Carnage

This is one of those UK lost flicks that is really worth hunting down. It's so rare that a flick with the legendary Peter Cushing never had a proper release after the VHS rage. And again he gives a perfect performance as Sir John Rowan a surgeon.

When John got into a fight with a photographer picturing his wife suddenly one of the spots falls on her face. Heavily burned he feels guilty and discovers that he can restore the scarred face of his girlfriend by murdering other women and extracting fluids from their pituitary gland. Sadly the effect of repairing the face doesn't goes on forever and he has to kill again. But he got mixed emotions about it.

There are two versions of this flick around, both are hard to get, the first one the normal version and the second one the uncut strong version. The latter I saw and it is in the first killing, the whore, that there are differences. In the normal, cut, version you only see a knife and some dolls when he is killing the whore but in the strong version she goes naked and is stabbed to death and beheaded by the surgeon. And for the time being I can understand that it was rather gruesome.

All acting was good and some faces did make it, for the horror buffs Billy Murray (Rik) will be recognized in Doghouse (2009) and Dead Cert (2010). A rather good example of British horror worth hunting down, if you will ever find it....

Gore 1/5 Nudity 1/5 Effects 2/5 Story 3/5 Comedy 0/5

Veteran actor Peter Cushing depicts Sir John Rowan, an utmost genius and respectable surgeon. The passion for his work is only surpassed by his obsessive love for the lewd photo-model Lynn Nolan. When her pretty face gets badly burned in a very banal accident that Rowan jealously caused at a jet-set party, he swears to restore it. He performs an initially successful operation, using tissue and a particular facial gland of a recently deceased young woman, but the results are only temporary. In order to strengthen and prolong the effect of the gland, our doctor needs to use living tissue instead…

The plot of "Corruption" is one of the most derivative and clichéd ones in horror cinema. In 1959, in France, director Georges Franju delivered the penultimate genre landmark "Les Yeux Sans Visage" – "Eyes without a Face" – and particularly during the next two decades, the tale of fanatic scientists and obsessive surgeons murdering innocent young women in order to restore and maintain the youthful beauty of their own mutilated wives or daughters has been copied numerous times, most notably by Jess Franco ("The Awful Dr. Orloff), Sidney Hayers ("Circus of Horrors") and Terence Fisher ("The Man who could Cheat Death").

This version, helmed by Robert Hartford-Davies, isn't exactly what you'd call a masterpiece, but it definitely contains a couple of elements that make it noteworthy and recommendable for horror fans. For starters: the almighty Peter Cushing! He's one of my personal favorite actors of all times and, even though he played a lot of villainous roles in his lengthy career, this one feels rather special. Due to his naturally elegant charisma and typically British appearance and behavior, Cushing usually depicts the 'sophisticated' type of villains. You know; the type of evil mastermind who invents fiendish schemes but uses grisly minions to do the nasty work. His character here also seems very sophisticated (so much even that his choice of muse is highly implausible), but when he's forced to stalk and murder another poor victim to steal her glands, Dr. Rowan transforms into a relentless maniacal beast! The sequences in which the prowling Cushing goes berserk and literally butchers young girls, consecutively a prostitute and a random blond beauty on the train, are excessively vile and misogynic. Cushing, with pure insanity in his eyes and his hair all messed up, savagely stabs them to death and cuts off their heads in ways that are quite graphic for a British film released in 1968. Still, I'm thankful for Cushing's performance as well as for the gory make- up effects, since the rest of the movie is mediocre at best. The protagonists, Sir John Rowan and Lynn, are a mismatched couple, to say the least, and the extended finale set at Rowan's beachside cottage is overlong and exaggeratedly far-fetched. Like they haven't got enough trouble already, Rowan and Lynn are held captive by a troop of anti-menacing thugs and the whole thing ends rather hectically (and foolishly…) with an out-of-control laser machine. In case you're a fan of qualitative British horror from the sixties and seventies, I advise sticking to the Hammer productions or the Amicus anthology films. If, however, you watched all of those already and you want to see a different side of Peter Cushing, then I warmly recommend "Corruption".

Story of a brilliant doctor (Peter Cushing) in love with a beautiful younger woman (Sue Lloyd). During a fight at a party they're at, Lloyd becomes disfigured when a flood lamp falls on her face. Cushing becomes obsessed at restoring her beauty and will do anything to do it--even murder.

Plot wise this has been done before (most notably in the French film "Eyes Without a Face") but this isn't totally without merit. Cushing is excellent as a man who is driven to murder for his lover. You can see that he hates doing it but feels he has to. Lloyd, surprisingly, is not an innocent woman. She knows he's killing for her and actually spurs him on! Aside from those two performances though this is pretty by the numbers...except for an incredibly silly ending which had me laughing out loud! Also there is incredibly inappropriate music blaring sometimes on the soundtrack that's totally out of place. This is pretty much forgotten and it's easy to see why. Worth catching though for Cushing's acting alone.

This is the sixth imitation within the genre of Georges Franju's marvelously lyrical hybrid of art cinema and horror, EYES WITHOUT A FACE (1959) – which just happens to be one of my all-time Top 20 movies. For the record, the others have been the Italian Gothic piece MILL OF THE STONE WOMEN (1960), the erotic French-made THE BLOOD ROSE (1970) and three from notorious (and incredibly prolific) Spaniard Jesus Franco – THE AWFUL DR. ORLOFF (1961), THE DIABLOICAL DR. Z (1965) and FACELESS (1988). Furthermore, some time ago I had also acquired another Italian stab at the same theme – ATOM AGE VAMPIRE (1960) – but, in its case, the DivX was faulty and I couldn't get the thing to work properly!

