Particularly all the sour people, who continuously claim that the Hammer Studio ran out of inspiration and professionalism during the early 1970's, should view "Hands of the Rippers", as this is still a highly inventive and marvelously put together period piece. The basic premise of this film is perhaps one of the most ingenious ones ever to come out of the legendary British studios and director Peter Sasdy presents the wholesome with great emphasis on both suspense AND gory bloodshed! The French version's title (which I own) literally translates as "The Ripper's Daughter" and this sums up the synopsis much better than the official title ever could. During the opening sequence, the notorious late 19th Century London serial killer Jack the Ripper is identified by his own wife and their little girl - Anna - painfully witness how her mother too gets slaughtered by her father the monster. Years later, the shy and introvert girl is under the custody of a phony spiritual medium/female pimp but her traumatic memories come to the surface and force her hands to kill as well. Dr. John Pritchard, an early follower of Sigmund Freud, takes Anna in his house and hopes to cure her disturbed behavior by using therapy. However, since he doesn't know what exactly inflicts Anna's murderous rage, several more people (even inside Pritchard's household) are killed. "Hands of the Ripper" lacks a bit of star-power (no Peter Cushing or Christopher Lee in the cast), but the film is fast-paced and the originality of the plot results in multiple tense sequences. Moreover, the setting of London during the turn of the century is greatly captured, with people slowly recovering from the actual Jack the Ripper murder case and reverting too easily to fear & hysteria when it seems there's a new maniac on the loose in the city. The murders are sensational and really, really gruesome and they're extra shocking since nearly all victims (all but one, actually) are sympathetic characters you didn't wish this cruel fate for. This is also one of more intelligent Hammer films, as the screenplay efficiently blends together historical horror with accurate psychological theories and yet still manages to throw in some pure camp and typical Hammer-brutality! The climax, set in the St. Paul Cathedral's gallery of whispers, is breathtaking and almost hauntingly poetic. Truly one of Hammer's most underrated and sadly forgotten horror-highlights.
69 Reviews
One of the most interesting Hammer movies.
Infofreak9 November 2002
'Hands Of The Ripper' is one of the most interesting Hammer movies. An odd mixture of Edwardian costume drama, pop psychology and proto-slasher gore, which may not be 100% successful, but it does make for some fascinating viewing. Eric Porter (who some may remember from the 60s TV series 'The Forsyte Saga') is perfectly cast as the detached and driven Dr John Pritchard who unexpectedly encounters Jack The Ripper's daughter Anna (the lovely Angharad Rees). She has no idea of her background and is working for a fraudulent medium that Pritchard and his son visit. After Anna is implicated in a brutal and bloody murder he "adopts" her, and hopes to unlock her secrets using the new fangled theories of one Sigmund Freud. Can he help this confused and potentially lethal young woman before she kills again? I leave it up to you to find out. While I don't rate this one quite as highly as many, I thoroughly enjoyed it, and it is yet another example of just how most of Hammer's output has been largely underrated over the years.
Underrated Hammer Gem
Witchfinder-General-66618 April 2008
I am an enthusiastic fan of the Hammer Studios, and my admiration for this brilliant Production Company gets greater with each film I see. The Hammer Studios are most famous for their films made in the late 50s and 60s, most prominently for the (awesome) "Dracula" and "Frankenstein" series. As far as I am considered, however, some of Hammer's films from the early 70s are just as brilliant as their older successes. One of their greatest and my personal favorite of their films, the brilliant "Vampire Circus" was made in 1972, for example, and the early 70s also brought a variety of other classics, such as "Dr Jekyll & Sister Hyde" or "Scars Of Dracula", which is easily the nastiest entry to Hammer's Dracula series. "Hands Of The Ripper" of 1971 is yet another great Hammer production that is immensely atmospheric, genuinely creepy, well-acted and stunningly suspenseful, and an absolute must-see for every Horror-fan.
As a toddler, little Anna has to witness the murder of her mother by her own father - none other than the notorious serial killer Jack the Ripper himself. At the age of seventeen, Anna (Angharad Rees) lives at the house of an elderly lady, a phony medium who is perfectly willing to leave her 'granddaughter' to rich 'gentlemen' for money. After this 'grandmother' is brutally murdered, the rich doctor John Pritchard (Eric Porter), a humanist and follower of Siegmund Freud, decides to take custody of poor Anna, both out of sympathy and for research reasons...
"Hands Of The Ripper" is a vastly underrated Hammer gem that is ingenious in many aspects. The film is immensely creepy and scary, with a suspense level that is higher than in most Hammer flicks, and the murders are brutal and very bloody. The atmosphere is eerie and tense and, as usual for Hammer, the film is shot in great Gothic locations. The performances are great. Eric Porter delivers an excellent performance as Dr. Pritchard, and Angharad Rees deserves special praise for her outstanding performance in the role of Anna. All said, this is a shamefully underrated film. Creepy, stylish, excellently acted and stunningly suspenseful from the beginning to the end "Hands Of The Ripper" is a great gem from Hammer that no lover of Horror can afford to miss!
As a toddler, little Anna has to witness the murder of her mother by her own father - none other than the notorious serial killer Jack the Ripper himself. At the age of seventeen, Anna (Angharad Rees) lives at the house of an elderly lady, a phony medium who is perfectly willing to leave her 'granddaughter' to rich 'gentlemen' for money. After this 'grandmother' is brutally murdered, the rich doctor John Pritchard (Eric Porter), a humanist and follower of Siegmund Freud, decides to take custody of poor Anna, both out of sympathy and for research reasons...
