HAND OF DEATH

d. Gene Nelson (1962)

Dr. Alex Marsh (schlock superstar John Agar, Shirley Temple's first husband) is one of those madly intense scientists obsessed with making the world a better place by inventing unspeakable things. 

The main thrust of his work is to combine a hypnotic drug and non-deadly nerve gas, thereby giving the U.S.A a paralyzed and compliant enemy to invade. His reasoning is that it will save the horror and destruction of nuclear war but, as he speaks, his eyes glitter and his mouth grows wet: the idea excites him very much, a lot more than his over-eager fiancee seems to, who is reduced to playing the coquette with his cheerful best friend in desperate lieu of attention from her permanently working husband to be. 

 

One late night, an exhausted Marsh clumsily spills some of his experimental solution over his hands, and tears open his lab coat and Hawaiian shirt in pain and horror before falling onto the bed and hallucinating test tubes, beakers and scurrying white mice. When he awakens, he not only has a first class tan, but the merest touch of his hands means instant death, a lesson his Mexican lab assistant learns very quickly. Ever responsible, Marsh douses the corpse and the rest of the lab in white spirit and puts a match to it before driving off to cause chaos downtown.

A film that runs out of steam very quickly and soon descends into jumbled images of a bloke just staggering about, Hand of Death is most notable for Marsh's transformation from handsome(ish) young(ish) scientist to bloated, blackened monster, as mutation turns his head into a lump of swollen coal and his deadly hands into bunches of over-ripe bananas. 

Interestingly, to disguise the disfiguring condition that has distorted his entire body and robbed him of his speech and sanity, he does the only thing he can under the circumstances: he puts a hat on.  

FREUD: THE SECRET PASSION

d. John Huston (1962)

Freud: The Secret Passion is an important entry in the psychoanalysis sub-genre, not least because it is effectively a biopic of psychiatric practice. Directed by genius journeyman John Huston and starring poor old Montgomery Clift as an obsessive and controversial Sigmund Freud, the narrative alternates between intense hypnotic therapy sessions and gauzy interludes from Freud's own personal history which serve to help him iron out the wrinkles in his own crumpled psyche. Although the depiction of treatment is greatly simplified and the outcomes far more emphatic than in reality, the film does a good job in joining the dots, ably assisted by excellent performances, moody music and a feeling of eerie, scalp prickling mystery. In many ways, Freud is a horror film or, at least, a film about ghosts, where the haunted house is the human mind.

Clift burns at the centre of the film, his damaged face conveying the agony of the seeker as he obsessively pursues his goal, alienating his family and scandalising his peers as he relentlessly moves towards understanding. It's an outstanding performance, but Clift was apparently difficult on set, and this caused the film to go over budget, effectively ending his career.

Clift had always been demanding and, after his near fatal car crash in 1956 became increasingly erratic - but he still made money. In Hollywood, then as now, you can self-medicate and misbehave all you like, but as soon as you start cutting into the profits, you're finished.

INCUBUS

d. Leslie Stevens (1966)

In a village by the sea, the venal and the conceited gather to prolong their worthless lives with the magical, recuperative powers of the local water. Whilst there, they are seduced by succubi: young, blond women who lead them into temptation and then kill them and send their corrupted souls to Satan.

Into this rather odd set up walks William Shatner - a wounded soldier with an incorruptible soul. When a succubi cannot destroy a man, she is fated to fall in love with him - with far reaching cosmic results.

Thrown together quickly by 'Outer Limits' producer Leslie Stevens, 'Incubus' is a truly bizarre film: arty, beautiful, original - yet also clumsy and cheap and very slow moving. It looks like a Bergmanesque bad dream, and the choice of Esperanto as the language spoken throughout is a stroke of strange genius* - it makes an odd film even odder, and lends a suitably disorienting feel to this already atmospheric production.

A few words about William Shatner: I love him, and his presence in something is always a treat. I don't care about his hair and he's always been a good enough actor for me. We'll miss him when he's gone.

* The actors apparently speak it very badly, though, so the film isn’t even a favourite with Esperanto speakers.

HANDS OF A STRANGER

d. Newt Arnold (1962)

A noir-ish take on the much filmed Hands Of Orlac, this is a torrid tale of a self-obsessed concert pianist called Vernon Paris who has his hands mangled to buggery in a car crash. He is treated by an equally egocentric surgeon, who takes the decision to illegally graft the hands of a victim of a gangland slaying onto Paris’ bloodied stumps. The operation is a complete success, if you don’t count the bit where Rose goes insane and starts killing people, first by mistake, later by design. Oh, and afterwards he plays the piano like a chimp at a tea party, so that didn’t work either.