Anyhow, director Robert Hartford-Davis has somewhat mysteriously acquired an aura within the ranks of British horror cinema history not unlike that of the much younger Michael Reeves; other exploitation fare of his include THE BLACK TORMENT (1964), THE SMASHING BIRD I USED TO KNOW aka SCHOOL FOR UNCLAIMED GIRLS (1969), INCENSE FOR THE DAMNED aka BLOODSUCKERS (1970) and THE FIEND aka BEWARE, MY BRETHREN (1972). Although I am aware that TCM USA had shown CORRUPTION (presumably in its correct Widescreen aspect ratio), the version I watched as a DivX came via a soft-looking, washed-out, full-frame transfer courtesy of some obscure outfit called Midnight Video with forced Asian subtitles to boot!! The film itself, while no neglected masterpiece, is good enough to survive these deficiencies and different enough from its prototype to stand on its own two feet.

The lead roles are portrayed by Peter Cushing and Sue Lloyd who are both excellent: Cushing is the middle-aged surgical genius married to a much younger beauty who is reluctant to put her modeling career behind her. This exhibitionistic trait proves her undoing as, during a groovy party sequence (the Swinging Sixties also served as backdrop for the contemporaneous THE SORCERERS [1967] – coincidentally directed by the afore-mentioned Michael Reeves and starring another horror legend on his last legs, Boris Karloff!), Lloyd suffers partial but permanent facial disfigurement when a spotlight topples squarely on her face – following an unprecedented outburst of jealous rage in public from the usually calm and collected Cushing which culminates in a scuffle with a fashion photographer (Anthony Booth). Remorse-stricken, Cushing oversteps his bounds at the hospital where he works in search of a miracle cure but when this withers after a few days' success (with the improbable help of a laser beam dreamed up by ancient Egyptians!), he takes to scouring London's red-light district for possible 'live' donors of the required organ specimen.

Lloyd's sister (Kate O'Mara) – who, unaccountably, seems to live at her married sibling's house – is inconveniently (for Cushing) engaged to a suspicious colleague of his. To avert undue attention from their clandestine activities, they take a trip to a house by the sea but, even here, they are needful of an urgent transplant which presents itself in the lone figure of a bathing and seemingly innocuous youngster but she escapes their grips during the night before they can make 'use' of her. So, egged on by his increasingly batty and nagging wife, it's back to the drawing-board for Cushing…or, rather, the train station as he follows a blonde into her carriage and does her in (cutting her head off and stuffing her lifeless body unceremoniously under the seat) when they are left all alone.

Back at the seaside cottage, the ingénue bursts in on Cushing as he is 'playing around' with the blonde's head on the kitchen table – cue a jazzed-up three-way chase sequence across the beach and cliff-tops which ends, inevitably, in the girl's death (but not before she slams Cushing down with a rock in the face). A short while later, it transpires that the girl was married and her husband and his gang of misfits (including a butch and busty blonde and a gruff John Lennon-lookalike!) in search of "bread" crash the couple's household; Lloyd, completely insane by now, spills the beans about Cushing's involvement in the girl's death (even if it was she who actually killed her) and coerces the leader of the gang into forcing her reluctant husband to perform the usual operation on her face.

However, another scuffle breaks out in the operating room as a result of which the laser beam goes berserk and literally slices everybody up (including O'Mara and her doctor fiancé) who appear on the scene unheralded at the very last minute. The ending of the film seems to suggest that all the events that we've been witness to might just be somebody's feverish dream but one can't be too sure but, thankfully, this ambiguity dos not hamper the film's overall effectiveness or render it a cop-out (as usually happens in cheat ending cases like this). Hartford-Davis' direction is only occasionally flashy – particularly during the killings (although an unwilling participant, Cushing was rarely ever this unhinged) and afore-mentioned chase sequence. The latter third of the film – in which the gang impinges on the couple's seaside home – is its least successful element but that part is still relieved by its crazy ray free-for-all coda.

The film seems to have been available for some time in a longer, more exploitative Continental variant which went under the dubious title LASER KILLER! By the way, the cinematographer-producer of CORRUPTION was Peter Newbrook who would himself later helm a notable and cerebral British horror film – namely THE ASPHYX (1972).

After an accident a successful surgeon (played by horror legend Peter Cushing) has to commit murder to preserve the once beautiful face of his fiance (Sue Lloyd). For a start we have here a very odd couple, Cushing being old enough to be Lloyd's father in real life, though I guess she could be a gold digger! When they attend a Swinging Sixties party in London (where the accident happens) Cushing looks uncomfortably out of place, which is intended, but for a fan such as myself who is used to seeing him in Hammer horror movies playing Baron Frankenstein or Van Helsing it just felt strange, and somehow wrong. Naturally it all goes pear shaped - "The more you succeed the more you feel failure" (Cushing). The action moves from London to the couple's cottage on the coast, where near the end we get a frankly bizarre home invasion/robbery. One of the heavies is called Groper, played by David Lodge he looks like he's walked straight of the set of a Carry On movie. Then there is the ending, I'm not giving it away but all I will say is Cop Out! I have waited years to see this but ultimately felt disappointed, despite Cushing giving his usual excellent performance. I did watch the cut UK version with less violence and nudity and would still like to see it uncut, until then it's only a 5/10 for me.