User reviews

This film's idea of a reviving ancient flesh when in contact with water is truly original, its sordid atmosphere is very well achieved and Peter Cushing and Cristopher Lee's presence give it a sort of category in the genre. In fact, when Cushing arrives back in England with a strange scary huge skeleton from New Guinea and you learn that water could bring it back to life you have the feeling you'll watch a most interesting horror picture focused mainly in that strange fact.

But then other story appears about Cushing's insane wife's death and their daughter's obsession with her mother that turns into a parallel plot. And that's when "The Creeping Flesh" looses quality and sense -in its genre of course- and things start to mix up badly; there is also a mad killer at large (not frightening at all). What I mean is that so many different topics -unrelated between them- is too much for just one film, and the final outcome is not a good product. Besides, the special effects of the Papuan monster came to life are poor, even for 1973.

Perhaps a better product would have come out if the film had stayed with just the archaelogical evil creature, but it seems the writers couldn't find a way to develop the subject and make a full script out of it.

The picture has some good moments, but in my opinion it is just for Cushing and Lee's fans and no more than that.

A scientific, Peter Cushing, decides he can cure evil by injecting with a serum derived from the blood of an ancient corpse that he got from a discovery in Papua New Guinea . As Cushing has at his lab the remains of a giant prehistoric to administer an anti-evil serum with perhaps incredible results . As when the body is exposed to water, flesh returns to the bones with horrible consequences. Meanwhile, Cushing has a skeleton in the cupboard, as his insane wife is interned at a mental institute run by the stiff mad doctor Christopher Lee.

Some truly eerie and chilling moments will get you flesh creeping. As a palentologist bag of bones from a Papua New Guinea giant, which develops new flesh when water drops on him , unleashing a string of distresses and terror when he is brought to life, adding an inevitable and surprising final denouement. Well paced film including a complicated storyline , never flashy , its true secret lies in the peculiar style, knitting together with considerable skill . It has enough flair play to keep us pondering its latent inconveniences and absurdities. Stars two great myths of terror cinema, Peter Cushing who gives his customary cultured acting looks even better in an interesting screenplay and, of course, Christopher Lee , though the latter has a secondary performance as an Asylum director. And Lona Heilbron is nice as the repressive daughter to whom Cushing administers an anti-evil serum with amazing consequences . Support cast is acceptable such as the regular Duncan Lamont as a Police Inspector, George Benson, Kenneth J Warren and brief cameo by Michael Ripper, as usual .

Well financed by Michael Redbourn and Tigon production that very much attempts to return in style and class to the early Hammer movies .The motion picture was professionally directed by Freddie Francis. He was a Horror expert making a lot of titles, such as The doctor and the devils, The ghoul, Legend of the werewolf, Dark Tower, Craze, Tales that witness madness, Tales from the crypt, The vampire happening, Dracula has rising from the grave, They came from beyond space, Torture garden, Dr Terror's house of horrors, The skull, The evil of Frankenstein , Hysteria, Day of the Triffids, The brain, and Paranoic. Besides, he was a prestigious cameraman , such as The straight story , Princess Caraboo, Cape fear, Glory, Her alibi, Dune, The elephant man, The innocents , The French lieutenant's woman , Brenda Starr , Saturday night and Sunday morning, Room at the top, The battle of the sexes, Time without pity, among others. Rating : acceptable and passable 6/10.

How can this image possibly be bad? Peter Cushing (star and protagonist of an endless list of horror classics) as a dedicated scientist on the verge of unraveling an entirely new evolution theory in which the existence of evil plays a crucial role. And Christopher Lee (once again, star and protagonist of an endless list of horror classics) as the over-ambitious president of an asylum, trying to steel Cushing's ideas to add them to his book about ‘the origin of insanity'. These actors, along with their character's vicious professions pretty much guarantee a dazzling horror premise already. If you then add a tight gothic atmosphere, overall decent special effects and loads of emotional intrigues, you've got yourself an authentic British horror highlight! And The Creeping Flesh isn't even a Hammer production! Responsible for this film is Tigon Productions, who also brought us overlooked milestones such as `The Witchfinder General' and `Blood on Satan's Claw'. Cushing's character (Dr. Hildern) is the discoverer of an ancient skeleton that might carry the secret of evil! When exposed to water, flesh immediately grows on the creature. Hildern develops an anti-evil vaccine, but has to use this same antidote on his lovely daughter Penelope when she finds out her beloved mother spend years in an asylum when she thought she was actually deceased already. Asylum keeper Lee – who's also Dr. Hildern's half brother – takes notice of the bizarre events going on in the Dr.'s mansion and hires somebody to steal the skeleton to increase his own success as an authority in the field of mental illnesses.