"Hands Of The Ripper" is a vastly underrated Hammer gem that is ingenious in many aspects. The film is immensely creepy and scary, with a suspense level that is higher than in most Hammer flicks, and the murders are brutal and very bloody. The atmosphere is eerie and tense and, as usual for Hammer, the film is shot in great Gothic locations. The performances are great. Eric Porter delivers an excellent performance as Dr. Pritchard, and Angharad Rees deserves special praise for her outstanding performance in the role of Anna. All said, this is a shamefully underrated film. Creepy, stylish, excellently acted and stunningly suspenseful from the beginning to the end "Hands Of The Ripper" is a great gem from Hammer that no lover of Horror can afford to miss!
Interesting period Hammer production.
capkronos25 February 2004
Orphaned teenager Anna (innocent-looking Angharad Rees) is placed under the care of the awful Mrs. Golding (Dora Bryan), a fake medium who uses her in moneymaking schemes and pimps her out to customers, which leads to her murder. Anna is adopted by Dr. John Pritchard (Eric Porter), an early follower of Freudian philosophy, who tries to help Anna when it's revealed she's the daughter of Jack the Ripper with homicidal tendencies of her own after seeing dear old dad murder mum as a child. Dr. Pritchard is so obsessed with Anna and his research that he isn't above covering up the murders that follow.
The performances are first-rate, the turn-of-the-century London flavor is accurately captured, the murders are pretty bloody for the time and there's a great, subdued ending at the "Gallery of Whispers." Fine period horror from Hammer Studios, originally shown on a double bill with TWINS OF EVIL.
Score: 7 out of 10
The performances are first-rate, the turn-of-the-century London flavor is accurately captured, the murders are pretty bloody for the time and there's a great, subdued ending at the "Gallery of Whispers." Fine period horror from Hammer Studios, originally shown on a double bill with TWINS OF EVIL.
Score: 7 out of 10
A flickering light leads to the kiss of death.
lost-in-limbo20 June 2006
Jack the Ripper's young daughter Anna; witness the grisly murder that her father committed against her mother. Many years have past and she been adopted by an old lady who fakes being a medium with the help of the girl. But one night these traumatic memories of her mother's death and her father kissing her cause to enter a trance because of a glittering light and she murders whoever decides to kiss her. A psychiatrist - Dr John Pritchard is an idealist that decides to take her in, as he believes he can discover and eventually cure the girl's unstable condition.
Like father daughter will follow. Well, the voices in her head made sure. After watching this - I couldn't believe director Peter Sasdy went from this credible Hammer flick to the ridiculously monstrous "I Don't Want to Born" that I watched only a fortnight ago. Um, "Hand of the Ripper" is quite a big step up. "Taste the blood of Dracula" is even better. This Hammer production takes on the Jack the Ripper legend with a quite different and cerebral angle. Amongst psychological edge -- there's even a slasher touch about it. But those looking for high camp might be slightly disappointed. The skillful direction by Sasdy conjures up some flair, outlandishly violent deaths and a hauntingly, harrowing conclusion. The workman like production injects a very detailed and quite realistic backdrop of the grimy period. The empowering, but professionally orchestrated score is hard to shake as it works around with the moods effectively. Acting from the cast was very solid even if they had somewhat stilted characters. Eric Porter gave a strong performance as the determined doctor who has his own personal agenda and the ravishing Angharad Rees is naturally good as (daddy's little girl) Anna. Now onto the weakest points. The muddled story is fuelled by many ideas, but still it has some illogical aspects and certain reasoning's that just don't rub off. The script probably does ponder on with some unusual turns, being flooded with scientific jargon and unconvincing relationships that don't really lead anywhere. For some the pacing could be quite slow and while; I didn't find it spectacular and filled with such excitement, but there was enough going on to keep me watching.
Hammer's latter day effort is a above-average and polished presentation that receives more ticks than crosses.
Like father daughter will follow. Well, the voices in her head made sure. After watching this - I couldn't believe director Peter Sasdy went from this credible Hammer flick to the ridiculously monstrous "I Don't Want to Born" that I watched only a fortnight ago. Um, "Hand of the Ripper" is quite a big step up. "Taste the blood of Dracula" is even better. This Hammer production takes on the Jack the Ripper legend with a quite different and cerebral angle. Amongst psychological edge -- there's even a slasher touch about it. But those looking for high camp might be slightly disappointed. The skillful direction by Sasdy conjures up some flair, outlandishly violent deaths and a hauntingly, harrowing conclusion. The workman like production injects a very detailed and quite realistic backdrop of the grimy period. The empowering, but professionally orchestrated score is hard to shake as it works around with the moods effectively. Acting from the cast was very solid even if they had somewhat stilted characters. Eric Porter gave a strong performance as the determined doctor who has his own personal agenda and the ravishing Angharad Rees is naturally good as (daddy's little girl) Anna. Now onto the weakest points. The muddled story is fuelled by many ideas, but still it has some illogical aspects and certain reasoning's that just don't rub off. The script probably does ponder on with some unusual turns, being flooded with scientific jargon and unconvincing relationships that don't really lead anywhere. For some the pacing could be quite slow and while; I didn't find it spectacular and filled with such excitement, but there was enough going on to keep me watching.
Hammer's latter day effort is a above-average and polished presentation that receives more ticks than crosses.
Another excellent film from Hammer!