This is a terrifically entertaining film, filled with intense performances and clever but florid dialogue which goes a mile a minute and would probably call a spade a hand operated metal and wood earth penetrating excavation device. It’s also choc-a-bloc with clever camera work and punchy visual motifs, mostly hands and pianos and hands playing pianos. Everything is played in deadly earnest and without a scintilla of camp, which, of course, makes it all ten times better (and ten times camper).

Unlike the Orlac story, we never find out who the transplant hands belong to, so there is little emphasis on the hands as being evil or imbued with evil, although it does make you wonder why they spent the time establishing that the donor was a gangster if they weren’t going to use that as part of the story. Here, the supernatural is replaced by the practical, the psychological: put simply, the accident and transplant snap Paris’ already brittle mind, and drive him to kill over and over again (he breaks his victims fingers, then strangles them). This ripe exchange sort of marks the boundaries:

'If you're concerned with the possibility that the donor might have been some kind of madman, let me assure you that psychotic tendencies don't transfer themselves to the physical extremities after death!'

'You know that for a fact?'

'No, no, I don't!'

Need I say any more? Recommended.

PANIC IN YEAR ZERO!

d. Ray Milland (1962)

A sombre, tense film about life in America in the immediate aftermath of a nuclear strike, Panic in Year Zero! starts happily enough, with Harry Baldwin (Ray Milland) and his family setting out on a fishing expedition. A couple of hours into the journey, Harry sees a series of flashes in his rear view mirror, and stops the car just in time to see a mushroom cloud billowing over what used to be Los Angeles.

What happens next unfolds slowly and meticulously, as Harry tries to get his family to a safe place in the hills before the world goes crazy. In order to do so, he must become a more ruthless and resourceful man than his wife ever expected him to be, a man of decisive action and no little force: within an hour, for instance, he is holding a shop keeper at gun point for refusing to take a cheque then, a little later, he knocks out a filling station attendant who is trying to charge him $300 for $10 of petrol.

Harry has immediately grasped that the war will not just be between America and its enemies but between ordinary people fighting to live, not to mention an element that will use the bomb as an excuse to let their more anarchic tendencies loose. Harry’s wife very much disapproves of her husband’s methods, even after their teenage daughter is raped by two hoodlums. While she cries and wrings her hands Harry tracks down the rapists and kills them, ably assisted by his son (Frankie Avalon), who is not only seeing his stuffy old man in a totally different light, but also getting quite an apprenticeship in the ancient art of survival.

The army picks up the reins after a few days and things start to return to - well, not normal as most of the cities of the world have been wiped out. It’s been a nightmare, of course, but, secretly, you know that Harry and his son are just a little disappointed that it’s all over. A final caption states 'There must be no end - only a new beginning'. Good luck with that. 

It would be interesting to know what the US government thought of the film, as it’s not a particularly edifying or comforting message. But it is realistic, thought provoking and rather good. 

As a final note, there are a lot of automobiles in this film, and most of them have wood stuck on the side of them. It's a rather sweet, forgotten detail: human beings used to make their moor vehicles partially out of wood, as if we weren't quite ready to make the leap from cart to car.

SUDDEN DEATH

d. Eddie Romero (1977)

We’re back in the Pearl of the Orient Seas* again, this time finding out about the hitherto hidden world of ruthless sugar barons, greedy, amoral men who are prepared to displace native people and destroy the environment in order to make a dollar, a sweet, sweet dollar. These men are so cartoonishly evil that, when their nice managing director tries to make reparations to the native people for the wholescale destruction of their homes and habitat, they have his entire family, including two little boys and a baby, shot to death, leaving the badly injured executive for dead.

Out of danger, but still full of grief and shotgun pellets, the man tracks down the legendary Harrison ‘Duke’ Smith (little Robert Conrad, wiry and in very tight trousers), a man who has had an illustrious career as a state sanctioned murderer, terrorist and all round good guy / undercover bastard. Now living out an idyllic retirement in a shack on the beach, he initially refuses to help, giving his about to graduate teenage daughter and a beautiful young girlfriend as reasons to stay alive.

When the man is subsequently burned alive, and Duke’s daughter tuts at him in disapproval, he finally decides to get involved, although his motivation is far from clear. I mean, firstly, teenage girls tut all the time and, even so, the guy is now a charcoal briquette and the rest of his family are already dead, and Duke didn’t know any of them, so what’s the point apart from the fact that feature films aren't usually twenty seven minutes long?

