60's British Horror Part Eleven

THE HOUSE IN MARSH ROAD

(1960)

Dir - Montgomery Tully

Overall: MEH

 

An adaptation of Laurence Meynell's novel of the same name, The House in Marsh Road, (Invisible Creature), is less a ghost story than an infidelity drama, though it has a couple of gripping moments and a grim ending to boot.  There are several problems in the presentation though, namely Montgomery Tully's stock direction, a lack of spooky atmosphere, and a completely ruining soundtrack that blares through almost every scene and in doing so, eliminates any and all would-be, nail-biting tension.  The performances are decent with Anita Sharp-Bolster as the no-nonsense, Irish housekeeper, Tony Wright as an unrepentant, dead-beat husband, and Sandra Dorne as his enchanting mistress standing out the best.  Curiously, the story itself utilizes its supernatural components so conservatively that large portions of the plotting play out without any need for or emphasis on ghostly activity.  The movie is notable as one of the first to actually use the word "poltergeist" as well as differentiate it from that of a conventional, wronged spirit simply lurking around with unfinished business.  Still, one is likely to forget that there is an otherworldly presence in the first place whether malicious or benevolent and in effect, the whole thing fails to utilize all of its ingredients sufficiently.

 

THEY CAME FROM BEYOND SPACE

(1967)

Dir - Freddie Francis

Overall: MEH

 

Released on a double bill with The Terrornauts, They Came from Beyond Space is a comparatively less laughably entry than its companion film, yet still wearing its piss-pour budget on its sleeve.  Even with director Freddie Francis on board who collects a paycheck here in between several other mostly better Hammer and fellow Amicus productions, most of the financing was apparently squandered on The Terrornauts, itself a pathetically cheap looking bit of science fiction stupidity.  Apparently there was not even enough money left over for an atmospheric, futuristic score as the jumpy jazz music we are given sounds more well equipped for a spy film or an episode of Batman.  While Francis still has a decent eye here or there and does not allow for the entire movie to be filmed with all of the lights on at least, it still looks low-rent with a minimal amount of special effects and goofy costumes/head gear.  All could be forgiven and would make a mediocre Doctor Who serial maybe if not for Amicus co-founder and producer Milton Subotsky's lame, simple-minded script which is an imitation of Invasion of the Body Snatchers, except with all of the menace replaced by a repetitive structure, hokey schmaltz, lazy plot holes, and a detrimental lack of action.

 

CORRUPTION

(1968)

Dir - Robert Hartford-Davis
Overall: MEH

Several variations of Eyes Without a Face have come and gone in its wake and Corruption is a rather sleazy one from exploitation director Robert Hartford-Davis.  The film miraculously scored Peter Cushing in the lead who portrays an obsessive yet emotionally-torn surgeon to the best of his abilities, but the trash-heavy presentation is far goofier than the cherish actor deserves.  Set in swinging London, there are moments that intentionally play off of Cushing's classier demeanor and reputation in more Gothic styled horror vehicles that clash with the vain, hedonistic behavior of some of the other characters, particularly his model girlfriend Sue Lloyd who is half his age.  Hokey violence, utterly awful use of a largely inappropriate musical score, and a comically silly ending make it a messy affair though.  The fact that the premise is already familiar and everyone watching knows perfectly well that it will all end unfortunately for everyone on screen, (no matter how much they try and convince themselves otherwise), leaves no room for any tension or shocks.  Instead it is mostly just a bunch of blaring jazz music, girls in skirts, and Cushing making ridiculous faces.