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And You Call Yourself a Scientist! |
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And You Call Yourself a Scientist! |
THE BLOOD BEAST TERROR (1967) |
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"Galvanism isn’t working. It needs nourishment." |
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Director:
Vernon Sewell Starring: Peter Cushing, Robert Flemyng, Wanda Ventham, Vanessa Howard, David Griffin, Glynn Edwards Screenplay: Peter Bryan |
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nineteenth century England, bodies are being found with strange wounds, and totally
drained of blood. One of the victims is a student of Professor Mallinger (Robert Flemyng),
a doctor, lecturer and entomologist whose suspicious behavior attracts the attention of
Inspector Quennell (Peter Cushing). When a young scientist is killed, it becomes apparent
that Mallinger and his daughter Clare (Wanda Ventham) are involved. The two flee to an
isolated village, followed by Quennell. It is revealed that Clare is not the
Professor’s daughter, but a giant, blood-drinking moth with the ability to take on
human form. Frankenstein-like, Mallinger is creating a mate for her, but the experiment is
not going well. Human blood is required, and Quennell must act quickly to rescue his own
daughter, who has been targeted as the next victim.
Cursed with one of the
silliest monsters in horror film history, The Blood Beast Terror was doomed from
the outset. While no-one expects films like this to make sense, the script appears to have
been prepared under some Clinton-esque "Don’t Ask, Don’t Tell" policy.
Thus, it is never entirely clear whether the Professor has turned his daughter into a
giant vampiric moth, or whether he has a giant vampiric moth masquerading as his daughter.
Furthermore, there is no attempt whatsoever to explain why exactly anyone would want
to create giant moths, vampiric or otherwise. The cast, however, manages an admirably
straight face. As was so often the case, Peter Cushing is infinitely better than the
material, and lends the whole project a great deal more dignity than it deserves. (Peter
Cushing considered this the worst film of his career. But at least TBBT is fun. My own
nomination for the worst would be The Uncanny (1977), which is quite painfully
bad, and a low point for both Cushing and Ray Milland.)
Otherwise, the film has little
to recommend it beyond its sheer absurdity and its marginalia: the early scream/faint
sequence featuring Clare, which is funny in retrospect when its significance becomes
clear; an eagle-tormenting butler who gets what he deserves; and, echoing the Frankenstein
theme of the film, a very odd stage play in which Clare participates.
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