As a film enthusiast who has spent countless hours immersed in the world of cinema, I must say that the legacy of Hammer Films is nothing short of extraordinary. Having grown up watching these iconic films, it’s fascinating to see how they continue to captivate audiences decades after their initial release.
Add Hammer: Heroes, Legends and Monsters to your watchlist
90 years ago, Hammer Film Productions was established, and ever since then, the sky has never failed to deliver an exceptional display on Halloween nights, offering us intriguing glimpses into its bubbling alchemy flasks.
The Hammer film series has become synonymous with terror, earning recognition among individuals who may not have watched any of its films at all. The documentary “Heroes, Legends and Monsters” traces its chilling history. It’s an engaging, fang-bearing tribute that is rich in captivating details and insightful insights.
According to Benjamin Field, the renowned director and producer of the project, these elements were extraordinarily significant. They significantly influenced the genre, as he puts it, “They shifted the boundaries.” Before Hammer, there were no color horror films. The modern horror landscape owes its current state to Hammer, as they pioneered the way, breaking down barriers and paving the path for these elements to become part of contemporary horror cinema.
In the spirit of reviving a genre that Universal popularized in the 1930s, Hammer Films achieved massive success with titles like “The Curse of Frankenstein“, “Dracula“, and “The Mummy“, not only in horror but also in sci-fi (“The Quatermass Xperiment“) and prehistoric epics (“One Million Years BC“). As Field explains, they essentially maintained a stable team of crew and actors who frequently collaborated on these beloved films.
In the 1980s, this event or person wasn’t something I was familiar with. However, in late October of last year, I was finally introduced to Hammer, which was quite an impactful experience for me.
What immediately caught my attention was its fashionable appearance. I watched “The Curse of Frankenstein” – an excellent introduction point. Incredible! The sets are magnificent, the colors are rich and vivid. It’s a sensory overload. The music significantly contributes to that experience, as expected. It seems like a groundbreaking shift from what was previously produced, and it doesn’t take long to understand why Hammer became a global sensation.
Between 1951 and 1966, Hammer Productions had its headquarters at Bray Studios in Berkshire. The films they produced often took heavy inspiration from the studio’s surroundings, with a special focus on Oakley Court country house, to create an eerie, gothic atmosphere.
During Hammer’s golden age in the 50s and 60s, the duo of Peter Cushing and Christopher Lee was essential. They often portrayed contrasting characters – a scientist with genius but flaws, and a lumbering monster. Their electric rapport and double-act appeal were evident when they teamed up again in 1994 – the charming photograph you see below was captured for an interview with RT, which was published only a week before Peter Cushing passed away.
According to Field, it was vital for Hammer’s success to have two outstanding artists, as he points out that some of it was due to chance. Christopher Lee landed his role in “The Curse of Frankenstein” simply because he was tall, but the studio happened to find a man with strong presence and acting skills by sheer luck.
Prior to his work with the BBC, Cushing had already made a name for himself as a successful stage actor. Similarly, Lee was renowned for his exceptional skills in mime artistry within the theater. Terence Fisher, the director, gave the actors freedom to perform scenes naturally, only making minimal cuts. He intentionally kept pairs of actors together for extended periods. This approach proved to be a secret recipe; the performances were captivating and electrifying.
In 1994, when TopMob interviewed the stars, they stood up for Hammer’s movies against criticism. Lee commented, “Our approach to making these films set them apart from being mere cheap shocks,” but the media still argued that the British film industry should not be associated with such type of films.
“These types of movies were created by the most prosperous independent film production company ever in the history of British cinema, perhaps even worldwide. I can’t help but wonder why they keep showing these films over and over.
Cushing concurred, “Indeed, these movies are still running, and it seems as though contemporary viewers believe they were produced just recently. Often, people approach me and ask, ‘Pardon me, are you Peter Cushing’s father?’ To which I reply, ‘No, I’m his grandfather.’ The younger generation admires the Hammer films because they allowed for a lot of imagination. There was no explicit language, no unnecessary violence, and ultimately, good always prevailed over evil.
The documentary also reveals candid contributions from some of Hammer’s leading ladies, Madeline Smith, Martine Beswick and Caroline Munro, and from famous fans who also happen to be Hollywood directors: Tim Burton, John Carpenter and Joe Dante.
On occasion, as Field notes, “stars” can emerge in places you wouldn’t anticipate. In this context, he is speaking about pivotal figures within Hammer Films such as producer Anthony Hinds, makeup pioneer Phil Leakey, composer James Bernard, and cinematographer Jack Asher, who “wielded light like a paintbrush”.
However, it’s essential to acknowledge the importance of teamwork in Field’s case, as he is one of the co-founders of Deep Fusion Films, the company producing the documentary. He expresses his gratitude that this film highlights the Hammer team who constructed a legendary company from scratch, just as he has benefited greatly from his own team over the past few years.
Instead of focusing solely on the ‘star appeal’ and praising them, I prefer to shine a light on the unsung heroes behind the scenes – the diligent researchers and crew members I collaborate closely with, who work tirelessly to create a documentary of this magnitude. People like Dick Klemensen and Wayne Kinsey, whose extensive knowledge of Hammer is encyclopaedic, have been instrumental in making this project a success.
Regarding Hammer’s influence, Field adds: “Things began to decline significantly when the team started to disband.” This is in reference to the studio’s controversial, exploitative phase during the early 1970s – a time that also marked the relaxation of censorship laws. The monsters mentioned in the documentary’s title symbolize both fictional and real-life entities that were products of this era.
During the time that’s widely known as the Cushing/Lee era, Hammer was incredibly productive. He churned out numerous high-quality stories where goodness ultimately triumphed over evil. There’s no doubt about it – his productivity during this peak period was astonishing.
They discovered a successful approach, blending shrewd business sense and prolific creativity in their films. However, this was no easy feat; it required careful maneuvering. I strongly contend that Hammer’s success was largely due to having the ideal team on board at just the right moment.
Eventually, he anticipates that viewers will perceive the movies differently following the documentary’s screening. “The team was merely carrying out their duties, yet in my opinion, they were shaping the future of horror cinema.
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2024-10-23 15:05