The_Void3 April 2005
I'm a big fan of Hammer Horror; their inventive camp styling puts their output above the majority of other horror studios. Adding to that is the fact that when you watch a Hammer film, you know that you're in for a good time. While Hands of the Ripper isn't the best film to come out of the studio, it still represents another success for the studio and it's a film that will no doubt delight their fans. The great plot line follows the daughter of the infamous murderer; Jack the Ripper. After witnessing her father kill her mother, the young girl is permanently scarred and now, years later, her past is beginning to surface. The film finds a space between a psychological thriller and the familiar 'slasher' sub-genre (and it's yet another film in this style that pre-dates Halloween), and it blends brilliantly. The first thing you will notice about this movie is the way that the murders are done - stylishly, brutally and extremely camp! They're extremely over the top and a great treat for the horror fanatic.
Eric Porter stars as a psychiatrist who takes our heroine in after she murdered the woman who was looking after. Porter gives a fine performance as the good doctor, and keeps in with the style of the older leading male that Hammer have created. The film is noteworthy for it's excellent creation of the period in which the film is set, and that too adds to the delight of the film. One thing that I have noticed about Hammer's product as they entered the seventies is that the films lost that colourful camp edge that epitomised the earlier films and it had been replaced by a more European style. Captain Kronos is the prime example of that change, but luckily Hands of the Ripper is more like the Hammer films of yore. Not as colourful, but it still has that Hammer charm that us fans love so much. As usual, the film isn't quite perfect; it's dogged by a less than perfect script, and at times the psychological elements of the film ground down to walking pace, which makes the film boring; but generally this is a lovely piece of kitsch and Hammer fans won't be disappointed!
Eric Porter stars as a psychiatrist who takes our heroine in after she murdered the woman who was looking after. Porter gives a fine performance as the good doctor, and keeps in with the style of the older leading male that Hammer have created. The film is noteworthy for it's excellent creation of the period in which the film is set, and that too adds to the delight of the film. One thing that I have noticed about Hammer's product as they entered the seventies is that the films lost that colourful camp edge that epitomised the earlier films and it had been replaced by a more European style. Captain Kronos is the prime example of that change, but luckily Hands of the Ripper is more like the Hammer films of yore. Not as colourful, but it still has that Hammer charm that us fans love so much. As usual, the film isn't quite perfect; it's dogged by a less than perfect script, and at times the psychological elements of the film ground down to walking pace, which makes the film boring; but generally this is a lovely piece of kitsch and Hammer fans won't be disappointed!
HANDS OF THE RIPPER (Peter Sasdy, 1971) ***
Bunuel197619 October 2008
This is one of four Peter Sasdy films shown on local TV in the early 1980s when we still owned a black-and-white set and I was too young to be allowed to see them! Over the years, I managed to catch up with three of them: the film under review itself while in London in September 2002, TASTE THE BLOOD OF Dracula (1970) fairly recently on DivX and NOTHING BUT THE NIGHT (1972) just last week on DVD-R; the only one still eluding me is, reportedly, also the weakest of the bunch, I DON'T WANT TO BE BORN aka MONSTER (1975)
This is arguably Sasdy's best work for Hammer and I guess overall, too; similarly, Eric Porter's excellent performance is very underrated and among the best given in the studio's entire output. The film contains two very well-directed sequences: the slow build-up to the revelation of the first murder and the very last scene featuring the fatal leap off the balcony at the Whispering Corridors. The sleazy MP character (Derek Godfrey) and the opportunistic protector/medium (Dora Bryan) are two other well-rounded characterizations; on the other hand, those of Porter's son and blind fiancée (a wasted Jane Merrow) are bland and one-dimensional. In spite of its importance in establishing the girl's true identity, the doctor's second visit to a medium could perhaps have been altered to a different profession so that it does not seem reminiscent of the opening séance. Curiously enough, Hammer visited similar Jack The Ripper territory that same year in Roy Ward Baker's DR. JEKYLL AND SISTER HYDE; besides, while the murder of the proverbial kind-hearted whore is again well-staged, the generally clichéd portrayal of them borders on caricature.
The Network SE DVD features an Audio Commentary (which I've yet to listen to) and an episode of the 1970s THRILLER TV series featuring HANDS OF THE RIPPER's co-star Angharad Rees whose good and innocent looks are effectively deployed in the blank stare of the entranced protagonist.
This is arguably Sasdy's best work for Hammer and I guess overall, too; similarly, Eric Porter's excellent performance is very underrated and among the best given in the studio's entire output. The film contains two very well-directed sequences: the slow build-up to the revelation of the first murder and the very last scene featuring the fatal leap off the balcony at the Whispering Corridors. The sleazy MP character (Derek Godfrey) and the opportunistic protector/medium (Dora Bryan) are two other well-rounded characterizations; on the other hand, those of Porter's son and blind fiancée (a wasted Jane Merrow) are bland and one-dimensional. In spite of its importance in establishing the girl's true identity, the doctor's second visit to a medium could perhaps have been altered to a different profession so that it does not seem reminiscent of the opening séance. Curiously enough, Hammer visited similar Jack The Ripper territory that same year in Roy Ward Baker's DR. JEKYLL AND SISTER HYDE; besides, while the murder of the proverbial kind-hearted whore is again well-staged, the generally clichéd portrayal of them borders on caricature.
The Network SE DVD features an Audio Commentary (which I've yet to listen to) and an episode of the 1970s THRILLER TV series featuring HANDS OF THE RIPPER's co-star Angharad Rees whose good and innocent looks are effectively deployed in the blank stare of the entranced protagonist.
