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5
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10
= Highest Rating |
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An okay
time-waster if you're a fan of horror icons Peter
Cushing and Christopher Lee, but likely a tad
dry and uninvolving for anyone else.
Victorian scientist Dr. Emmanuel
Hildern (Cushing) returns to his home in England
after an anthropological expedition to New Guinea,
bringing with him what he believes will the scientific
discovery of the Age — the skeleton of an ancient
being from a hitherto unknown race of giants.
Absent-minded and obsessive, he throws himself
into the study of the skeleton while ignoring
his daughter Penelope (Lorna Heilbron), who's
patiently waited three years for his return. When
focused on his research Emmanuel has a bad habit
of neglecting everything and anyone else around
him, be it mounting debts or the emotional needs
of his troubled daughter. This will prove his
undoing.
While
cleaning one of the skeleton's fingers with water
he's dumbstruck to see flesh miraculously grow
on the bony digit before his very eyes. Is the
skeleton somehow alive? From a reference
book on the tribal folklore of New Guinea, Emmanuel
pieces together a theory: the 3,000 year old skeleton
is of a godlike race that existed before
Neanderthal Man, yet which was highly advanced
— and evil. According to legend, when the
"Sky Father weeps" these giants will
return to life to spread evil and carnage across
the world. Emmanuel correctly deduces that he
must keep the specimen from getting wet or there
will be big trouble. After running tests on a
blood sample taken from the flesh-covered finger
bone (which, I have to add, might make some folks
laugh due to its resemblance to a phallus), he
also theorizes that evil is actually a physical
disease, not a "behavior", one which
can be totally eradicated by a serum made from
the skeleton's blood.
Although he means well, the
doddering scientist sets off a tragic chain of
events when he precipitously tests the prototype
serum on a human. Meanwhile, his amoral half-brother
James (Lee), director of an insane asylum and
a scientist in his own right, plans on stealing
Emmanuel's research — along with the skeleton
— to further his own career and prestige. James
doesn't know anything about the skeleton's curious
reaction to water...
Handsomely mounted on a low
budget, The Creeping Flesh
benefits mightily from the presence of its name
stars. Monster Kids of the Baby Boom generation
are always delighted to see a Cushing-Lee team-up,
and while the two only have a few scenes together
they're clearly the main attraction. Peter Cushing,
ever the consummate pro, carries the film with
his usual excellent performance. Emmanuel Hildern
is as weak as he is brilliant, so Cushing is less
the commanding figure here, given the opportunity
to play a full range of emotions. Christopher
Lee — really only a supporting player despite
top billing — can play the aloof, authoritarian
villain type in his sleep; naturally he comports
himself with effortless aplomb. Lorna Heilbron
is believable in her transformation from prim,
devoted daughter to carousing, violent prick-tease.
The rest of the cast is very good, too, composed
as it is of veteran British character actors.
(That's Duncan Lamont of The
Witches and Quatermass
And The Pit in a small role as a police inspector,
while familiar Hammer face Michael Ripper appears
briefly as a delivery man.)
The Creeping
Flesh was directed
by Freddie Francis, frequent cinematographer and
director for Hammer (Dracula
Has Risen From The Grave), so it's not surprising
—
especially given the cast
— that it's often mistaken for a Hammer Film.
For all intents and purposes it might as well
be, since in style, tone and story the film fits
Hammer's gothic horror milieux like a glove. Alas,
it also mirrors many-a Hammer title by plodding
along without much of consequence happening for
the first hour; the titular "flesh"
doesn't really get "creeping" until
the final 10 minutes. Without any nudity or gore
to spice things up (this is a very tame, old fashioned
film for its time), some viewers may find it an
effective sleep aid.
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Yet
another overpriced, bare-bones DVD from Columbia
TriStar costing eight to ten bucks more than it
should. You get the movie and three trailers (for
the William Castle gimmick horrors 13
Ghosts and Mr. Sardonicus,
plus that of the 1958 Hammer film The
Revenge Of Frankenstein) — that's it.
At least the main feature looks and sounds better
than it ever has on home video, with a blemish
free transfer and solid mono audio track. (There
is some grain apparent during the opening credits
but this clears up for the remainder of the picture.)
The disc also marks the first time outside of
its original theatrical run that The
Creeping Flesh can be seen in its proper
1.85:1 aspect ratio.
Speaking as a consumer,
I really wish Columbia would either lower their
prices or tack on some worthwhile extras (as was
done with their Ray Harryhausen discs) At $22,
this DVD is simply too expensive.
6/15/04
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