By Denis Meikle
No corporation within the background of cinema did extra to legitimize the horror movie than Hammer motion pictures - the small British self reliant, which operated out of its tiny Bray Studios at the banks of the River Thames. From the Gothic splendor of The Curse of Frankenstein and Dracula to the violent sexploitation of The Vampire fans and Dr. Jekyll and Sister Hyde, the Hammer identify stood for something to a iteration of flicks lovers, because the time period 'Hammer Horror' turned part of the language. This revised and up-to-date variation of A background of Horrors strains the existence and 'spirit' of Hammer, from its fledgling days within the overdue Nineteen Forties via its successes of the Nineteen Fifties and '60s to its decline and eventual liquidation within the overdue Seventies. With the specific participation of all the group of workers who have been key to Hammer's luck, Denis Meikle paints a shiny and engaging photo of the increase and fall of a movie empire, providing new and revealing insights into 'the fact in the back of the legend.' a lot has been written approximately Hammer's movies, yet this can be the one booklet to inform the tale of the corporate itself from the viewpoint of these who ran it in its heyday and who helped to show it right into a common byword for terror at the reveal. This definitive background additionally contains forged and credit listings for the 'Hammer Horrors' and an entire filmography of all of Hammer's characteristic productions.
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Extra resources for A History of Horrors: The Rise and Fall of the House of Hammer
The script’s Regent’s Park (London) Zoo was the more cooperative Chessington Zoo in Surrey. And the docklands scene (with a young Jane Asher), for which Landau had suggested a stretch of the River Thames near Traitor’s Gate, was shot at the East India Docks. The script called for some silent location shooting to be carried out in and around London as the search for the monster intensifies and the army is mobilized. “This is to be scripted more fully after further discussion: shots to comprise of giant police dragnet spreading throughout the city for Carroon,” Guest had appended.
3 God knows how many infected people they’ve got in high places. —Professor Quatermass, Quatermass 2 On the production side of Quatermass 2, the team was much as before, an exception being the addition of Anthony Nelson Keys, who was later to figure prominently 32 3 Chapter Two Quatermass 2 (William Franklyn, Brian Donlevy). in the company’s affairs by becoming general manager of Bray Studios in 1959. With the budget now doubled from the previous film, more care could be taken over production values.
In support would be a trusty band of contract stalwarts and some newer faces from television. Edward Chapman’s career went back to Things to Come (1936)—he was soon to foil for Norman Wisdom—and John Harvey was a long-time friend of producer Hinds. On the other side of the coin, William Lucas was making a name for himself on the small screen, and ex-child actor Anthony Newley was about to do the same in the Top Twenty (his two days of work on the film would earn him £100). Ironically, it was to be the presence of the other American in the lineup which would hint that Hammer’s transatlantic dealings were not to be as smooth in the future as they had been in the past.