AND NOW THE SCREAMING STARTS (1973)
Director: Roy Ward Baker
Image Entertainment

In between helming some of Hammer's best early 70s efforts, reliable veteran Roy Ward Baker delivered the entertaining Amicus omnibus films ASYLUM and VAULT OF HORROR. Baker also was also responsible for Amicus' embellished screen adaptation of the recent novel Fengriffen, a gothic ghost story that proved a worthy undertaking for Hammer's greatest rival.

During the end of the 18th century, young bride Catherine (Stephanie Beacham) arrives with her husband Charles Fengriffen (Ian Ogilvy), settling into their large English estate. Almost instantly, Catherine has reason to start screaming as she witnesses a bloody hand burst from a painting of Charles' grandfather Henry. But the worst is yet to come, as she is raped by an apparition of a man with his eyes gauged out and a stump at the end of his right arm -- a disembodied hand crawls about and wreaks havoc for Catherine and most of the cast. Catherine realizes that the ghost of her nightmares resembles the estate woodsman Silas (played devilishly well by Geoffrey Whitehead), but she can't prove it's the same man since he looks normal (despite a rather large red birthmark on his kisser) and he has both hands.

It seems that anyone involved with the Fengriffen family are murdered by the ghost, all of whom appear to know some dark family secret. After the local physician (Patrick Magee) diagnoses Catherine as being pregnant, he suggests bringing in a psychology expert to tend to the girl's more severe problems. And who better to play Dr. Pope then Peter Cushing? Arriving more than 40 minutes into the film, Cushing (wearing the same curly wig he later sported in FRANKENSTEIN AND THE MONSTER FROM HELL), gives his usual elegant and commanding performance (Pope's ignorance of the supernatural brings on a real challenge). In an exceptional flashback, we learn about Charles' degenerate grandfather who brought debauchery to the Fengriffen house and is responsible for the family's tainted blood. On the night of his wedding, the woodsman (Silas' grandfather, again plaid by Whitehead) has his hand severed and has his wife violated by the elder Fengriffen (Herbert Lom deliciously cruel in a great cameo).

Though nothing earth shattering, AND NOW THE SCREAMING STARTS is a fine slice of gothic British horror, only marred by a middle act that drags somewhat. This is Beacham's best genre performance, and she proves herself to be a fine actress and underrated scream queen (as well as delectable eye candy). Ogilvy also does his best with his part, as does the veterans Cushing, Magee and Lom. Rounding out the cast is a number of familiar character actors, including MR. SARDONICUS himself, Guy Rolfe, as the family solicitor. Baker's skillful direction is complimented by Tony Curtis' (not the actor) gorgeous sets and Douglas Gamley's thunderous score (Gamley was Amicus' house composer). Surprisingly, the special effects and make up still hold up well today.

Amicus' horror films where never as gratuitous as Hammer's had become in the early 70s, and this film could probably get away with a PG-rating today. Even so, all previous U.S. video releases of AND NOW THE SCREAMING STARTS were culled from a heavily edited TV version (shed of any gore and a tiny bit of skin--not Beacham's). Transferred from a very clean source print, Image here presents for the first time the fully uncut version in it's original 1.85:1 aspect ratio (without Anamorphic enhancement). The colors are now correct and well defined, with fleshtones finally looking distinguished, and the image is sharp and free of excessive grain. The monaural soundtrack has some scratchiness that is a bit overbearing in several spots, but it's nothing terribly offensive.

A commentary with actor Ian Ogilvy is moderated by Darren Gross (who has recently been instrumental in the restoration of the two "Dark Shadows" movies). Ogilvy claims to not remember much some 30 years later, but while watching the film, he is able to recall quite a few tidbits (saying only nice things about Baker, Cushing and Beacham) and Gross keeps things moving along by asking him a number of pertinent questions and also throws in a lot of interesting facts about the production. The well-articulated conversation stays on track, focusing on the film in question, but naturally, Ogilvy also discusses working with the likes of Boris Karloff, Michael Reeves and Vincent Price. A large still gallery (featuring a lot of production shots and glamour stills of Beacham) is included, as is a trailer (though a bit disappointing, as it's an orange-tinged 60-second TV spot), and liner notes by Gross. To date, this is the finest presentation of an Amicus film on DVD and is highly recommended. (George R. Reis)

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