The Ghost Walks (1934)

On a stormy night, a theatrical producer, his secretary, and playwright Prescott Ames are stranded when their car skids off the road and gets stuck. The three take refuge in the nearby home of Dr. Kent, a friend of Ames. One of Kent's patients, who is staying at the house, is acting strangely, and the others in the house tell the newcomers that she is behaving this way because it is the anniversary of her husband's murder. At dinner, the group begins exchanging accusations about the murder, when suddenly the lights go out, and soon afterwards comes the first in a series of mysterious and fearful events.

The Ghost Walks is a 1934 horror film, directed by Frank R. Strayer.  It stars John Miljan, June Collyer, Richard Carle and Johnny Arthur.  This is a neat little film if you're a fan of old movies from the 30's.  There's not really any supernatural forces at work here but is instead more of a whodunit movie.  The stand outs are easily Carle and Arthur.  Carle plays the theater producer who is constantly firing his obviously gay assistant, played by Arthur.  They are the comedy relief and steal the film.  

It's raining out here son.

Once the lights go out we get a bit of a twist in the story which in turn is followed by even more twists.  The story is routine at times but the unpredictability of the film keeps the viewer's attention.  Director Frank R. Strayer was an experienced craftsman in the Poverty row side of the film industry and this is one of his better offerings.  The largely unknown cast make the most of their characters.  They are given some pretty clever lines and they deliver.

It's not a classic of the genre but it's a nice little movie.  It clocks in at a little over an hour and is worth your time if you run across a copy.  

My assistant might like to try that on.

Frankenstein Created Woman (1967)

Baron Frankenstein has acquired the dead body of a young maiden, Christina, and all it lacks is the spark of life. He captures the soul of a recently executed young man and installs it in the young woman. With the memories from the young man still intact, she starts to kill the people whose false accusations led to the young man's execution.

Frankenstein Created Woman is a Hammer Horror film directed by Terence Fisher. It stars Peter Cushing as Baron Frankenstein and Susan Denberg as his latest creation. It is the fourth film in Hammer's Frankenstein series.

Here we have another fine entry in Hammer's Frankenstein series.  It tries something unique as far as Frankenstein films go.  Instead of creating a monster from dead bodies, the good doctor instead isolates the soul from one body and transfers it to another.  The film is excellent in every way....from the plot, the acting and to the atmosphere.  It provides the typical Hammer style which most horror fans have grown to love.  It also solidifies Fisher as Hammer's most important director and Cushing as a true horror icon. A perfect follow up to the not so good "Evil Of Frankenstein".

 In this film Frankenstein is actually portrayed as sort of a good guy.  His deeds don't seem near as horrible as the three rich lads that kill the owner of the local tavern.  It's more a tale of revenge as opposed to monster runs wild. Cushing's performance shows that his character is even more cocky and sure of his genius and skills than he was in previous films.  He's the sarcastic Baron that we all know and love. His character also shows that his main goal is the forward movement of science.  In the beginning of the film he's more than willing to commit suicide by freezing himself to conduct his experiments. A man willing to do this to himself certainly isn't concerned with how he uses others to complete his work.

The cast around Cushing is good as well.  Thorley Walters is wonderful as Hertz, the absent minded and somewhat dim witted doctor that assists Frankenstein.  He is supposedly a doctor as well but is mesmerized by the genius of the Baron.  Susan Denberg performance is also memorable as Christina.  Creepiness abounds as she talks to a severed head to determine who she should kill next.  She changes from deformed innocent lass to killer. Plus she was also a Playboy model with makes her easy on the eyes.

Who dies next Hanz?

The movie has a few small flaws but nothing to damage my overall feelings on the film.  It's not as visual as most Hammer films are.  It could be because cinematographer Arthur Grant was working on his first horror film for Hammer and was not as familiar with the visual style that came before him. It is certainly unconventional as far as most "Frankenstein" films go but Cushing and Fisher make this film work.

Trivia:
Susan Denberg is dubbed.

We are never told in which Country the film is set, however the Coat of Arms on the coach is that of the Canton of Berne in Switzerland. 

Double-billed with "The Mummy's Shroud."

Frankenstein's Daughter (1958)

Frankenstein's Daughter was produced by Marc Frederic and directed by Richard E. Cunha.  They gloriously made a very distinct film.  Donald Murphy stars as Oliver Frank...the grandson of Victor Frankenstein.  He lives in a house with Dr. Carter Morton (Felix Locher) and his niece Trudy (Sandra Knight).  Dr. Frank is not happy with just helping Dr. Morton....he has his own little experiments happening on the side.

