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A History of Horrors
The Hammer directors, executives, and production heads, together with Peter Cushing and Christopher Lee, outside the greenroom at
Pinewood Studios on the occasion of the presentation of the Queen’s Award to Industry, May 29, 1968.
 A History of Horrors
The Rise and Fall of the House of Hammer

Denis Meikle
with Christopher T. Koetting, Research Associate

Revised Edition

THE SCARECROW PRESS, INC.

Lanham, Maryland • Toronto • Plymouth, UK
2009
SCARECROW PRESS, INC.

Published in the United States of America

by Scarecrow Press, Inc.
A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc.
4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706
www.scarecrowpress.com

Estover Road
Plymouth PL6 7PY
United Kingdom

Copyright © 2009 by Denis Meikle

All rights reserved. No part of this publication may be reproduced, stored in a

retrieval system, or transmitted in any form or by any means, electronic, mechanical,
photocopying, recording, or otherwise, without the prior permission of the publisher.

British Library Cataloguing in Publication Information Available

Library of Congress Cataloging-in-Publication Data

Meikle, Denis.
A history of horrors : the rise and fall of the house of Hammer / Denis Meikle with
Christopher T. Koetting. — Rev. ed.
p. cm.
Includes bibliographical references and index.
ISBN-13: 978-0-8108-6353-8 (cloth : alk. paper)
ISBN-10: 0-8108-6353-7 (cloth : alk. paper)
ISBN-13: 978-0-8108-6354-5 (pbk. : alk. paper)
ISBN-10: 0-8108-6354-5 (pbk. : alk. paper)
[etc.]
1. Hammer Film Productions. 2. Horror films–Great Britain–History and criticism.
I. Koetting, Christopher T. II. Title.
PN1999.H3M45 2009
791.43'6164–dc22 2008032794

⬁ ™ The paper used in this publication meets the minimum requirements of

American National Standard for Information Sciences—Permanence of Paper
for Printed Library Materials, ANSI/NISO Z39.48-1992.
Manufactured in the United States of America.
When the screen gives us severed heads and hands, eyeballs dropped in a wine
glass and magnified, and brains dished up like spaghetti, I can only suggest a
new certificate—“S.O.” perhaps, for Sadists Only.
—Campbell Dixon, reviewing The Curse of Frankenstein, 1957
 3
Contents

Foreword by Peter Cushing ix

Acknowledgments xi
Introduction xiii
Chapter 1 From Exclusive to Xperiment, 1947–1955 1
Chapter 2 The Rebirth of Frankenstein, 1956–1957 25
Chapter 3 New Blood for Old, 1957–1958 49
Chapter 4 The Bounds of Acceptability, 1959–1960 83
Chapter 5 Diminishing Returns, 1961–1962 117
Chapter 6 The House of Horror, 1963–1969 137
Chapter 7 Boom and Bust, 1970–1972 177
Chapter 8 Last Rites, 1973–1979 207
Epilogue: After the Fall 225
Afterword: The Spirit of Hammer by Michael Carreras 227
Appendix A: The Hammer Horrors—Cast and Credits 229
Appendix B: Hammer Filmography, 1946–1979 265
Notes 277
Bibliography 285
Index 287
About the Author 295

vii
 3
Foreword
Peter Cushing, O.B.E.