The only negative comment you could give on this film is that it actually contains TOO much ideas and horrific aspects. Regretfully, this sometimes results in underdeveloped plot-twists and a lack of continuity. There are enough horror-elements in The Creeping Flesh to fill 3 movies, really! But, despite these little flaws, this is one of the purest and most entertaining Cushing/Lee collaborations, brilliantly directed by the talented Freddie Francis (`Torture Garden', `Tales from the Crypt…) The main actors, as well as the stunning Lorna Heilbron, are a joy to observe and the film is pretty darn suspenseful, too. All in one, a must see for the true horror fans.

Throw in Peter Cushing, Christopher Lee, Hammer director Freddie Francis, a wonderful story about the found remains of a giant beast, gothic, Victorian sets and costumes, an eerie score, a wonderfully ironic and unexpected ending, and the philosophical question about the nature of evil...and you have The Creeping Flesh, and one HELL of a good film! The cast is superb, and this is probably one Of Cushing's best roles in the 70s as a good-natured, yet-determined anthropologist seeking to rid humanity of evil through the aid of some giant skeletal remains found in New Guinea that fleshes out with water contact. The plot is interesting...and complex...and a bit like Swiss Cheese...yet it is great fun in the hands of Francis(underrated as a director in my humble opinion!) Lee is as ever cold and austere and a joy to behold. The rest of the cast is quite good. The sets are lavish and the costumes very Victorian. The skeleton itself is most impressive! A wonderful way to spend the evening and a wonderful ending for the viewer unawares!

Although "The Creeping Flesh" (1973) is not technically a Hammer film, it was made by a rival British company with Hammer alumni Christopher Lee, Peter Cushing and director Freddie Francis.

Lee and Cushing play two rival half-brothers; Lee runs a mental asylum and Cushing is a scientist trying to cure humanity of evil and insanity. Lee, it turns out, is also trying to find the same cure by experimenting on the lunatics in his asylum.

Cushing is driven by the insanity and recent death of his wife. He is so paranoid about the "infection" of evil and madness that he overprotects his daughter.

He discovers an 8-foot tall diabolical skeleton on one of his expeditions in New Guinea and becomes convinced that evil itself is somehow linked to this figure. He discovers that the skeleton strangely acquires flesh/blood when it gets wet. He subsequently develops a "vaccination" from the blood to supposedly give people immunization from evil and insanity, which he then administers to his daughter (!).

As you can see, the plot is highly creative, if nothing else. Numerous issues are touched on in the storyline, including:

The origin of evil and insanity. Sibling rivalry. The consequences of overprotection. Is evil and madness a disease for which a person can be vaccinated? The (lack of) ethics of "scientists." An escaped lunatic running amok. Having a carnal celebration after years of repression. The 19th century English pub scene (alcohol, whores and brawls). An 8-foot creeping horror.

Some would contend that "The Creeping Flesh" bites off more than it can chew (especially at only 95 minutes). Yet, I would say that it addresses all of these items very well. I should also point out that it's not hard to follow, as another reviewer argues.

Two parts of the film are very well done: First, when Cushing's daughter, Lorna Hailbron, finally escapes her father's overprotective clutches and attempts to "paint the town red" (naturally). Lorna does an exquisite job portraying the daughter in both her initial naive, modest state and, later, in her wild first-time-party-girl condition.

Second, when the skeleton finally comes to life after acquiring all its flesh. You can see it lurking in the moonlight with a hood and cowl. This creepy image brought to memory artist depictions of the Flatwoods monster that supposedly appeared near that West Virginia village in September 1952.

Interestingly, "The Creeping Flesh" has many similarities to "Horror Express," another Hammeresque film made the very same year. Each film stars Lee and Cushing; each features an ancient recently-discovered artifact that emanates evil (a skeleton and a frozen neanderthal respectively); each features numerous shots of people analyzing "evil" blood samples through a microscope. I like both films about equally, but give the slight edge to "The Creeping Flesh."

Don't hesitate to check out "The Creeping Flesh" if this sounds like your cup of java.

