La femme reptile

After the mysterious death of his brother, Harry Spalding and his wife Valerie move to the Cornwall Cottage of that of their inherited house. The locals turn a cold shoulder, but the local bar owner Tom greets them. Weird things are going on and just like his brother, a local man dies in the same fashion. Maybe it has something to do with their odd neighbour Dr. Franklyn and his daughter Anna. Who before this had happened, asked the couple to sell and leave this place.

Capable work all round, but especially from the versatile cast makes this one very solid Hammer chiller. Like many of the reviewers on here have already mentioned, it was filmed back to back with the same director's "Plague of the Zombies" (which I've yet to see). It's typical Hammer fluff with a towering atmosphere of eerie intrigue, a well-renown earth shaking score, engulfed by fluid camera-work and an extremely offbeat premise. Sounds like a real treat indeed. But something stops it from being one of Hammer's greater achievements. It gets off to a slow start, but doesn't really hit momentum until the film's final 15 minutes. There's nothing wrong with that as the script is well defined and there's detailed characterisations, but it seems to suggest more than it actually delivers. The story's angle builds up the mystery effectively enough and drums up a bunch of suspense with some stinging strikes in a viper pace. The back-story of the snake people could have been explored a little further and motivation behind the attacks were quite hazy. But in all, where it counts it surely did entertain. The make-up effects of the creature weren't too crash hot, but the aftermath of the tenacious attacks left some unpleasant visuals. Some mouth foaming goodness. A strong period setting enforces Hammer great eye for detail and perfection in creating the times. The isolated and uneasy air of the countryside sprawls off the screen. The cast were all very good and lifted from the ordinary. Michael Ripper really does make the most and is extremely potent when on screen. Ray Barrett and the gorgeous Jennifer Daniel were convincing. Marne Maitland is profoundly shifty in a pinpoint turn as The Malay.

A decent effort by Hammer studios.

A young couple, Harry and Valerie Spalding, inherit and move into a small cottage previously owned by the husband's now deceased brother, Charles. Charles' death is something of a mystery, but none of the locals in the small Cornish village want to discuss it or any of the other deaths they've seen. Harry has seen some strange things in his time and believes that these deaths are similar to the cobra bite victims he saw in India. But a cobra in Cornwall - it's not possible. The couple meets their standoffish and odd neighbor, Dr. Franklyn, and his charming, but strange daughter, Anna. The Franklyn's are hiding a secret, but is it a secret capable of killing Charles and others in the community? Is there a giant, snake-like creature hiding in the Franklyn's house?

Of all the wonderful movies that Hammer made, I'm of the opinion that The Reptile is one of the most often overlooked gems in the catalog. It's a really nice movie that doesn't seem to get near the attention I feel it deserves. Good acting from a rather small cast (with a big, meaty role for Hammer regular Michael Ripper), nice pacing, solid direction, and that Hammer "look" (for lack of a better word) that I always enjoy. But what really sets The Reptile apart is the atmosphere. There's a real sense of fear and mystery about the whole movie. It's as creepy and suspense filled as anything Hammer ever made. And I just love the whole notion of a snake-cult putting a curse on Franklyn and his daughter. It's a unique, original idea for a movie. Sure, there have been other snake-to-man movies, but none that I've seen are as well done as this one. Finally, I've read complaints about the make-up effects. Personally, I think they're fine given the relative modest budget Hammer put-up for the movie. The snake appliances may not look as real as one might have hoped for, but at least they're not some weightless CGI nonsense. Just go with it and have fun.

A young couple inherits the husband's cottage in Cornwall, England and soon find themselves confronting a mysterious, unknown serial killer that has been murdering villagers. That's the basic premise of THE REPTILE and the only drawback is that nothing much is explained until the final reel--but along the way it's an absorbing mystery of the kind that Hammer does so well with plenty of chills to keep you watching until the denouement.

It's all done up in the best kind of British color cinematography with sets that look substantial enough and appropriate costumes for the period. Under John Gilling's direction the actors go through their paces in realistic fashion. Noel Willman is especially sinister as Dr. Franklyn while Ray Barrett and Jennifer Daniel play the troubled young couple with conviction. Barrett is especially good in the leading role and Michael Ripper does a fine character role as the tavern owner who helps them.

Summing up: an efficient chiller from Hammer, mysterious and absorbing from beginning to end.

"The Reptile" is a competently produced and watchable horror entry from Hammer productions but offers little new to the genre. Once again we have new-comers to a district that harbours a deadly secret, who must deal with hostile locals before getting get sucked into events, while ominous music and the classic 'moors' setting establishes tone. The generic characters don't present much of a challenge to the actors (exceptions being John Laurie, whose Mad Peter manages to avoid the usual town-drunk shtick and Jacqueline Pearce, who is very good as the mysterious girl). Sadly, while the movie effectively builds to a climax, the final scenes are marred by the appearance of the titular creature and its sudden anticlimactic death. A fair amount of suspension of belief is required (especially to the 'basement' of the Franklyn home) and there are some plot-driven inconsistencies (e.g. venom works a lot faster on secondary characters than on primary characters), but otherwise, 'The Reptile' is a pretty good example of mid-sixties British horror (other than the absence of Hammer perennials Cushing and Lee).

The Reptile is famous for the fact that it utilises the same sets as the brilliant 'Plague of the Zombies', and as such; you would expect the rest of the film not to be up to Hammer's usual standards. This couldn't be further from the truth! While this may not be Hammer's best work, all the things that us fans have come to expect from this great studio are present, along with a few other little surprises. The film follows a man and his wife who move to a small village to live in the cottage that the man's brother left him. The brother died in mysterious circumstances...and our hero makes it his business to find out why. This plot is good enough, but it's the other one that really sparks the interest. The film introduces a brand new monster - the Snake Woman! Dracula, Frankenstein's Monster etc are all fine; but we've seen them all before. I have a lot of respect for this film just due to the fact that it's got something different on offer. The Snake Woman is an unfortunate victim of a curse...and she stalks the local population on the moors at night.

The film features a lot of suspense, and it pretty much runs throughout the entire run time. We are always on tender hooks to uncover the mystery behind the mystifying Snake Woman, and this is helped by the way that the plot continues to deal out cards, without telling the audience exactly what is going on until the end. The only real problem with the film is that the mythology never really explained in any great detail...the film, having a new monster at it's centre, would have benefited greatly from delving a little more into how she came about. This film is notable for Hammer fans because of the fact that the studio's favourite co-star, Michael Ripper, has got himself a starring role! This actor has done so much for Hammer films, and it's good to see him in a larger role for a change. The film benefits from the traditional Hammer style, including both lavish sets and a sense of goodwill that runs throughout. The film's climax is really good, as it provides an answer to both the plots running during the film, and even manages a little poetic justice! On the whole - don't miss this one. It may not be Hammer's best - or most famous - but I'm already looking forward to seeing it again!