Perhaps it was because Bray Studios started life as a to imagine he was trying to think of some polite way to
large mansion standing in its own grounds that it always tell me that my idea stank. When I could hardly bear
seemed to me like “going home for the hols” whenever I the suspense any longer, he’d suddenly give voice to his
went to work there—just like “Tom Merry” and “Harry verdict—“This is good!”—and then would immediately
Wharton” in those splendid schoolboy yarns by Charles proceed to improve upon it!
Hamilton in The Gem and The Magnet, which made such Jack Asher was another magician, and it was rightly
an impression upon me in my salad days. said of him that he “painted with light.” His cinema-
In 1957, when I made my first picture for Hammer, tography added to those productions a lushness that
there was no motorway as such; we took the more ro- belied the thrifty budgets imposed upon them. That was
mantic-sounding Great West Road, via Hammersmith Hammer’s secret weapon, I reckon—getting experts in
and Brentford, over the bridge at Kew, and then, soon, their particular fields for key positions, backed up by the
out into open country at Cranford, on to Colnbrook, best possible supporting personnel. Two more stalwarts
Datchet, Windsor, and so to the studios at Bray, nestling of similar expertise were John Wilcox and Arthur Grant,
beside the silver Thames. What a halcyon start to the and Len Harris’s unique operating of the camera can still
day’s work! be enjoyed by all who watch old films on television.
Then there were the familiar faces to greet us with Anthony Hinds was one of a pool of producers in
mutual affection—like a family party, with lots of old constant demand. (He was on the board of directors of
friends all gathered together: dear Rosemary Burrows and the company, as well as being an accomplished writer
Mrs. Molly Arbuthnot, who looked after the wardrobe for the screen, using “John Elder” as his pseudonym.)
department, at the same time dispensing endless and Another Tony—Anthony Nelson Keys—worked in the
most welcome cups of tea. (Later, Rosemary married same capacity on many of the productions in which I
Eddie Powell, who “doubled” for my very dear friend appeared, and we often had fascinating chats about his
Christopher Lee—two more names synonymous with father, Nelson “Bunch” Keys, who was the toast of the
Hammer’s success story.) Although I didn’t need a tou- town in his heyday as a comedian, appearing in many of
pee thirty years ago, Monty Montsash was established as the musicals so popular at the turn of the century and
resident hairdresser and kept us all in good trim. into the twenties.
Then there was that delightfully shy man and excep- Phil Leakey did wonders in the makeup department,
tionally clever director, Terence Fisher! What a joy it and the stills taken by the excellent Tom Edwards have
was to work with him. He knew exactly which sugges- become collectors’ pieces. As a bonus, to look after the
tions to accept from his actors and which to discard, and inner man, there was the indefatigable and enchanting
was invariably right in his selection. Being somewhat Mrs. Thompson. She and her staff all qualified for the
inarticulate, he had an endearing idiosyncrasy. “Peter,” cordon bleu, and had her restaurant been open to the
he would say, wagging his forefinger at me and then general public, Egon Ronay would have given it the
pausing for such an inordinately long time that I began maximum number of stars!

ix
x 3 Foreword

The “Big Boss” of Hammer Productions was the late films are. To my way of thinking, “horror” conjures up
Sir James Carreras. Wisely, he seldom visited the studios, events that actually happen, whereas most of the capers
preferring to leave those he trusted to deliver the goods we got up to were mere figments of the fertile brains
while he got on with promoting the products and rais- of imaginative writers who set out to take people’s
ing the financing necessary to meet an ever-increasing minds off everyday unpleasantnesses, if only for ninety
demand. I met him only once at Bray (during nearly a minutes or so. Captain Clegg, She, Sword of Sherwood
decade), but enjoyed his hospitality and enthusiastic Forest, and Cash on Demand were pure adventure stories
comments many times elsewhere. His son, Michael, often and proved to be just as popular as the films given an
acted as producer and became the managing director in “X” certificate.
1971. Michael’s wife, Jo, is such a dear lady, and I shall It is a lovely feeling for an actor to be associated with
always remember her kind thoughtfulness during a rather any success, and I count myself lucky to be one of the
grueling period when filming Dracula and the Legend of the many who contributed to the output of the “fabulous
Seven Golden Vampires in Hong Kong and the days I sub- factory” which has given—and still gives—such pleasure
sequently spent with the family in their lovely house, deep all over the world.
in the heart of Gloucestershire’s glorious countryside. I now leave Denis Meikle to fill in many gaps and
The adjective horror has a strong pull at the box thus keep in perpetuity the memory and name of a filmic
office, but I prefer fantasy, because that is what those empire that came and saw and conquered.
 3
Acknowledgments

