HORROR EXPRESS: DOES ARROW HIT THE TARGET WITH REMASTERED BLU RAY

'HORROR EXPRESS' is not unlike a 57 variety soup all in one tin. Explain? Many moons ago when a full time student and living in an abode that could have easily have fallen off the cinema screen during a showing of 'Withnail', the day would eventually arrive when the cupboard was bare for all us seven 'vegetarian' students, bare of all atrractive and palatable nash nosh, and every bean, pluse, rice and dried vegtable would be boiled up in the contents of what we called, 'TSOATP' or 'THE SOUP OF A THOUSAND PLOTS' . .  most of us being media students, we compared each content to that of a movie plot line. 

THE POINT IS, where as most films have one, 'EXPRESS' has not only one plot, but several. Just as the film feels like it's following one direction, it throws in, another.. and another! There are lots of great ideas in this low budget Spanish horror, and each one has made it into the plot. It's not that it damages the film, far from it, it's these winds and bends that makes it very entertaining and never dull. If you are a Peter Cushing or Christopher Lee fan, you won't be a stranger to this film, if you have never seen the movie, I ain't going to add a damaging and de-railing SPOILER, that would no doubt ruin what is going to be for you, quite a unique 84 minute Cushing / Lee experience! But if you DO want more on the film, along with a gallery and plot, HERE IS THE PCAS FEATURE WITH ALL THAT AND MORE!

 

HERE IS THE NEWS: ARROW FILMS has a pulled off a very impressive transfer of 'Horror Express' and if you are a collector who has specific tastes to 'the lightness, the darkness, the contrast' of your purchases, I'll let you chew this one over, on your own. But for me personally, the picture quality looks very good indeed and WAY surpasses any other copy of the film I own from past purchases. This release has been restored to a very clear, clean and crisp 2K version from its original 35mm camera negative, and sits comfortably in its original 1.66:1 aspect ratio, plus the team at Arrow have carefully incorporated an additional 35mm interpositive element for the fifth reel, an appreciated and typical attention to detail that you would expect from Arrow!

IF YOU TOO own previous releases of 'EXPRESS' on dvd or blu ray, you'll notice, that the colours through out look natural, with no surprise out of step and colour continuity, of costumes and HAIR colours! As with many films of this era and budget, you would expect an element of grain, but this is pretty much levelled out and never looks really course, as it has on some version releases of the film. Shadows look very much like the quality of the Warner Brothers 'Dracula AD and Satanic Rites' remastered prints, it presents more refined detail than before, which is exactely what is needed for a film that gives us many scenes in the dark or shadows. Blacks are neither blotchy, have that annoying moving pixels element or are so dark you see nothing. Someone has taken great time and effort, to level out contrasts, to an even and impressive picture through out. 

HAVING WATCHED many releases of 'HORROR EXPRESS' over the years I am very very happy to tell you that, THIS remaster has nothing in the way of annoying drop outs and hisses. All of the my previous released versions, watched many times over the years, contained so many 'clicks, thuds and drops' that became almost like expected solo pieces of dialogue from unseen extra characters or old friends.... that even turned up like regular co stars in a tv soap, from one releaase to another! Thankfully, they are absent from Arrows remaster, which DOES come with optional subtitles in English SDH.  

ARROWS AUDIO is presented on an English mono LPCM track. There is one short piece of very minor distortion, see if you can spot it! This element I believe was damage caused during the dubbing of the film during production. For a mono soundtrack, from this age, the sound effects are good, dated but as good as Christopher Lee's DRACULA slamming a wooden door in the iconic 58' Hammer film.

