Only a few weeks had passed since completing HORROR EXPRESS when Peter Cushing began shooting THE CREEPING FLESH Jan 31 1972, again paired opposite top billed Christopher Lee, under the direction of Freddie Francis. This marked the second and last time Cushing worked for Tony Tensers Tigon British company (THE BLOOD BEAST TERROR), and a far more rewarding and detailed script, featuring many familiar faces, such as George Benson (HORROR OF DRACULA), Duncan Lamont (THE EVIL OF FRANKENSTEIN), Michael Ripper (THE MUMMY), Kenneth J. Warren (I, MONSTER), and Harry Locke (TALES FROM THE CRYPT). The year is 1893, and Prof. Emmanuel Hildern (Cushing) is so devoted to winning the coveted Richter Prize for science that he neglects his daughter Penelope (Lorna Heilbron), hoping that his latest find, an enormous skeleton from New Guinea, will reap the financial rewards that so far have yet to bear fruit. He has another skeleton in his closet, as his beloved wife Marguerite has only recently died in an asylum, having kept her existence a secret from Penelope, who has been led to believe her mother dead since she was very young, fearing that Marguerites insanity may be hereditary. Add to this Emmanuels half brother James (Christopher Lee), whose very own asylum not only housed Marguerite, but has also financed the expeditions undertaken by the trusting Emmanuel, who is stunned to learn that James too is conducting research that he hopes will earn him the Richter Prize. While James is more interested in the causes of insanity, Emmanuel seeks to find a cure, with the skeletons finger growing flesh upon contact with water, believing that a serum combining its blood with a normal humans will eradicate any trace of evil when injected. Instead of allowing time to test his theory, Emmanuel thinks it necessary to inoculate his own daughter with the untested serum, with truly disastrous results. Meanwhile, James becomes aware of his brothers experiments, endeavoring to steal the skeleton, unaware of its flesh growing properties, during a heavy downpour... The films second half loses its focus a bit with so many characters afoot, but the climax does not disappoint, Francis evoking memories of THE SKULL as he shows The Evil Ones point of view, blood seeping in the eye socket (a nice gruesome touch). Both actors excel in their respective roles, each fatally flawed human beings, with only one brother emerging triumphant. Once again, Peter Cushings personal anguish contributes to his on screen character; off screen, his relationship with on screen daughter Lorna Heilbron was very warm, noting her resemblance to his late wife. Its a tribute to his versatility that he could go from confident, active monster hunter in HORROR EXPRESS to an uncertain and withdrawn victim of his repressed past. Despite Emmanuel Hilderns credentials as a brilliant scientist, his household is reduced in stature while hes away, only a solitary maid left upon his return, Penelope a virtual prisoner in her own home, the unpaid bills mounting. By the films end, one does have to wonder if the tale was indeed real, or only the imaginings of an insane mind...that is, before that final freeze frame. Francis was rewarded by World Film Services for his work here by a second feature three months later, TALES THAT WITNESS MADNESS, while Cushing moved on to the next Amicus anthology ASYLUM.
Posted on: Fri, 18 Jul 2014 07:36:39 +0000