Embryo des Bösen

Odd film, this. Not being the biggest fan of Hammer, I always felt Amicus a more competent stable (neither really produced a film that was actually frightening, but they could be entertaining, and Amicus were glossy and lurid.) This one is a little-known piece that always gets bad reviews but I happen to like it. Firstly, it has a splendid cast. Secondly, the camerawork is something to behold, the sickly lurid colours blending in with the gorgeous period costumes and attractive, dramatic locations. There is also a little more going on here than meets the eye. Perhaps a subtle nod to the Glamis Castle story...? There's a little bit of class war going on, and despite its vivid rape scene I can't help feeling this isn't quite the exploitation movie it appears. For an early 70s movie it does at least treat the issue seriously; the effect it has on the victim and the fact that no measures can atone for it are believable.

A word to the excellent music, beautiful but interspersed with a spooky zither. And Geoffrey Whitehead is very good. The graveyard climax is pretty powerful too, and the closing shot as a camera wanders an empty room to the Bible is a cut above what one expects from this genre. The bad points are the tacky severed hand, the occasional Grand Guignol hamminess and the fact that the film does rather overplay it's hand...it spends so long building up to its revelation that by then it will always be a let down.

And one other criticism...Catherine recovers from her wedding night ordeal ridiculously quickly, which totally contradicts the film's central premise. Still, the open window symbolism and the Malleus Mallificarum references are neat, as is the wonderful scene of Charles standing by the window as the snow falls and reading the lines from Milton's Comus. This film honestly isn't as bad as you may think and you could certainly do alot worse on a dark winter evening!

This little-seen film blends together a myriad of classic horror themes, such as ghosts, crawling hands, wrong doings and curses. It's a classic example of British horror, set in a standard haunted house (there's even a graveyard nearby). Early '70s fashions are sadly non-existent here, as it's a period piece and all the costumes are of the historical variety, although there's nothing wrong with that. While the plot for the film is a typical (and dare I say clichéd) one, it has plenty of incident to keep it moving and loads of different ingredients to make it enjoyable. However, the winning formula for this film is the cast.

Ian Ogilvy (WITCHFINDER GENERAL), Stephanie Beacham (INSEMINOID), Patrick Magee (DEMENTIA 13), and Herbert Lom (ASYLUM) all act convincingly and enjoyably in their roles. Ogilvy doesn't get to do much but look haunted as the husband, but Beacham is on top form here, giving it her all as the screaming victim. Magee is fine as usual, while the fantastic Lom adds yet another cruel character to his resumé. As soon as Peter Cushing arrives, playing a doctor with a dodgy toupee, the fun really begins and things get even better. Cushing's performance is as usual, excellent, but all performances from a cast well familiar to the horror fan are varied and good.

The sheer diversity of different ingredients in this film make it work, and I advise you to sit it through in order to witness a most amusing moment at the end, when Ian Ogilvy dashes Herbert Lom's skeleton apart against his tomb - serve him right, the nasty old man. You also get the classic "crawling hand" prop, which was reused by various studios throughout the 60's and 70's - spotting it is half the fun! AND NOW THE SCREAMING STARTS may not break any new boundaries in the horror genre but it's a good, solid, old-fashioned ghost story and it's very entertaining, with exactly the same quaint and brooding atmosphere as a quality Hammer horror piece.

Amicus and Hammer studios were very much in the same market, even to the point of competing for the same stars and directors. A quick glance at the cast, crew and plot summary of `And Now the Screaming Starts' could mislead one to believe it was a Hammer production: Roy Ward Baker, Peter Cushing, Herbert Lom and Patrick Magee were all known for their contributions to Hammer history, and the Gothic premise of a late 18th century ghost story fits their profile well. Nevertheless, certain elements tag this as distinctive from the Hammer cycle, and make it of note to horror completists, although perhaps of less interest to general audiences.

The film was originally based on an obscure novella entitled `Fengriffin,' after the name of the cursed family line around which the story centers. Of course, a movie called `Fengriffin' would have been a weak seller in any market, particularly the lurid horror market of the early 1970's, (`Texas Chainsaw Massacre' came out only two years after), so it was inevitable that a splashier title would be selected. In choosing `And Now the Screaming Starts', the producers assured their film cult status and greatly embarrassed most of the actors, who had thought they were working on a more `serious' film. The title seems to fit well, however, as lovely Stephanie Beacham demonstrates her lung capacity often, particularly in the first third of the film.

The story follows a standard plot of Gothic decadence: a noble family is cursed for the libertine debauches of an ancestor, and the young generation pays the price. This is typical of a period in literature in which wistful nostalgia for the aristocracy was combined with growing class resentment and a sense that the nobility had `failed' in their responsibilities as leaders. Amicus updates this by including an axe murder, a rotten corpse-ghost with no eyes, a severed hand, and a somewhat overly subtle rape scene by said ghost. The rape is particularly typical of Amicus' approach to the genre, as compared to Hammer's. At the time, Hammer was doling out overt doses of sex alongside their blood, and frontal nudity was not uncommon. Amicus, however, shied away from nudity or sex almost prudishly, and refused to allow its stars to be seen as compromised. Why they would select a story that hinges on a rape they refused to show (or even imply effectively) is perhaps the greatest mystery.

The true star of this movie is the female victim, often the case in well produced Gothic drama. Top-billed Peter Cushing appears 47 minutes into the movie as her doctor, an `ahead-of-his-time' psychiatrist who wants to prove that the supernatural elements are all in her head. The filmmakers have given us a few too many clues at this point for there to be any real doubt, but watching him methodically seek a rational answer (and his excellent downplayed performance) gives the plot a new lease on life after it begins to drag a bit. Patrick Magee as the eccentric country doctor and Herbert Lom as the decadent ancestor are also excellent. A bit less convincing are Ian Ogilvy as the concerned husband and Geoffrey Whitehead as the outraged peasant.