I would like to express my sincere thanks to the fol- lustrations, I must again thank many of those mentioned
lowing individuals and institutions for their help and above, while other stills were provided by Doug Murray,
cooperation in the writing of this book: Peter Cushing, Teddy Green, John Hamilton, and BFI Stills, Posters
O.B.E.; Oliver Reed; Christopher Lee; Jimmy Sangster; and Designs, and for information or the loan of materi-
Kenneth Hyman; Brian Lawrence; Anthony Hinds; als from personal collections, Fred Humphreys, Harvey
Wolf Mankowitz; Bryan Forbes; Mike Raven; Frank Clarke, Gary Smith, and Marcus Hearn.
Godwin; Michael Ripper; Len Harris; Roy Skeggs; Aida I would like to single out Chris Koetting, who was
Young; Christopher Wicking; Tom Sachs; Roy Ward responsible for much of the research at the BFI and at the
Baker; Hugh and Pauline Harlow; Josephine Carreras; American end (among many other things), and whose
James Ferman and the staff of the British Board of Film selfless and unflinching support was an inspiration and
Classification; Mark Deitch of Programme Acquisition saw me through the bad times. Above all, I am grateful
Group at BBC Television; Boston University and the for the collaboration of Michael Carreras, a very special
Mugar Memorial Library; Princeton University Library; man who opened so many doors that would otherwise
the University of California, Los Angeles; Peter Gray of have remained closed and whose patience, generosity,
Bray Management, Ltd.; the staff of the Oakley Court and enthusiasm made this book possible. I must also add
Hotel; Mrs. Jean Tsushima, archivist of the Honourable a word in praise of David Biesel and Stephen Ryan, my
Artillery Company; and, of course, the staff of the BFI. editors at Scarecrow Press, whose deft touches worked
A special thanks must go to Richard Klemensen of wonders on an unwieldy text. And finally, I would like
Little Shoppe of Horrors, who almost single-handedly to thank my wife Jane, who has been steadfast in the
has kept the name of Hammer alive to fans around the shadow of Hammer for far too long, all in the name
world since 1972, whose practical contributions have of love, and my daughter Sarah—prettier than the
been constant and considerable, and whose faith in the rose—who, quite without knowing it, has been the best
project has been unwavering throughout. For the rare il- inspiration of all.

xi
 3
Introduction

“A HAMMER Film”: three words that, from a single sex, they complained about the sex. And when—unpal-
overnight success, took on a life of their own and came atably—it mixed the two, then the end of civilization as
to symbolize an entire genre for a whole generation of we knew it was deemed to be at hand. It was the same
cinemagoers: horror. reaction that greeted Matthew Gregory Lewis’s Gothic
For some of those involved, Hammer’s dedication to splatter-piece The Monk some 160 years before.
“terror and disgust” (as the dictionary defines horror) Despite this, Hammer Films would grow to be one
was never acknowledged as such. Peter Cushing: “I don’t of the most successful British film companies of its day,
like the word horror; I think fantasy is a much better be the first to receive the Queen’s Award to Indus-
word.” Christopher Lee: “I prefer to call them ‘films of try, become the subject of numerous retrospectives—
fantasy’—particularly the ones I have made.” Director including a 1971 “Tribute” at London’s National Film
Terence Fisher: “I object to my films being called ‘horror Theatre—sire countless international fan clubs, and
pictures.’ I prefer my work to be known as macabre.” But foster a devotional following around the globe. It would
the public thought differently. They were not concerned live to take its rightful place second only to Ealing in the
with such fine distinctions. To them, Hammer made hor- ranks of the great postwar British independents, while its
ror films, pure and simple. And so, for twenty-one years, legacy continues to be felt in everything from the recent
horror was to be Hammer’s stock-in-trade. BBC Television revival of its sci-fi series Doctor Who to
In that time, the company produced more than sixty stop-motion studio Aardman Animation’s affectionate
features tailored for or sold to the horror-thriller market. 2005 feature-length homage, Wallace and Gromit: The
Of these, the majority were set in a dislocated but quint- Curse of the Were-Rabbit.
essentially Victorian Gothic hinterland: hybrid period As for myself, I grew up with Hammer. Not in the
pieces that more or less evolved a distinctive generic way that I grew up with the Beatles, or “flower power,”
style of their own. The first of them was The Curse of or Old Labour in its Wilsonian heyday—not in the way
Frankenstein. That it marked a watershed—perhaps the that such broader cultural upheavals affect one’s char-
watershed in the history of the horror film—is now be- acter, or social or sexual development, or perceptions
yond dispute, but the stylistic unity they all shared would of the changing world—but in the way that Hammer’s
come to be appreciated the world over and designated by films were an almost integral part of my everyday sphere
the eponymous sobriquet of “Hammer Horror.” In terms of existence, like the “funny papers” in the Daily Express
of a body of work being so identified with one company that introduced James Bond to a wider readership, and
or individual that the two become entirely indivisible, the musical conservatism of the Light Programme, and
only the thrillers of Alfred Hitchcock have been the the cultural stranglehold of the British Broadcasting
recipients of a similar accolade. Corporation in general. It was just there, as though it
Critics of the time hated everything that Hammer did had always been there—and yet Hammer had been born,
and stood for. When it introduced blood into its films, officially, in the same year as I: 1947. It took its first
they complained about the blood; when it introduced stumbling steps when I did, learned the way of things