Underrated Hammer film.
Snake-66618 January 2004
While just a young child, Anna (Angharad Rees) witnesses the brutal murder of her mother by father Jack the Ripper'. Fifteen years later she begins to enter trances and appears to be possessed by the Ripper himself. A friendly psychiatrist, Dr. Pritchard (Eric Porter), unaware of her past and believing her problems to be purely in the mind takes Anna in while he attempts to cure her. However, he soon regrets his decision.
Hands of the Ripper' is a rather underrated and enjoyable Hammer film. The film is slow, methodical and story based which may not appeal to those who like lots of `action' in their flicks, but anyone who likes classic horror wonderfully entwined with a near-gripping thriller should find something enjoyable in Hands of the Ripper'. Director Peter Sasdy does well in building the tension and ensuring that the audience remains enthralled throughout the slower paced thriller aspects. Peter Sasdy does his best in making the most of the screenplay and adds some wonderful touches to the visuals of the film which really stand out and help to make the movie what it is. The sporadic flashback sequences may not be entirely original in horror but few are quite as effective. Some beautiful and often despairingly solemn musical arrangements accompany the film and induce the necessary mood in the viewer in order to fully appreciate this interesting piece of cinema.
The film is made all that better by some great performances from Eric Porter, Angharad Rees and Derek Godfrey in the short role of Dysart. Unfortunately, while one expects a certain degree of camp from a hammer movie, there did seem to be a slight overabundance of camp or hammy performances from some of the cast. However, one can take solace in knowing that the majority of these moments were towards the beginning of the film. Sadly, the poor performances were not the only thing that damaged this movie. There was an occasional lack in useful dialogue which lead to some of the scenes seeming distracted or unbelievable. This was accompanied by a couple of scenes which seemed bizarre and incoherent in their reasoning of the characters actions.
Nevertheless, the film manages to entertain and should hold the interest of fans of other Hammer films. Compared to modern day horror movies, Hands of the Ripper' is a slow moving film that probably has little appeal for the `nu-horror' fans but fans of classic horror should find the film to worthy of at least one watch. The death scenes may be a little of an anti-climax and there are some storyline problems, but Hands of the Ripper' is an entertaining movie that seems to be rather underrated. A bizarre yet enjoyable mixture of horror, thriller, period drama and the work of Sigmund Freud. My rating for Hands of the Ripper' 7/10.
Hands of the Ripper' is a rather underrated and enjoyable Hammer film. The film is slow, methodical and story based which may not appeal to those who like lots of `action' in their flicks, but anyone who likes classic horror wonderfully entwined with a near-gripping thriller should find something enjoyable in Hands of the Ripper'. Director Peter Sasdy does well in building the tension and ensuring that the audience remains enthralled throughout the slower paced thriller aspects. Peter Sasdy does his best in making the most of the screenplay and adds some wonderful touches to the visuals of the film which really stand out and help to make the movie what it is. The sporadic flashback sequences may not be entirely original in horror but few are quite as effective. Some beautiful and often despairingly solemn musical arrangements accompany the film and induce the necessary mood in the viewer in order to fully appreciate this interesting piece of cinema.
The film is made all that better by some great performances from Eric Porter, Angharad Rees and Derek Godfrey in the short role of Dysart. Unfortunately, while one expects a certain degree of camp from a hammer movie, there did seem to be a slight overabundance of camp or hammy performances from some of the cast. However, one can take solace in knowing that the majority of these moments were towards the beginning of the film. Sadly, the poor performances were not the only thing that damaged this movie. There was an occasional lack in useful dialogue which lead to some of the scenes seeming distracted or unbelievable. This was accompanied by a couple of scenes which seemed bizarre and incoherent in their reasoning of the characters actions.
Nevertheless, the film manages to entertain and should hold the interest of fans of other Hammer films. Compared to modern day horror movies, Hands of the Ripper' is a slow moving film that probably has little appeal for the `nu-horror' fans but fans of classic horror should find the film to worthy of at least one watch. The death scenes may be a little of an anti-climax and there are some storyline problems, but Hands of the Ripper' is an entertaining movie that seems to be rather underrated. A bizarre yet enjoyable mixture of horror, thriller, period drama and the work of Sigmund Freud. My rating for Hands of the Ripper' 7/10.
The Hands That Rock the Cradle
BaronBl00d29 July 2001
Not your typical Hammer vehicle starring Eric Porter as a doctor, influenced by the work of Sigmund Freud, who wants to study a young 17 year-old girl he knows to be a murderer. Porter thinks by analyzing her past he can find out why people murder and maybe prevent the act of murder in the human race in the process. The film is interesting in its objectives yet is a bit uneven in its execution. Directed by Peter Sasdy, who has obvious talent and directed Taste the Blood of Dracula nd Countess Dracula, the film works very hard at focussing on the relationship of childhood memories with adult behaviour, but at the same time wants to incorporate typical Hammer stuff such as big bosoms busting through stretched corsets and lots of blood and bizarre deaths. Angharad Rees plays the murderous daughter of the Whitechapel killer who as a child saw her mother brutally killed and then was orphaned. She does a good job as do all the actors. My biggest problem is with Porter, not his performance, but his character's motivation. I find it a little difficult to believe that a man supposedly intelligent would be so amoral, for he definitely seems to think that he is doing nothing wrong. The film is not all talk. There are several murders, all fairly brutal in their execution(no pun intended). The most ridiculous of these has to be a woman killed by her pince-nez glasses...but I'll let you decide if murder by pince-nez is realistic or not. There are some wonderful scenes too and the climatic one in St. Pauls is extremely powerful.
