In this engaging costume melodrama of skulduggery on the low seas set back in the 18th-century, the Royal Crown suspects a bit of smuggling is going on in this locale, and they send Captain... See full summary »
Peter Graham Scott
Penniless, Baron Frankenstein, accompanied by his eager assistant Hans, arrives at his family castle near the town of Karlstaad, vowing to continue his experiments in the creation of life. ... See full summary »
A dead and frozen Baron Frankenstein is re-animated by his colleague Dr. Hertz proving to him that the soul does not leave the body on the instant of death. His lab assistant, young Hans, ... See full summary »
Janet is a young student at a private school; her nights are troubled by horrible dreams in which she sees her mother, who is in fact locked in an insane asylum, haunting her. Expelled ... See full summary »
Baron Frankenstein is once again working with illegal medical experiments. Together with a young doctor, Karl and his fiancée Anna, they kidnap the mentally sick Dr. Brandt, to perform the ... See full summary »
Last of the Hammer Frankenstein films, this one deals with the Baron hiding out in an insane asylum, so that he may continue his experiments with reanimating the dead, along with inmate Dr.... See full summary »
The corrupt Lord Ambrose D'Arcy (Michael Gough) steals the life's work of the poor composer Professor L. Petrie. (Herbert Lom). In an attempt to stop the printing of music with D'Arcy's name on it, Petrie breaks into the printing office and accidentally starts a fire, leaving him severely disfigured. Years later, Petrie returns to terrorize a London opera house that is about to perform one of his stolen operas. Written by
Jeremy Lunt <firstname.lastname@example.org>
According to producer Anthony Hinds(in Wayne Kinsey's book "Hammer: The Bray Studio Years"), Cary Grant was originally slated not for the role of the Phantom, as is commonly assumed, but for the romantic lead, eventually played by Edward de Souza. See more »
All the times we see the Phantom prior to being unmasked, his forehead above the mask is clean. But for a split second before he rips the mask off, a small scar is visible on the right side of his forehead. See more »
I am going to teach you to sing, Christine. I am going to give you a new voice! A voice so wonderful that theatres all over the world will be filled with your admirers. You will be the greatest star the opera has ever known. Greater than the greatest! And when you sing, Christine, you will be singing only... for me.
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The film starts off promisingly with the opening night of a new opera on the subject of Joan of Arc, due to be sung by a Maria Callas type soprano. A series of discovered acts of sabotage culminate in the film's first shock-horror moment. So far, it looks as if its going to be an enjoyable hour and a half. Michael Gough is great fun as an eminently hissable villain, and Edward de Souza is fairly watchable, too, as the charming if rather conventional hero. But alas, it all goes horribly downhill from the Phantom's first appearance. Poor Herbert Lom is given a pretty duff script (a lot of ineffectual muttering to himself), and a frightfully tacky hideaway replete with tiger rug and a naff red-upholstered throne. The music this alleged genius writes is pretty awful too - a sort of cross between the worst kind of Gilbert and Sullivan and a Broadway show with truly cringe-worthy lyrics. And why exactly does the phantom rip his own mask off just before rescuing the heroine? A huge disappointment all round.
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