The Man Who Could Cheat Death

A good thriller in the old-style classic sense, beautifully filmed in color by England's Hammer company. "The Man Who Could Cheat Death" is somewhat static near the beginning and almost stage play in its construction, but that is OK as it is well acted by a fine ensemble cast.

Anton Diffring offers a nervous-energy-driven, neurotically sinister presence from the very beginning of the film. He provides the requisite menace that is essential to his role. Beautiful Hazel Court, Diffring, Christopher Lee and others contribute elegant, psychologically interesting characterizations that are rendered within an uncluttered thriller format.

I can't emphasize enough how thoroughly this film epitomizes the unique Hammer production values, decor, color scheme and general style, while also effectively evoking foggy turn-of-the-century nighttime Paris streets. Despite the Paris locale, it is distinctively Hammer. Laboratories, scalpels, weird medicines, fog, and all the classic elements are here. Fans of the genre and of the era in thriller filmmaking should not miss it.

Brilliant doctor and sculptor Dr. Georges Bonnet (Anton Diffring) is 104 years old but looks less than half his age; the secret to his youthful appearance is to periodically undergo surgery to replace one of his glands with that of another human being. When his longtime associate Dr. Ludwig Weiss (Arnold Marlé) fails to perform the operation vital to his survival, Bonnet resorts to temporary solution—a liquid that can keep him fresh for a few hours at a time. But with the fluid running out, and with Georges hoping to spend eternity with his beautiful betrothed, Janine (busty Hazel Court, providing the Hammer glamour), the desperate doctor uses any means necessary to convince renowned surgeon Pierre Gerrard (Christopher Lee) to perform the transplant.

The Man Who Could Cheat Death (1959) boasts the great production values and fine performances one would expect from a Hammer movie of the era, but the film is let down by a hackneyed plot that borrows ingredients from Jack The Ripper, Dorian Gray and Jeckyll and Hyde, but which does very little of interest with them. Diffring, Lee and Court do the best they can with the material, but it's all so familiar and frustratingly pedestrian that the excellent cast can do little to save matters. The film does pick up for the final act, with a nice twist courtesy of Lee's character and a spectacular finale in which age finally catches up with Bonnet before he is burnt to a crisp in a raging inferno, but there is no denying that this is far from Hammer's best.

5/10—however, if I ever find the elusive European cut featuring Hazel Court's topless scene, I might be tempted to give it slightly more.

In 1890, in Paris, the artist Dr. Georges Bonnet (Anton Diffring) invites a group of friends for a private exposition of his new sculpture. Among the guests are Dr. Pierre Gerrard (Christopher Lee) and his companion Janine Du Bois (Hazel Court) that had an affair with Dr. Bonnet ten years ago in Italy. When they see each other, their love rekindle. However Dr. Bonnet has a dark secret since he is 104 years old and needs to have a gland transplanted every ten years to keep his youth. But his partner and friend Dr. Ludwig Weiss (Arnold Marle) had a stroke in Switzerland and cannot perform the surgery.

"The Man Who Could Cheat Death" is a combination of "Dr. Jekyll and Mr. Hyde" and "The Picture of Dorian Gray", with a doctor that discovers a means to stay young with thirty and something years. This Hammer production has wonderful sets, great story and excellent cast. My vote is seven.

Title (Brazil): "O Homem que Enganou a Morte" ("The Man Who Cheated Death")

Hammer's most famous and greatest 'mad science' franchise is, of course, the great Frankenstein series starring the almighty Peter Cushing as the ruthless and yet somehow very likable Baron Victor Frankenstein. While THE MAN WHO COULD CHEAT DEATH (1959) is by no means as great as Hammer's Frankenstein films it is a very atmospheric mad-scientist-flick with an excellent cast. Directed by Hammer's Number one, Terence Fisher, THE MAN WHO COULD CHEAT DEATH is an adaptation of a play that was first filmed as THE MAN IN HALF MOON STREET (1945) which I haven't seen yet.

The mad scientist in this film is played by the always-sinister Anton Diffring, who had played Baron Frankenstein in Hammer's own TALES OF FRANKENSTEIN, a 1958 pilot for a planned Frankenstein TV-show that wasn't made. Actually, Diffring's character in this movie, Dr. George Bonner isn't really that 'mad', regarding his situation: In Paris of 1890, Dr. Bonner is a man who seemingly is in his 40s. However, he is in fact 104 years old and keeps his youth with the aid of a serum. In order to survive, he needs periodic gland transplants from young and healthy victims. Needless to say he is willing to kill for his life...

