Rasputin: il monaco folle

Hammer Film's relatively unambitious adventure in historical exploitation is lifted above the norm by 2 major factors: the genius of set designer Robinson and the fine heavy styles of Chris Lee and Barby Shelley, pros of the genre in every sense. The scene with Rasputin smoking in bed while Shelley cowers in a gathering of blankets is a classic visual statement.

This film tells the story of Rasputin with more of an eye to screen exploitation values than truth (which I think is how it should be, as Plato said that truth is rarely a likely story), including a scarring incident with acid -- what Hammer Film would be complete without facial mutilations? Chris Lee's use of his body and hands is notable; Don Sharp's direction is fine. If only it wasn't quite so cheap, and thus confined (mostly to one or two houses, which is all Bray Studios was), this could have been a really good film. Mediocre script also helps drag it down, but Lee and Shelley's styles are so forceful that it is almost unnoticeable.

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.

I've read quite a few reviews of this film shunning it do to lack of historical fact or shoddy scriptwriting. Obviously these people have no clue about what Hammer films are and what they're meant to be. This film is another Hammer classic, hilarious and well-acted, excellent quality cinematography, and not to be taken the slightest bit seriously.

Christopher Lee is *the* hammer actor (well...with Peter Cushing running a close second;), and he plays the *perfect* Rasputin! The evil dictator laugh down-pat, the eyes are beyond eerie, and even his gait, his posture, his body language all work perfectly. And Barbara Shelley is definitely a solid, stereotypical, 'femi-victim', and she plays beautifully off of Lee.

The only qualm I have about this film is the ending, which was a touch too anti-climactic...although I bought the special edition with trailers and TV spots at the end which improved the ending dramatically (I wish I could find one of those 'free Rasputin beards'...)

Overall: This is not one of the best Hammer films, it's not Blood of Dracula or The Devil Rides Out...but it's up there, and it has all the great elements: cheezy soft-gore effects (love that severed hand!!), *almost* nudity, maniacal laughter, tension-riddled music...it's fun from beginning to end! 7/10.

"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")