This movie has Dr. Frank up to some zany shit.  He starts out by giving a mysterious potion to Trudy because he's pissed off that she won't give in to his advances.  She transforms into a bushy eyed monster that runs around town scaring folks while in her bathing suit.  But that's not his main goal.  His main goal is to bring to life a female monster because...."The brain of a female is conditioned to a man's world, therefore it takes orders."   Oh and he succeeds.  The monster awakens, tears the door down and goes out and kills someone.  But it's nice enough to knock when it comes back to the lab.  Regardless of looks, we know it's female because it has lipstick smeared across it's face. 

I'm conditioned to take orders.

Not only do we have terror galore but we get a party scene to cheer things up with Harold Lloyd Jr (backed by Paige Cavanaugh) and they sing "Special Date" and "Daddy Bird".  "Shaba-labba-lop, bobba-lobba lobba-lop"  Not only do we have some rocking tunes, we also have a playmate in this film.  Suzie (played by February 1957 Playmate, Sally Todd).  She's pissed because Trudy stole her boyfriend and goes off on a date with Dr. Frank.  But when she won't spread for the good doctor, she hops out of the car.  Mistake....Frank runs her over for monster parts.

This is not the playmate.

 This a bad movie....but it falls into the category of drink some beers and laugh out loud bad.

Trivia:
The full monster make-up was actually being worn by a man, Harry Wilson. Because of this, makeup creator Harry Thomas did not realize that the creature was supposed to be female. All he could do at the last minute was apply lipstick to the creature.

Director Richard E. Cunha recently recalled that, upon seeing the make-up for the title creature just before filming, he was so disappointed he left the set and broke down in tears. 

The exteriors of the house were shot at the home of producer Marc Frederic.


This film is listed among The 100 Most Amusingly Bad Movies Ever Made in Golden Raspberry Award founder John Wilson's book THE OFFICIAL RAZZIE® MOVIE GUIDE.

Completed in May 1958, the last Frankenstein film made during the 1950's.

Mirror Mirror on the wall

Lady Frankenstein (1971)

When Dr. Frankenstein is killed by a monster he created, his daughter and his lab assistant Marshall continue his experiments. The two fall in love and attempt to transplant Marshall's brain in to the muscular body of a retarded servant Stephen, in order to prolong the aging Marshall's life. Meanwhile, the first monster seeks revenge on the grave robbers who sold the body parts used in its creation to Dr. Frankenstein. Soon it comes after Marshall and the doctor's daughter. 

Lady Frankenstein is a 1971 Italian horror film directed by Mel Welles. It stars Joseph Cotten, Rosalba Neri (under the pseudonym Sara Bey), Mickey Hargitay and Paul Müller. The script was written by cult writer Edward di Lorenzo.

Soon you get my poon tang baby.

This movie has one stand out....Rosalba Neri.  It's a typical 70's exploitation film but man, she has a screen presence.  I haven't seen her in anything else but she's certainly feisty here. It's impossible to take your eyes off of her while she's on the screen.  She's not a bad actress either.   I'm surprised she didn't get more roles.  For once I'm being serious....she was very good in this overall shitty movie.  She's no Peter Cushing, but I 100% know which of the two I'd rather see naked.

After Mr. Frankenstein is killed Lady Frank not only wants to clear his name, she wants to build a super hot sex partner.  The doctor's former assistant is an old codger but she convinces him that if he puts his brain in this hot young stud then he can have her.  He's so hard up for the poon tang that he agrees to it.  This odd plot line at least gives us a chance to see Lady Frankenstein bare all.  And I'm not ashamed to say that I would like to conduct a few experiments on her.  As the villagers rush the castle, the monster is dead and the castle is burning....Lady Frankenstein decides that this is a great time to get some peniscillion.  Then for whatever reason, the dude chokes her to death.  The End.  Kind of an odd way to close out the movie.  I'm not real sure why he did it after he went through all the trouble of getting a brain transplant just to get her spread.

Fuck, I got a headache.