GRADE: B+

I want to start off by saying that I thoroughly enjoy most of Freddie Francis' films, especially those he made with Hammer. But...I was expecting so much more from THE CREEPING FLESH. With the recent passing of Christopher Lee (RIP), I wanted to go back and re-watch his films that I loved and also to find some that I hadn't previously viewed. So I stumbled upon THE CREEPING FLESH and immediately sought it out. Maybe my expectations were too high going in, but I was a bit let down. As I said, I really like Freddie Francis. I also love Christopher Lee and Peter Cushing. So it was a no-brainer that I would like this film. And I did like it...just not as much as I thought I would going in to it.

The Victorian age set pieces were fantastic. The subject matter of the story (though not scientifically accurate) was interesting. The acting was great. The atmosphere was pretty good. It was the lack of the horror element that I was expecting and it just didn't seem to show up until the final 15 minutes or so of the film. When it did show up it was great. I just wish the movie would have used it sooner.

I also disagree with the many people who feel THE CREEPING FLESH is Freddie Francis' best film. TORTURE GARDEN, TALES FROM THE CRYPT, LEGEND OF THE WEREWOLF and maybe even THE DAY OF THE TRIFFIDS and THE SKULL were all better in my opinion. I especially loved LEGEND OF THE WEREWOLF...but I am partial to werewolves.

All in all, THE CREEPING FLESH is a good movie worth watching, especially if you are a Christopher Lee or Peter Cushing fan (or a fan of Hammer films even though this is not a Hammer production). It's a good, solid 6 out of 10.

In the late 19th century, scientist Emmanuel Hildern (Peter Cushing) returns home to London with a prehistoric skeleton that he acquired in Papua New Guinea. While cleaning the skeleton, he learns that water triggers a horrific reaction - reanimation. He slices off the finger, now covered in flesh, and preserves it for later experiments.

While having breakfast with his daughter, Penelope (the breathtaking Lorna Heilbron), Emmanuel reads a letter informing him of his wife's death. Unbeknowst to Penelope, her mother has been in an insane asylum since she was a little girl. Fearful that his wife's mental illness may be hereditary, Emmanuel has sheltered his daughter at their estate with only the servants to keep her company. She's not allowed outside, except for short walks within the gated premises.

Emmanuel travels to the institution where his wife died. He meets up with his half-brother, James (Christopher Lee), who happens to be the insane asylum's director and a competing scientist. Emmanuel was always the favorite of the two siblings, the one destined to achieve greatness, so it's with great pleasure that James tells him that he is in the running for the prestigious Richter Award. In addition, he will no longer fund Emmanuel's transcontinental trips.

I'm not familiar with most horror predating 1980. I rate this somewhere between 60%-70% (about a 6.5/10). I've never watched a movie, horror or other genre, with so much anticipation and dread for what may come. The climax is truly a frightening one. The suspense is nail-biting! Lee and Cushing are great but it's the beautiful Heilbron who steals the show. I want to watch more films she stars in.

I recommend this to horror fans who want to explore the classics. No gore, torture, or loud music cues to instill a false sense of fear. I liked it!

Peter Cushing gives an effective, sympathetic performance as a slightly loony but basically well-intentioned scientist, and he shares some (too few!) amusing screen moments with another horror icon, Christopher Lee. Unfortunately, this beautifully produced and promising horror film is otherwise disappointing, undermined by a severe lack of scares (until the final 5 minutes, the most intense scene is a rape attempt) and a disconnected, rambling script. After reading all the positive reviews, I expected a lot more out of this film. (**)

"The Creeping Flesh" is a neat idea for a movie: a doctor brings home a skeleton that grows flesh when exposed to water. That probably could have been the plot of a 1950s B movie. Unfortunately, this movie meanders way too much. A large portion of it focuses on the daughter's descent into madness, and we have to wait a really long time before the skeleton does its stuff. Maybe one has to see it more than once to appreciate the movie as a whole sufficiently.

Other than that, Peter Cushing and Christopher Lee are great in their roles (as can be expected). Even so, I prefer Freddie Francis's movies that stick entirely to their plots. As it was, the end of this one reminded me of the end of Philip Kaufman's "Quills".

