The Man Who Could Cheat Death

Hammer's most famous and greatest 'mad science' franchise is, of course, the great Frankenstein series starring the almighty Peter Cushing as the ruthless and yet somehow very likable Baron Victor Frankenstein. While THE MAN WHO COULD CHEAT DEATH (1959) is by no means as great as Hammer's Frankenstein films it is a very atmospheric mad-scientist-flick with an excellent cast. Directed by Hammer's Number one, Terence Fisher, THE MAN WHO COULD CHEAT DEATH is an adaptation of a play that was first filmed as THE MAN IN HALF MOON STREET (1945) which I haven't seen yet.

The mad scientist in this film is played by the always-sinister Anton Diffring, who had played Baron Frankenstein in Hammer's own TALES OF FRANKENSTEIN, a 1958 pilot for a planned Frankenstein TV-show that wasn't made. Actually, Diffring's character in this movie, Dr. George Bonner isn't really that 'mad', regarding his situation: In Paris of 1890, Dr. Bonner is a man who seemingly is in his 40s. However, he is in fact 104 years old and keeps his youth with the aid of a serum. In order to survive, he needs periodic gland transplants from young and healthy victims. Needless to say he is willing to kill for his life...

THE MAN WHO COULD CHEAT DEATH co-stars two Hammer icons, British Horror-beauty Hazel Court and the inimitable Christopher Lee. Both deliver great performances as usual. Personally I like Christopher Lee most when he is evil, but hero-roles such as in this film also fit him well. Anton Diffring is a specialist for sinister and macabre characters, and he is once again excellent here. 19th century Paris is a good setting for a Hammer film; even though most of the movie plays indoors here, director Fisher once again makes great use of the Hammer-typical visuals, creating a thick Gothic atmosphere. Overall, THE MAN WHO COULD CHEAT DEATH offers few surprises and may not be an essential must-see, but it is tense and atmospheric Gothic Horror and should not be missed by my fellow Hammer-fans.

Although not one of Hammer's best films, it is a good movie. The Victorian setting (although it is supposed to take place in Paris) is very charming. Some people have criticized the use of heavy fog in Paris but I feel it adds to the eerie and mysterious atmosphere. Christopher Lee is very effective and is a hero - which is rare in early Hammer films. Hazel Court is absolutely beautiful as the heroine. The plot is interesting and moves quite well. Compared to some other old movies that have been released on DVD, this one is a winner. It is truly a film that belongs in a Hammer fan's collection. Too bad Peter Cushing was not in the film because it would have been even better. I hope some Hammer fans read this and make a plea to have the movie released on DVD. At least it could be one movie of a double feature.

In 1890, in Paris, the artist Dr. Georges Bonnet (Anton Diffring) invites a group of friends for a private exposition of his new sculpture. Among the guests are Dr. Pierre Gerrard (Christopher Lee) and his companion Janine Du Bois (Hazel Court) that had an affair with Dr. Bonnet ten years ago in Italy. When they see each other, their love rekindle. However Dr. Bonnet has a dark secret since he is 104 years old and needs to have a gland transplanted every ten years to keep his youth. But his partner and friend Dr. Ludwig Weiss (Arnold Marle) had a stroke in Switzerland and cannot perform the surgery.

"The Man Who Could Cheat Death" is a combination of "Dr. Jekyll and Mr. Hyde" and "The Picture of Dorian Gray", with a doctor that discovers a means to stay young with thirty and something years. This Hammer production has wonderful sets, great story and excellent cast. My vote is seven.

Title (Brazil): "O Homem que Enganou a Morte" ("The Man Who Cheated Death")

Brilliant doctor and sculptor Dr. Georges Bonnet (Anton Diffring) is 104 years old but looks less than half his age; the secret to his youthful appearance is to periodically undergo surgery to replace one of his glands with that of another human being. When his longtime associate Dr. Ludwig Weiss (Arnold Marlé) fails to perform the operation vital to his survival, Bonnet resorts to temporary solution—a liquid that can keep him fresh for a few hours at a time. But with the fluid running out, and with Georges hoping to spend eternity with his beautiful betrothed, Janine (busty Hazel Court, providing the Hammer glamour), the desperate doctor uses any means necessary to convince renowned surgeon Pierre Gerrard (Christopher Lee) to perform the transplant.

The Man Who Could Cheat Death (1959) boasts the great production values and fine performances one would expect from a Hammer movie of the era, but the film is let down by a hackneyed plot that borrows ingredients from Jack The Ripper, Dorian Gray and Jeckyll and Hyde, but which does very little of interest with them. Diffring, Lee and Court do the best they can with the material, but it's all so familiar and frustratingly pedestrian that the excellent cast can do little to save matters. The film does pick up for the final act, with a nice twist courtesy of Lee's character and a spectacular finale in which age finally catches up with Bonnet before he is burnt to a crisp in a raging inferno, but there is no denying that this is far from Hammer's best.

5/10—however, if I ever find the elusive European cut featuring Hazel Court's topless scene, I might be tempted to give it slightly more.

A good thriller in the old-style classic sense, beautifully filmed in color by England's Hammer company. "The Man Who Could Cheat Death" is somewhat static near the beginning and almost stage play in its construction, but that is OK as it is well acted by a fine ensemble cast.

Anton Diffring offers a nervous-energy-driven, neurotically sinister presence from the very beginning of the film. He provides the requisite menace that is essential to his role. Beautiful Hazel Court, Diffring, Christopher Lee and others contribute elegant, psychologically interesting characterizations that are rendered within an uncluttered thriller format.

I can't emphasize enough how thoroughly this film epitomizes the unique Hammer production values, decor, color scheme and general style, while also effectively evoking foggy turn-of-the-century nighttime Paris streets. Despite the Paris locale, it is distinctively Hammer. Laboratories, scalpels, weird medicines, fog, and all the classic elements are here. Fans of the genre and of the era in thriller filmmaking should not miss it.