La Chair du diable

I want to start off by saying that I thoroughly enjoy most of Freddie Francis' films, especially those he made with Hammer. But...I was expecting so much more from THE CREEPING FLESH. With the recent passing of Christopher Lee (RIP), I wanted to go back and re-watch his films that I loved and also to find some that I hadn't previously viewed. So I stumbled upon THE CREEPING FLESH and immediately sought it out. Maybe my expectations were too high going in, but I was a bit let down. As I said, I really like Freddie Francis. I also love Christopher Lee and Peter Cushing. So it was a no-brainer that I would like this film. And I did like it...just not as much as I thought I would going in to it.

The Victorian age set pieces were fantastic. The subject matter of the story (though not scientifically accurate) was interesting. The acting was great. The atmosphere was pretty good. It was the lack of the horror element that I was expecting and it just didn't seem to show up until the final 15 minutes or so of the film. When it did show up it was great. I just wish the movie would have used it sooner.

I also disagree with the many people who feel THE CREEPING FLESH is Freddie Francis' best film. TORTURE GARDEN, TALES FROM THE CRYPT, LEGEND OF THE WEREWOLF and maybe even THE DAY OF THE TRIFFIDS and THE SKULL were all better in my opinion. I especially loved LEGEND OF THE WEREWOLF...but I am partial to werewolves.

All in all, THE CREEPING FLESH is a good movie worth watching, especially if you are a Christopher Lee or Peter Cushing fan (or a fan of Hammer films even though this is not a Hammer production). It's a good, solid 6 out of 10.

"The Creeping Flesh" is a neat idea for a movie: a doctor brings home a skeleton that grows flesh when exposed to water. That probably could have been the plot of a 1950s B movie. Unfortunately, this movie meanders way too much. A large portion of it focuses on the daughter's descent into madness, and we have to wait a really long time before the skeleton does its stuff. Maybe one has to see it more than once to appreciate the movie as a whole sufficiently.

Other than that, Peter Cushing and Christopher Lee are great in their roles (as can be expected). Even so, I prefer Freddie Francis's movies that stick entirely to their plots. As it was, the end of this one reminded me of the end of Philip Kaufman's "Quills".

Although "The Creeping Flesh" (1973) is not technically a Hammer film, it was made by a rival British company with Hammer alumni Christopher Lee, Peter Cushing and director Freddie Francis.

Lee and Cushing play two rival half-brothers; Lee runs a mental asylum and Cushing is a scientist trying to cure humanity of evil and insanity. Lee, it turns out, is also trying to find the same cure by experimenting on the lunatics in his asylum.

Cushing is driven by the insanity and recent death of his wife. He is so paranoid about the "infection" of evil and madness that he overprotects his daughter.

He discovers an 8-foot tall diabolical skeleton on one of his expeditions in New Guinea and becomes convinced that evil itself is somehow linked to this figure. He discovers that the skeleton strangely acquires flesh/blood when it gets wet. He subsequently develops a "vaccination" from the blood to supposedly give people immunization from evil and insanity, which he then administers to his daughter (!).

As you can see, the plot is highly creative, if nothing else. Numerous issues are touched on in the storyline, including:

The origin of evil and insanity. Sibling rivalry. The consequences of overprotection. Is evil and madness a disease for which a person can be vaccinated? The (lack of) ethics of "scientists." An escaped lunatic running amok. Having a carnal celebration after years of repression. The 19th century English pub scene (alcohol, whores and brawls). An 8-foot creeping horror.

Some would contend that "The Creeping Flesh" bites off more than it can chew (especially at only 95 minutes). Yet, I would say that it addresses all of these items very well. I should also point out that it's not hard to follow, as another reviewer argues.

Two parts of the film are very well done: First, when Cushing's daughter, Lorna Hailbron, finally escapes her father's overprotective clutches and attempts to "paint the town red" (naturally). Lorna does an exquisite job portraying the daughter in both her initial naive, modest state and, later, in her wild first-time-party-girl condition.

Second, when the skeleton finally comes to life after acquiring all its flesh. You can see it lurking in the moonlight with a hood and cowl. This creepy image brought to memory artist depictions of the Flatwoods monster that supposedly appeared near that West Virginia village in September 1952.

Interestingly, "The Creeping Flesh" has many similarities to "Horror Express," another Hammeresque film made the very same year. Each film stars Lee and Cushing; each features an ancient recently-discovered artifact that emanates evil (a skeleton and a frozen neanderthal respectively); each features numerous shots of people analyzing "evil" blood samples through a microscope. I like both films about equally, but give the slight edge to "The Creeping Flesh."

Don't hesitate to check out "The Creeping Flesh" if this sounds like your cup of java.

GRADE: B+

In the late 19th century, scientist Emmanuel Hildern (Peter Cushing) returns home to London with a prehistoric skeleton that he acquired in Papua New Guinea. While cleaning the skeleton, he learns that water triggers a horrific reaction - reanimation. He slices off the finger, now covered in flesh, and preserves it for later experiments.

While having breakfast with his daughter, Penelope (the breathtaking Lorna Heilbron), Emmanuel reads a letter informing him of his wife's death. Unbeknowst to Penelope, her mother has been in an insane asylum since she was a little girl. Fearful that his wife's mental illness may be hereditary, Emmanuel has sheltered his daughter at their estate with only the servants to keep her company. She's not allowed outside, except for short walks within the gated premises.

Emmanuel travels to the institution where his wife died. He meets up with his half-brother, James (Christopher Lee), who happens to be the insane asylum's director and a competing scientist. Emmanuel was always the favorite of the two siblings, the one destined to achieve greatness, so it's with great pleasure that James tells him that he is in the running for the prestigious Richter Award. In addition, he will no longer fund Emmanuel's transcontinental trips.

I'm not familiar with most horror predating 1980. I rate this somewhere between 60%-70% (about a 6.5/10). I've never watched a movie, horror or other genre, with so much anticipation and dread for what may come. The climax is truly a frightening one. The suspense is nail-biting! Lee and Cushing are great but it's the beautiful Heilbron who steals the show. I want to watch more films she stars in.

I recommend this to horror fans who want to explore the classics. No gore, torture, or loud music cues to instill a false sense of fear. I liked it!

Peter Cushing gives an effective, sympathetic performance as a slightly loony but basically well-intentioned scientist, and he shares some (too few!) amusing screen moments with another horror icon, Christopher Lee. Unfortunately, this beautifully produced and promising horror film is otherwise disappointing, undermined by a severe lack of scares (until the final 5 minutes, the most intense scene is a rape attempt) and a disconnected, rambling script. After reading all the positive reviews, I expected a lot more out of this film. (**)