Enlisting the help of his old friend Wyatt, a sharp black martial arts expert, he roots out the conspiracy and takes out the nasty Sugar Barons one by one, at first almost by accident and then with accelerating zeal and sadism. Towards the end, you realise that this noble mission has unleashed a psychopath, a man who is so used to killing that it has become his default setting.

The film’s pacing is glacial for the most part, but then culminates in a spectacular last ten minutes, where even the camera struggles to keep up with the action. The last third of the film is greatly enlivened by the addition of ex-surfing champ and all round lunk / hunk Don Stroud, here playing a dandyish but socially awkward Corsican hitman called in to take Duke out before he can murder everyone in Manila. I like Stroud, but he often makes strange acting choices, here speaking in a weird, cotton-mouthed way, as if he wants to try an accent but is embarrassed by it. The battle between two professional killers ends in a bruising and very bloody encounter in an icehouse, where quick cutting is used to convey violence and to disguise the fact that Stroud is at least a foot taller than Conrad.  

The final moments are not entirely unexpected but are genuinely gut-wrenching, and the use of carousel music to accompany the horror is a masterstroke, symbolising both the grotesque tableau and the breaking of a over-stretched mind. It’s tough stuff.

*The Philippines, mate.

SAVAGE SISTERS

d. Eddie Romero (1974)

Another blog entry, another low budget, high entertainment Filipino made exploitation film, this time a broad romp about a proposed revolution in a fascistic 'banana republic' and the hunt for a briefcase containing a million dollars that will help finance the whole thing. That's the whole plot. 

Inconsequential but fast moving, the film looks like it was fun to make, although post-production stories of having to use the jungle as a bathroom and a cave filled with bats as a dressing room perhaps put a different perspective on it. It's mainly a lot of running around, gun play, martial arts and John Ashley showing off as an amoral but endearing entrepreneur who wears leopardskin underpants and has sex with everybody.   

As is often the case in these films, the female characters are at the forefront, and the three stars are black, white and Asian, which accounts for the film's alternate title, Ebony, Ivory and Jade. Yes, these women are there to be looked at, but they also kick arse and are always one step ahead of everybody else, and their motivations (greed; revenge; freedom) are clear and believable. The Ebony element is provided by Gloria Hendry, a striking looking and talented actress whose greatest performance was pretending to find Roger Moore irresistible in Live and Let Die. 

The usual suspects show up to support the stars: Sid Haig (as a sadistic panto Mexican) and the ever-present, always welcome, inexplicably still alive Vic Diaz (he looked close to death forty five years ago), here playing a bandit called One Eye who wears a tight t shirt that sits atop his pot belly and, when he turns around, reveals far too much bum crack, i.e. any.

The once all-conquering cycle is clearly running out of steam, but is still a good way of passing the time. Life is short, my friends, you must take your meagre pleasures while you may. The body count is ridiculously high, by the way, but even torture scenes are played for laughs so you don't really notice. Good times.  

TARZAN'S MAGIC FOUNTAIN

d. Lee Sholem (1949) 

One of my great heroes is Johnny Weissmuller, so I'm not predisposed to like Lex Barker, the man who replaced him as Tarzan after 16 glorious years. I'm not an unreasonable person, however, so I thought I'd give Barker the benefit of the doubt and see how the interloping twat does at filling Johnny's loin cloth (although I'm assuming Barker got a new loin cloth when he started. I certainly hope so).

These days, Tarzan's Magic Fountain would be described as a franchise reboot: new lead actor, some new sets, some new matte paintings - and a return to some of the gruesome violence that the series was originally notable for but became less prevalent as the films became popular with children. This is counter balanced by an awful lot of comic relief, mostly Cheeta related. There is still a reliance on (often badly matched) stock footage, much of which has already appeared in Tarzan films many, many times over.

The story meanders around a long lost aviatrix (40s horror favourite, Evelyn Ankers) and the idea of a hidden jungle city that has the secret of eternal youth. It's not particularly interesting, and there is an 'of its time' sub-plot where Jane takes charge of an expedition in order to demonstrate all that she has learned from many years of living in the jungle. It's a total disaster, and it's not long before she's lost, covered in killer ants and caught in a flash flood, flapping her arms around and shouting for Tarzan. That will teach the woman to try and do stuff.

