El doctor y los asesinos

The Dylan Thomas screenplay finally makes it to the screen with a few minor alterations. Based on the Burke and Hare vivisectionist murders, this film has a lot of the feel of the old Hammer movies though for the most part it is played quite a bit straighter. Credible performance by 1960's icon Twiggy. Very good, under-rated small feature.

The story of Burke and Hare is one of horror's all time classics and has inspired some great films such as The Flesh and the Fiends and The Body Snatcher, among many others. The story is absolutely rife with intrigue; we have a central murder plot, plus the reasons behind the murder as well as the whole 'morality vs science' issue that runs throughout. The film has a period setting which it carries off very well, and the excellent cast all turn in great performances which helps to ensure that The Doctor and the Devils always feels like a very polished and professional production. The names used in this movie are not the real life names of the people involved - for some reason, Doctor Knox has become Doctor Rock and Burke and Hare are now Broom and Fallon, but anyone that knows the story of Burke and Hare will know what to expect. We focus on two criminals that realise they can make a killing by killing people and selling the fresh bodies to the local Doctor for seven sovereigns a time. It soon becomes clear to the doctor that the bodies aren't being taken from graves, yet he continues to accept them to test on...

The Doctor and the Devils is not the best film to be based on this classic story; though I have not seen every film it inspired, I am sure that The Flesh and the Fiends remains the best; though this is certainly an excellent take on it. The film is directed by one of Hammer's best directors, Freddie Francis, and Francis creates the period style excellently; there is nothing about the setting or atmosphere of this film that doesn't make you think that it's all taking place in the Victorian era. The cast is excellent also. The fourth James Bond, Timothy Dalton, takes the central role of the doctor and delivers an excellent performance. He doesn't do the role as well as Peter Cushing did in the 1959 take on this story...but few matches up to Cushing. The duo of Stephen Rea and Jonathan Pryce are the gravediggers/murderers and make up the core of the film excellently. The rest of the cast is padded out by Julian Sands and Twiggy in smaller but important roles. Overall, The Doctor and the Devils is an excellent and sadly overlooked take on the classic story of Burke and Hare and while it may not be easy to come by - this one is certainly worth the effort!

Another version of the Burke & Hare grave robber story. On the surface, this one has quite a few interesting things going for it. For starters, the script was based on one originally written in the 1940s by poet Dylan Thomas. That alone would be worth checking any movie out. Then we have, of all people, Mel Brooks producing it even though it's not a comedy at all. Freddie Francis, famed cinematographer and Hammer director, directs this and gives it that sort of throwback Hammer style. That's the film's strongest asset, by the way. To top it all off, there's a nice cast with Timothy Dalton, Jonathan Pryce, Stephen Rea, Julian Sands, and...um, Twiggy.

So, with all of this, why doesn't the movie work better? Well, the main problem is that it's all so drearily serious to the point of being dull. No excitement, no humor, no suspense. It's definitely not a horror movie, either, in case you were led to believe otherwise. Yes the attention to detail and getting the period right is to be acknowledged but it just reminds me why 'realism' is a double-edged sword in films. This looks realistic to the point of being depressing. I won't say you shouldn't see it because it's intriguing enough to warrant a look. But keep expectations low. If you're really jonesing for a grave robber movie, I would suggest you see the Val Lewton/Robert Wise classic The Body Snatcher starring Boris Karloff instead.

Inspired by the tale of 18th century British body-snatchers Burke and Hare and their benefactor Dr. Alexander Knox, noted Welsh writer and poet Dylan Thomas wrote the screenplays for The Doctor And The Devils in 1953 shortly before his death. Thirty-two years later Thomas screenplay, with work done to it by Ronald Harwood, was finally produced for the screen. That film stands up, twenty-five years after it was made, as a fine example of period drama brought splendidly to life.

The screenplay is brought to life wonderfully by its cast. Timothy Dalton, himself a Welshman, plays anatomist Dr. Thomas Rock as a man so passionate and desperate to learn more about the human body that he resorts to paying grave-robbers to do so. Dalton brings a strong presence to any scene he's in and his background as a Shakespearean actor is put to good use in scenes such as his opening of the lecture that starts the film or his final piece of narration as the film ends. Believably playing versions of the infamous body-snatchers are Jonathan Pryce and Stephen Rea as Robert Fallon and Timothy Broom, respectively. Both Pryce and Rea share fine chemistry on screen, making them believable as friends turned body-snatchers with Pryce playing up Falon's obsessiveness and Rea Broom's cowardice. The supporting cast is just as splendid as well including Julian Sands as Rock's troubled assistant Doctor Murray, Patrick Stewart as fellow anatomist Professor Macklin, Beryl Reid as one of the body-snatchers victims, Phyllis Logan as Rock's wife, Siân Phillips as Rock's troubled sister and the singer Twiggy as Murray's prostitute girlfriend in a performance that proves every once in a while a singer can actually act.