THE MAN WHO COULD CHEAT DEATH co-stars two Hammer icons, British Horror-beauty Hazel Court and the inimitable Christopher Lee. Both deliver great performances as usual. Personally I like Christopher Lee most when he is evil, but hero-roles such as in this film also fit him well. Anton Diffring is a specialist for sinister and macabre characters, and he is once again excellent here. 19th century Paris is a good setting for a Hammer film; even though most of the movie plays indoors here, director Fisher once again makes great use of the Hammer-typical visuals, creating a thick Gothic atmosphere. Overall, THE MAN WHO COULD CHEAT DEATH offers few surprises and may not be an essential must-see, but it is tense and atmospheric Gothic Horror and should not be missed by my fellow Hammer-fans.

This is among the first Hammer Horrors I watched but, after checking it out twice on Italian TV as a kid (once as part of a late-night horror programme called "Zio Tibia Horror Picture Show" featuring a couple of amiably grotesque puppets, which is how I first caught up with the likes of BRIDE OF FRANKENSTEIN {1935} and THE GHOST OF FRANKENSTEIN {1942}!), the film seems to have dropped off the radar completely in my neck of the woods; finally, it was recently released on R1 DVD by Legend Films since this was the only title from the legendary British company to be distributed by Paramount. It is actually the third version of Barre' Lyndon's play "The Man In Half Moon Street", first filmed in Hollywood in 1943 (albeit only released a couple of years later!) and again for British TV in which Anton Diffring, the star here, actually originated his role (for whatever reason, the name of the protagonist changes from one version to the other!); even so, Hammer's then top leading man Peter Cushing was supposed to play the part but, thankfully, saner minds prevailed as I am not sure he would have been ideal as a ladies' man (the heroine, then, is future "Queen Of Horror" Hazel Court in her last of 2 films for Hammer). It is interesting to have Hammer still adapting stuff from TV at this point, even after they hit the jackpot with reinventing the classic Gothic literary tales!

Anyway, having just watched the earlier movie, it is quite clear which is the superior version since Jimmy Sangster's excellent script deals far more thoroughly with the themes inherent in Lyndon's source…which, as mentioned in my review of the original, draws quite a bit from Oscar Wilde's "The Picture Of Dorian Gray" – though, this being Hammer, the horror aspect (aided by Fisher's typically full-blooded handling and Diffring's intense characterization) is a lot more pronounced. That said, Diffring is ably supported by Christopher Lee (who, despite having attained star status thanks to Hammer, generously accepted a supporting and heroic role this time around: oddly enough, his doctor character here shares his name with another one he would play in the later, similarly Sangster-scripted Hammer chiller TASTE OF FEAR {1961}!) and Arnold Marle' (who also reprised his role from the TV version as Diffring's elderly associate).

Being a relatively early genre effort by the company, the color palette is very handsome, effectively rendering both the late 19th century Parisian setting and the moments of pure horror, notably the greenish hue emitted by the boiling flask which holds Diffring's life-sustaining serum. Incidentally, while the protagonist of the 1945 version was really a 90-year old, here he is made to be 104 (and it is amusing to watch Diffring try to convince Lee that he is actually a good 15 years older than the stroke-stricken Marle'); again, the protagonist has a dual career as an artist (though he is a sculptor now rather than a painter) but, inconveniently, his models all fall for him and have to be disposed of (which is one of the clues the Police – represented by Francis De Wolff – eventually follow). Here, too, the gland operation is good for a whole decade but, in this case, we are better able to accept the fact that in the interim he tries to rebuild his life, not to mention that when the effect begins to dissipate and Marle' has still not turned up to perform the life-saving operation, he is forced to kill and kill again because the gland withers after a few days!

Among the number of differences between the two movie versions one finds that, in the 1945 movie, when the protagonist's colleague is unable to operate, he has to rely on a young man he saves from suicide and who just happens to be a medical student (after having gone through a list of disgraced members of the profession), whereas here it is Lee who gets asked (who is in love with Court herself, naturally) but initially refuses (so that Diffring has to refer to an alcoholic doctor and, bafflingly, an oculist!). Here, too, he does operate eventually but he does not perform the gland transplant, which obviously proves Diffring's undoing; the latter comeuppance is quite messy (much more horrific, in fact, than the original's) – involving both the age reversal (featuring great make-up effects by Roy Ashton) and his being set on fire by a model he had kept imprisoned (and deformed, since apparently his skin becomes abrasive as the effects of the drug fade!) after she discovered his secret.

Diffring would follow this with an even more notorious genre outing, CIRCUS OF HORRORS (1960), but he never quite became a star (being too often relegated to playing Nazi officials in Hollywood WWII epics); even so, later horror titles of his include MARK OF THE DEVIL PART 2 (1973; which I will be getting to presently), THE BEAST MUST DIE (1974; for Hammer rival Amicus and with Peter Cushing!) and Jess Franco's FACELESS (1987; which also sees him involved in unethical operations spiced with a series of murders). Incidentally, following these viewings, I am also in the process of acquiring Ruggero Deodato's belated giallo PHANTOM OF DEATH (1988) starring Michael York, Edwige Fenech and Donald Pleasance in view of its apparent thematic similarity to the Barre' Lyndon play.