L'homme qui faisait des miracles

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.

THE MAN WHO COULD CHEAT DEATH (the Hammer Films remake of 1945's THE MAN IN HALF MOON STREET, based on the play by Barre' Lyndon) seems to be a forgotten fantasy-thriller. Often compared with Oscar Wilde's PICTURE OF DORIAN GRAY, this film rarely seems to get the same airplay on late night TV or on any of the "Shock Theatre" programs that many of the other Hammer horror hits did, and has yet to receive a home video release. With so much of the Hammer library now out on DVD, and since Paramount handled Hammer's distribution for this (as well as having produced the 1945 original), it would be nice to see the two films released to DVD as a double feature. (Much like the HOUSE OF WAX/MYSTERY OF THE WAX MUSEUM or the Frederic March and Spencer Tracy versions of DR. JEKYLL AND MR. HYDE.)

The Man Who Could Cheat Death is directed by Terence Fisher and adapted to screenplay by Jimmy Sangster from the Barré Lyndon play The Man in Half Moon Street. It stars Anton Diffring, Hazel Court, Christopher Lee, Arnold Marlé, Francis de Wolff and Delphi Lawrence. Out of Hammer Film Productions, music is by Richard Rodney Bennett and Technicolor photography by Jack Asher.

Paris 1890 and sculptor Georges Bonnet (Diffring) has perfected a way to halt the aging process. Trouble is that it involves murdering young women so as to extract their parathyroid gland to formulate his eternal life elixir.

Disappointingly weak Hammer Horror that would be near unwatchable were it not for the efforts of Asher, Fisher and Bernard Robinson (production design). The source story is made to measure for Hammer, where berserker science mixes with Gothic murder tones, all the ingredients are there for a lively fusion of Dr Jekyll and Mr Hyde with The Picture of Dorian Gray. But the film is more concerned with much talking and posturing, thinking that sci-fi babble and moral quandaries are going to keep things interesting. We of course want some meat and reasoning for main characters to impact on the plotting, but using up an hour for it, in a film that only runs an hour and twenty minutes, leaves very little room for thrills and drama. It also demands that the finale be explosive, a whirlwind of horror revelations and biting comeuppance, sadly the ending we get is rather a damp squib.

Things aren't helped by the casting of Diffring, who overacts far to often, or that Lee is underwritten and firmly disinterested in making the thin characterisation work. Court looks ravishing and gives the film its best performance, but she is also hindered by a bare bones script from the usually excellent Sangster. The story just plods to its inevitable conclusion, the screenplay never daring to veer away from the safe formula road. While much of the detective work from de Wolff's Inspector LeGris leaves a great deal to be desired. On the plus side it looks real nice, a triumph over low budget restrictions, the minimal sets dressed in period splendour, the colour sizzling and Fisher uses wide shots to make certain scenes that are played out on tiny sets actually look expansive.

Devoid of up-tempo terror and finishing on a whimper, this is very much average Hammer and not easily recommended to the horror faithful. 5/10

"The Man Who Could Cheat Death" is a well-put-together Hammer film from 1959 that boasts a dream cast of horror veterans, an intelligent script and high production values. Still, I can almost predict what the film's inevitable detractors will say: that it is overly talky and builds to a climax that is something of a letdown. And while these charges do have a patina of truth to them, the picture's sterling acting from its three leads more than makes up for any deficits. In the picture we meet Georges Bonnet, a doctor in the Paris of 1890, played by German actor Anton Diffring (who had so impressed me recently in his next starring role, in the following year's "Circus of Horrors"). Though seemingly blessed with all that life can offer--including a lucrative practice and the love of society lady Janine Dubois, played by the luscious Hazel Court--in truth, Bonnet is a desperate man. Unless he can coerce surgeon Pierre Gerard (the always dependable Christopher Lee) to operate on him, and take the place of his ailing friend, Dr. Weiss, the life-preserving serum that has been keeping him alive for--HOW long?!?!--will very shortly lose its mojo. In the role of the aged Dr. Weiss, Arnold Marle almost steals the show as Bonnet's patient but increasingly appalled voice of morality and reason, and his terrific thesping is more than adequately matched by those three horror icons. Yes, the film IS talky, but never dull, and Diffring brings a chilling intensity to his role and really makes us feel the angst, isolation and desperate strait of his unique situation. And yes, though the picture ends a tad abruptly and with something of a disappointment in the makeup department, most fans of restrained, levelheaded and intelligent British horror should, I feel, be left happily grinning. In all, another winner from the great House of Hammer.

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.