Short Attention Span Review: Paranoiac (1963)

Short Attention Span Review: Paranoiac (1963)

Typically, when we fright fans think about Hammer, we recall Peter Cushing and Christopher Lee duking it out in their classic takes on such notable horror staples as Dracula, Frankenstein, and the Mummy.  It is easy to forget that the studio also produced a number of remarkable features that run the gamut from eerie thrillers to subdued chillers.  Paranoiac is a 1963 picture directed by Freddie Francis, starring a young Oliver Reed at his unstable best.  Reed smirks, schemes, sweats, and twitches his way through this stunning black and white composition that stands somewhere between Psycho and a devilish whodunit.  The cinematography is crisp and compelling, the score is dark and somewhat insidious, and all of the characters aside from Janette Scott as Eleanor Ashby are harboring dark secrets that slowly come to light.  As the movie nears its dramatic conclusion, the shocks come fast and furious, and there are a few terrifying moments embedded in what is mostly a stark and calculating mystery.  Paranoiac is a fun film to revisit, and it remains suspenseful and ominous even in this modern era of dazzling effects and heightened immersion.  It is a throwback, yes, but it is a throwback to a time when there were no big scares courtesy of CGI delights, a time when filmmakers worked hard to terrify audiences with sinister plots and impeccable craftsmanship.  Such ventures often age well, and that is surely the case with this 1963 spookshow.

Final Grade: B+

Paranoiac is creepier than one might suspect--this mask design is pretty chilling for a 1963 thriller.

Short Attention Span Review: Curse of the Werewolf (1961)

Short Attention Span Review: Curse of the Werewolf (1961)

As one who considers himself a big fan of both the Hammer catalog and the incomparable Oliver Reed, I waited entirely too long to watch Curse of the Werewolf.  I found this to be a fantastic picture, and I am here to heartily recommend it to my fellow fright fans.  The typical Hammer staples are on full display, to include wonderful sets, a rich color palette, a brisk pace, and sound performances captured by visionary technicians.  It also benefits greatly from the studio's ability to explore familiar haunts with creativity as well as craftsmanship, making old things seem new again.  This lycanthropy yarn, for instance, actually fashions an intriguing origin for the titular curse, and this exploration of the onset of such an abomination occupies the first third of the picture.  Long before a man turns into a beast at the behest of the moon, Curse of the Werewolf has cast a mysterious spell ripe with sinister flourishes and a wealth of drama.  The movie is halfway to the finish line before Reed takes center stage, and he rewards the filmmaker's efforts to set the table in such splendid detail with his trademark power and charisma.  While it is an invigorating departure from typical films in this vein, it does adhere to the classic formula wherein the poor soul who prowls the night under the influence of an unholy pact is both a monster and a victim.  If I were to complain about anything, I would note that the ending is rather abrupt, particular given all the attention devoted to building such a strong foundation.  The climax is gripping, to be sure, but it doesn't carry nearly as much weight as the first act.  Still, the picture is quite entertaining, standing as another high quality Hammer production brought to fruition by director Terence Fisher, who helmed so many of the beloved studio's most cherished motion pictures.  One can only wonder why the studio didn't sequelize this venture as they did so many of their properties.

Final Grade: B+

Oliver Reed offers up a robust performance in this unique take on familiar folklore, taking celebrated mythology in a fresh direction.