This film has many flaws but I found it somewhat entertaining.  The monster isn't one that will strike fear into you.  In fact, his head is so fucking big you'll probably be laughing instead. And he doesn't like sex...he interupts and brutalizes not just one naked couple banging away, but two couples.  The one thing I did learn from this movie is that Rob Zombie sampled the line "Who is this irresistible creature who has an insatiable love for the dead?" from the trailer for his song "Living Dead Girl."  I have always wondered where that came from.

Sex slave vs. Monster

Suspiria (1977)

"Suzy Banyon decided to perfect her ballet studies in the most famous school of dance in Europe. She chose the celebrated academy of Freeborge. One day, at nine in the morning, she left Kennedy airport, New York, and arrived in Germany at 10:40 p.m. local time."

A newcomer to a fancy ballet academy gradually comes to realize that the staff of the school are actually a coven of witches bent on chaos and destruction. 


Suspiria is an Italian horror film, directed by Dario Argento.  It was co-written by Argento and Daria Nicolodi, produced by Claudio and Salvatore Argento and stars Jessica Harper, Stefania Casini, Alida Valli and Joan Bennett.

There is probably not a lot more I can say about Suspiria that hasn't already been said or written.  The film just isn't on the lists of top horror movies of all time....it's on lists for the top movies of all time...period.  And yet, I had never seen it.  I saw it on lists and heard how good it was. Well the day came that I picked it up. And I was floored that my stupid ass had never taken the time to see it.  It's a marvelous piece of work.

Susie, do you know anything about... witches?

There are several things that set this film apart from most. One is Argento's visual imagery. He sets scene after scene aglow with color and uses it to affect moods and feelings. Believe it or not Argento later said that he modeled the look of the film directly on Walt Disney's "Snow White and the Seven Dwarfs".  Snow White couldn't have made it through this film in one piece and those seven dwarfs would have been butchered quickly.  Every single frame of this film is incredibly lit and colorful.

The score in this film may be the most effective I've ever heard.   The soundtrack was composed and performed by Goblin. The main title theme was named as one of the best songs released between 1977 and 1979 in the book The Pitchfork 500: Our Guide to the Greatest Songs from Punk to the Present, compiled by influential music website Pitchfork.  The music works so well throughout the film helping set a mood of terror and dread.  Next on my agenda is picking up this soundtrack.

You wanted to kill Helena Markos! Hell is behind that door! You're going to meet death now... the LIVING DEAD!

The one weak point in the film is the plot. It fact, it's very weak and some things are not really explained at all.  But it really doesn't matter because that's not the main thing here. Style and atmosphere are what's important to this film and the images it provides are not easily forgotten.  It has two incredibly brutal murder scenes that linger in your mind well after completing the film.  The opening double murder may be one of the most intense in the history of film.  This one scene makes the silly murders in today's horror teenie films look tame and amatuerish in comparison.  How can such a brutal murder be so stylishly filmed?

 Acting in this film must have been difficult.  All the cast spoke in their native tongues. Yet the performances don't seem to suffer. I especially enjoyed Joan Bennett's performance.  It was obvious she was having a blast making this film and I loved her in the Dark Shadows TV series.  Sadly, this was her final film. Cult actress Jessica Harper has another nice performance and her character Suzy seems to be trapped in a nightmare.  They may be the best way to describe this film.  With the colors and intensity, it's like watching a most gruesome nightmare.

This is not a perfect film but it is without a doubt a horror masterpiece.  Every horror fan must see this film...period.  Don't be a dumb ass like me and wait. 

Trivia:
Joan Bennett's last feature film.

The first part (with Inferno and Mother of Tears) of a trilogy of films about the "Three Mothers". 

Director Dario Argento composed the creepy music with the band Goblin and played it at full blast on set to unnerve the actors and elicit a truly scared performance.

It is often incorrectly assumed that, to achieve the rich color palette, the film was shot using the outdated 3-strip Technicolor process. This is untrue. No film made after the mid-1950s was shot using this method. The film was instead shot on normal Eastman Color Kodak stock, then printed using the 3-strip Technicolor process, utilizing one of the last remaining machines. This issue has been confused somewhat by the fact that, on the 25th anniversary documentary featured in the 3-disc DVD set, a discussion of the printing process by cinematographer Luciano Tovoli was incorrectly followed by a diagram showing a 3-strip camera. 