xiii
xiv 3 Introduction

when I did, reached puberty as I did, spread its wings and threatening; only the Board stood between the crude
reached out to embrace the world in the mid-sixties as commercial interests of filmmakers and the prospect of
all we “baby-boomers” did—only to be disillusioned and legal control over the medium. (Such legislation was
disenfranchised a decade later, as I was. subsequently enacted against films on videocassette in
I grew up with Hammer, and Hammer grew up with 1984, more than two decades after Hammer’s most sig-
me—though Hammer was aware of that in less personal nificant confrontations with the British censor.)
terms: I was merely one of the juvenile audience for its This is not to say that the actions, or attitudes, of the
B-movie crime capers, from Break in the Circle to A Man BBFC in relation to Hammer were at all times altruis-
on the Beach. I was the pubescent who had discovered tic—to the contrary, they often betrayed the same nar-
Conan Doyle and G. K. Chesterton, and who turned row-minded prejudices from which invariably it was at
to Hammer to see the former, at least, realized in Tech- pains to protect the industry. And while it would profess
nicolor on the big screen. I was the adolescent thrill- to keep pace with changes in public opinion, it could
seeker who sneaked surreptitiously into its “X”-rated be as guilty as any other reactionary element of society
examples of a new artistic freedom. I was the teenage of actively delaying the progress of such change. It was,
pleasure-seeker who fed off its big-budget extravaganzas. like Hammer itself, subject to the whims and tastes of its
And I was the wiser and sadder young adult who ulti- own employees—“examiners,” in the Board’s case—and
mately left it behind, when the relationship grew tired, the very act of creation of a censor board is always some-
and stale, and habitual—when Hammer itself had begun thing of a self-fulfilling prophecy: notionally censorable
to think that simply “being there” was enough. I grew up material then has to be found or its very existence can be
with Hammer, and it with me. And a first love remains called into question.
in the memory always, with affection, and a modicum of For all that, and while the prohibitions placed on
bitter-sweet nostalgia. Thus, in the end, this memento— Hammer by the BBFC might seem curious (if not down-
this collective reminiscence—of gilded youth: my own, right inexplicable) to those who have grown up with
and that of the British horror film in bloom. the “anything goes” attitude of the horror film producers
First, a word about the British Board of Film Censors of today, the fact remains that much of what Hammer
(as it was called during Hammer’s period of operations). sought to introduce into its films in the fifties and sixties,
Since this book was published in 1996, examining, for in terms of themes, plot points, and individual sequences
the first time, Hammer’s relationship with the BBFC in and shots, was simply unacceptable in the climate of the
some detail, much has been expanded upon elsewhere times. It is fallacious to imagine that had it not been
about the company’s often fraught dealings with the for the BBFC, Hammer’s horrors might have taken on
Board. Indeed, it would be true to say that had it not stronger form. The opposite is the case: they might have
been for the many and various interventions of Board taken no form at all—instead, they might have been
secretaries (notably John Trevelyan, who joined in 1951 legislated out of existence, and the courts would have
after a career in education), Hammer’s product—perhaps become the final arbiters of what was and was not fit for
even its entire history—might have turned out very dif- British screens. No one who lived through this turbulent
ferently. However, it is all too easy at this remove, and time for the arts in general would have considered that
with lack of context, to view the demands made upon the preferable alternative. As to the idea that America,
Hammer by the BBFC as archaic—arcane, even, when in the same period, took a more liberal view of Hammer’s
it came to the application of particular principles of output—the truth is that the films were cut every bit as
censorship. But it should be remembered that at a time drastically in the United States as they were in Britain;
of unprecedented liberalization of the arts, the BBFC was they were different cuts, is all.
acting, for the most part, to stave off what it perceived to Notwithstanding this more contentious aspect of
be the potential for outrage in certain sectors of British Hammer’s history, the company’s lurid “Gothic” horrors
society. Such outrage was manifested against other areas eventually took precedence over all other types of pro-
of the arts during the 1960s, and had the Board not acted duction in which it engaged. In the process, the newly
in the way that it did—mediating between the outraged designated “Hammer Horror” film was to become an
and the studios and deflecting the push for censure—leg- indelible part of Britain’s cultural landscape.
islation almost certainly would have been introduced to The cinema of Hammer was one of castles and crypts,
stem the excesses of horror film producers. The desire on of blushing virgins and blood-lusting vampires, of fanati-
the part of some to bring films into the remit of the Ob- cal scientists and rapacious aristocrats, of ascetic savants,
scene Publications Act (1959) was real and permanently and of vengeful spirits from beyond the grave. It was a
 Introduction 3 xv

