Rasputin: The Mad Monk

Without the benefit of comparison, I found this a very entertaining thriller. Once more we are treated to a superb Christopher Lee performance; this time as he plays the infamous monk who insinuates himself into the Russian Royal court through hypnotic, albeit mystical subterfuge.

I have read reviews of those disappointed with this version and though I can not purport to have seen any of the others, may I suggest that perhaps familiarity with the subject matter thereby gained has bred some contempt for this version which may contain any number of historical inaccuracies. For I am sure that those uninitiated with the Rasputin tale - or who are at least willing to forgo their usual academic prejudice - and who delight in Hammer's 60s catalogue, will instantly warm to this film.

For a keen horror fan, I have seen precious little of the Hammer horror universe. You can imagine my delight when I was gifted the Hammer DVD Collection for Christmas which consists of 21 films from the vault of the great British institution. I felt spoiled for choice. When opening the box I was greeted by the mad eyes of Christopher Lee, gazing out from amongst a gigantic beard and El Topo-esque haircut. I felt obliged to choose this as my introduction to what will no doubt become a fixation with Hammer, and the film I will remember years into the future when I'm no doubt walking the Earth, trying to find all the tiny forgotten films Hammer produced before they became famous.

For those of you who don't know, Grigori Rasputin was a real-life Russian mystic/hypnotist/con-artist who had a heavy influence on the Tsarist government of Emperor Nicholas II and his wife Alexandra, after apparently healing their son Alexei as he lay dying from haemophilia. The film is less concerned with the politics of the time, and instead focuses on Rasputin's love for drinking, women, and generally being a bit of a bastard, as he hypnotises and heals his way through society and into the bed of lady-in-waiting Sonia (Barbara Shelley).

The film wastes no time introducing Rasputin's maverick attitudes to monkhood, as he heals a saloon owner's wife on her death bed so he can get served a drink, and proceeds to sing and drink the night way before hacking a man's hand off in a fight. Fleeing to Moscow after being hauled in front of the bishop for his unorthodox ways, he gains influence over a disgraced doctor and begins to plan his rise to power.

The film's main strength is undoubtedly Lee's performance as the mad Russian, as he dominates every scene with his intense, piercing eyes and booming voice, with his towering frame overshadowing everyone that comes across his path. The scene in which he does a celebratory dance after beating a challenger in a drinking contest only to mistake some onlookers for laughing at him is both weird and intimidating as he demands an apology. It is a great mix of thespian presence and Gothic camp that makes the Hammer films, and more notably Christopher Lee's performances for the studio, that extra bit special.

Rasputin The Mad Monk is a thoroughly enjoyable film, anchored by Lee's performance and Hammer's usual beautiful Technicolour cinematography, and is made all the better by leaving out the politics and concentrating on creating a memorable film character.

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This viewer is not surprised to learn that this Hammer production is far from being an accurate portrayal of the real-life Russian peasant monk. It's to be expected that for the sake of a good show that films such as this will play fast and loose with the facts. However, it must be said that this IS a damn good show.

Lee is allowed the chance to really cut loose for once, and he does a marvelous job of going over the top as the lusty, life-of-the-party Rasputin, who has genuine healing abilities but also a very conniving and self-serving nature. After gaining some attention for curing a sick woman, he soon finds a means of manipulating his way into the royal family of early 20th century Czarist Russia. Naturally, there are those who aren't fooled by him and will seek to destroy him once they have the chance.

The Hammer studio does an immaculate job, as always, in recreating the sights and sounds of a period piece. Top talents such as production designer Bernard Robinson and (supervising) editor James Needs are at the top of their game. Don Banks composed the very unsubtle, thunderous music score, which does come in handy when Rasputin is required to make an entrance.

The excellent cast includes beautiful Barbara Shelley and Suzan Farmer, Francis Matthews, Dinsdale Landen, Renee Asherson, Derek Francis, and Joss Ackland; other than Lee, the performer that really stands out is Richard Pasco as Dr. Bruno Zargo, an alcoholic who becomes putty in the hands of the mad Rasputin. Lee himself is a delight, his rich voice booming with authority. He simply commands the screen, and keeps the right insane, evil glint in his eyes at all times.

The most entertaining of all the scenes is one in which a furious Landen unthinkingly rushes into a confrontation with Lee only to find himself outmatched. The final battle is an exciting one, with Rasputin proving to be exceedingly difficult to finish off.

Overall, this isn't top drawer Hammer, but it's still quite enjoyable, and worth a viewing for fans of the studio and star.

Seven out of 10.

"Rasputin: The Mad Monk" is an average Hammer film, but with Christopher Lee and the lovely Barbara Shelley in the lead roles of the evil Rasputin and the sweet Sonia respectively. The story is highly entertaining and it is funny to read that it is "historically inaccurate". My vote is six.

Title (Brazil): "Rasputin: O Monge Louco" ("Rasputin, The Mad Monk")

Hammer delves into Russian history with Christopher Lee as the mysterious monk who worms his way into the royal family. Ignoring political aspects(The czar isn't even shown!), Rasputin is presented as a purely evil figure, the same as Dracula. Lee's over-the-top performance raises this a little above routine, but not much. Excellent production values though. Image Quality: Anchor Bay's dvd looks very good. The letter-boxed, anamorphic transfer is presented at a 2:1 aspect ratio, cropped slightly from the original 2.35:1 Sound: mono, acceptable quality Extras: The audio commentary, with Lee, Barbara Shelley and others, makes this disc worth getting. Very enjoyable and informative, with Lee being the obvious highlight