La Maison ensorcelée

This routine horror film has something of a maligned reputation (Christopher Lee himself refers to it as being "dreadful" in the accompanying interview), but the remarkable credits involved - stars Boris Karloff, Lee, Barbara Steele, Michael Gough and Rupert Davies, director Sewell and cameraman John Coquillon - and the familiar plot elements involving witchcraft make the concoction quite irresistible.

The stars are generally well cast: Karloff is given a great entrance and his character is amusingly acerbic, particularly with regards to bland leading man Mark Eden; Lee basically repeats his role - though here is given greater screen-time - from the superior black-and-white classic THE CITY OF THE DEAD (1960); Steele (in another of her long line of witches!) only appears in various characters' hallucinations - but this, and the fact that she's painted green all over and saddled with a silly horned head-dress, in no way undermines her peculiar beauty and commanding presence; Gough, however, is wasted as a vaguely sinister yet dim-witted manservant; Davies, too, is underused in an all-too-typical vicar role (though his belated involvement does bring about Lee's come-uppance); Virginia Wetherell isn't bad as Lee's niece, who's unaware of his secret lifestyle (despite herself having a predilection for throwing wild parties in their mansion, giving rise to some hilariously dated grooviness!), endangers her own life by falling for Eden practically at first sight (thus incurring Lee's wrath) and even appears briefly in the nude (this was her film debut!). There's nothing remotely memorable about the film (except, maybe, some of its imagery in the scenes where Steele shows up or, rather, is manifested) and can only be seen as a major disappointment given the enormous talent on hand - though the main culprit has to be its lazy scripting, since all the stars have treaded this path too many times before!

Lee's interview about Karloff is one of his most interesting and affectionate: I was surprised to learn that he considered SON OF FRANKENSTEIN (1939) the best of Karloff's three stabs at the role of The Creature (though I adore the film myself), but he also erroneously mentioned that Karloff and Bela Lugosi had made a film called "Pit And The Pendulum" (which the interviewer - who I assume to be Marcus Hearn - didn't correct...but, then, nor could he help Lee when the latter asked whether the Karloff vehicle in which the actor played twins was called THE BLACK ROOM [1935]!; in this regard, I have to say that I'm irked no end every time an interviewer shows up without having done any preparation about his subject!!). It's also disappointing, to us genre fans, that the great horror stars never discussed their work amongst themselves (at least, according to Lee), as it would have been awesome to know just what they felt about it - and themselves for doing such films!

The DVD quality is on a par with the two recent DD Video releases I watched - ISLAND OF TERROR (1966) and NIGHT OF THE BIG HEAT (1967) - and, like the former, has been trimmed slightly for this edition! Having watched all of them now, I'm almost sorry that I didn't pick up DD Video's THE BLOOD-BEAST TERROR (1967) and THE DEVIL'S MEN (1975) as well...and even more that I didn't order their SE of THE CREEPING FLESH (1972) earlier, since I've never watched it and is now practically impossible to find in this guise - having unceremoniously gone out-of-print!!

This movie is disappointing for numerous reasons. It's a disappointing entry within its genre, that besides is a waste of its impressive cast.

This is a late British horror movie, of the more old fashioned sort. The sort of horror that started off during the '50's and got made big by mostly the Hammer studios. The sort of horror that is not always too well written and not with the most impressive sets or budget behind it but horror with an always great atmosphere and distinctive style to it, which often made them a true pleasure to watch.

You could tell that the era was nearing its end and was more or less over already. This movie is more consistent with other British horror movies from the late '60's, which often focused on the far more psychological horror aspects, rather than old school gore and scares. It's something you could more refer to as Gothic horror. Boris Karloff actually played in quite a lot of movies like this, near the end of his career.

And this movie actually was one of last ones. He died one year after the release of it and it was also quite sad to see how he had to play his role entirely in a wheelchair because of his declining health. Still he is one of the highlights of the movie. Not too many people know it but Karloff was actually one fine, great actor, who was capable of way more than just playing the Frankenstein monster.

Of course it was also great to see him act along sides other great horror icons, such as Christopher Lee, Barbara Steele and Michael Gough. But it's not like their roles are that great really. The story is also not very consistent with any of its characters. Sometimes they disappear out of the story completely for a too long time.