Director Dario Argento's original idea was the ballet school would accommodate young girls not older 12. However the studio and producer (his father) denied his request because a film this violent involving children would be surely banned. Dario Argento raised the age limit of the girls to 20 but didn't rewrite the script, hence the naivety of the characters and occasionally childlike dialogue. He also put all the doorknobs at about the same height as the actress' heads, so they will have to raise their arms in order to open the doors, just like children.

The woman playing Helna Markos is not credited. According to Jessica Harper, the woman was a 90 year old ex-hooker Argento found on the streets of Rome. 

The voice heard whispering on the bizarre soundtrack by Goblin is that of Goblin band member Claudio Simonetti. Simonetti stated in interviews that much of what he whispers on the music score is just gibberish.

Dario Argento was inspired to make this film by stories of Daria Nicolodi's grandmother, who claimed to have fled from a German music academy because witchcraft was being secretly practiced there.

 The films finale was inspired by a dream that co-writer Daria Nicolodi once had. In the dream Nicolodi said she had encountered an invisible witch and most bizarrely there was a panther in the room with her that suddenly exploded. The dream was written into the film, only in the film it's a porcelain panther that explodes - rather than the real panther that appeared in Nicolodi'

Star Jessica Harper said in interviews that the most frightening scene in the film for her was the grand finale where everything explodes and shatters around her as she flees the academy. Harper said that the rigged explosions where quite unnerving as they were placed close to her on the sets.

For the wide shots of the 'maggots' falling from the ceiling the crew would drop gains of rice down onto the actresses from above.

 The film was shot over four months.

Argento had cinematographer Luciano Tovoli watch Snow White and the Seven Dwarfs to have him model the color scheme of that film for Suspiria.

 In an interview with star Jessica Harper, she said that many of the actors on set spoke different languages during shooting. According to Harper most either spoke Italian or German and it would make communicating difficult at times. However since the film would be dubbed for American release it was deemed not to be an issue during filming.

The Pit And The Pendulum (1961)

Francis Barnard goes to Spain, when he hears his sister Elizabeth has died. Her husband Nicholas Medina, the son of the brutest torturer of the Spanish Inquisition, tells him she has died of a blood disease, but Francis finds this hard to believe. After some investigating he finds out that it was extreme fear that was fatal to his sister and that she may have been buried alive! Strange things then start to happen in the Medina castle.

The Pit and the Pendulum is a horror film directed by Roger Corman, starring Vincent Price, Barbara Steele, John Kerr, and Luana Anders. The screenplay by Richard Matheson was based on Edgar Allan Poe's short story of the same name.

Buried Alive

This was the second film from American International Pictures that was based on Poe's short stories.  The First was House Of Usher.  This is a movie that proves you don't need gore to create a masterful horror film. It will surprise many modern viewers as to how well it holds up today. The atmosphere and tension is still there and still will be after another 50 years pass.  The pacing of the film is terrific.  It never pauses for very long and is constantly moving forward.

The cast gives fine performances with the lone exception....Jon Kerr. He's like a wooden indian. His acting is way too dull for a leading role.  Fortunately, the visual presentation more than makes up for this. Barbara Steele also does a fine job in her short appearences as Medina's deceased wife. Price is, of course, fantastic with bringing sympathy to his character and then turning in the complete opposite direction as a madman.

You are going to hell

The film is not a faithful adaption of the story and instead weaves many elements from Poe's stories into the framework.  It manages to effectively capture Poe's obsession with ancient buildings and Gothic settings. The sets are lavish.  It's a masterpiece of low budget film making and should be viewed by all horror fans.  Even non-horror buffs will find this movie well worth their time. It also sports one of the greatest final shots in film history.

Trivia:
This was the second of Roger Corman's "Poe" films. He had intended to do "The Masque of the Red Death" but felt that it was too close to the content of Ingmar Bergman's recent The Seventh Seal (US title: "The Seventh Seal"). Several years later Corman would go to England to make The Masque of the Red Death.

The film never had an original prologue. It was added when the film was sold to TV and a further few minutes were required to pad out the running time. Only Luana Anders from the original cast was available so an extra scene of her in a madhouse was filmed and tacked on to the beginning. This scene does not really tie in with the rest of the film. 

To increase the pendulum's sense of deadly menace, director Roger Corman took out every other frame during the editing stage making the blade appear to move twice as fast.

This film was shot in fifteen days.

The pendulum was made out of wood and had a rubber blade.