I saw this movie as part of a Peter Cushing DVD box. I did not really expect much but was pleasantly surprised. The special effects, which always are a bit cheesy in the Hammer films, was really very good, but it was the themes covered in this movie really impressed me. The desire to eradicate evil in the world and to create a kind of paradise only to see these great ambitions fail was great. The second theme, were Christopher Lee tries to find the scientific basis for insanity to find a cure for it, slowly connects to the story line of Peter Cushings research. The ambiance of the movie is very Gothic and illustrates nicely the futile human endeavor to create a paradise. The evil is a part of us and will always remain so. It is also far from the all to common American moralizing horror movies which tend to focus on the perils on pre-marital sex, e.g., "Friday the 13th".

For those of you who are a bit unsure about the horror genre I would say that this is a great introduction for it is a) a very good movie b) a nice intellectual exercise (!) and c) it stars Peter Cushing and Christopher Lee in one of their best performances. Even giving this movie a 10 feels a bit unsatisfactory since I would like to give it more just to show my appreciation of it.

British horror icons Peter Cushing and Christopher Lee co-star in this fascinating bit of Victorian pseudo-scientific nonsense which will have you entertained until the very last scene. The bad news is that they share very little on screen time, in fact there isn't all that much Lee content at all. But that is my only gripe about this terrific horror thriller. If you want to see the two REALLY co-star go to their many Hammer classics or the brilliant 'Horror Express' from around the same period as this. Cushing plays a familiar role, Hildern, a scientist with good intentions who meddles with something he shouldn't have. He shares a home with his adult daughter, the sweet and innocent Penelope. She believes that her mother died many years before not realizing the truth, that she was a fun loving floozie who flipped out and spent many years in an asylum, run by Cushing's ambitious half-brother James (Lee). Hildern returns from an expedition from New Guinea with a mysterious skeleton of a giant creature which he believes predates man. On his arrival home he is greeted with the news that his insane wife has finally died. He still hides this knowledge from his daughter, fearing for her own mental well being. Hildern and his assistant experiment on the skeleton and he believes that it can unlock the secret of evil, which he theorizes can be innoculated against. When a hysterical Penelope finally stumbles across the truth about her mother, Hildern, with the best of intentions, tries the experimental anti-evil vaccine on her. This proves to have disastrous results, and matters are further complicated when James, who both envies and resents his more respected brother, gets wind of what is going on and plans to steal the skeleton for his own research. If you take all the "science" in this movie with a pinch of salt you'll find it to be one of the most enjoyable horror movies Cushing and Lee were ever involved in. A most underrated movie, highly recommended to all fans of late 60s/early 70s British horror.

Scientist Peter Cushing digs up an ancient skeleton that's pure evil or something. When you pour water on the bones, flesh grows. So don't do that. Anyway, this is all weird and interesting enough but then there's a huge chunk of the movie dealing with Cushing's daughter who he is overprotective of because he doesn't want her to turn out like her mom, who died in an asylum. This stuff is a lot less fun. Christopher Lee plays Cushing's brother. He runs the asylum and he's got a subplot about an escaped inmate. All of these plot threads eventually meet but I can't say they do so satisfactorily.

It's a decent British horror movie with two top stars and a good director in Freddie Francis. The problem is it's got too much going on and it devotes more time to the uninteresting stuff than the skeleton business. Now, the ending is cute and perhaps lines the meandering plot up a bit but it doesn't fix everything. You're still left feeling like you didn't get as much of the "creeping flesh" aspect of the movie as you might have expected.

The presence of English horror icons Lee and Cushing cannot save The Creeping Flesh from being one of Tigon Productions least effective horror efforts, the film's major weakness being its silly, plodding Gothic plot—a creaky, cliché-ridden mess that clumsily handles its theology versus science central theme, regularly defying logic and positing numerous preposterous theories as it progresses.

Cushing plays scientist Emmanuel Hildern, who returns from his three year expedition in New Guinea with the skeleton of a giant humanoid creature that predates the earliest known examples of man. After water is accidentally spilt on the skeleton's hand, Hildern is amazed to see flesh forming on the bone; he severs the now living finger from the rest of the skeleton, and proceeds to study the creature's blood.

Under the microscope, Hildern witnesses the being's blood cells attacking his own and comes to the incredible conclusion that, not only was the creature the origin of all evil, but also that he might be able to create a serum from the creature's blood that could inoculate humans from evil itself!!! But as bonkers as that sounds, it nowhere near as daft as what he does next: inject his daughter Penelope with the serum because he believes it will prevent her from going the same way as her clinically insane mother.