Overall, the film is directed well, nicely photographed, and has beautiful sets and good effects, considering the low budget. Nevertheless, it seems to lack `something' that would make it worthy of repeat viewings. The sense of dread one associates with the best of Gothic drama is undermined somewhat by the romantic, upbeat score. Perhaps there are too many scenes shot in daylight, or the castle isn't quite gloomy and decrepit enough to transmit the sense of the curse. Whatever it may be, I recommend this more as a curiosity than a great film.

This eerie film is developed in an ancient and isolated castle and it takes place in 1795. . A just married couple goes home their grandparents during wedding night . As young Catherine just married Charles Fengriffen and moves into his castle . She becomes victim of an old curse that lays on the family . On her wedding night she's raped by a ghost and gets pregnant . The fiancé Charles Fengriffen (Ian Ogilvy) and his fiancée (Stephanie Beacham) aren't aware about the curse by terrible events occurred in past times and mysterious deeds are actually happening . In 1795 Silas , a young man who worked in stables attempts to avoid the violation of his young wife by the noble Fengriffen (Herbert Lom , he is second-billed as one of the main stars , though only appears in an extended flashback sequence). During the taking off between the noble landowner and the flunky is severed the hand of Silas . One time dead the noble , the vengeful spirit returns the castle , the revenge will be with the successors of tyrant Fengriffin . The severed hand goes back to torment the young couple , they are caught up by an ominous ghost and become inextricably involved in weird killings with several corpses . They will confront the mysterious evil force and legacy of horror of the Frengriffen family . Then the great Peter Cushing shows up to investigate at whatever risk .

This Amicus production (Max Rosenberg and Milton Subotsky) is a good terror film with malevolent spectres and family curses and with amazing final surprise . The movie is plenty of grisly murders , tension , terror , genuine screaming , horrible chills and a little bit of blood and gore . The picture packs a creepy atmosphere and strange color by the fine cinematographer Dennis Cop . The casting is frankly well , there appears various awesome British actors , the always excellent Peter Cushing , Patrick McGee , Guy Rolfe and the habitual villain Herbert Lom who does not appear at all until the last quarter of the film . The tale was rightly directed by Roy War Baker who realized magnificent terror films (Quatermass and the pit) . Motion picture will appeal to British horror enthusiasts .

There was something of a vogue for horror films in Britain during the sixties and early seventies, probably because there was a market for material of this nature but censorship meant that it could not be shown on television. Hammer were the best-known film production company of the British horror boom, but they had a number of rivals, and this film was made by one of these, Amicus Productions. Amicus were best known for "portmanteau" films like "Tales from the Crypt", generally with a contemporary rather than a period setting, which meant lower production costs. "And Now the Screaming Starts!" is one of their few attempts to invade the Hammer territory of a single feature-length story set in the past. It even features one of Hammer's best-known stars, Peter Cushing.

Despite the rather jokey title, complete with exclamation mark, this is not a horror spoof along the lines of "Carry On Screaming". Nor, despite the presence of Cushing in the cast, is it a Transylvanian tale of vampires and werewolves. It is rather a Gothic ghost story reminiscent of the work of M R James, although more sexually explicit than anything James would have been allowed to write. The action takes place in the year 1795. A young married couple, Charles and Catherine Fengriffen, move into the stately home of the Fengriffen family. At first the marriage seems a happy one, but soon Catherine is troubled by strange dreams and visions, all of which seem to be connected with Silas, the mysterious and sinister woodcutter who lives in a cottage on the estate, and a portrait of Charles's grandfather, Sir Henry. She comes to believe that the house is haunted and that there is a curse on the Fengriffen family. Several people who try to help her meet mysterious deaths. Eventually Charles admits to Catherine, who is by now pregnant, that there is a legend of a family curse, connected to a terrible crime committed by Sir Henry.

Despite his being the most established star among the cast, Cushing's part is a relatively small one; he plays a doctor brought in to try and cure Catherine of what her husband believes is a mental illness and fulfils that common role in horror films, the rationalist sceptic whose scepticism is inevitably proved wrong by events. Cushing is, however, very good in his role, and there is also a good performance from Herbert Lom as the cruel and debauched Henry, whose crime is seen in flashback. Stephanie Beacham was previously best known to me as Sable in that "Dynasty" spin-of "The Colbys", but here we get to see just how strikingly beautiful she was as a young woman.

Some of the productions of the British horror cycle could be awful, and Cushing, although a talented actor, often found himself cast in the worst of them. ("The Blood Beast Terror" from 1967 and "The Satanic Rites of Dracula", also from 1973, are two particularly dire examples). "And Now the Screaming Starts!", however, is one of the better ones. Its plot may be far-fetched, but all films in this particular genre require a large amount of suspension of disbelief on the part of the viewer, and director Roy Ward Baker, who in the latter part of his career tended to specialise in horror, is able at times to conjure up a quite genuine sense of terror. Moreover, some of the most powerful scenes are those seen in flashback, and here no suspension of disbelief is needed. Ghosts may or may not exist; men as depraved as Sir Henry undoubtedly do, which from my point of view makes them far more frightening than any ghost. This is a highly watchable film, especially when seen late at night. 7/10

A goof. The Fengriffen mansion is built in the Victorian Gothic style, quite anachronistic for a film set in the late 18th century. The actual house used, Oakley Court in Berkshire, was in fact not built until 1859. The film-makers, however, clearly felt that Gothic architecture was much more in keeping with the mood of a horror film than Georgian classicism would have been.