Get the latest 640-911 exam questions and 350-080 dumps answers to practice and pass your VCP550 exam fin 1st try guaranteed. For more information about this product see our wikipedia and Washington University in St. Louis site best wishes.

Directors: Terence Fisher, Michael Carreras, Seth Holt
Sony Pictures Home Entertainment

For U.S. fans of England’s Hammer Films, 2008 is a banner year for DVD releases. Sony’s ICONS OF HORROR COLLECTION: HAMMER FILMS will bring the total of major Hammer titles being released on DVD this year two an even dozen, and this four-film set ends the year on an absolute high note. The standard was set high with Sony’s earlier Hammer set, ICONS OF ADVENTURE, and this new collection, featuring a quartet of horror classics from the Hammer/Columbia vaults, does not disappoint. Sony even let fans vote for the cover art and they definitely picked a winner!

Disc 1 features THE TWO FACES OF DR. JEKYLL (1960), directed by Terence Fisher. The dull, middle-aged, bearded Dr. Henry Jekyll (Paul Massie) is performing experiments which reveal a hidden dark side in man. He first gives the altering drug to a caged monkey, and then to himself. He then transforms into the younger, more handsome yet sadistic Mr. Edward Hyde. Jekyll’s best friend Paul Allen (Christopher Lee), who is always soliciting money from him, and Jekyll's bored wife Kitty (Dawn Addams, THE VAMPIRE LOVERS) are having an affair, and Hyde easily fits into their sordid underground haunt, the Sphinx. Hyde befriends (and later double crosses) the equally mischievous Allen, and forces himself on Kitty, while engaging in a steamy fling with a snake-dancer (Norma Marla). The good Dr. Jekyll sets out to destroy the personality-changing chemical, and rid himself of Hyde, but his evil counterpart might be the more prevailing of the two.

Hammer’s attempt to modernize Robert Louis Stevenson’s story with an edgy Wolf Mankowitz screenplay, featuring a non-monstrous looking Hyde and a heightened sexual tone, resulted in a box office failure upon release. Its American distributor (AIP) had a difficult time marketing the film under the titles HOUSE OF FRIGHT and JEKYLL’S INFERNO, but it retained its original moniker when shown on TV. This might have been considered a disappointment in its day, but it holds up now as a lavish and interesting variation on a story which has been done to death, with the usual quality you could expect from director Fisher. Although Hammer originally wanted ROOM AT THE TOP star Laurence Harvey (he was too expensive) in the title role, Canadian-born Paul Massie does a decent job, especially with the more demanding Hyde, even if his character sometimes looks like an excitable version of 1980s pop star Robert Palmer. Massie also campaigned to play both Jekyll and Hyde, as producer Michael Carreras only wanted him as Hyde. Under Roy Ashton’s passable Jekyll make-up and a bass intonation, the actor does just fine. Great support is given by Lee and Addams, with Hammer character favorite Francis De Wolff showing up as a police inspector, and a pre-CURSE OF THE WEREWOLF Oliver Reed is seen briefly as a club bouncer.

The second film on Disc 1 is THE CURSE OF THE MUMMY’S TOMB (1964), directed by Michael Carreras. Egyptologists Sir Giles Dalrymple (Jack Gwillim), John Bray (Ronald Howard) and his fiancée Annette Dubois (Jeanne Roland) uncover the tomb of the mummy Ra-Antef (Dickie Owen), a centuries-dead Egyptian prince. Despite warnings from the locals, including the mutilation and slaying of Annette’s father, the mummy and its priceless trinkets are removed, and American entrepreneur/showman Alexander King (Fred Clark) has them brought back to England to exhibit and take on tour, roadshow style. Charming his way into the Egyptologists’ lives is Adam Beauchamp (Terence Morgan, THE PENTHOUSE) who manages to steal the lovely Annette’s heart, but he conceals a dark secret as the living mummy goes on a rampage of murder and destruction.

THE CURSE OF THE MUMMY’S TOMB is the second of Hammer’s unrelated mummy series, with the only discernible link to the original being the presence of fez-wearing George Pastell as similarly fanatical, yet less sinister protector of the mummy’s tomb. Michael Carreras was never lauded for his directorial skills (but hey, the guy did do THE LOST CONTINENT!) in the eyes of critics and fans, and this film is no exception, as it's often regarded as Hammer’s worst (Carreras also produced and even wrote the screenplay under the nom de plume “Henry Younger”, a spoof on Anthony Hinds’ pen name, John Elder). Shot in Scope utilizing some leftover sets (you’ll recognize the bricked sewers from 1962’s PHANTOM OF THE OPERA), the story is indeed conventional, but not as talky as its reputation might suggest, with the 81-minute running time moving forth in an acceptable manner. The decent mummy action is the obvious highlight here. Dickie Owen’s bandaged zombie is an imposing killing machine, and all the death scenes are memorable, and the film has a number of gory bits, namely in several bloody hand dismemberings. Comic actor Fred Clark gives a standout performance as Alexander King, echoing Robert Armstrong’s Carl Denham from KING KONG in many ways.