THE SUPPLEMENTARY AND THESE DAYS EXPECTED EXTRAS for the Arrow films remaster include the compulsory audio commentary, this very enteraining and detailed yak track comes from  authors Stephen Jones and Kim Newman; there is also for those who want a little Fangoria stamp of approval in a optional 7-minute introduction to the film from Fangoria’s Chris Alexander; Ticket to Die, another 9-minute appreciation of the film by Steve Haberman; there's another chorus of approval, but with more weight from Night Train to Nowhere, which is a 15-minute appreciation of the film, but this time from producer Bernard Gordon by filmmaker Ted Newsom; Murder on the Trans-Siberian Express, a vintage 14-minute interview with director Eugenio Martin is probably the best of the bunch with BTS pics and stories of the cast and set; Notes From the Blacklist, a vintage 31-minute interview from 2005 with producer Bernard Gordon; Telly and Me, a vintage 8-minute interview with composer John Cacavas; the original theatrical trailer in HD; and a 32-page insert booklet with the essays Horror Express by Adam Scovell and Riding the Horror Express by Mike Hodges, as well as restoration. A rich bag of pickings, where Arrow has dug to find anything, that tries to make up for the problem that most releases face these days . . . little or no contribution material from Christopher Lee and nothing from Peter Cushing. I am sure any forum chats about this release will be littered with comparisons of the SEVERIN dvd and blu ray release.

IF FOR YEARS, YOU'VE BEEN stuck with a duff and sub-standard version of 'HORROR EXPRESS' buy your ticket and grab your copy now, of an exception remastering of a Cushing and Lee classic. It's all here and detail-wise, you'll be having hours of fun, visually spotting elements you could never have seen or spotted before. It really can not be  denied, this film has never looked or sounded better. Arrow has technically turned a well known and fan familiar terror train trip into what is a remastered, very SOUND and VISUALLY exciting, Monster hit Roller-Coaster ride! Well done, Arrow! 

THE CUSHING DOUBLE BILLS NUMBER 2 : THE SKULL AND THE CREEPING FLESH : CALLUM MCKELVIE ON SUNDAY

BEGINNING LAST WEEK, I started a series examining three pairs of films that I felt would make ideal ‘Cushing Double-Bills’, concentrating primarily on thematic links.  Last time, I looked at Hammer's The Curse of Frankenstein (1957) and its first sequel The Revenge of Frankenstein (1958). We continue this week with a pair of films slightly less obvious than our previous selection, 1965’s The Skull and 1972’s The Creeping Flesh. Ostensibly two unrelated films (excluding the fact that both feature Cushing and Christopher Lee and are directed by Freddie Francis) our discussion this week concerns the dark thematic subtext that links both.

MADE IN 1965, The Skull is often cited as one of Cushing’s very best whilst The Creeping Flesh (despite getting a great deal of attention from fans and this page in particular) is still sadly something of an undiscovered gem. The Skull is one of Amicus’s non-portmanteau features and is based on the short story The Skull of the Marquis De Sade by Robert Bloch. A masterpiece of atmosphere, The Skull has a powerful dreamlike quality that manages to be supremely unsettling. The Creeping Flesh, on the other hand, is one of Tony Tenser’s Tigon productions and is far more visceral in its execution, with some genuinely disturbing scenes..

SO WHAT THEN IS IT, that causes me to group these two films in particular? Well to begin with both demonstrate British horror studios attempting to do something different with the Hammer mould and are incredibly experimental in nature. The Skull, as well as being a modern day piece it’s far less explicit in exactly what its threat is than Hammer tend to be, preferring  a slower, subtler build-up. Visually The Skull is particularly arresting, be it the haunting shots from the Skull’s perspective or the Kafka-esque dream sequence. Similarly the film embraces a darkness to an extent that Hammer rarely did, from the depressing ending to the character of Maitland himself.

ABOVE AND BELOW: THE KAFKA-ESQUE POV SHOTS APPEAR IN 

BOTH 'THE SKULL' AND 'THE CREEPING FLESH'

MAITLAND, whilst not unlikeable, is hardly a charmer and as an audience we are invited to look upon his morbid hobby with a critical eye. We care about him and wish him no ills but the obsessiveness that permeates his character causes us to question his gruesome pastime. 'The Creeping Flesh' on the other hand is from, arguably, the most radical British horror studio in business from the mid 60’s to mid-70’s. 

