CALLUM MCKELVIE: PART ONE OF DOUBLE FEATURE ON SCI FI AND HORROR : ISLANDS OF TERROR AND HEAT!

WHEN ONE THINKS OF PETER CUSHING'S  Science Fiction output, what usually springs to mind? Star Wars and the two Dr Who movies are the most obvious candidates. Aside from that the choices are somewhat limited. Horror Express (1973) and Biggles (1986) contain ostensibly science fiction elements (the monster being an alien in Express and the time travel plot in Biggles) but their feet are firmly rooted in other genres. Scream and Scream Again (1969) is another obvious candidate but sadly it has to be the film in which Cushing is the MOST wasted, barely appearing at all. 

THAT LEAVE JUST The Abominable Snowman (1957) and the films involved in this two-part feature; Island of Terror and Night of the Big Heat. This last pair are not only a sample of Cushing’s relatively small science-fiction output, their also two of famed Hammer Director, Terrence Fisher's four contributions to the genre (along with Four Sided Triangle (1953) and The Earth Dies Screaming (1964).

BOTH FILMS WERE MADE by the short-lived ‘Planet Films’ and share many of the same cast and crew. Both also belong to that curious, somewhat forgotten form of British sci-fi, pioneered by the likes of John Wyndham and Nigel Kneale. Namely, they feature small isolated intrinsically ‘British’ communities menaced by mysterious creatures. Night in particular sees much of its action take place in the local pub, a well-worn trend in British Science-Fiction films. However they’ll be more on that film next week, this time I’m tackling it’s predecessor- Island of Terror.

THE PLOT INVOLVES a cancer research establishment off the coast of Ireland where the locals are turning up dead. With the local Doctor having very little idea as to what is causing the mysterious deaths, enter Dr Brian Stanley (Peter Cushing), Dr David West (Edward Judd) and the wealthy jet-setter Toni Maerill (Carole Gray). The Scientists soon discover that creatures they dub ‘Silicates’ are loose on the island, created accidentally by the experiments. Bone sucking creatures, they multiply at an alarming rate and soon endanger the entirety of the Islands population…

OF COURSE THERE IS ONE MAJOR difference between the two films. Namely Cushing’s role. In Island of Terror, he’s an integral part of the film and one of the three main characters. Not only that but his character is given some genuinely interesting moments, for example a hero loosing his hand (or receiving any other sort of lasting damage) isn’t something we really see in a Cushing film. However, it defiantly works here and manages to ramp the tension up significantly, after all if one of our three leads can have his hand chopped off, why can’t one (or all of them) die? It’s an interesting tactic and Fisher doesn’t shy away from showing the whole thing. The effect might be a little cheesy, but the intent is there and it still works as a shocking moment. 

IN HEAT, CUSHING is given a substantially smaller role and essentially plays a victim- an interesting position to see him in at this point in his career. His character is friendly and affable, but that’s all. Cushing lays on the charm HARD and it certainly works when he reaches his demise, a scene which is easily the highlight of the film and one that is thick with tension throughout. However it’s clear which role is superior and it’s a shame the Planet Films team didn’t consider a direct follow up, re-using the character of Dr Stanley.

 

THE SILICATES THEMSELVES ARE . . . oddly effective. For the first portion of the film Fisher decides, wisely, to keep them off the screen. This builds the feeling of a menace that can be anywhere and strike at any time. Wonderfully, this isn’t just atmosphere for atmosphere’s sake and is actually used to provide genuine shocks (for example the aforementioned sequence involving Cushing's hand) when one appears out of nowhere. 

WHEN THEY ARE EVENTUALLY REVEALED When they are eventually revealed, the design is one that despite it’s cheapness, works wonderfully to compliment the films visual style and has a unique charm about it. One has to give the team credit as well for avoiding the tired cliché of a man in a suit and attempting something that’s a little more unusual, resulting in a striking (if admittedly not always convincing) design. 

THE CREATURE'S SLOWNESS doesn’t make them any less threatening and indeed helps in the slow menace that makes the film so effective. One rather spectacular sequence with the creatures features one on a glass skylight, as it smashes through and drops onto a hapless victim below.
 

ONE TRULY WONDERFUL SEQUENCE, occurs in the films climax (spoilers ahead be warned) in which, trapped with the creatures advancing, Edward Judd prepares to shoot Toni in order to save her from death by silicate. It’s a surprisingly dark moment for a film of this nature, all the more so given the nature of her character and how she came to be on the island. For a character that’s so innocent and outgoing, this fate seems incredibly troubling.

TO SHOOT TERI OR NOT???