Period dramas rely heavily on their production values almost as much as their cast to bring them to life believably with this film being no exception. In particular the production design of Robert Laing and Imogen Richardson's costumes come together to bring to life the two clashing worlds of the film: the clean and cultured world of Doctor Rock and the dirty, grimy world of Fallon and Broom. The cinematography of Gerry Turpin and Norman Warwick helps to aid the production design and costumes as well while the editing of Laurence Méry-Clark bring pace, energy. Tension and even horror to those distinctly different worlds. The film is effectively scored by John Morris, including his haunting main title music. All this under the fine direction of Freddie Francis, himself an Oscar winning cinematographer in his own right. When put together these various elements insure that The Doctor And The Devils is well served by its production values.

The true building block of the film is of course its script. Written by Thomas, with work done by Ronald Harwood, the script is an intriguing fictionalization of the tale of 18th century British body-snatchers Burke and Hare and their benefactor Dr. Alexander Knox. Presumably this fictionalization was done by Thomas to allow him to play a bit loose with the facts and explore the themes he wanted to explore. As a consequence, the film is very much centered around Doctor Rock, a cultured man who believes in the advancement of knowledge at all costs as stated eloquently in the character's opening lines. Yet this belief leads him into murky moralistic waters when Fallon and Broom begin bringing him bodies that don't seem quite right and Rock turns a blind eye to the questionable actions of the two men despite the warnings of those around him. The film also looks at Fallon and Broom, men of the grim and filthier side of London who take up body-snatching and indeed murder for a bit of Doctor Rock's money. Or at least until things go wrong and their biggest attributes, Fallon's obsessiveness and Broom's cowardice, threatens to destroy them. It is the scripts exploration of how the cultured, nobly minded but possibly amoral Doctor Rock is, in his own words, brought down into the slime that bred Fallon and Broom that lies at the heart of the film rather then the murders and body-snatching of "the devils" he employed.

The Doctor And The Devils is not only an intriguing fictionalization of the tale of 18th century British body-snatchers Burke and Hare and their benefactor Dr. Alexander Knox but also a fine piece of period drama. This is thanks to the fine performances of its three lead actors, its supporting cast and its fine production values that brings the worlds of 18th century London to life. It is the Dylan Thomas (and Ronald Harwood) script though, with its exploration of the dangers of science without conscience and its consequences, that truly makes the film standout. Fact is stranger then fiction and, though fictionalized, The Doctor And The Devils proves that saying is still true twenty-five years on.

This is the third historical grave-robbing film I've watched after THE BODY SNATCHER (1945) and THE FLESH AND THE FIENDS (1960) – for the record, other cinematic versions of the same events out there are the Tod Slaughter vehicle THE GREED OF WILLIAM HART aka HORROR MANIACS (1948) and BURKE AND HARE (1972). While certainly the least of the three I'm familiar with (due perhaps to its graphic wallowing in the lurid details of the plot), it's pretty good for a product of its time (incidentally, the mid-1980s produced an unexpected but all-too-brief outburst of Gothic Horror which also included Franc Roddam's THE BRIDE [1985] and Ken Russell's Gothic [1986]).

The film was produced by Mel Brooks' company which had also been behind David Lynch's THE ELEPHANT MAN (1980) – which, incidentally, had marked Freddie Francis' own return to being a director of photography! Timothy Dalton as the overzealous doctor has a couple of good scenes in the first half, but he is clearly overshadowed by the more flamboyant turns of Jonathan Pryce and Stephen Rea as the nefarious night diggers. The impressive cast is completed by Twiggy, Sian Phillips, Beryl Reid, Julian Sands and Patrick Stewart; Twiggy (as another whore with a heart of gold) gets to sing as well and, predictably, medical student Sands falls for her charms.

I recall the film playing theatrically but, needless to say, I was too young to catch it back then. It's based on an original, unproduced script by celebrated Welsh playwright Dylan Thomas – adapted here by future Oscar-winning screenwriter Ronald Harwood; curiously, the names of the characters have been changed from the real ones of Knox, Burke and Hare – so had been the case with THE BODY SNATCHER, for that matter, but that one had the excuse of being based on a Robert Louis Stevenson novella! Apart from the starry cast and the film's undeniably evocative look, its main asset is a spare, unusual but effective score provided by longtime Mel Brooks collaborator John Morris.