So, what does Barker bring to the role? Well, he's fifteen years younger than Johnny Weissmuller, and, understandably, in better shape (Johnny filled out a bit when he hit 40). His biggest contribution, however, is smugness: his Tarzan is extremely pleased with himself, and forever smirking at some private joke or other. It's not an admirable quality, nor is the fact that he wears espadrilles all the time. 

As ever, the film ends on some Cheeta related tomfoolery. This time, Cheeta drinks from the magic fountain of youth and turns into a baby Howler Monkey. A baby Howler Monkey. They must think we are fucking idiots. 

SPASMO

d. Umberto Lenzi (1973)

Ah, Giallo, Italian for complicated. Sort of.

Giallo films are intricate, intriguing, surprising. They are fixated on murder and fear in the fast lane of the twentieth century, and feature attractive people with fabulous homes, cool clothes, fast cars and strange, unnatural urges. There is always at least one character who is a psychotic sex killer, and part of the game is working out which one (or two, or three) it is.

Spasmo is a text book example of its class, a triumph of style over substance. Almost everything is here for effect, so much so that the film resembles a less tedious Whitehall farce, filled with non-sequiturs: characters who drive miles to say a couple of ominous lines and then drive off again; women and men who are introduced just to be murdered; dead people who are neither dead nor people (one of the characters has an obsession with lifelike female mannequins, and likes to hang them from trees); shadows, mistaken identity, unlikely coincidences.

There’s a great kinetic energy to the film, as if it relies on perpetual motion or knows it’s a fairly flimsy house of cards that would collapse with the merest breath. Everything is heightened, racked up, piled on. In an amazing lighthouse on a cliff edge filled with caged birds of prey the camera cuts rapidly between headshots of the characters and the birds, each staring down the camera in turn as Ennio Morricone’s superb score stabs and swoops. The effect is slightly ridiculous, but wonderful, operatically dramatic. Perhaps the owl knows what’s going on, as no-one else really has a clue – or a care, it’s not that sort of movie.    

English actress Suzy Kendall – born Freda Belpin – lends extra quality to proceedings: she's beautiful and moves like a model, but is also excellent at screaming and pulling ‘urgh’ and ‘arrgghh’ faces. She is ably supported by an equally photogenic cast: this is Giallo, so everyone is good looking, except for the ugly ones, who have more than a touch of the grotesque about them.

PRESSURE POINT

d. Hubert Cornfield (1962)

I've always loved films about psychoanalysis, mainly because they provide so much scope for offbeat and inventive attempts to turn the objective camera into a subjective eye. I particularly enjoy dream sequences, haunting visuals, unusual staging, blurred edges, atonal electronic music and lots and lots of mime. Pressure Point is almost mainstream in many ways, but has some fascinating components that keep it plenty weird enough for consideration on this somewhat specialist blog. 

The very great Sidney Poitier is the prison psychiatrist, Bobby Darin the prisoner patient, an American Nazi imprisoned when the USA entered the war with Germany. They are diametrically opposed from the outset, of course, but the tension between the racist loser and the black high flier sparks some soul searching from each of them, which makes for a fascinating conflict. 

Their sessions together open up all sorts of odd, abstract flashbacks from Darin's less than illustrious past, sometimes staged in anonymous dreamscapes (the scenes where a young Darin bullies his imaginary friend), sometimes in Poitier's office (the venue for a fantasy about Darin ordering an elephant to stand on his pathetic hypochondriac Mother's head). It's pretty intense, particularly the restaging of a unsettling incident in which Darin and his drunken friends play Noughts and Crosses on every available surface in a bar - including the landlord's wife.   

Although the narrative is framed as a fairly conventional tale of triumph over adversity, Pressure Point does a lot more besides, riveting the attention and stimulating the imagination, and the performances, particularly from the under-rated Darin, are excellent. 

CRIME AND PUNISHMENT, USA

d. Denis Sanders (1959)

Dostoevsky goes beat, man. Well, sort of. George Hamilton plays Robert Cole, a beer can bongo playing high school drop out with a very punchable face and a massive superiority complex. Ray believes that he is special, an Alexander the Great, a Napoleon Bonaparte, albeit one who lives in a Los Angeles bedsit and spends most of his days either asleep or drifting aimlessly around amusement arcades. Cole believes that important people like him shouldn't have to operate within the normal moral framework of society and that, as they know best, they should do whatever the hell they like. Typical student, really. His view is that if, for example, he had beaten a pawnbroker to death, then he probably had a very good reason, and he's too clever to get caught, so let's leave it at that.    