Disc 2 commences with 1964’s THE GORGON, directed by Terence Fisher. In the village of Vandorf, a young artist’s girlfriend wanders into the woods, only to mysteriously turn to stone. The artist is found to have hanged himself the next day, but a court hearing declares him guilty of murdering the young woman. Trying to clear his son’s good name, Professor Heitz (Michael Goddliffe) pays a visit, but he gets a gander of the hideous Gorgon, who dwellins in and around the ruins of Castle Borski. Before his transformation to granite, Heitz is able to send off a letter to his other son Paul (Richard Pasco), who quickly arrives to Vabdorf. Paul also witnesses the Gorgon on reflection, but he survives and is put into the care of Dr. Namaroff (Peter Cushing) and his lovely assistant Carla (Barbara Shelley). Namaroff is jealous of the bond between outsider Paul and the distraught Carla, and offers no help to Paul’s crusade to prove the creature’s existence. In comes Paul’s good friend Professor Meister (Christopher Lee) a strong-willed intellectual and the ally that Paul needs to uncover the Gorgon’s secret identity.

Mixing Greek mythology with familiar gothic trappings, THE GORGON is a true Hammer horror classic, even with its flaws, one which is a rather week script by John Gilling. The cinematography by Michael Reed is outstanding, with a surreal, story-book appearance, and Bernard Robinson’s sets (reworked from other Hammer productions) are decadent and visually spectacular. Terence Fisher always had a skilled grasp for the gothic, and his direction here is nothing short of imaginative, with a pulsating score by James Bernard to back it up. Essentially, THE GORGON is a tragic love story/fairytale with Richard Pasco and Barbara Shelley being the key players, but it’s also a noteworthy Cushing/Lee entry. Though the two iconic stalwarts have very little screen time together, Cushing’s low key Dr. Namaroff is overshadowed by the scene-stealing Lee as Meister, heavily guised in moustache and beard, and it’s nice to see him as the good guy (in this sort of film) for a change. Roy Ashton’s make-up (on Gorgon Prudence Hyman and her assorted stone-faced victims) is deliciously gaudy, even though the rubber snakes affixed to the Gorgon’s head have often been criticized since they look like they were bought at a Five & Dime.

The second film on Disc 2 is SCREAM OF FEAR (1961), directed by Seth Holt. Confined to a wheelchair, Penny Appleby (Susan Strasberg) returns to her home in the French Riviera to a father she hasn’t seen in nine years. Unfortunately for her, dad is out of town on business, so she is greeted and accommodated by her stepmother Jane (Ann Todd), who she is just meeting. With the father not supposed to return any time soon, Penny begins to see his dead body in various places in the château, despite the fact that she just spoke to him on the telephone. With a nosy doctor (Christopher Lee) always stopping by and integrating poor Penny, she finds solace and trust in the family chauffeur (Ronald Lewis, MR. SARDONICUS) who gradually believes her story and decides it’s time to look for a body.

Originally known as TASTE OF FEAR in the U.K., SCREAM OF FEAR is one of a handful of black and white psychological thrillers Hammer produced in the wake of PSYCHO. Arguably, it’s the best of them. Columbia's choice to have Susan Strasberg as the heroine was a good one, as she is not only pretty, charming and a good actress, but she’s a great screamer (hence the American title). Director Holt (THE NANNY) does an excellent job of building tension around the gloomy corridors of the château where most of the story takes place, with a handful of nifty shocks to jolt the viewer. Jimmy Sangster wrote the script and also produced the film, and it’s something he’s justifiably very proud of. The mystery within stays very focused, with the outcome being a very solid thriller with more than a few twists and turns along the way. Fans of Christopher Lee will note that his part here is much smaller for a Hammer film, but he’s instrumental to the plot and actually does a convincing French accent. SCREAM OF FEAR is also notable for being one of the few early Hammer horrors detached from the confines of Bray Studios: it was shot on location in and around Nice on the French Riviera, with interiors being done at Elstree Studios back in England.

Sony has done a flawless job bringing all four films to DVD, so there’s not too much to say about the High Definition transfers, except that they should be praised. THE TWO FACES OF DR. JEKYLL is presented anamorphic in its original 2.35:1 aspect ratio, with brilliant colors and excellent detail. This is also the uncut 88-minute version with all the inoffensive swear words (“go to hell”) restored in the dialog. THE CURSE OF THE MUMMY’S TOMB is also 2.35:1 widescreen anamorphic, and looks scrumptious, and this version actually has an extended end sequence not found in some prints. SCREAM OF FEAR is presented in a 1.66:1 letterboxed anamorphic transfer, and the black and white image looks very good, with only minimal grain on occasion. Also presented 1.66:1 letterboxed with anamorphic enhancement, THE GORGON is another stunner, with absolutely gorgeous colors and very sharp detail. The English mono audio tracks on all four titles are crisp and clean, and all have optional English subtitles.

The only extra are the trailers for each of the four films, which needless to say, look great. THE GORGON’s trailer looks to be the rarely seen British one. (George R. Reis)