Actor John Kerr was worried about being strapped down to the table with the pendulum above him for the movie's climax. In order to demonstrate that it was perfectly safe, director Roger Corman stood in for Kerr while the scene was being set up. 

The Innkeepers (2011)

The Innkeepers is a 2011 film written, directed and edited by Ti West, starring Sara Paxton, Pat Healy and Kelly McGillis.  The story takes place at The Yankee Peddler Inn, a once grand hotel than is about to go out of business.  Claire and Luke are the only two employees working on the final weekend.  Both are ghost hunting enthusiasts and with only a few guests staying there, they do a little investigating into the legend of Madeline O'Malley.  The legend goes that Madeline's husband ran out on their honeymoon and she hung herself.

I had heard rumblings that the movie was pretty good.  It should have been an earthquake I heard.  This movie is very good. If you're looking for gore, it's not here.  If you're looking for a slow burn with lots of tension, it's here.  For the first 40 minutes not a lot happens.  You get a little comedy and learn about our Innkeepers.  Then things start to pick up.

She obviously had a rough day.

 West does a good job with lingering shots and when the scare arrives it packs a punch.  He does an excellent job building the characters early on and then adding a creepy atmosphere that delivers in the end. That's the best part of what he gives us in this film.  He takes his sweet time, building the mood instead of trying to scare us every minute. The audience gets invested in the characters.

Sara Paxton and Pat Healy are both excellent in their roles.  They have a natural chemistry and play off of each other very well.  They show the mundane nature of running a collapsing business with the type of dialogue you may find in a Tarantino movie.  Ok...it's not quite on that level but you get the point.  The banter between the two seems natural and Paxton steals the movie with her charm.

DO NOT go down there.

This is a movie that you turn out all the lights and crank up the sound on.  Prepare to jump.

Tales From The Crypt (1972)

Tales from the Crypt is a 1972 British horror film, directed by Freddie Francis. It is an anthology film consisting of five separate segments, based on stories from the EC horror comics of the fifties by William Gaines.  Five people on a tourist trip end up getting lost in a crypt and run into the Crypt Keeper (Ralph Richardson) who proceeds to show them how they each died.

The Crypt Keeper

After recently reviewing films that run from average to shitty beyond belief, I now run into this gem. It's filled with a star studded cast that does a great job. (Peter Cushing, Joan Collins, Ian Hednry and Richard Greene)  This is a fantastic film with a great performance by Peter Cushing, as Arthur Grimsdyke, in his segment "Poetic Justice". In fact, Cushing won the Best Actor Of The Year Award in France for this role.  This was the first horror adaption of comic to film and could be considered an inspiration to Creepshow.

Peter Cushing has a heart in this film.

 I'm not going to take you through all five tales, mainly because I'm too damn lazy to write it. But another fine segment was "And All Through The House" which has Joan Collins as the wife who kills her husband but can't call the police when a psycho Santa ambles up to the house.  This story also showed up in the "Tales From The Crypt" TV show years later.  Hell, all the stories are good and all the characters are deserving of their fate.  You don't feel bad for any of them when they get their just deserts.

Ho Ho Ho

 If you're a fan of British horror films or anthologies then this is the a film you must see. The movie is stylishly made and has suspense and gore that is sure to please.  Pick up the DVD for a cold winter's night.  It won't disappoint.

Trivia:
Peter Cushing is said to "act as himself" in this movie: Cushing's wife had died recently and he was very depressed; while Cushing's character is a widower who uses a ouija to talk with his dead wife.

Ralph Richardson filmed his major role in a day.

Peter Cushing was originally intended to play Ralph Jason, but after looking at the script he persuaded the producers that he would do more justice to the role of Mr. Grimsdyke.

Last full length cinema film of Robert Hutton.

Robert Zemeckis has said this is his favorite movie to watch on Halloween since it was released. he later produced a HBO show based off the comic series and directed the first episode, which was also the first story in the movie.

Peter Cushing wanted to do the movie so much that he took a lower fee.

Stephen King and George A. Romero considered remaking this movie together. Their work together resulted in a completely separate but similar film, Creepshow.

Director Freddie Francis never read the original comics, fearing it would affect his personal interpretations on the stories. 

Despite being top of the bill and one of the six leads Joan Collins has only 15 lines

Only two stories in this film - "Reflection of Death" and "Blind Alleys" - originally appeared in EC Comics' "Tales from the Crypt." "...And All Through the House" appeared in "The Vault of Horror" and "Poetic Justice" and "Wish You Were Here" both appeared in "The Haunt of Fear."

