Rasputin: The Mad Monk

I've read quite a few reviews of this film shunning it do to lack of historical fact or shoddy scriptwriting. Obviously these people have no clue about what Hammer films are and what they're meant to be. This film is another Hammer classic, hilarious and well-acted, excellent quality cinematography, and not to be taken the slightest bit seriously.

Christopher Lee is *the* hammer actor (well...with Peter Cushing running a close second;), and he plays the *perfect* Rasputin! The evil dictator laugh down-pat, the eyes are beyond eerie, and even his gait, his posture, his body language all work perfectly. And Barbara Shelley is definitely a solid, stereotypical, 'femi-victim', and she plays beautifully off of Lee.

The only qualm I have about this film is the ending, which was a touch too anti-climactic...although I bought the special edition with trailers and TV spots at the end which improved the ending dramatically (I wish I could find one of those 'free Rasputin beards'...)

Overall: This is not one of the best Hammer films, it's not Blood of Dracula or The Devil Rides Out...but it's up there, and it has all the great elements: cheezy soft-gore effects (love that severed hand!!), *almost* nudity, maniacal laughter, tension-riddled music...it's fun from beginning to end! 7/10.

In case you're anxious to find out more about the TRUE story of Rasputin, you better search for some lame books in a library or attend classes given by nearly dead history teachers as accuracy isn't exactly this film's biggest trump! However, if you're hoping to see an exciting and atmospheric adventure, this Hammer highlight is highly recommended! It's one of the rather few movies centering on Russia's most infamous history icon Grigori Rasputin. The story especially focuses on his persona and not exactly on his place in history. Rasputin is a barbaric and womanizing drunkard, but gifted with astonishing healing powers and hypnotizing skills. When the monastery doesn't put up with his vile and aggressive actions any longer, he travels to St. Petersburg where he works himself all the way up into the Tsar-family, through manipulation of servants and innocent women. The film uses good looking set pieces and costumes but, naturally, it wouldn't be half as memorable if it weren't for Christopher Lee. Our legendary horror vet gives away one of the most energetic performances in horror-history and he really does look terrifying! It seemed to me that Lee was happy for not wearing his Dracula outfit for a change and this definitely reflects in his great acting. The tension and eeriness in 'Rasputin: The Mad Monk" entirely relies on Lee's charisma, grimaces and rude voice. The supportive cast is more than decent, with familiar names like Barbara Shelley (Dracula Prince of Darkness, Quartermass and the Pit), Susan Farmer (Die, Monster Die) and Richard Pasco (The Gorgon) as Rasputin's petrified opponents. Don Sharp once again does a solid directing job and I wish to stress again that he's a vastly underrated filmmaker. Sharp has made some really good genre movies that remain undiscovered to this date, like "Dark Places", "Psychomania" and "Kiss of the Vampire".

The story of the monk that rose through Russia's hierarchy to become, arguably, more powerful than the Tsar and Tsarina seems, to me anyway, to be a rather strange choice of film for Hammer to take on. Of course, there are definite horror elements in the tale, but of all the stories in the world, this one is a rather odd choice in spite of this. However, Hammer are known for being innovative and doing things that most studios wouldn't even dream of, and I for one am very glad they did do a take on this tale; as it's actually a very good film. As you might expect, the film follows the story of Grigori Rasputin; a Russian monk with the power to heal. However, Rasputin is also a blasphemer; and the film follows his tribulations after he is thrown out of the monetary, as he drinks, sleeps and hypnotises his way across Russia, until he eventually falls in with Sonia; lady in waiting to the Tsarina. The rest, as they say, is history. Well, sort of.

As you might expect, the film isn't very historically accurate and Don Sharp appears to be more keen to focus on Rasputin himself than his place in history, which is no bad thing in my opinion as it makes for better horror. This film is a very different kind of horror to what we're used to from Hammer, as it's very character based and doesn't rely on blood and monsters to tell its story. Now don't get me wrong, I like blood and monsters as much as the next Hammer fan; but this film is a welcome departure in my opinion. The history surrounding Rasputin (SOME of which is shown in the film) is, actually, quite scary; how a blaspheming, crazy monk can rise through Russia's hierarchy like he did is surreal, and is made more so by the fact that it is actually true. The excellent Christopher Lee brings the monk himself to life. Who else but Christopher Lee could have played Rasputin? I wager that nobody else could have, and Lee is awesome in this role. His screen presence and charisma combine with what we expect Rasputin would have been like to great effect and although this is a campy horror film and cant really be taken seriously as a historical study; I think Lee has captured the essence of Russia's finest love machine to a tee, and I doubt it will ever be done to the same standard again.

This viewer is not surprised to learn that this Hammer production is far from being an accurate portrayal of the real-life Russian peasant monk. It's to be expected that for the sake of a good show that films such as this will play fast and loose with the facts. However, it must be said that this IS a damn good show.

Lee is allowed the chance to really cut loose for once, and he does a marvelous job of going over the top as the lusty, life-of-the-party Rasputin, who has genuine healing abilities but also a very conniving and self-serving nature. After gaining some attention for curing a sick woman, he soon finds a means of manipulating his way into the royal family of early 20th century Czarist Russia. Naturally, there are those who aren't fooled by him and will seek to destroy him once they have the chance.

The Hammer studio does an immaculate job, as always, in recreating the sights and sounds of a period piece. Top talents such as production designer Bernard Robinson and (supervising) editor James Needs are at the top of their game. Don Banks composed the very unsubtle, thunderous music score, which does come in handy when Rasputin is required to make an entrance.

The excellent cast includes beautiful Barbara Shelley and Suzan Farmer, Francis Matthews, Dinsdale Landen, Renee Asherson, Derek Francis, and Joss Ackland; other than Lee, the performer that really stands out is Richard Pasco as Dr. Bruno Zargo, an alcoholic who becomes putty in the hands of the mad Rasputin. Lee himself is a delight, his rich voice booming with authority. He simply commands the screen, and keeps the right insane, evil glint in his eyes at all times.

The most entertaining of all the scenes is one in which a furious Landen unthinkingly rushes into a confrontation with Lee only to find himself outmatched. The final battle is an exciting one, with Rasputin proving to be exceedingly difficult to finish off.

Overall, this isn't top drawer Hammer, but it's still quite enjoyable, and worth a viewing for fans of the studio and star.

Seven out of 10.

Hammer Film's relatively unambitious adventure in historical exploitation is lifted above the norm by 2 major factors: the genius of set designer Robinson and the fine heavy styles of Chris Lee and Barby Shelley, pros of the genre in every sense. The scene with Rasputin smoking in bed while Shelley cowers in a gathering of blankets is a classic visual statement.

This film tells the story of Rasputin with more of an eye to screen exploitation values than truth (which I think is how it should be, as Plato said that truth is rarely a likely story), including a scarring incident with acid -- what Hammer Film would be complete without facial mutilations? Chris Lee's use of his body and hands is notable; Don Sharp's direction is fine. If only it wasn't quite so cheap, and thus confined (mostly to one or two houses, which is all Bray Studios was), this could have been a really good film. Mediocre script also helps drag it down, but Lee and Shelley's styles are so forceful that it is almost unnoticeable.