Le Redoutable Homme des neiges

Just as the Yeti in the film stood head and shoulders over the humans, so this film stands head and shoulders over most of the horror/monster films of the 1950's.

You wouldn't think so from reading the reviews at the time though; one reviewer thought it too subtle, but that could be another way of describing it as intelligent and stylish, the qualities that make it so watchable 60 years later. The film was also saddled with a poor trailer (it's on YouTube). Obviously the marketing people didn't think the film monsterish enough; the trailer gives totally the wrong impression.

British botanist, John Rollason (Peter Cushing), along with his wife Helen (Maureen Connell) and assistant, Peter Fox (Richard Wattis) arrive at the monastery of Long Buk as the guests of the head lama. They are searching for rare plants. A team of American adventurers led by Doctor Tom Friend (Forrest Tucker) also arrives, but this party is searching for the legendary Yeti.

The Americans, Tom Friend and his associate, big game hunter Ed Shelley, are loud, brash and totally ruthless as far as preservation of the Yeti is concerned. The members of the British contingent on the other hand are masters of understatement, impeccably mannered and respectful of all life including the Yeti. This was a British film after all.

Although obviously shot on a sound stage, the monastery scenes are effective replete with gongs, monks and a head lama in deep meditation. What really gives the film visual substance are the snow-covered mountain climbing sequences; they were apparently shot in the Pyrénées, but a mountain is a mountain, and these scenes open out the film.

Eventually, Rollason accompanies Friend on his quest in the interests of science, and without spoiling things too much, they encounter the Yeti. However the outcome is unexpected and gives this film the edge over the mostly cheesy monster movies of the day.

There is a touch of Val Lewton style about this film; it has plenty of mood and there is no rush to reveal the 'monster' with the best effects left to the imagination.

It's rather strange seeing Hammer horror in black and white after all the vibrant colours that their later offerings show off so boldly; but the black and white gives it that old monster movie feel (which is what the movie is anyway...) and it's a good factor for that reason. It's true that this isn't Hammer's finest work, but it's a very nice early offering; and shows some early ingeniousness of the studio. That's what I like best about Hammer Horror; when you see one of their movies, you know that you're going to be in for a fun and imaginative ride and this film certainly delivers on that front. The plot follows botanist Peter Cushing as he joins a group of arctic explorers that go off into the Himalayas in search of the mythical beast - the Yeti. The film then follows, in adventure style, their misadventure as they come face to face with the beast itself and get more than they bargained for...

The snow setting gives the film a feeling of isolation that invokes a constant feeling of dread and we get the impression that if something bad does happen - there wont be anyone there to save our hero's. This mind game has been carried off in many films since this one (Alien, most notably), but here is a good early example of that. The film is also different from most other horror films as it handles a subject and a monster that hasn't often been covered. This sets it apart in a good way as it's something different from the viewer and also goes some way to showing Hammer's inventiveness as most studios are happy to continue taking the safe option and making horror films that have been tried and tested. The fact that the Yeti doesn't appear for much of the film will no doubt annoy some viewers, and it did me somewhat, but it helps the film as it ensures that the audience will be intrigued to finally see the monster. The film is very well paced and doesn't get boring either, which is a plus.

As I said, this isn't Hammer's best film. However; it's definitely well worth tracking down for the Hammer fan, and people in general that want to see a good monster movie.

I can remember barely being able to keep my eyes open watching this on a late night horror movie show, because it's not a movie for kids. Didn't realize that then, and so I always remembered it as being a pretty weak film. However, a viewing of the widescreen laserdisc version left me with a strong impression of a very fine adult feature that is more a thriller than a horror film. It lives up to the reputation of Hammer during this period, and of course that of Peter Cushing as the premier actor of the studio. Even Forrest Tucker's typical heavy-handed hamminess cannot take away from this absorbing tale of scientific endeavor clashing with crass commercialism, with a creature of an intellect that bests the men chasing it. I must say that the whole mental telepathy plot point was completely missed upon first viewing, but then I was only 10 at the time, however it now makes all the sense in the world.

In the fifties, Hammer produced a few highly noted films that were scripted by Nigel Kneale and directed by Val Guest. Among them were QUATERMASS EXPERIMENT and the highly disturbing QUATERMASS II (a.k.a. ENEMY FROM SPACE). Though produced on low budgets, these productions were of a higher quality than most of the usual Science-Fiction releases at the time.

Kneale's literate screenplays were directed towards a more sophisticated audience and Guest's direction displayed much creative imagination, proving that innovation can often override a limited budget.

The story begins as botanist Peter Cushing teams up with crass hustler Forrest Tucker for the purpose of finding the ever elusive Yeti, despite protests and warnings from Cushing's wife (Maureen Connell) and the llama. As the research team progresses on its expedition, they begin to find subtle clues that the yeti may truly exist. While they sleep, they are awaken by the sounds of strange wailing in the night. Upon investigating, they find large footprints of something not apparently human.