"Wishing You Were Here" has a scene where Barbara Murray eviscerates Richard Greene with a sword, exposing his intestines. This scene was originally cut in order to get a PG rating, although it was restored in later versions.

The Blood Beast Terror (1968)

The Blood Beast Terror is a 1968 horror film from Tigon Bristish Film Productions.  If you look in the left hand corner of the above movie poster you will see Peter Cushing. (One of my favorite actors)  Cushing considered this the worst film he ever made. I concur. And by that I mean the worst film HE ever made. But it looks like Citizen Kane compared to Blackenstein.

There is a basic horror movie theme here.  Victims are discovered with their blood drained and a detective (Cushing) is on the hunt to discover the killer.  Cushing as always is fun to watch and I give a tip of my hat to the filmmakers for trying to bring a different type of monster to the big screen.  Despite being a slow movie, I was intrigued as to who or what the killer really was.  I hung around just to find out.  Spoiler coming:  It's a woman that turns into a moth.   That sets up an ending that makes you groan.  The moth dies because she sees the light from a fire and flies into it, thus burning to death.

Like a moth to the flame...

Despite terrible reviews from all around, the film is not that bad. It does have some misdirection that keeps you interested.  It also has some comic elements with Glynn Edwards (as Sergeant Allen) and Roy Hudd, as the morgue attendant who eats his frigging meals off the slabs in the morgue, complete with dead bodies.


It's obvious that this movie was shot on a shoestring budget. The movie has it's flaws such as hardly ever seeing monster and the poor ending.  The film didn't change the face of horror but it wasn't a complete disaster either.

You don't have to point shit out to Peter Cushing.  He sees all bumbling policeman.

Trivia:
Robert Flemyng replaced Basil Rathbone.

First film of Roy Hudd

Robert Flemyng reportedly hated working on the film.

The Curse Of The Mummy's Tomb (1964)

When European Egyptologists Dubois, Giles and Bray discover the tomb of the Egyptian prince Ra, American entrepreneur and investor Alexander King insists on shipping the treasures and sarcophagus back to England for tour and display. Once there, someone with murderous intent has discovered the means of waking the centuries dead prince.

The Curse of the Mummy's Tomb is a Hammer film and was produced, written and directed by Michael Carreras, starring Terence Morgan, Ronald Howard, Fred Clark and introducing Jeanne Roland.  It was the only Hammer gothic horror film of the year as they turned their attention to thrillers. 

The film has the same basic beginning as most all Mummy movies.  A dig occurs, a mummy is found and a curse is unleashed.  But this film actually goes off in a different direction than just about every mummy film that I've seen.  Usually the mummy awakens to dish out his vengeance and sees the lovely lady and decides she's the reincarnation of his lost love. There is no love here....the mummy is awakened for a completely different purpose.  The film got mostly bad reviews overall but I found the unique twist that ends the film to bring the movie up a star based on that alone.

Fred Clark does a great job as the greedy businessman looking to cash in on the mummy.

The film was certainly a low budget affair as no outside shooting was done at all.  You get poorly painted backdrops instead. Female lead Jeanne Roland has her voice dubbed in and it's so bad that at times she is difficult to understand.  Fred Clark does a fine job as the greedy businessman who doesn't give a damn about curses and museums.  He's going to make a fortune taking the mummy across the world. The film plods along almost as slow as a mummy but it picks up when the mummy finally awakens about a third of the way through the film.  And I must mention that the makeup on the mummy is extremely well done.  Far superior to the mummy's that Universal threw out there.  It also has quite a few gruesome scenes as hands are routinely cut off and the mummy pounds the shit out of one guys skull with a statue.

Sup

Overall this is one of the weaker Hammer horror films but as far as mummy movies merrily move meticulously along (say that 5 times real fast) it's not as bad as some reviewers make it out to be.  A good second half of the film and the twist at the end doesn't save the picture but it does make it an enjoyable good time.

Sorry, the door was open..

Trivia:
During the Egyptian flashback scenes Franz Reizenstein's theme from Hammer's original The Mummy can be heard.

Double-billed with Hammer's "The Gorgon."


Jeanne Roland is dubbed.

Released by Columbia TriStar Home Video [us] on VHS PAL as a Hammer Horror Double Bill with The Revenge of Frankenstein