And here is one of the biggest problems of the movie; its story. It's a quite messy one really, that besides is lacking in some real good tension or mystery. The movie remains barely interesting enough to keep watching, which is still mostly thanks to its compelling actors, who still of course have some great screen presence. And the real horror lover will of course still get a kick out of it, seeing the likes of Boris Karloff and Christopher Lee interacting and doing a scene together. This alone should be reason enough for them to go and watch this movie.

However let me just warn you by saying that the movie itself isn't much good really.

5/10

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An underrated slice of late Sixties horror/psychedelia. It was filmed in 1968 and reminded me somewhat of The Dunwich Horror which was made around the same time and similarly attempted to update Lovecraft with setpieces inspired by the drug culture and the Summer of Love. The difference with the Crimson Cult is that it was filmed in England with a stellar cast who can actually act, unlike poor fish-out-of-water Miss Sandra Dee in Dunwich. It is a treat to see Boris Karloff and Christopher Lee trading pleasantries in their scenes. Michael Gough extracts the maximum from his small role as a pitifully unhinged factotum. Barbara Steele exudes a grandly Gothic malevolence in her scenes as Lavinia. She is probably the single most memorable presence in the film and whatever power it possesses is largely thanks to her. (Great costume, too!) The dungeon sequences are probably the best though my favorite moment in the film occurs when the innocent young man asks Karloff's sinister professor "What do you collect?" and with a friendly grin Karloff replies, "Instruments of torture!" Marvelous moment.

This movie is ridiculously difficult to find. After years of searching I located a bootlegged videotape which is in terrible condition--grainy and the colors which should be vividly over-the-top are quite washed out. Also the print lacks the original score which was quite nifty as I recall from seeing it on American television in the early 70s. There is supposed to be a laser disc version from the early 90s. It would be great if a patron who owns this would do a review of that.

Robert Manning (Mark Eden) searches for his vanished brother in a rural English village, where he is entangled in the legend of Lavinia (Barbara Steele), a witch killed 300 years ago. Lavinia's heir, J. D. Morley (Christopher Lee), wants revenge on anyone related to her killers, such as Robert. Robert romances Morley's niece, Eve, and is aided by occult expert Prof. Marsh (Boris Karloff), but it is up to him to repel Morley's evil designs.

Boris Karloff became ill with pneumonia while shooting this project in the freezing rain. It was his last British feature, begun January 22 1968, and he would recover enough to shoot four Mexican features in May 1968, his final screen work. Barbara Steele is always a treat, and she is especially interesting with green skin and a large, feathery hat (if you can call that a hat).

Loosely based off of H. P. Lovecraft's "Dreams in the Witch House", how does it stack up to the Stuart Gordon version forty years later? Honestly, you cannot even compare them. If there is a connection, it is very limited. There is a witch, there are dreams, but the two films are worlds apart.

Howard Maxford calls the film "dated and somewhat slow", having "a better cast than it deserves". How a film that runs only 87 minutes can be slow is a legitimate question. Ivan Butler also feels the film falls short, saying the "promise of a combination of Lee, Karloff and Barbara Steele is not fulfilled". These are fair assessments.

I recommend the film for the cast and the awesome organ track that opens the film. Beyond that, it is hit and miss and you could skip it.

The cast were the source of interest for Curse of the Crimson Altar in the first place. The film though doesn't see any of the cast at their best and doesn't do them justice. That said Curse of the Crimson Altar is far from terrible. The cinematography and settings are appropriately eerie, and the music gives a real sense of creepiness. Three members of the cast shine. Boris Karloff is even when ill and late in his career commanding and acerbic. Christopher Lee is similarly wonderful and has a character that suits him to a tee. And Barbara Steele is wonderfully wacky and sensual, her costume and make-up are a knockout. Mark Eden however is a monotonously bland lead, and Virginia Weatherell while very pretty is lacking in charisma too. Michael Gough does deserve credit for doing shifty so convincingly, sadly he's woefully underused, and that's pretty much the same with Rupert Davies. While the film doesn't look so bad visually, the special effects do look rather cheap. The script is a complete muddle, it has some amusing lines from Karloff but too much of it is cheesy and severely underwritten. The story drags quite badly and even for a short running time feels on the thin side, complete with an ending that is both under-explained and dramatically undercooked. The dream sequences did come across as hilariously weird too, and the direction is rather flat and doesn't do anything to make the film less dull and muddled. Overall, not a terrible film but a strange one, somewhat difficult to rate this time around. 5/10 Bethany Cox