I haven't read Dostoevsky's original novel (I haven't read ANY Dostoevsky, please don't tell my mates), but I am familiar with the basics, which is just as well as you certainly don't get any help from the film itself, which cleverly reconfigures the source material so that it becomes virtually incomprehensible. Despite the inherent drama of the storyline there is no tension here whatsoever and the narrative is reduced to a series of seemingly unrelated vignettes in which an out of their depth cast are left spouting cod philosophical non sequiturs in lieu of characterisation and dialogue. The music is quite good, though. 

The Cole/Raskolnikov character needs an actor able to convey a fierce intellect, a complex personality and a monstrous personal philosophy. Instead we get a very young George Hamilton, who looks a bit thick and keeps stiffly throwing his arms in the air and shouting. With a better actor the film might have had a chance but, as the producer later admitted, they simply couldn't afford Anthony Perkins.   

I didn't set up this blog to be mean to films, by the way, but Crime and Punishment, USA is pretentious and poorly executed and it would be dishonest of me not to say so - and I'm nothing if not a deeply moral and upright person.   

DEATH PROMISE

d. Robert Warmflash (1977) 

When I was at junior school, about a thousand years ago, once a week our teacher Mr. Crockett would let us perform a play of our own devising on a rotational basis. In my group - boys only, of course, because girls were horrible  - we never really put much effort in, either blatantly ripping off something we’d seen on telly or coming up with some nonsense about robot teachers or someone setting fire to the school. When inspiration ran completely dry, we often just improvised, returning again and again to the twin preoccupations of pre-pubescent boys: fighting and friendship. These 'plays' involved kung fu, sword fights, stabbings, stranglings, shootings, wrestling, boxing and a huge amount of male bonding: hand shaking, back patting, affectionate arm punching. The high five hadn't caught on in the UK at the time, and the fist bump was still under development. It was an amateurish, childish vision of what it meant to be a grown up man: violence, camaraderie, heroism, cuddling, no women. And that, dear reader, is what Death Promise reminded me of.  

Two tough New York guys, one white, one black, one short, one tall, neither in any kind of employment, spend their days jogging in matching track suits and training – hard – at the martial arts club. To show that they are friends, they touch each other constantly. When ruthless developers try to evict them from their apartment building, using a variety of nefarious means (turning off the utilities, starting a fire, infesting the building with rats) the guys find any number of arses to kick, somewhatr exacerbating the problem and culminating in the murder of the short white guy’s father. Eaten up by grief, hungry for revenge, he flies off to an exotic dojo where he becomes so disciplined that he can catch a fly with a pair of chopsticks. Shit hot and invincible, he returns to the Big Apple to kill those dirty scumbag landlords one by one: by bow and arrow, by poison, by putting a bag of angry, hungry rats on someone’s head.

Each time he crosses a name off the list he and his tall, black friend nod sagely, clasp hands and look into each other’s eyes for just a beat too long. It's very funny, not because it’s homoerotic but because it absolutely isn't.   

Somewhat stilted in terms of drama, the film only really comes to life during the fight sequences,  although luckily these take up about 75% of the films running time. The last half hour is literally just one big battle, eventually descending into hysterical madness as angry men scream wildly and uncontrollably at each other, tearing off their tight shirts to kick and punch the shit out of each other really slowly. It ends with a dummy representing the main villain being thrown off a roof, and it’s not a good dummy either - which is great. Highly recommended!  

DEATH BY INVITATION

d. Ken Friedman (1971)

If you’re looking for pace and excitement, then this film is not for you. Languid to the point of being in a stupor, the story concerns a reincarnated witch, Lise (Shelby Levington, excellent), who, three hundred years after her execution in Salem, is able to wreak her revenge on the descendants of her chief persecutor in modern day Staten Island.

Lise is attractive, intelligent, nonchalant, cool and sexy as hell. She starts by insinuating herself into the family as a trusted friend, before callously killing the family’s teenage son, and suspending his dismembered corpse in a plastic bag in a cupboard. She then decapitates their teenage daughter and ‘helps’ their six year old girl fall down the stairs to her death. All the while she wears black and pulls sympathetic faces, supporting the family through their grief as she plans her next diabolical move, building up to taking out the patriarch, a bumptious, arrogant drunk who just happens to look exactly like the man who killed her all those centuries ago.