Cushing, an honorable man of decent principles, is outraged when he learns that Tucker's real aim is to capture and cheaply exploit the yeti for monetary and personal status gain. During the night, a claw reaches into the tent, sending their superstitious guide out into the night in a fit of total panic. The other members, with the exception of Cushing who tries to maintain his sense of reason, become more and more unhinged as they fear that the creatures are now stalking them. Member Macnee (who claims he once caught a glimpse of one on a previous expedition) believes that they are trying to psychically attack him and he falls to death. Cushing asserts that Macnee was mentally unstable and fell victim to his own frightened carelessness, while Tucker cynically feels that they deliberately drove him to his death.

Tucker proposes a reckless trick to entrap one of the creatures in a cave with a steel net, as his trapper buddy stands by with a gun, just in case. As Cushing and Tucker wait in a nearby tent, a raging blizzard breaks out. Cushing deduces that the Yeti may actually be intelligent beings, perhaps the missing link between man and ape and are a lost chapter in our history of evolution. He feels its possible that they may actually be biding their time, waiting for mankind to die out, so that they can then take over. Tucker only has money-money-money on his sleazy mind and thinks the scientist has flipped-out from cabin fever and is off on an intellectual tangent. Besides, being the hollow man he finally reveals himself to be, Tucker couldn't care less.

The pair hear the hunter's scream and a roar from the cave. They find his dead body with an expression of sheer horror on his face and see that the steel net has been ripped to shreds. As the remaining two members decide to hold-up in the cave til morning, Cushing then hears the radio announcer saying that they are strongly advised to leave their gear and get out of the area immediately. There is only one problem: The radio was busted earlier and is not working, and Tucker says that he didn't hear any such announcement.

I won't say anymore. In many ways Kneale's intriguing story (based on his acclaimed BBC serial THE CREATURE) bears allegorical similarities to Huston's TREASURE OF THE SERRA MADRA, in that the characters are actually pursuing a myth and are inevitably destroyed by their own greed and paranoia. Like TWILIGHT ZONE and OUTER LIMITS, the science-fiction premise takes on supernatural overtones and serves as a cautionary morality play. Though some may think that that old "there are some things that man should not meddle with" message is a preachy cliche, it does have validity when the man's sense of perception, judgement, personal ethics and real motives are highly in question.

Director Guest creates an absorbing atmosphere of mounting terror from beginning to end as the characters' (and the viewers') smugness and complacency is gradually devoured; then the unknown takes over, and total helplessness and fear become the terrifying and tragic results. What at first seemed far-fetched now becomes all too real. This skillful technique was effectively employed in the Quatermass films as well as Tourneur's memorable scare classic NIGHT OF THE DEMON.

The B & W photography evokes the proper dark, eerie mood which leaves you with that unsettling feeling that something truly is out there and it's inevitably closing in on you. Though many critics and viewers felt that the highly overpraised BLAIR WITCH was original with its idea of the unseen menace that preys upon your doubt and paranoia, it's now obvious that it was nothing more than a slipshod rehash of these notable films that were produced decades earlier.

As long as you're not expecting some stupid, slasher monster movie, sophomoric puns and another overblown demo roll of special-effects, then give this unique, intelligent film your serious consideration. It may leave you haunted and disturbed.

Hammer studios made a variety of films for many years before they struck gold with horror movies. One of their first steps in that direction was 'The Quatermass Xperiment', directed by Val Guest and written by Nigel Kneale who adapted his own highly successful TV production. A couple of years later Guest and Kneale did the same again with 'Quatermass 2'. Both were science fiction with some horror, and both were very, very good. Guest and Kneale had an uneasy relationship ("relationship" is probably not even the right word, Guest said he only ever met Kneale a few times), but they collaborated once again on 'The Abominable Snowman'. Despite the title it isn't a monster movie, it's more of an adventure tale with some mysticism and philosophical touches. It was successful commercially, but coming out just before the one-two punch of 'Curse Of Frankenstein' and 'Dracula' (the two movies that really put Hammer on the map) has meant it has all but been forgotten today. When people list the best of Hammer you rarely if ever see 'The Abominable Snowman' mentioned, which is a shame. It's consistently interesting, well acted, stylish and suspenseful. Sadly I haven't seen Kneale's original TV version ('The Creature') so I can't compare the two, but I really enjoyed this movie, especially the performance from Peter Cushing, soon to become a Hammer legend. Forrest Tucker is best known to people of my generation for his comic role in the popular 1960s sitcom 'F Troop'. Pairing him with Cushing might seem an odd choice at first but it really works. Their contrasting styles play off each other, and Tucker is perfect for the role of the ambitious Tom Friend. There's also a good supporting performance from Robert Brown, who later appeared as a caveman in Hammer's 'One Million Years BC'. Later still in the 1980s he played M in several Bond movies. The more Hammer movies I watch the more I am impressed by this legendary studio. "Hammer House Of Horror" yes, but also so much more. 'The Abominable Snowman' is a great example of their originality and versatility.