Although Hammer was best known for horror films, their entry into horror actually came by way of science fiction. Up until the 1950s, Hammer was pretty much your average low-to-medium budget production house, cranking out a lot of comedies, adventure, and war films. In 1955, however, the studio released a film featuring a popular sci-fi television series character by the name of Professor Quatermass. The movie, known as either The Quatermass Xperiment or The Creeping Unknown, was a blend of science fiction and horror, as was popular at the time, and it ended up being a big hit for Hammer. Encouraged by the film’s success, they dabbled in a few more sci-fi horror films, including X: The Unknown in 1956 and a second Quatermass film, Enemy from Space, in 1957. Like The Creeping Unknown, both of these films featured elements of sci-fi and horror. But then the studio released Curse of Frankenstein, Horror of Dracula, and The Mummy in quick succession, and before you could blink twice, Hammer was the House of Horror. Their previous, largely successful forays into science fiction were all but forgotten as the studio repurposed itself to produce almost nothing but Gothic horror films for the next decade. Eventually though, even Hammer couldn’t ignore that the space race had sparked interest in science fiction.
The first Hammer movie I saw was late one night at my grandparents’ house, back when horror double bills were a Friday night TV staple. Mostly these were old Universal flicks, but occasionally if I was lucky there’d be a couple of Hammer horrors. I found these much more exciting than their earlier American counterparts, in fact I still do; vivid colour, actual gore, and an undercurrent of sex that provoked definite interest in young Dave. Also, better acting (there, I said it) and none of those awful Hollywood cockney coppers, gor bloimey Guv’nor. From then on, I was predisposed to see any Hammer film that came along, but this was pre-DVD (it was even pre-VHS, which makes me feel very old) so opportunities were limited. A few years and one wonderful technical revolution later, I discovered a video tape in Dad’s not-too-secret ‘special’ pile. It was Countess Dracula, not exactly a typical Hammer film, but it introduced me to the vision of loveliness that was Ingrid Pitt. More importantly it introduced me to Ingrid Pitt’s boobs. That was it; I was lost.
And we were doing so well! Most movie studios can’t sustain the quality of a film series beyond two films — and quite a few have problems even getting that far. It was no small feat, then, that Hammer managed to produce not one, but two consistently good series. Their Dracula and Frankenstein films set the benchmark for quality horror during the late fifties and throughout the 1960s. And you know, they almost made it to the finish lines with both of them. The Frankenstein series featuring Peter Cushing as the titular mad doctor lasted six films, with only the third film being a misfire, and not a very bad misfire at that. By the time Frankenstein and the Monster from Hell was released, it was clear that the series was at its end, both creatively and financially. Still, it managed to go out with a dash of class, and the final film features the second worst monster in the series (the honor of worst, in my opinion, goes to Kiwi Kingston’s shrieking slapdash Karloff wannabe from Evil of Frankenstein) but one of the best stories and finest performances from Cushing. Even if the final film was not a financial success, everyone involved could hold their heads up high and be proud of all six movies.
And then there was the Dracula series starring Christopher Lee.