Rather ironically, the unwitting test subject goes psychotic as a result of the injection, and after going on a hedonistic killing spree, winds up at the very same asylum that was home to her mother, and which is rather coincidentally run by her Uncle James (Lee). When blood tests on Penelope yield some unusual results, James becomes very intrigued about his brother's experiments, and eventually attempts to steal his scientific specimen, unwisely choosing a stormy night to do so and unleashing pure evil on Earth in the process!

Director Freddie Francis admirably handles this nonsense without taking the easy tongue-in-cheek option and even manages to conjure up quite a chilling atmosphere, but the pacing of his film is dreadfully slow and with the 'creeping terror' itself only making a fleeting appearance towards the very end, genuine scares are in short supply. A rather clever twist ends the film on a high note, but one cannot help but feel disappointed when considering the film's stars and the studio's horror pedigree (Tigon also gave us Witchfinder General, Blood on Satan's Claw and Virgin Witch, all of which are much more enjoyable).

Kindly, absent-minded professor Emmanuel Hildren (Peter Cushing) brings home the skeleton of what he thinks was a prehistoric man. His evil brother James (Christopher Lee) runs an asylum. Things get complicated but by the end of the movie there are two maniacs and a monster running around loose!

This is a slow but OK horror movie. The script is kind of silly. Most of the first hour is all talk and the revelation of what the skeleton really is is absolutely ridiculous--but Cushing manages to put it through. It's more of an old-fashioned horror movie than the blood and gore movies Hammer was putting out at the same time. The rating is PG and there are only two bloody (but tame) throat slashings. Also the look you get of the monster actually made me jump. I loved it the first time I saw it on TV (edited) back in the early 1980s but, unfortunately, it doesn't hold up on a second viewing. The plot was a whopper. I could handle it the first time but the second time around I thought it was just dumb.

Good acting all around helps. Cushing and Lee (playing brothers!) are just great--but I think those two were incapable of giving a bad performance. Lorna Heilbron was also good as Cushing'd daughter Penelope. She has do a complete turnabout with her character halfway through the movie and she pulls it off.

Worth seeing for horror fans--especially people who like old-fashioned ones.

So much potential for a great monster amok movie but it is all wasted on a boring and trite insanity/daughter tainted by evil story. I went in expecting the giant skeleton to reanimate and strangle some villagers because it is the epicenter of the evil but the story takes a ridiculous detour.

Quality performances by the entire cast but so much good material is squandered. Another thing that bothered me was the incredibly cheap looking skeleton, it looks like it was fashioned outta General Mills' Frankenberry marshmallows.

There is a sequence where the gelatinous flesh reforms onto the marshmallow middle finger, this was spectacular and must have been painstaking to pull off, maybe the budget for the effects props was used up on that stop motion sequence.

Tigon was one of the top English Horror film producers of it's era. This, I believe was their last horror film release. It is well produced, acted, directed,scored and pretty much top drawer in all departments especially at a time when the horror boom had peaked and production qualities were slipping. The plot is Lovecraft like in terms of it revolving around previous race being discovered and evil being considered as a scientific problem not a religious one. One of the best things about the script is that the back stories of the characters all figure into the monster story as it evolves in clever and even kind of meaningful ways. Lee and Cushing are both in good form here as is the uneven director Freddie Francis who shows enough horror to make it work without showing too much to give away the limits of his budget. He knows when to move the camera, when to cut, etc. The monster is memorable as is the music score. Lots of fun, this film, but not in a stupid way. The recent DVD release is no frills but features a good looking and sounding version of the film. If you like British period horror films and HP LOVECRAFT definitely find and enjoy this well made and very well written film.

A horrific skeleton discovered in the jungles of Borneo is on its way back to England in the company of Professor Emmanuel Hildern. Believing it to be the 'missing link', Hildern begins to research the history of the ancient bones and uncovers a portentous legend which speaks of an 'eldrich evil which will be resurrected when the gods shall weep....'

The origin of evil and insanity, Sibling rivalry, the consequences of keeping secrets, is evil and madness a disease for which a person can be vaccinated?, unethical "scientists." and madness is all addressed in this creative, yet confusing horror-thriller, which can be over ambitious at times. Perhaps if it had focused on the creature and it running amok killing people, it would've been better. There's too many ideas thrown around in 95 minutes. But it's engrossing enough and features great performances by all, especially Peter Cushing, who really gives it his all.