the things to notice
samhill521521 June 2014
TCM just aired this and like all the other Hammer films I enjoyed it a great deal. They're not cinematic achievements but they are fun and that's one of film's aspects I really appreciate. I also tend to look at technical aspects and the first thing that struck me is how fake the moustaches looked. The beards looked better but now I wonder. The second, I'm embarrassed to write, was Marjie Lawrence's cleavage which may not be how she would like to be remembered given her extensive body of work. Did they really dress like that in Victorian England? I'd also never seen Angharad Rees before nor had I even heard of her but then I found out this was her first co-starring and second film role and I was intrigued. And, incidentally, that's another thing I like about Hammer: they find and highlight young talent. Anyway lots of good talent here, a lot from TV, presumably because they come cheaper. Some goofs like when Rees begins to sit while her host invites her to do so. But I'm getting technical again. Eric Porter is great. He manages to save the day even skewered by a cavalry sabre. Which brings up another goof: the thing must be five feet long but you can't see the other end sticking out of Porter's body. Good final scene, good score, worth a viewing.
Keep Her Away From Sharp Objects...
azathothpwiggins6 November 2021
Anna (Angharad Rees) suddenly begins murdering any other young female who unluckily crosses her path. All for no apparent reason. Dr. Pritchard (Eric Porter), a psychiatrist, believes that she's suffering from schizophrenia and needs proper care.
Since it's the Victorian era, psychology is in its infancy, and considered by most people to be tantamount to voodoo.
Pritchard has his work cut out for him, as Anna continues her rampage. Then, things take a strange turn into the realm of the supernatural.
HANDS OF THE RIPPER is another superb film from Hammer studios...
Since it's the Victorian era, psychology is in its infancy, and considered by most people to be tantamount to voodoo.
Pritchard has his work cut out for him, as Anna continues her rampage. Then, things take a strange turn into the realm of the supernatural.
HANDS OF THE RIPPER is another superb film from Hammer studios...
Watchable but somewhat glum Hammer Horror
Prichards1234520 July 2014
Hands of The Ripper is a well made but slow-paced 1971 offering from Hammer. Some nice acting from Eric Porter and Angharad Rees offers some compensation for a rather lugubrious tale of Jack The Ripper's daughter, who, when subjected to sparkly flashes of light followed by a kiss (which happens about five times in the movie, straining credulity to breaking point) is psychically possessed by the spirit of her old Dad, dispatching all and sundry in variously nasty ways.
As a take on the Ripper story, this doesn't really work. As usual the prostitutes on display here are mainly glamour types with little attention to veracity (a few matronly ladies do make it into the mix) and Eric Porter's Freudian Doctor is surely the most misguided psychoanalyst ever put on screen, even disposing of the bodies when Anna kills.
Horror movies were soon to descend to body count status and this is a kind of prototype. We get Dora Bryan impaled on a poker, Marji Lawerence's throat gorily slashed and Lynda Byron with hat pins stuck in her eye. Squelch! The main trouble with Hammer at this point is that they were making too many horror films - haven't counted exactly but about 12 in 1970/71 alone. They flooded the market and diminished audience interest. Still, on it's own Hands of The Ripper is not a bad little film. Earnest and rather glum, with an effective ending set in St Paul's Whispering Gallery.
As a take on the Ripper story, this doesn't really work. As usual the prostitutes on display here are mainly glamour types with little attention to veracity (a few matronly ladies do make it into the mix) and Eric Porter's Freudian Doctor is surely the most misguided psychoanalyst ever put on screen, even disposing of the bodies when Anna kills.
Horror movies were soon to descend to body count status and this is a kind of prototype. We get Dora Bryan impaled on a poker, Marji Lawerence's throat gorily slashed and Lynda Byron with hat pins stuck in her eye. Squelch! The main trouble with Hammer at this point is that they were making too many horror films - haven't counted exactly but about 12 in 1970/71 alone. They flooded the market and diminished audience interest. Still, on it's own Hands of The Ripper is not a bad little film. Earnest and rather glum, with an effective ending set in St Paul's Whispering Gallery.
Hands of the Ripper
Scarecrow-8811 July 2009
Warning: Spoilers
A doctor attempts to cure the daughter of Jack the Ripper through Freudian psychology, but can not keep her from following in father's footsteps, her mania triggered by light reflected from glass(..mostly a diamond of some sort) and a kiss to the cheek.
The film opens with the Ripper fleeing the authorities and a mob of locals into his home, killing his wife after she discovers he's the serial killer, with his daughter, Anna, experiencing the whole ordeal from her crib. Years later, Anna(Angharad Rees) is assisting a con-artist who claims to communicate with the dead, while also used as a prostitute for wealthy members of society. Her first violent outburst leads to the murder of her guardian, in front of a member of Parliament, Dysart(Derek Godfrey). Dysart exits from the building while Dr. John Pritchard(Eric Porter)follows the scream noticing him in the process, soon discovering Anna in paralyzed state, as if lost mentally to her surroundings. Pritchard doesn't implicate Dysart, using his pull to search the background history of Anna, hoping to uncover her past. Pritchard wishes to understand the state of mine of a killer..why does she kill? Anna will be his example, guinea pig, and this will come with a price. Anna will continue to kill as long as the Ripper inside holds a power in her subconscious, and Pritchard's attempts to cover up her crimes will soon cost him dearly. Pritchard will be aided by the testimony of a medium who sees the incident after "previewing the memories of that very night" from Anna's mind, her in a state of hypnosis, resulting in a disconcerting situation when Jack is triggered once again accidentally.
