The Snake Woman

A funny little camp flick set in early 20th century northern England.Has stock in trade, flaming torch carrying villagers,a mad scientist,an eye-rolling doctor,an old crone with "second sight",a handsome young detective wearing a sidearm and a neat chick who, by metamorphosis, can change from stunning girl to stinging cobra in a trice! High point of the film for me was the way the snake girl shed her skin-complete with her clothes-how modest can you get? It is a bit of a pity she wasn't afforded the opportunity to explain why she has such a nasty biting habit. On the scientific side(what's that?),players comment on the cold but the poikilothermic snake lady seems pretty active. A great little flea pit movie!

Snake Woman (1961)

* 1/2 (out of 4)

Rare and incredibly silly horror film has a mad doctor trying to save his dying wife by injecting her with snake venom. She eventually becomes pregnant and gives birth to a little girl who grows up to transform into a snake or does she? This isn't a very original idea, not even for 1961 but what really kills the film is some of the worst acting I've ever seen. The acting provides many laughs but this goes against the serious mood of the story trying to be told by the director. A few better performances would have made this much more entertaining.

The film has atmosphere going for it: "mad doctor", a witch, snakes, a snake woman, lynch mobs, gothic aesthetics but the story is lacking, just really needed more to it. There isn't a lot in the way of showing the snake woman until the end of the film.

Actors are good - they take their roles and the film seriously. There are no cheesy special effects for horror - instead real snakes are used along side of cuts and film splicing for the effects.

Is the film worth watching? Well, if you need something to do on a boring rainy afternoon then this film will kill 69 minutes of your time. It's not an awful film, but it's not grand.

5/10.

Directed by Sidney J. Furie (Iron Eagle, Superman IV: The Quest for Peace), The Snake Woman opens in Bellingham, Northumberland, 1890, where herpetologist Dr. Horace Adderson (John Cazabon) has been injecting his pregnant wife with cobra venom as a way of curing her insanity. His wife dies giving birth to a daughter, who is born with no eyelids and cold blood. Spurred on by old crone Aggie (Elsie Wagstaff), the people in the village declare the child to be evil and burn down the doctor's lab with him inside; the baby, however, survives the blaze, having been whisked to safety by the village doctor and harboured by a local shepherd (John Stevenson Lang).

Twenty years later, Scotland Yard detective Charles Prentice (John McCarthy) travels to Bellingham to investigate a series of deaths, the victims seemingly bitten by venomous snakes. The scared locals talk of Atheris 'the snake girl' (Susan Travers), who lives in the ruins of Adderson's home, but Prentice is sceptical -- until he meets the cold-blooded babe on the moors...

The opening scenes of this film are so corny, with such cheesy dialogue, that they are a whole lot of fun, everyone hamming it up a treat; Wagstaff as Aggie is particulary OTT ("You're all lost. You're cursed. You're doomed!"). However, the sheer naffness of the script* and Furie's lifeless direction eventually take effect, dulling the senses and causing drowsiness. By the final act, it seems that even Furie has grown bored of his film, the director wrapping matters up with an extremely abrupt ending that is over too quickly to generate any excitement.

4.5/10, rounded up to 5 for lovely barmaid Polly (Frances Bennett) -- make mine a bottle of Cobra and my friend will have a pint of snakebite!

*Atheris is able to transform from snake into woman, but no explanation is given for where her dress comes from.

I fully recognize that cinema generally and horror specifically leans on willful suspension of disbelief from the audience, yet some titles go a step further and it can be hard to surrender that disbelief. As this one opens we're greeted with a herpetologist who believes he's found a global panacea in snake venom; a midwife, played oh so melodramatically by Elsie Wagstaff, who embraces some vague mysticism and associated powers; and the immediate formation of a confoundingly unthinking mob, because Oh No, Someone Might Be Different (well, at least that last part is sadly easily believable). This is to say nothing of the tiresome recurring motif that trades on the false popular notion of snakes being hypnotized by music. Thanks to Sidney J. Furie's mindful direction, Buxton Orr's flavorful score, and some swell imagery even these early scenes are lent some welcome vibrancy, but right from the get-go 'The snake woman' is asking a lot of us as viewers. By this point, I should note, we're already one-third through the runtime of barely over one hour, which doesn't leave a slot of time for the rest of the plot focusing on the titular character.

Scenes of dialogue and plot development feel unwieldy and a tad forced, and at other no few times the pacing seems to lag. I do appreciate the art direction, the cinematography, those stunts and effects that are employed, and the loving shots of snakes that we routinely get. With some exceptions, by and large the cast give solid if unremarkable performances. And, well, then there's the remainder of Orville H. Hampton's screenplay, accordingly rewritten in part by filmmaker Furie. The plot leans on a conflict between modern science as represented in investigator Prentice, and the haphazard kluge of invented superstitions cobbled together to conjure midwife Addie, the credulous townspeople, and the titular curse. We viewers are supposed to see the Snake Woman of 'The snake woman' as the villain, an evil to be feared, maligned, and defeated, yet in reality she's the most sympathetic character here. After all, throughout the length we see the townsfolk reacting violently to innocent animals, and to people whose only crime is that in some way they don't fit in with everyone else; even that one character who seems to come closest to "Getting It" is only partway there. True, maybe Hampton and Furie intended this inversion after all, but the film isn't built that way.

In the very least this 1961 feature boasts a more earnest air of horror about it than some other contemporary fare. Some thoughts woven in here, in one manner or another, contrast sharply with the whole in their ill-fitting insincerity, yet by and large the ideas on hand are firm foundation for a tale of folk beliefs and a town beset by death. I think those ideas could have been strengthened with a stronger and slightly different focus, and in turn there would be greater atmosphere, tension, and suspense. With some revision, the movie could have gone from being only "okay," somewhat middling mid-century filler to being something genuinely rich and compelling. For all that, I don't think 'The snake people' as it exists is bad. However, it's only a fraction of the picture it might have been, and it's readily apparent that only enough care went into its creation to make it stand on its own two feet, and not enough to make it resonate and endure. I think this flick is passably enjoyable and worthwhile, though certainly something for a light, lazy day and far from a must-see; would that it had been shaped more mindfully from the start, in which case it could have been more meaningful and satisfying.