2019 OCTOBER HORROR-A-THON: THE SECOND ELEVEN

Horrors of the Black Museum (A. Crabtree… 1959)
Circus of Horrors (S. Hayers… 1960)

Anglo-Amalgamated Productions, the great rival to Hammer in late 50’s/early 60’s British genre cinema, has largely been absent from discussion when great works of the period are debated. Hammer had the heavies in front of the camera (Peter Cushing, Christopher Lee, Barbara Shelley and Oliver Reed) as well as behind it (Freddie Francis, Terence Fisher, Jimmy Sangster) and, in the subsequent years, lucrative home video distribution deals, always insuring that their films were easily available in VHS or DVD packages across region. I wondered if that was why Hammer has so lapped AAP in genre fans opinions, as outside the two Corman UK Poe films made with AAP (Masque of the Red Death and Tomb of Ligeia) you don’t often hear the films uttered positively with the greats. Perhaps when you look through their catalogue you begin to see why: nearly half are Carry On films, the British version of National Lampoon; cheeky humor, often made solely to cash in on poking fun at prevailing popular movements and genres elsewhere (akin to ‘spoof’ movies). Then there are all the dramas: kitchen sink/angry young man films that they made about about a dozen of, many of which are masterpieces of their type, but decidedly not Horror. Criterion’s release of Peeping Tom (1960) more than a decade ago helped expose it to many American fans, myself included, but it was often stated on the back of Michael Powell’s shoulders, and not anything to do with AAP’s assistance. Taken all together, it’s not hard to see why they’ve lagged against Hammer then, Hammer was committed to one type of film and they poured out variations, some having more gore than others, all having a baseline in quality insuring they were the high-water mark (still) for British Horror. But AAP, at the dawn of the 60’s, managed three films in stark relief to Hammer’s supernatural hysterics and spooky period films. There’s the earlier mentioned Peeping Tom, one of Horror’s darkly subversive and perverse masterworks, and then there’s the two being considered today. Taken as a trio, remarkably, they’re nearly able to challenge the first wave of Hammer films that grossly outnumbered them. Continue reading