The House of Hammer Vol. 1 is a treasure trove for horror enthusiasts, offering a deep dive into the rich history of British horror and its American counterparts. This Blu-ray collection, curated by Hammer, is a testament to their commitment to preserving and promoting the golden age of horror. While it may feel like a hodgepodge of special features, it's a fascinating journey through time and a celebration of the genre's pioneers.
What makes this collection truly special is its focus on the lesser-known aspects of Hammer's legacy. The inclusion of 'Masques, Monsters and Madmen' is a highlight, offering a captivating look at Vincent Price's work with American International Pictures (AIP). It's fascinating to see how AIP, despite not having Price in a Hammer film, was still intertwined with the British horror studio. The insights from experts like Jonathan Rigby, Chris Alexander, and Victoria Price provide a unique perspective on the studio's influence and output.
The exploration of Michael Gough's career in 'Off the Leash' is equally intriguing. Gough, who was often dismissive of horror, seems to have had a soft spot for the genre, appearing in several films. This documentary delves into his career, offering a fresh take on an actor often overlooked in horror circles. Additionally, 'The Land Demands Blood' showcases the use of Cornwall as a setting, not just by Hammer but also by contemporary filmmakers, adding a geographical twist to the collection.
The inclusion of 'Ticket to Happiness', a previously lost short film, is a delightful surprise. It stars Michael Goodliffe, who also appeared in Hammer's 'To the Devil a Daughter' and 'The Man with the Golden Gun'. These connections between Hammer films and other iconic projects are fascinating and add a layer of depth to the collection.
Disc two continues the exploration with 'Deep Cuts', a feature-length documentary on censorship in the US and UK. It provides a fresh perspective on a well-trodden topic, with insights from the same talking heads as 'Masques, Monsters and Madmen'. The discussion on changing boundaries and the impact on films is particularly engaging and offers a new lens to view the evolution of horror.
'Making Monsters' and 'Symphonies of Shudders' are also noteworthy. The former delves into the work of special effects duo Dave and Lou Elsey, while the latter explores the history of music in film, focusing on Hammer composer James Bernard. The inclusion of a 1995 interview with AIP legend Roger Corman and footage from the restoration screening of 'The Curse of Frankenstein' adds a touch of nostalgia and provides a broader context for the collection.
However, the reviewer notes that the collection feels like a hodgepodge of special features, with some connections between the various elements being tenuous. The artwork, dominated by Christopher Lee, Peter Cushing, and Vincent Price, doesn't help in creating a cohesive feel. Nevertheless, the collection is a valuable resource for fans and collectors, offering a wealth of insights and a deeper understanding of Hammer's legacy.
In my opinion, The House of Hammer Vol. 1 is a must-have for any serious horror enthusiast. It's a fascinating journey through time, offering a unique perspective on the genre's pioneers and their impact on cinema. While it may not be a perfect collection, it's a testament to Hammer's commitment to preserving the golden age of horror and a celebration of the genre's rich history.