Startlingly violent Hammer film, again mines the mythos of Jack the Ripper, this time using the possibility of a daughter who may've experienced his murderous tendencies, effected psychologically to the point that she's an unwilling tool for his continued mayhem. You can actually hear his voice whispering for her to kill. Most of the time, a woman casts a friendly kiss to Anna's cheek, her face freezing into a blank stare, resulting in some sort of sharp blade killing them. A maid is sliced across the throat. A prostitute offers her a place to rest, resulting in her face being stabbed by hair pins(..this grisly scene has the poor woman attempting to shield her face by her hand, the pins going through it and into her eye!). Another victim is actually penetrated through the body with a sword(..in a awe-inspiring moment, the victim uses a door handle to remove it). Keith Bell is Pritchard's son, Michael. Jane Merrow is Michael's blind fiancé, Laura(..she's the potential victim in the harrowing climax set in the whispering hall). Director Peter Sasdy was one of the luckier Hammer directors allowed a bit of freedom to present his subject matter in a more elaborate, explicit way. While you don't have much in the way of nudity(..just a bit of Anna bathing in a tub), the violence even shocked me. This is the kind of film that might receive a cult following if it got a proper DVD release which would lift it from obscurity. Giving a unique way for crazy Jack to continue his work through his daughter is quite a fascinating premise. Tragic, incredibly powerful ending. Again, Hammer successfully transports us back to this period in London. Great performances from all involved. A real sleeper.
The film opens with the Ripper fleeing the authorities and a mob of locals into his home, killing his wife after she discovers he's the serial killer, with his daughter, Anna, experiencing the whole ordeal from her crib. Years later, Anna(Angharad Rees) is assisting a con-artist who claims to communicate with the dead, while also used as a prostitute for wealthy members of society. Her first violent outburst leads to the murder of her guardian, in front of a member of Parliament, Dysart(Derek Godfrey). Dysart exits from the building while Dr. John Pritchard(Eric Porter)follows the scream noticing him in the process, soon discovering Anna in paralyzed state, as if lost mentally to her surroundings. Pritchard doesn't implicate Dysart, using his pull to search the background history of Anna, hoping to uncover her past. Pritchard wishes to understand the state of mine of a killer..why does she kill? Anna will be his example, guinea pig, and this will come with a price. Anna will continue to kill as long as the Ripper inside holds a power in her subconscious, and Pritchard's attempts to cover up her crimes will soon cost him dearly. Pritchard will be aided by the testimony of a medium who sees the incident after "previewing the memories of that very night" from Anna's mind, her in a state of hypnosis, resulting in a disconcerting situation when Jack is triggered once again accidentally.
Startlingly violent Hammer film, again mines the mythos of Jack the Ripper, this time using the possibility of a daughter who may've experienced his murderous tendencies, effected psychologically to the point that she's an unwilling tool for his continued mayhem. You can actually hear his voice whispering for her to kill. Most of the time, a woman casts a friendly kiss to Anna's cheek, her face freezing into a blank stare, resulting in some sort of sharp blade killing them. A maid is sliced across the throat. A prostitute offers her a place to rest, resulting in her face being stabbed by hair pins(..this grisly scene has the poor woman attempting to shield her face by her hand, the pins going through it and into her eye!). Another victim is actually penetrated through the body with a sword(..in a awe-inspiring moment, the victim uses a door handle to remove it). Keith Bell is Pritchard's son, Michael. Jane Merrow is Michael's blind fiancé, Laura(..she's the potential victim in the harrowing climax set in the whispering hall). Director Peter Sasdy was one of the luckier Hammer directors allowed a bit of freedom to present his subject matter in a more elaborate, explicit way. While you don't have much in the way of nudity(..just a bit of Anna bathing in a tub), the violence even shocked me. This is the kind of film that might receive a cult following if it got a proper DVD release which would lift it from obscurity. Giving a unique way for crazy Jack to continue his work through his daughter is quite a fascinating premise. Tragic, incredibly powerful ending. Again, Hammer successfully transports us back to this period in London. Great performances from all involved. A real sleeper.
Beware: the daughter of Jack the Ripper is on the loose
Wuchakk4 October 2021
In 1906 London the troubled daughter of Jack the Ripper (Angharad Rees) is taken in by a sympathetic Freudian psychologist (Eric Porter) who wants to study her condition and "fix" her, but she's soon prowling the Whitechapel district. Jane Merrow, Keith Bell and Derek Godfrey are also on hand.
"Hands of the Ripper" (1971) is Victorian horror from Hammer that's similar to their previous "The Two Faces of Dr. Jekyll" (1960), but less psychologically fascinating or entertaining.
Actually the doctor's mental condition is more interesting than that of the girl he's studying: He pulls a "Vertigo" on her by giving her his late wife's room, providing Anna her clothes to wear and is obsessed with healing her because he couldn't heal his wife. At one point he nigh kisses Anna wearing his wife's clothes when the topic of life-after-death surfaces.
Moreover, his son has picked a 'marred' fiancé and not only can this woman not assuage the doctor's guilt over being unable to heal his wife (since Laura is his son's bride and her 'flaw' is outside his field) he's concerned that his son will suffer the same outcome as himself and it weighs on him.