Lise is not really a witch by deed: she doesn’t cast any spells or hop about in the nude invoking the goat of Mendes or Gaia or whoever or whatever witches invoke. In fact, there is no evidence that she ever sticks a pin in anything. Lise is a witch by character, full of strength, resolve, defiance. Her mission is about revenge, pure and simple, executed with strength and cold, relentless intent.

Right at the beginning of the film, Lise tells the nerdy, doomed teenage son a long story about a primitive tribe where women were the leaders and the hunters and the men merely acolytes and hand servants. When the women were challenged by an alpha male, they pursued him through the woods and, when they caught up with the upstart, tore him apart with their hands and teeth for his impudence. It’s a mesmerising monologue, performed well, and lets us know that she can’t stop, won’t stop in her mission, despite the fact that, with the exception of the father, who is a real piece of work, the rest of her victims seem ordinary, totally harmless, certainly undeserving of death and misery and loss on the scale inflicted upon them. Their niceness is irrelevant, however, Lise wants her pound of flesh, and isn’t bothered about how she balances the scales.

A slow but quietly immersive film, reeking of comedown and 1971, that only loses points towards the end by having Lise fall for a guy who bullies her into loving him and thus diminishes her powers and her will to kill. As if.

CAPTIVE WILD WOMAN

d. Edward Dmytryk (1943)

Noted endocrinologist John Carradine has made the familiar transition from dedicated scientist to unhinged maniac. He steals a friendly gorilla from a circus and implants it with the glands of his nurse, who made the mistake of suggesting that he was probably working too hard. The result, somewhat improbably, is a beautiful, exotic looking woman who he names Paula Dupree (she's played by Acquanetta, 'the Venezualan Volcano', actually born in Wyoming).

Because he's mad and drunk on his own cleverness, the doctor takes his creation back to the circus, where it becomes clear that Paula has a miraculous power over animals: they are shit scared of her. She is immediately enlisted as an assistant to the big cat tamer, her main role being to stand outside the cage in a spangly outfit just looking intently at the lions and tigers*. Occasionally, if they become unruly, she will look harder, perhaps arching an eyebrow. It's nice work if you can get it, though, presumably, there isn't a massive amount of demand for that sort of talent.

Falling in love with the big cat tamer sends powerful emotions coursing through her reconfigured body, however, breaking her new glands and unleashing her inner gorilla. By the time she is shot by an over zealous cop (nothing much changes in America) she has fully reverted to her old, hairy animal self, but there is a moment roughly halfway between her initial retro-transformation from human lady to ape woman to gorilla in which she is probably the most beautiful thing I have ever seen.

* These scenes feature Clyde Beatty, the world famous animal trainer. It is amazing to watch him face down a dozen snarling big cats, but his methods leave a lot to be desired. There is also a lot of footage of lions and tigers fighting each other, an incredible but unedifying spectacle. 

DAUGHTER OF DR JEKYLL

d. Edgar G. Ulmer (1957)

As you might expect from the title, this is a silly sort of film, albeit one that seems to wilfully muddle horror mythology simply for the sake of it. It's also a film that is occasionally hard to watch, as the interiors and exteriors are so unevenly matched in terms of quality and visibility that they might as well be from completely different productions.

When a young woman turns 21, she inherits a large country estate and the truth about her lineage: she is the daughter of the notorious Dr. Henry Jekyll. Despite the fact that she was born several years before he started the experiments that would transform him into Mr. Hyde, she is frightened that his 'condition' might be hereditary, concerns that her guardian is rather poor at assuaging: 'Well, there's absolutely no proof that it is - and absolutely no proof that it isn't'. The condition in question, by the way, is Lycanthropy. Yes, sod Robert Louis Stevenson, Dr. Jekyll was, it seems, a werewolf. Don't worry, though, the local villagers know what to do to stop a 'blood sucking' werewolf. That's right, you bang a stake through its heart*. 

Despite being under sedation and locked in her room, every night Ms. Jekyll has feverish dreams of herself as a saturnine, feral figure, emerging from the family crypt to kill. When she wakes up she is in her own bed, but covered in blood and mud to find that, invariably, another female servant has been murdered on her way back home to the village. 

The set up of these murders is less than meticulous, and it is soon apparent that it is physically impossible for Ms. Jekyll to have committed them. All we're seemingly left with is the prospect of a Scooby Doo big reveal type ending - which, happily, doesn't quite happen, as there is one more left handed twist of the cinematic pepper pot which, along with a superbly eerie theremin score,  just about redeems the whole thing.

Staking werewolves, though? Come on.  

* As a lifelong horror enthusiast, this actually hurt my feelings.