Crimen y pasión

Meandering tale of meek money lender Steven Hawke (Slaughter) who moonlights as a callous killer nicknamed "The Spine Breaker" for his bone crushing exploits. When his alter ego is exposed, he's forced to flee London, pursued by a relentless hunter but must make a daring return after hearing news that his daughter has been coerced into marrying a blackmailing prison warden.

Great comical thrills with the inimitable Tod Slaughter delivering his trademark psychopath with pompous relish. Eric Portman is the principal adversary and preferred suitor to the twisted killer's beloved daughter (Taylor), demonstrating the thespian skills for which he became better known throughout the next three decades.

If you're unaccustomed to the Tod Slaughter experience, then this I'd regard to be one of the better samples to gain a taste of the stage-borne flavour with which he interprets his twisted characterisations. The dialogue is poetic, loaded with double-entendres, witty quips and of course, hopelessly clichéd plot. Despite the low budget, it works like a charm, such is Slaughter's unique charisma and presence.

THE CRIMES OF STEPHEN HAWKE opens with a rather lengthy radio program featuring the creaky musical duo, "Flotsam and Jetsam", and a man telling a story. Then, finally, Mr. Tod Slaughter himself arrives to recount some of his most devilish film roles.

When the actual story begins, we are introduced to the title character, known by the public at large as: The Spine Breaker (Mr. Slaughter). True to form, a victim is claimed within a few minutes. Hawke is presented as insidious right out of the gate! Mr. Slaughter once again portrays his villain as the embodiment of murderous glee.

Hawke also has a contrived persona as a kindly moneylender. No one suspects him of actually being a cackling psychopath, not even his daughter. This ruse helps to keep the entertainment level high, as we know full well what this monster is up to. There are some fun, sinister double entendres from Mr. Hawke about his crimes.

Fans of Tod Slaughter will love this film. The uninitiated will marvel at his ability to chew through scenery like a nuclear-powered buzz saw!...

Todd Slaughter is at it again folks,, this time playing a well -mannered banker by day, and being a father to his adopted daughter , but by night folks he becomes...... wait for it..... the Spinebreaker.. very gruesome killer. he kills the rich I guess because he figures that they don't need it. In the Daytime he plays a successful banker, and he also protects his adopted daughter from a potential suitor whom he doesn't really like that much,, I really liked this one because it moved quickly , there was very good dialogue between the characters, and there was some action and mystery,, very good film for the time period.. and Todd Slaughter continues to shine in this horror film.

This time around Tod Slaughter plays Mr. Stephen Hawke, a limping, kind-hearted bespectacled money lender by day with a beautiful, faithful daughter and the friendship of a local shipping agent and son, and by night he is the "spine-breaker," cruelest of all killers as he kills the rich for their money and treasure in a serial-like fashion. As with any Slaughter film, Slaughter is the main focal point of the film. The film is barely over an hour in length, but it has much to offer in plot. We have Slaughter kill a spoiled rich kid, trick a man into bringing an emerald to his home, kill his friend, and run from the vengeance of his son. Throw in some lecherous guy that wants to force Hawke's daughter into marriage and a hunchback for extra measure. The rest of the actors are adequate(or less than so) but they do not detract at all from the presence of Slaughter on film. His build, his speech, his whole demeanor brings life to each and every scene he is in. Is he a great actor? No, but he sure can grab your attention and keep a "grip" on it. As with many other Slaughter films, George King directs in workman-like style if nothing else. The beginning is set up like a radio play with some "entertainers" doing some kind of real bad vocal act prior to Slaughter coming on talking about his "new" old melodrama. Good old-fashioned fun!

The Crimes of Stephen Hawke kicks off with a tune from Flotsam and Jetsam - sadly, not the '80s thrash band (that would be cool!), but rather a musical comedy duo, Mr. Flotsam sat at the piano singing like George Formby, with Mr. Jetsam, a heftier dude with a deeper voice, standing. They're performing as part of the radio show that is the pre-amble to the film's main story. After Flotsam and Jetsam, we get a comedic butcher called Henry Hopkins, who sells cat meat, followed by an interview with actor Tod Slaughter, who talks about the many murders he has committed on screen, playing characters such as the infamous barber Sweeney Todd, and this film's maniac, crazed 'spine-breaker' Stephen Hawke.

Mr. Hawke is a seemingly affable moneylender who secretly makes extra cash on the side by snapping the backs of the wealthy with his bare hands and stealing their valuables. He is aided in his nefarious work by one of the best sidekicks I have seen in an old black and white horror: the guy not only has a hunchback (standard issue for drooling horror henchmen of the day), but he also has only one leg and one eye. Unlucky for him, but great for fans of cheesy B-movies.

When Hawke's friend Joshua Trimble discovers the terrible truth about the evil moneylender, he also has his spine snapped, leaving Trimble's son Matthew (Eric Portman), who is in love with Hawke's adopted daughter Julia (Marjorie Taylor), to take revenge.

After pursuing Hawke across the country with no success, Matthew gives up and returns to London in time to save Julia from scoundrel Miles Archer, who has blackmailed the poor girl into marrying him. Meanwhile, Hawke returns to London, ready for the film's finalé, which, in time-honoured fashion, sees the villain take to the rooftops and fall to his death - right in front of poor Julia's eyes.

Tod Slaughter, Britain's answer to the likes of Boris Karloff and George Zucco, puts in another wonderful theatrical performance - all wild eyes, evil leers, and exaggerated movements - that is perfect for the occasion. He doesn't have a moustache to twirl or a cape to swish, but if he did, he would. It almost feels mandatory to boo and hiss at the screen whenever he makes an entrance. While not the greatest story ever told, The Crimes of Stephen Hawke is still a lot of fun thanks to its star's special brand of ham/cheeze, the likes of which I doubt we will ever see again, and the rather strange wraparound radio broadcast that is just too bizarre not to be entertaining.