ABOVE: THE OBSESSIVE MAITLAND OF 'THE SKULL' (1965)

IT MUST BE REMEMBERED that whilst Tigon were behind the gothic pot-boiler The Blood Beast Terror (1967), they were also the studio famed for producing Michael Reeves his magnum opus, Witchfinder General (1968) and his earlier The Sorcerers (1967). Away from Reeves, Tigons output is rich with a ‘radical’ and ‘alternative’ sentiment and whilst not always successful never cease to be interesting. Curse of the Crimson Altar (1968), Neither the Sea nor the Sand (1972), The Flesh and Blood Show (1972), The Beast in the Cellar (1970) and of course Blood on Satan’s Claw (1971) are among the most innovative and experimental British horror films in this period.

ABOVE: BORIS KARLOFF AND IAN OGILVY IN TIGON FILMS 'THE SORCERERS' (1967)

ABOVE: THE EQUALLY OBSESSIVE EMMANUEL HILDER FROM THE CREEPING FLESH (1972)

THUS The Creeping Flesh similarly contains elements that go against the traditional mould. Namely, like The Skull, there are few likeable characters and our main this time, Emmanuel Hildern is equally as obsessive as Maitland. This time it is science and particularly the desire to make a great discovery, rather than collecting that absorbs him. The same can be said of his sadistic brother James (Lee), who covets his brother’s success. The film questions the nature of evil and in particular uses the Victorian scientist to do this. The usual hero of Hammer is here reverted to selfish obsessors whose desire for success and discovery makes them far more horrific, than the devil-creature that appears at the climax.

ABOVE: THE SADISTIC BROTHER JAMES, PLAYED BY CHRISTOPHER LEE IN 'THE CREEPING FLESH' (1972)

AS PERHAPS I’m already beginning to demonstrate, 'The Skull' and 'The Creeping Flesh', are without doubt two of the most sub textually rich and intelligent films that Cushing has been involved with. In both, it’s possible to feel that perhaps more than his other Gothic productions Freddie Francis is able to identify themes and motifs throughout the stories that interest him visually. Building on themes of obsession, madness is a prominent factor in both and indeed can be one of the central elements of fear that emanates from the films. In 'The Skull' we are invited to question whether Maitland is actually going insane and the nature of his haunting is a highly personal one, attacking his mind over his physical body (at least until the films climax). 

ABOVE: MAITLAND HIGHLY PERSONAL MADNESS

ONCE AGAIN in The Creeping Flesh we are invited to wonder whether our main character is indeed mad, though far more explicitly. Here the framing structure of the film has Cushing narrating his story, before at the end revealing that he is an inmate in the asylum ran by Lee. A final shot leaves us to wonder whether his story is true or not. However the theme of madness permeates the story far deeper than this, with Cushing living in fear of hereditary madness that leads him to inject his daughter with the serum grown from the remains of the skeleton.

IN SHORT, I think of all the double bills I’ll be discussing, this is easily the most personal. Whilst I love the films of Hammer these two simply blew me away with relentlessly dark tales that made comments on obsession, madness and the nature of evil. Whilst calling them Cushing’s two ‘Artsy’ horrors may sound somewhat insulting, I think it perhaps sums them up best. These films are Freddie Francis’s masterpieces and demonstrate a sub textual and visual storytelling intelligence far above and beyond any of his other horror work. Whilst Dracula has Risen from the Grave is certainly beautiful to look at and contains interesting commentary on religion, it’s not as rich or as subtle as these two films. 

IT'S A REAL SHAME that whilst The Skull has r been given a superb Blu-ray treatment, The Creeping Flesh is neglected to a mill-creek triple feature. One lives in hope that boutique label along the lines of Arrow will recognise the merit in the film and surprise us with a brand new HD transfer and a wealth of features. If you’re looking for two of Cushing’s darker, less comfortable films then these make the perfect double bill.

THE BEST OF A DOUBLE? CASTING AND FILMS, CUSHING AND LEE IN 'THE SKULL' (1965) AND 'THE CREEPING FLESH' (1972)

OH AND THEY BOTH feature skulls. Just saying. Join me NEXT SUNDAY, for another classic DOUBLE BILL!

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THE FILMS OF PETER CUSHING AVAILABLE ON BLU RAY AND THOSE TO COME....

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