The film runs 1 hour, 25 minutes, and was shot at Pinewood Studios, just west of London.
GRADE: B-
"Hands of the Ripper" (1971) is Victorian horror from Hammer that's similar to their previous "The Two Faces of Dr. Jekyll" (1960), but less psychologically fascinating or entertaining.
Actually the doctor's mental condition is more interesting than that of the girl he's studying: He pulls a "Vertigo" on her by giving her his late wife's room, providing Anna her clothes to wear and is obsessed with healing her because he couldn't heal his wife. At one point he nigh kisses Anna wearing his wife's clothes when the topic of life-after-death surfaces.
Moreover, his son has picked a 'marred' fiancé and not only can this woman not assuage the doctor's guilt over being unable to heal his wife (since Laura is his son's bride and her 'flaw' is outside his field) he's concerned that his son will suffer the same outcome as himself and it weighs on him.
The film runs 1 hour, 25 minutes, and was shot at Pinewood Studios, just west of London.
GRADE: B-
Good acting and strong violence
preppy-320 October 2009
Anna sees her father (Jack the Ripper) stab her mother to death when she's a little girl. Twenty years later she's been adopted and knows nothing about her past--but she kills people when she flashes back to seeing her mother killed. Dr. John Pritchard (Eric Porter) knows she does this but wants to try to find out why and cure her while the bodies pile up.
Interesting Hammer horror that mixes psychology with extreme violence. I originally caught this on network TV ages ago where all the violence was cut out. There's not a lot of it but what there is is VERY strong and incredibly gruesome. Even the R rated version released here in the US is edited! I finally saw it uncut on a Portuguese DVD. The color is a little faded and the end credits stop abruptly but it's letter-boxed and complete. The story is a little slowly paced but I was never bored and the violence shocked me--and I'm a hardened horror movie fan! The acting was excellent by Porter and Angharad Rees (playing the unfortunate Anna). The psychology is a little bit silly but the movie is strong and well-done. If you can see this uncut I recommend it.
Interesting Hammer horror that mixes psychology with extreme violence. I originally caught this on network TV ages ago where all the violence was cut out. There's not a lot of it but what there is is VERY strong and incredibly gruesome. Even the R rated version released here in the US is edited! I finally saw it uncut on a Portuguese DVD. The color is a little faded and the end credits stop abruptly but it's letter-boxed and complete. The story is a little slowly paced but I was never bored and the violence shocked me--and I'm a hardened horror movie fan! The acting was excellent by Porter and Angharad Rees (playing the unfortunate Anna). The psychology is a little bit silly but the movie is strong and well-done. If you can see this uncut I recommend it.
Intriguing and interesting Victorian-set slasher
kannibalcorpsegrinder25 August 2014
Following a grisly accident in her past, a woman sent to live with a wealthy bureaucrat learns a special trigger causes her to kill those around her and forces him to uncover the dark secret behind this in order to save her.
This is quite a rather middling effort which is about equally bad and good points. The best points here is based on the Victorian setting which is quite effectively utilized at detailing the type of society without focusing on the traditional tropes that are featured in these films. By including their aristocracy-like air in how they react to each other and the manner in which they refer to the authorities in which they sign over the guardianship to get her in their care and how they gather at the police station is all about exploring these Victorian-era settings that are so common-place in these films yet are all accomplished in the realm of a slasher effort and is quite enjoyable for that reason. The fact that there's a twist to the slashing here in which it's based on the hypnotism effect which gets triggered at the most inopportune times so there's never a true indication of when she's going to snap which allows these to come as a real shock while also being shocking at the ingenuity needed to kill off her victims as this has a rather fun time doling out a really unique series of kills within this that is far more inventive and grisly than most slashers of the time. These issues here work but there's some problems that crop up in that the discovery of her hypnotic state and resulting killing mode are so late in the film that it really makes the psychology he attempts to use in aiding him look incredibly weak and pointless. Trying this is quite impressive overall, but there's just so many scenes that go by so slowly of him trying out his hand at this type of methodology that it leaves a gaping questions about his excellence in the field as well as not managing to accomplish anything of any value which causes this to feel incredibly drawn-out despite being only a traditionally-paced effort. This really holds the film down somewhat as they're two quite imposing drawbacks even though it's still quite enjoyable.
Today's Rating/R: Graphic Violence and Nudity.
This is quite a rather middling effort which is about equally bad and good points. The best points here is based on the Victorian setting which is quite effectively utilized at detailing the type of society without focusing on the traditional tropes that are featured in these films. By including their aristocracy-like air in how they react to each other and the manner in which they refer to the authorities in which they sign over the guardianship to get her in their care and how they gather at the police station is all about exploring these Victorian-era settings that are so common-place in these films yet are all accomplished in the realm of a slasher effort and is quite enjoyable for that reason. The fact that there's a twist to the slashing here in which it's based on the hypnotism effect which gets triggered at the most inopportune times so there's never a true indication of when she's going to snap which allows these to come as a real shock while also being shocking at the ingenuity needed to kill off her victims as this has a rather fun time doling out a really unique series of kills within this that is far more inventive and grisly than most slashers of the time. These issues here work but there's some problems that crop up in that the discovery of her hypnotic state and resulting killing mode are so late in the film that it really makes the psychology he attempts to use in aiding him look incredibly weak and pointless. Trying this is quite impressive overall, but there's just so many scenes that go by so slowly of him trying out his hand at this type of methodology that it leaves a gaping questions about his excellence in the field as well as not managing to accomplish anything of any value which causes this to feel incredibly drawn-out despite being only a traditionally-paced effort. This really holds the film down somewhat as they're two quite imposing drawbacks even though it's still quite enjoyable.
