror legends Christopher Lee and Peter Cushing reunite once more in a colourful tale of terror, and as always deliver delightful performances. The film's period setting is memorable, as is the cameo by Telly Savalas as a Cossack officer. The fiery finale, featuring possession, the living dead, and a train wreck is wonderfully entertaining. A marvelous piece of hokum.

Another passenger on the train is a wacko hippie priest who believes this is the work of the devil and that the contents of the crate is "unholy", as all uninformed nincompoops do when confronted with things they don't understand or that don't conform to their personal belief system. The preacher presents a rock solid argument in his favor when he remarks "There is the stink of hell on this train. Even the dog knows it". (NB: There IS in fact a dog on board too, who is obviously smarter than the Hellfire Hippie.)

Also amusing is the following exchange between Cushing & Lee when the creature escapes:
Cushing: "Are you telling me that an ape that lived two million years ago got out of that crate, killed the baggage man and put him in there; then loaded everything up neat and tidy, and got away?"
Lee: "YES! I AM!".
In case you're wondering, I haven't forgotten about Telly Savalas. In spite of his co-star billing he doesn't appear in his role as Captain Kazak until the last third of the movie; unless as I also mentioned, the film makers used his dome for "brain" close-ups.
DVD extras include trailers and a bio and filmography for Lee, but none for Cushing, which is odd. This DVD obviously offers nothing special in terms of special features but it's loads of fun and a good bargain for collectors.

The best way to view this movie is from the perspective of good versus evil. Good does win out and the evil klan is brought to justice. That does mean something. The production is good and the performances are too. Gene hackman gives an oscar caliber performance and willem defoe is convincing. Certainly an entertaining film but it doesn't reach it's potential as a great film.

...............socks

This movie has been unfairly and recklessly attacked by overeager movie critics and experts on social affairs, all of whom feel guilty about praising such an important and powerful piece of film making (they don't DARE want to be called racist for praising the film!).

The most common criticism is that this movie doesn't have any strong Black characters. This is absolutely false. There are several strong Black characters in this movie. There is a scene where a Black preacher gives a strong condemnation about the killings of the young men. There are several scenes with a brave young Black child, deeply religious, who somehow manages to find courage amongst his tears and fright (in one exceptional scene, he doesn't run away during a Klan disruption of a church gathering, instead, he kneels and prays). And in the most controversial and powerful scene in the entire movie, a strong Black father (father of the previously mentioned young boy), fed up with the racists, goes out into the night with a shotgun shouting that he will not take this abuse anymore.

The other major criticism is that the movie focuses on White characters. This is not valid. I do certainly agree that many Hollywood movies tend to center the action around White actors, even if the story is about minorities (i.e., Come See the Paradise, Windtalkers, etc. etc.) However, this is one case where it was absolutely necessary for the story to be seen through the eyes of two White FBI agents. The two White agents (Gene Hackman in one of the greatest movie performances of all time) represent the opposite spectrum of the evil Southern racists. Just as the Southerners see the world in their segregated view, the two FBI agents see the world in their enlightened and open view, and in fact they stand for many White people that not only gave their lives for the cause of Civil Rights, but made their voices heard and actions seen so that segregation would one day end. The Civil Rights era is as much a story about White Americans as it is Black Americans, so I applaud the filmmakers for being courageous about this.

I recently watched the DVD version and it affected me as much as when I first saw it, and I make it a point to see several times a year. There are scenes that are so heartbreaking they will leave you in tears, and moments of beauty and power so self assured that you know you are watching a masterpiece that will one day stand the test of time. This movie is required viewing for all of the youth in America today, many of whom are clueless as to the Civil Rights period (and others simply do not care).

Despite its theme's sombre contours the film never gets all preachy about the subject. Gene Hackman is picture perfect although his vigilante FBI loose-cannon role occasionally gets a bit far-fetched. A salon scene between him and one of the rogue cops who moonlight as members of Ku-Klux-Klan will remain in your memory for a long time.

The racism theme may appear a bit dated to viewers of this generation, but it is integral to the theme (as it was to the actual civil war.) Plus, let's not forget that the movie was made in 1988, and watching it now I still couldn't help getting touched by the identifiable theme. Frankly, I don't really understand what racially oriented quibbles reviewers have with the movie -- this is not some drummed up theme, this is ACTUALLY what happened in Mississippi.

A taut, absorbing, and worthwhile film that you must watch if you haven't already.

Another passenger on the train is a wacko hippie priest who believes this is the work of the devil and that the contents of the crate is "unholy", as all uninformed nincompoops do when confronted with things they don't understand or that don't conform to their personal belief system. The preacher presents a rock solid argument in his favor when he remarks "There is the stink of hell on this train. Even the dog knows it". (NB: There IS in fact a dog on board too, who is obviously smarter than the Hellfire Hippie.)

Also amusing is the following exchange between Cushing & Lee when the creature escapes:
Cushing: "Are you telling me that an ape that lived two million years ago got out of that crate, killed the baggage man and put him in there; then loaded everything up neat and tidy, and got away?"
Lee: "YES! I AM!".
In case you're wondering, I haven't forgotten about Telly Savalas. In spite of his co-star billing he doesn't appear in his role as Captain Kazak until the last third of the movie; unless as I also mentioned, the film makers used his dome for "brain" close-ups.
DVD extras include trailers and a bio and filmography for Lee, but none for Cushing, which is odd. This DVD obviously offers nothing special in terms of special features but it's loads of fun and a good bargain for collectors.