cinema rich in opulent décor and steeped in romantic The cinema reflected these national psychoses. By the
extravagance, and it lay in direct line of descent from the middle of the decade, Invasion of the Body Snatchers was
literary tradition established by the more morbid fancies vying with X the Unknown for box-office attention and,
of Horace Walpole, Charles Dickens, and M. R. James. as in any art with a populist bent, communal paranoias
From Wilkie Collins’s “The Woman in White” (1860) were writ large and reactionary. Science was the villain
to Susan Hill’s “The Woman in Black” (1986), the of the piece, and radiation was the name of the night-
wheel turns full circle. Yet despite a total of 157 feature mare. Its spawn were invariably colossal, mutant, and
films and a Queen’s Award to Industry to its credit, no prone to doling out the most spectacular feats of destruc-
full-length biography of the “House that Horror Built” tion on the heads of humankind.
existed before this one. As always, efforts to dampen such fears centered on
In its original form, this book aimed to correct that sublimating their expression. “Horror comics” had al-
omission and, in so doing, to provide insight into a the- ready been banned. The still-youthful “X” certificate was
matic collective which has proved to be both unique in being granted with the same reluctance as the “H” it had
British cinema and singularly influential on fantasy cin- replaced. The artistic imaginings that were now at work
ema throughout the world. Now in this greatly expanded exploring and analyzing the postwar, post-atomic psyche
revision, much information has been appended that was stood accused of pandering to base instinct.
unavailable to me in 1996, some small errors of fact have Against this backdrop, and in the face of a cinematic
been corrected, and the text as a whole has been liber- fad for ever-more-outlandish examples of the Armaged-
ally seasoned with further revealing details about the don that awaited the world around the next corner of
company’s colorful history. All of this adds weight to the discovery, a small British film company resurrected a
claim in the first edition that what follows is the untold half-forgotten myth and gaudily repackaged it for the
story of the modern Prometheans who brought “Hammer sensation-seeking present.
Horror” into being. The Gothic obsessions of Mary Wollstonecraft Shel-
ley were to provide a welcome relief from the all-too-real
By the mid-1950s, a new age was dawning. It was an era terrors of the nuclear age. The fruit of sibling rivalry at
of hope, of rebuilding, of newfound prosperity. It was the Villa Diodati during an idyll in Geneva in 1816 was
the era of rock ’n’ roll. But it was also a time of anxiet- to be revived and revitalized for an audience desperate
ies and unspecified dreads. The countries of the world for a fantasy that did not look to predict only the follow-
were decamping into ideological territories, aided by ing day’s headlines.
the emergent superpowers: the United States and the On May 2, 1957, The Curse of Frankenstein opened
Union of Soviet Socialist Republics. The bogeyman of to a largely vitriolic press and a worldwide commercial
communism was hiding under every bed. The prospect reception of unprecedented enthusiasm. After twenty-
of war still tantalized. And television was on hand to three years in and out of the business, Hammer Film
remind that, while life in general may have begun to Productions was finally on the map.
look increasingly good, never before had man seemed so And with the wholly unexpected arrival of the mod-
mortal as he did then, when over him hung the appalling ern horror film, a legend was also born: Hammer itself.
specter of the hydrogen bomb. What follows is the truth behind that legend.
 CHAPTER ONE

3
From Exclusive to Xperiment, 1947–1955

Whispering Smith Hits London.

The film that must take all the credit for the whole When it is fourteen hundred miles up, all contact with
Hammer series of horror films was really The Qua- the rocket is suddenly lost. . . .
termass Xperiment, because we had this monster
with a globular face—which frightened everybody! With these words—to the accompaniment of “Mars,
the Bringer of War” from Holst’s The Planets—the first
—Michael Carreras
episode of a six-part television serial began transmission
at 8:15 p.m. on Saturday, July 18, 1953, with a vista of
One morning, six hours after dawn, the first manned Earth as viewed from the nose cone of a V-2 rocket far
rocket in the history of the world takes off from the out in the deep black of space. They were a last-minute
Tarooma range, Australia. The three observers see on
addition to the script, designed to better contextualize
their scanning screens a quickly receding Earth. The
events for an audience entirely unprepared for what was
rocket is guided from the ground by remote control as
they rise through the ozone layer, the stratosphere, the
about to confront them in the deceptively titled “The
ionosphere—beyond the air. They are to reach a height Quatermass Experiment.”
of fifteen hundred miles beyond the Earth, and there The serial was to hint at what might be lurking in
learn . . . what is to be learned. For an experiment is an the darkness beyond the kindling flame of technologi-
operation designed to discover some unknown truth. It cal advance, and its effect on viewers was immediate
is also a risk. and unparalleled. Among those held in thrall was a

1
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551

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