A religious sect led by Gustav Weil hunts all women suspected of witchcraft, killing a number of innocent victims. Young Katy, Gustav's niece, will involve herself in a devilish cult, and become an instrument of Justice in the region.
In 17th-century Hungary, elderly widow Countess Elisabeth Nádasdy maintains her misleading youthful appearance by bathing in the blood of virgins regularly supplied to her by faithful servant Captain Dobi.
As the plague sweeps the countryside, a quarantined village is visited by a mysterious traveling circus. Soon, young children begin to disappear, and the locals suspect the circus troupe might be hiding a horrifying secret.
Three distinguished English gentlemen accidentally resurrect Count Dracula, killing a disciple of his in process. The Count seeks to avenge his dead servant, by making the trio die in the hands of their own children.
In 1830, forty years to the day since the last manifestation of their dreaded vampirism, the Karnstein heirs use the blood of an innocent to bring forth the evil that is the beautiful Mircalla - or as she was in 1710, Carmilla.
The infant daughter of Jack the Ripper is witness to the brutal murder of her mother by her father. Fifteen years later she is a troubled young woman who is seemingly possessed by the spirit of her father. While in a trance she continues his murderous killing spree but has no recollection of the events afterwards. A sympathetic psychiatrist takes her in and is convinced he can cure her condition. Soon, however, he regrets his decision.Written by
Kevin Steinhauer <K.Steinhauer@BoM.GOV.AU>
The film made use of the large Baker Street set at Pinewood Studios, left over from "The Private Life of Sherlock Holmes", made the previous year. See more »
A wounded Pritchard (Eric Porter) is in a hansom cab with Michael (Keith Bell) on their way to St Pauls Cathedral. In all the shots Pritchard is sat on the right and Michael on the left until the last shot when there positions have been reversed. See more »
Damn it Pritchard you've got a possessed being in your home, as savage as any wild beast.
See more »
The UK cinema version was cut by the BBFC to remove a closeup of a hat-pin in a woman's eye. The cut was restored in the 1986 video and in all later releases. See more »
Agnus Dei (from 'Requiem')
Written by Giuseppe Verdi
[heard during the climactic 'Whispering Gallery' scene] See more »
the things to notice
TCM just aired this and like all the other Hammer films I enjoyed it a great deal. They're not cinematic achievements but they are fun and that's one of film's aspects I really appreciate. I also tend to look at technical aspects and the first thing that struck me is how fake the moustaches looked. The beards looked better but now I wonder. The second, I'm embarrassed to write, was Marjie Lawrence's cleavage which may not be how she would like to be remembered given her extensive body of work. Did they really dress like that in Victorian England? I'd also never seen Angharad Rees before nor had I even heard of her but then I found out this was her first co-starring and second film role and I was intrigued. And, incidentally, that's another thing I like about Hammer: they find and highlight young talent. Anyway lots of good talent here, a lot from TV, presumably because they come cheaper. Some goofs like when Rees begins to sit while her host invites her to do so. But I'm getting technical again. Eric Porter is great. He manages to save the day even skewered by a cavalry sabre. Which brings up another goof: the thing must be five feet long but you can't see the other end sticking out of Porter's body. Good final scene, good score, worth a viewing.
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