| Anton Diffring | ... | Dr. Georges Bonner | |
| Hazel Court | ... | Janine Du Bois | |
| Christopher Lee | ... | Dr. Pierre Gerrard | |
| Arnold Marlé | ... | Dr. Ludwig Weiss | |
| Delphi Lawrence | ... | Margo Philippe | |
| Francis De Wolff | ... | Inspector Legris | |
| rest of cast listed alphabetically: | |||
| Ronald Adam | ... | Second Doctor (uncredited) | |
| Marie Burke | ... | Woman At Private View (uncredited) | |
| John Harrison | ... | Servant (uncredited) | |
| Ian Hewitson | ... | Roget (uncredited) | |
| Gerda Larsen | ... | Street Girl (uncredited) | |
| Charles Lloyd Pack | ... | Man At Private View (uncredited) | |
| Frederick Rawlings | ... | Footman (uncredited) | |
| Michael Ripper | ... | Morgue Attendant (uncredited) | |
| Denis Shaw | ... | Tavern Customer (uncredited) | |
| Barry Shawzin | ... | Third Doctor (uncredited) | |
| Lockwood West | ... | First Doctor (uncredited) | |
| Middleton Woods | ... | Little Man (uncredited) | |
Directed by | |||
| Terence Fisher | |||
Writing credits | ||
| Barré Lyndon | (play "The Man in Half Moon Street") | |
| Jimmy Sangster | screenplay | |
Produced by | |||
| Michael Carreras | .... | producer | |
| Anthony Nelson Keys | .... | associate producer (as Anthony Nelson-Keys) | |
Original Music by | |||
| Richard Rodney Bennett | (as Richard Bennett) | ||
Cinematography by | |||
| Jack Asher | |||
Film Editing by | |||
| John Dunsford | |||
Production Design by | |||
| Bernard Robinson | |||
Makeup Department | |||
| Roy Ashton | .... | makeup artist | |
| Henry Montsash | .... | hair stylist | |
Production Management | |||
| Don Weeks | .... | production manager | |
Second Unit Director or Assistant Director | |||
| John Peverall | .... | assistant director | |
Sound Department | |||
| Jock May | .... | sound recordist | |
Camera and Electrical Department | |||
| Len Harris | .... | camera operator | |
Costume and Wardrobe Department | |||
| Molly Arbuthnot | .... | wardrobe supervisor | |
Editorial Department | |||
| James Needs | .... | supervising editor | |
Music Department | |||
| John Hollingsworth | .... | music supervisor | |
Other crew | |||
| Shirley Barnes | .... | continuity | |
|
|
|
|
|
| The Quatermass Xperiment | Doctor X | The Horror of Frankenstein | The Bad Seed | The Brain |
|
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb UK section |
Hammer's most famous and greatest 'mad science' franchise is, of course, the great Frankenstein series starring the almighty Peter Cushing as the ruthless and yet somehow very likable Baron Victor Frankenstein. While THE MAN WHO COULD CHEAT DEATH (1959) is by no means as great as Hammer's Frankenstein films it is a very atmospheric mad-scientist-flick with an excellent cast. Directed by Hammer's Number one, Terence Fisher, THE MAN WHO COULD CHEAT DEATH is an adaptation of a play that was first filmed as THE MAN IN HALF MOON STREET (1945) which I haven't seen yet.
The mad scientist in this film is played by the always-sinister Anton Diffring, who had played Baron Frankenstein in Hammer's own TALES OF FRANKENSTEIN, a 1958 pilot for a planned Frankenstein TV-show that wasn't made. Actually, Diffring's character in this movie, Dr. George Bonner isn't really that 'mad', regarding his situation: In Paris of 1890, Dr. Bonner is a man who seemingly is in his 40s. However, he is in fact 104 years old and keeps his youth with the aid of a serum. In order to survive, he needs periodic gland transplants from young and healthy victims. Needless to say he is willing to kill for his life...
THE MAN WHO COULD CHEAT DEATH co-stars two Hammer icons, British Horror-beauty Hazel Court and the inimitable Christopher Lee. Both deliver great performances as usual. Personally I like Christopher Lee most when he is evil, but hero-roles such as in this film also fit him well. Anton Diffring is a specialist for sinister and macabre characters, and he is once again excellent here. 19th century Paris is a good setting for a Hammer film; even though most of the movie plays indoors here, director Fisher once again makes great use of the Hammer-typical visuals, creating a thick Gothic atmosphere. Overall, THE MAN WHO COULD CHEAT DEATH offers few surprises and may not be an essential must-see, but it is tense and atmospheric Gothic Horror and should not be missed by my fellow Hammer-fans.