INDEED ONE OF the enduring appeals of Island of Terror, is that what starts as an enjoyable 60’s sci-fi adventure- becomes progressively darker. The opening sequences in which we meet our characters, then see them journey to the island are far lighter in the tone, than the latter half of the film. Fisher allows his audience to let their guard down and then strikes when their at their most vulnerable.

ISLAND OF TERROR, really is something of a gem in Cushing’s output and for my money stands as his best Sci-Fi feature alongside The Abominable Snowman. This film may not have the intelligence of that earlier classic, but it has genuinely shocking moments and an atmosphere that oozes dread and menace. The question is, does Night of the Big Heat match it’s predecessor?

 

I’ll be finding out next week, so PLEASE JOIN US!
If you have any comments, suggestions or feedback about this or ANY of my features here at PCAS you can contact me HERE at spookycallum58@gmail.com

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#SILENTBUTDEADLY: CENSORED FOOTAGE MONSTER MUMMY AND BATTY LADY ON A TRAIN!

#SILENTBUTDEADLY This is for Connie Hughes, UK... we don't get many requests for GIFS from Hammer films THE MUMMY, so glad to see this one. Christopher Lee goes on the rampage as the undead KHARIS, attacking Cushing 'father' Stephen Banner played by Felix Aylmer. Excellent cast, headed up by Cushing, Lee, Yvonne Furneaux, Raymond Huntley, Michael Ripper... every player, is a winner...This is another of the few Classic Hammer films from their 'golden period' 1957 until...well when would you say was it Hammer Films golden age??

#SILENTBUTDEADLY: A chance encounter, with Ian Carmichael meeting with a strange and batty lady on a train, sets the foundation for one of Amicus films, weirdest stories in their series of portmanteau movies. The script for 'From Beyond The Grave' has no fat, no dull plots and plenty dark humor. This story, has Reggie Warren (Ian Carmichael) a somewhat pompous business man who enters Peter Cushing's Temptations Ltd shop and puts the price tag of a cheaper snuff box in the one he wants to buy, whilst out of sight. Cushing old chap, the Proprietor sells him the box at the altered price, bidding him farewell with a cheery "I hope you enjoy snuffing it" and rings up a 'no sale' through the till.

ON THE TRAIN HOME, an apparently batty old clairvoyant/white witch, Madame Orloff (Margaret Leighton) disturbs Warren whilst he reads his paper, advising him he has an Elemental on his shoulder. Warren dismisses her, but has cause to call on her services when his dog disappears and his wife Susan (Nyree Dawn Porter) is attacked and choked half to death by an unseen force. Orloff exorcises the Elemental from Warrens' home, and all seems well—even the dog returns... and then...! It's a neat, tight, entertaining tale based on a work by R. Chetwynd-Hayes..as are all the short stories here. Cushing turned in a terrific performance as The Shop Keeper, dropping puns and barbs, though I would have loved to have seen Cushing in the Ian Carmichael role. When PCAS interviewed Milton Subotsky in the early 1980's, I did get to ask him, if he thought Cushing would have made an interesting ' Reggie Warren'. He said told me that, Cushing had been suggested for the role, but his schudule prevented him for committing the time needed to have played that character. A shame indeed. Cushing did have a flair for comedy, and a quick wit and great timing, it would have made a very interesting move, and one that may have seen him offered more comedy roles.... 

#SILENTBUTDEADLY: YOU REALLY CAN BE  a blood thirsty lot! This GIF requested by DEAN PRICE contains a shot that was 'chopped-out' by the censors when this first was released in the UK and the US back in 1967. 'ISLAND OF TERROR' (Below) is the twin of another film, made the year before, called 'NIGHT OF THE BIG HEAT. The premise of the films hangs on a party of people being attacked by some 'things from another planet'..on an island. Both directed by Hammer supremo Director Terence Fisher and starring Peter Cushing. Both films offer Cushing a role he could have played in his sleep, but he doesn't walk it, as always he works with what he has, and makes a great deal, aided by Christopher Lee in Night Of The Big Heat and here with Edward Judd in 'Island of Terror.'

  

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#TOOCOOLTUESDAY: DR WHO AND THE CENSORS

#TOOCOOLTUESDAY : The 'EXAMINER'S REPORT' of the Fourth of February 1965, certainly makes interesting reading. It really was Milton Subotsky's and Max Rosenberg's hope that they would get that 'U' certificate, for this the first of their DALEK feature films. Even though, the examiner DOES seem a little over sensitive to certain, NOISES, FLAMES, SCREAMS, EXPLOSIONS, YELLING, NOT SO NICE LOOKING THALS, SCREAMING and SCREAMING.... the producers, and Subotsky in particular probably felt more than a little deflated, that he was going to have to loose, much of the drama and 'scary bits', if they were to get that, all important, money making, let the kids in now, they all have money (!!!) 'U' certificate! How times have changed....

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