La figlia del serpente

Dr. Horace Adderson (John Cazabon) injects his pregnant wife with cobra venom (!) as part of her "treatment" for insanity. Adderson's callous act results in his wife's death, and his child being born with reptilian traits. Further tragedy occurs due to the superstitions of the backward locals.

Raised in secrecy, the baby grows up to be THE SNAKE WOMAN. As an adult, Atheris (Susan Travers) returns to inflict her deadly vengeance on the townsfolk. Scotland Yard gets involved, dispatching Charles Prentice (John McCarthy) to investigate.

As supernatural revenge yarns go, this one isn't bad. Ms. Travers is convincing in her slithery role, helped by her naturally beguiling features. McCarthy is also good, coming across as logical and amiable.

Co-stars Geoffrey Denton as the wise Col. Wynborn...

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.

Yes for a snake woman movie don't expect to see any transformation scenes. If you go into this with these appropriately lowered expectations you'll find a fast moving movie with an engaging music score by Buxton Orr centered around a snake charmer's theme and various serial music technique's, the score is the most worthwhile element.

Mainly if you look up the writer's credits and see he later gave us THE ALLIGATOR PEOPLE you'll know you're in for, silly but fast paced nonsense and overheated under thought dialogue. It's a bit shocking to see dialogue this bad in a British film and the performers are either encouraged or allowed to play it loud and big. Without fake special effects to drag the story down you have instead fake acting--from the supporting players. Should make you appreciate LEE and CUSHING who could sell this type of thing--none of these actors can. It's the type of thing where evil becomes a three syllable word.

The snake woman herself, Travers, isn't allowed to do much which is too bad as she sees alluring and has a spooky music theme augmented by bells.

The director doesn't show much promise--something you could argue his whole career fails to do, but in fairness this moves along at a fast pace. There is a nice shot of a shake slithering out of a skull's mouth and a couple of shots behind or through foreground objects--something he became briefly famous for after THE IPCRESS FILE. It all cuts together and seems like a movie, if only he could have controlled the actors--he may have had no control over the script.

The abandoned farm location is rather impressive. This movie is fun because it's never dull. Snake attack scenes aren't very good but there is a good lab fire sequence early on. Despite budget limits the plot just lurches from one unlikely premise you have to accept to ultimately come to an equally unlikely ending. Final scene adds a, ahead of its time, government conspiracy angle.

It's like but better than The Giant Leeches or Leach Woman--so I give it credit for that. I prefer the same director's other early horror film Dr. Blood's Coffin.

It's obvious that The Snake Woman was made on a shoestring budget: the production values are very low, the special effects nonexistent and the film only runs for little over an hour, but in spite of that; Sidney J. Furie's film is at least an interesting example of early sixties horror. The film proclaims itself to be based on a legend and is set somewhere out in the English countryside. The plot is rather ridiculous and unlike other horror films based on similar subjects; this one doesn't quite have enough to distract from that fact. The film opens by introducing us to a scientist and his wife. It transpires that the wife has been having some mental health problems; and her husband has been treating her using snake venom. The wife also just happens to be pregnant, and naturally the snake venom treatment has an effect on the newborn child. A local midwife/witch labels it 'evil' and pretty soon the villagers are trying to burn down the couple's house...but not before they manage to get the child to safety. We pick up the story some years later; and some of the villagers have been dying in snake related incidents.

The biggest problem with this film is undoubtedly the script, which at times is just mind-bogglingly stupid. Some of the lines of dialogue are absolutely shocking and many of the characters would be strong contenders for the 'most stupid character of all time' award. It takes many of them an eternity to work out the most obvious of conundrums and it makes the plot a bit harder to swallow. The film is very short, running at just over an hour...and to be honest this is probably a good thing as I can imagine it would become tiresome if it went on for much longer. The film is without special effects for most of that duration and relies mainly on the story to pull it through. It does work fairly well; we don't really get that much information on anything (a shame, since a bit of back-story could have been really interesting!), but there's a few good ideas on display. Overall, I wouldn't really recommend that anyone goes out of their way to track this little film down - it is interesting in it's own right but in all honesty there's plenty of better examples of this sort of thing out there.

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.