5.7/10
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59 user 66 critic

Scream and Scream Again (1970)

A serial killer who drains his victims' blood is on the loose in London. The police follow him to a house owned by an eccentric scientist.

Director:

Gordon Hessler

Writers:

Christopher Wicking (screenplay), Peter Saxon (novel)
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Cast

Cast overview, first billed only:
Vincent Price ... Dr. Browning
Christopher Lee ... Fremont
Peter Cushing ... Major Heinrich Benedek
Judy Huxtable ... Sylvia
Alfred Marks ... Detective Supt. Bellaver
Michael Gothard ... Keith
Anthony Newlands ... Ludwig
Peter Sallis ... Schweitz
David Lodge ... Detective Inspector Phil Strickland (credit only)
Uta Levka ... Jane
Christopher Matthews ... Dr. David Sorel
Judy Bloom ... Helen Bradford (as Judi Bloom)
Clifford Earl Clifford Earl ... Detective Sgt. Jimmy Joyce
Kenneth Benda ... Prof. Kingsmill
Marshall Jones ... Konratz
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Storyline

In London, a serial-killer drains the blood of females and the Detective Superintendent Bellaver and his team are hunting down the so-called Vampire Killer. Meanwhile in an undefined country that lives a military dictatorship, the cruel Konratz is climbing positions killing The Power that Be. When the Vampire Killer flees from the police, he seeks refugee at the real estate of scientist Dr. Browning and jumps into a tank of acid. Dr. David Sorel is intrigued with the powerful acid and decides to get a sample. He finds the truth about the research of Dr. Browning. Written by Claudio Carvalho, Rio de Janeiro, Brazil

Plot Summary | Plot Synopsis

Taglines:

He's going to make somebody out of every BODY he meets! See more »


Motion Picture Rating (MPAA)

Rated R for some violence and brief nudity | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

UK

Language:

English

Release Date:

13 February 1970 (USA) See more »

Also Known As:

Screamer See more »

Filming Locations:

Chertsey, Surrey, England, UK See more »

Company Credits

Production Co:

Amicus Productions See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color (Eastmancolor)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

In 1971, American International Pictures theatrically distributed this movie on a double bill with The Incredible 2-Headed Transplant (1971). See more »

Goofs

When Michael Gothard is finally apprehended, his left arm is curled up behind his head in one shot and then disappears altogether in the next. See more »

Quotes

Professor Kingsmill: Fastest transition in the world: from human to corpse. It doesn't do to get the two confused, or you'll never be successful.
See more »

Alternate Versions

British prints of SCREAM AND SCREAM AGAIN have small differences than AIP's American Theatrical cut, with the American version removing Bellaver clumsily throwing a stone at the speedy cliff-climbing super-human Keith, and a bottle-swigging old drunk peeping at Keith and Sylvia fooling around in the convertible. The final shot of the British print is also different, with the credits scrolling over a long shot of Dr. Browning's lab heard over soundtrack music, rather than on the American print which has the credits being presented over a black screen with The Amen Corner's "Scream and Scream Again" playing. One thing omitted from the American version is a brief but significant dialogue exchange between Vincent Price and Christopher Lee: "But what of the dream?" asks Price. "There is only nightmare" replies Lee). See more »

Connections

Featured in 100 Years of Horror: Mad Doctors (1996) See more »

Soundtracks

When We Make Love
Written by Dominic Bugatti (as Dominic King)
Performed by Amen Corner (uncredited)
See more »

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User Reviews

 
The Curse of Ambition
16 September 2006 | by stmichaeldetSee all my reviews

Scream and Scream Again seems to want to be a very deep and complicated film. After all, it starts out by presenting three different, and apparently unrelated, plot lines, introduces new characters seemingly at the writers whim through the run time, and seems to pride itself on a grim and "realistic" portrayal of violence and death (while still allowing itself plenty of latitude for shock sequences and super-powered antagonists). Does it all work? Well, not entirely, but I have to give it some credit for trying.

Let's start with the biggest problem I have with this film, the bait-and-switch billing. Price, Lee, and Cushing sit majestically at the top of the credits, yet get precious little screen time, virtually none of it shared. Price is a doctor/mad scientist introduced early on, and then forgotten until the film starts winding down, Cushing has one scene and then dies, and Lee isn't even introduced until late in the film, where he serves as a plot device to tie everything together and wrap up.

Then there's the whole three-plot lines thing. The bulk of the film follows a police inspector on the trail of a psychotic, blood drinking, super-strong serial killer. (Gee, could he be a vampire? Ummmm... well, no.) Alongside that we have the story of a spy for some unnamed, oppressive regime. The over-the-top tone of these scenes clashes with the more mannered presentation of the inspector's story. The costumes and sets suggest a combination of Stalinist Russia, Nazi Germany, and rampant Satanism. (Sure, the symbol displayed on armbands, banners, windows, and any other available surface is probably supposed to evoke the bundled arrows of fascism, but it looks more like the head of a demonic pitchfork to me.) Then we have a series of scenes about a man who collapses while out jogging, and finds himself in a hospital room, where he is kept sedated most of the time while his limbs are gradually stolen in off-camera surgeries. None of this seems connected in any way until the end, when the true plot is revealed, and turns out to be something not particularly suggested by anything in the film up to that point.

Theoretically, this movie could still have worked, and if they had pulled it off, it might have been quite clever. But, even beyond the mismatched feel of the three plot lines, there are other problems which make SaSA feel like several different films forced to share one screen. The inspector becomes irrelevant to his own plot once things get rolling, his leading-man status usurped by the young assistant coroner, who was no more than a minor player for the whole first half of the film. The psycho leaves a nightclub with his latest victim, just in time to go out for "one last drink," and is followed and eventually chased by the police... in broad daylight. Apparently, the bars in England close much earlier than I thought. Add in an unnecessary shock scene or two (like the evil spy's interrogation of a pretty would-be defector, which doesn't seem to have any connection to the rest of the film), and you're starting to make a real mess of things.

Still, the resolution, while coming out of left field, does do a reasonable job of tying things together. But I still cannot recommend this film, mainly because I still feel cheated at the under-utilization of three of the greatest horror actors of all time.


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