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« The Skull » brings to life (no pun intended!) a most consuming anxiety record built around the despicable doings written down in history concerning the famous Marquis de Sade. He was supposedly not insane but simply the personification of pure execrable with his radiant looks and anti social/sadistic behaviour towards all he encountered. His life here serves as an ideal and indeed current basis for a alarm myth about the bizzare and hideous powers he unruffled possesses after his death in the beget of his skull which is unleashed on some unsuspecting individuals in a later century.
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This 1965 Amicus production stars the always terrific combination of Peter Cushing and Christopher Lee and explores this rather grisly premise of life, or power, after death. Adapted from a short record by the very talented fear writer Robert Bloch who was responsible for such alarm classics as « Psycho » and « The House That Dripped Blood » it tells of the exhumation of the skull of the Marquis de Sade which passes from one curio collector to another and through its odd and deadly powers manages to continue the apprehension from beyond the grave and bring disaster and death to all who fill it.
Peter Cushing plays Christopher Maitland an avid collector of antiques and curiosities such as a book that once belonged to the distinguished Marquis, the camouflage of which is made of human skin! Despite warnings from his fellow collector Sir Matthew Phillips (Christopher Lee) about the skulls gross powers Cushing through delicate means and cross comes into possession of the skull and once it is placed among his collection it starts to buy a ugly control over his mind turning him into a killer resulting in a tragic conclusion to the sage.
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Ably directed by mature Hammer director Freddie Francis this film has a very spooky premise which delivers a gracious but not expansive sage. The film does tend to waddle at times, in particular in Cushing’s dream sequence where he is abducted and taken to a mysterious court where he is almost forced to commit suicide. However « The Skull » has some very memorably scary moments.Particulary effective is the method the skull seems to steal on a life of its hold. Some of the action is shot from within the skull which is sterling in engendering an eerie sense that we are seeing what it is actually thinking. It’s movements around rooms and its appearing in different locations is also well handled. The film also boasts one of the finest graveyard sets of any Hammer/Amicus production in the flash benefit sequence at the beginning when the Marquis’s skull is dug up. Rotund of creepy feeble headstones, wrought iron fencing and an eerie whistling wind it is unsurpassed in creating impartial the correct sense of doom and fear in this record. Indeed as in all these types of productions the attention to detail is suited. Cushing and Lee work well together as always and it is honorable to survey Peter Cushing, a highly underrated actor performing in a role that has a bit of menace thrown in for generous measure.
« The Skull » is definately racy viewing and has a theme which is unique and a go away from the usual Vampire/Wolfman/Frankenstein features that predominated at this time. While not a grand dismay classic it is calm a expedient film that has its fragment of spine chilling situations guaranteed to support your interest.
You might reflect that since « The Skull » stars Peter Cushing and Christopher Lee that it is a Hammer films production, but this 1965 inconvenience comes from Amicus Productions. Based on the Robert Bloch short sage « The Skull of the Marquis de Sade, » this film deals more with psychological awe, until the somewhat droll conclusion. It seems that in the 19th-Century a phrenologist, believing there is a connection between human physiognomy and character, unearthed the body of de Sade in France to recall the skull. We then shift to « today, » where Christopher Maitland (Cushing) buys the skull for his private collection, even though his friend Sir Matthew Phillips (Lee) tells how he once owned the skull, which he believes to be possessed. Maitland becomes obsessed with the skull and apparently will end anyone and everyone to have it for his believe.
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There are moments where this film drags, and I have inconvenience watching the sequence where the skull starts flying around the room, but director Freddie Francis lucked out when he decided to shoot several shots from the perspective of the skull. To do this he keep a skull mockup in front of an aeroflex camera and moved around on roller skates. The jubilant result of this seeming absurdity is that the roaming camera serves to benefit involve the viewer with the developing psychological scare. The best sequence is when Maitland has a nightmare where he’s kidnapped by the police and forced to play Russian Roulette. Despite what you would contemplate to be inherent shortcomings, « The Skull » is an above average alarm film carried in stout fragment by Cushing’s performance. It is nice to search for him doing someone other than Dr. Frankenstein or Dr. Van Helsing.
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