By Denis Meikle
No corporation within the historical past of cinema did extra to legitimize the horror movie than Hammer movies - the small British autonomous, which operated out of its tiny Bray Studios at the banks of the River Thames. From the Gothic beauty of The Curse of Frankenstein and Dracula to the violent sexploitation of The Vampire fanatics and Dr. Jekyll and Sister Hyde, the Hammer identify stood for something to a new release of flicks enthusiasts, because the time period 'Hammer Horror' turned part of the language. This revised and up to date version of A historical past of Horrors lines the lifestyles and 'spirit' of Hammer, from its fledgling days within the past due 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 the entire group of workers who have been key to Hammer's good fortune, Denis Meikle paints a vibrant and engaging photograph of the increase and fall of a movie empire, supplying new and revealing insights into 'the fact at the back of the legend.' a lot has been written approximately Hammer's motion pictures, yet this is often the single ebook to inform the tale of the corporate itself from the point of view 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 heritage additionally comprises solid and credit listings for the 'Hammer Horrors' and a whole filmography of all of Hammer's function productions.
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Additional info for A History of Horrors: The Rise and Fall of the House of Hammer
And the whole thing changed. And I remember at that meeting only a few sentences later, I heard somebody say: ‘You mean like the monster in Frankenstein . . ” It was a spark that would ignite into a flame. ” If it was meant as a joke, then it was to be entirely appropriate, for things were exactly what Tony Hinds would be inclined toward from here on in. CHAPTER TWO 3 The Rebirth of Frankenstein, 1956–1957 The Curse of Frankenstein. We had a head floating in a jar showing the skin peeling off.
The remarkable change in the fortunes of Exclusive had turned James Carreras into something of a celebrity in his own right, and he was now intent on making similar strides in the world of show business, particularly through its charity conduit—the Variety Club of Great Britain. In 1954, Carreras attained the post of chief barker, and he would become president of Variety Club International seven years later (the first to serve two terms). His newfound philanthropic bent would also come to embrace the London Federation of Boys’ Clubs (as president), the Friends of the Duke of Edinburgh’s Award (as chairman), and the Royal Naval Film Corporation, through which he would provide free films to the navy, ultimately persuading others in the industry to follow suit.
I was constantly trying to make each one a little more interesting,” he explains. But the reins of production were not to stretch this far for long. By the end of 1954, the day of the “intrusive” coproduction arrangement was coming to a close, and when Hammer began to consider its next move, Anthony Hinds was once more back at Bray and in control. Under Hinds, Bray was now to welcome a multiplicity of talents through its refurbished Regency portals, and in a few years, it would be playing host to the ensemble of actors and technicians who together would turn Hammer into a household name.
A History of Horrors: The Rise and Fall of the House of Hammer by Denis Meikle