Today's Rating/R: Graphic Violence and Nudity.
The Sceptic Proved Wrong
JamesHitchcock15 February 2012
Warning: Spoilers
The sceptic-who-is-proved-wrong is a familiar figure in horror films. As soon as we hear the words "I don't believe in ghosts/witches/vampires/whatever" we know that retribution is lurking just around the corner. In some films this retribution will take no more serious form than the humiliation of being forced to eat one's words, but in others the forces of the supernatural will take bloody revenge on those who wrong them by doubting their existence.
"Hands of the Ripper" brings a new twist to this theme. Dr. John Pritchard is an eminent psychiatrist in Edwardian London who brings one of his patients, a young woman named Anna, into his home. This might seem a risky thing to do, as Pritchard is well aware (although the police are not) that Anna is not only mentally unstable but also a murderess. Pritchard, however, is an enthusiastic Freudian who believes that the new science of psychoanalysis will enable him not only to find out the cause of her murderous impulses but also to cure them.
Pritchard's theory is that Anna is suffering from a psychiatric illness caused by the subconscious memory of some childhood trauma. Given what the audience knows about Anna, this is in fact a pretty shrewd guess. She is the daughter of none other than Jack the Ripper. The Ripper's precise identity is never made clear, but it would appear that he is a gentleman of some wealth and social position. (Unlike some other Ripper films, this one does not try and blame the killings on the Duke of Clarence or anyone else connected with the Royal Family). As a child Anna witnessed her father killing her mother, who had guessed that her husband was the Ripper.
This being a Hammer film, however, there has to be a more complex explanation for Anna's criminality. Although Pritchard as a scientific rationalist would disdain any supernatural explanation for evil, it transpires that Anna is possessed by her father's spirit and that he is using her as a vehicle to carry out further murders from beyond the grave. Pritchard is guilty of the sin of hubris- the hubris of believing that his scientific methods can cure her- and he therefore has to accept the moral responsibility when Anna, contrary to his confident predictions, does indeed kill again.
Eric Porter was an actor I often associated with portrayals of rather stiff, middle-aged middle-class gentlemen like Soames Forsyte in the famous BBC adaptation of "The Forsyte Saga" or Karenin in "Anna Karenina", and Dr. Pritchard is such another such character, a respectable pillar of the Edwardian bourgeoisie who finds it difficult to show emotion or to comprehend that there may be matters in heaven and earth not dreamed of in his tidy, rational philosophy. Anna is played by Angharad Rees, an actress who was later to find fame in another BBC serial, "Poldark", which was responsible for a brief surge in the popularity of the baptismal names "Angharad" and "Demelza" (the name of her character) throughout Britain in the mid-seventies. To be honest, Angharad was never the most expressive of actresses, even in "Poldark", but that does not really matter in this film, as there appears to have been a deliberate intention to play Anna as wooden and emotionless in order to emphasise the fact that she is under the control of an exterior force.
"Hands of the Ripper" is at times over-the-top and melodramatic, although if it weren't it would hardly be a Hammer film. Some of the attempts at humour seem a bit forced (such as the fake séance conducted by Anna's guardian, the fraudulent medium Mrs Golding) and some of the death scenes might seem unintentionally humorous by modern standards. Overall, however, this is one of the more inventive and original entries in the Hammer canon- certainly more original than a lot of their standard vampire fare- and can make for enjoyable late-night watching. 6/10
"Hands of the Ripper" brings a new twist to this theme. Dr. John Pritchard is an eminent psychiatrist in Edwardian London who brings one of his patients, a young woman named Anna, into his home. This might seem a risky thing to do, as Pritchard is well aware (although the police are not) that Anna is not only mentally unstable but also a murderess. Pritchard, however, is an enthusiastic Freudian who believes that the new science of psychoanalysis will enable him not only to find out the cause of her murderous impulses but also to cure them.
Pritchard's theory is that Anna is suffering from a psychiatric illness caused by the subconscious memory of some childhood trauma. Given what the audience knows about Anna, this is in fact a pretty shrewd guess. She is the daughter of none other than Jack the Ripper. The Ripper's precise identity is never made clear, but it would appear that he is a gentleman of some wealth and social position. (Unlike some other Ripper films, this one does not try and blame the killings on the Duke of Clarence or anyone else connected with the Royal Family). As a child Anna witnessed her father killing her mother, who had guessed that her husband was the Ripper.
This being a Hammer film, however, there has to be a more complex explanation for Anna's criminality. Although Pritchard as a scientific rationalist would disdain any supernatural explanation for evil, it transpires that Anna is possessed by her father's spirit and that he is using her as a vehicle to carry out further murders from beyond the grave. Pritchard is guilty of the sin of hubris- the hubris of believing that his scientific methods can cure her- and he therefore has to accept the moral responsibility when Anna, contrary to his confident predictions, does indeed kill again.
Eric Porter was an actor I often associated with portrayals of rather stiff, middle-aged middle-class gentlemen like Soames Forsyte in the famous BBC adaptation of "The Forsyte Saga" or Karenin in "Anna Karenina", and Dr. Pritchard is such another such character, a respectable pillar of the Edwardian bourgeoisie who finds it difficult to show emotion or to comprehend that there may be matters in heaven and earth not dreamed of in his tidy, rational philosophy. Anna is played by Angharad Rees, an actress who was later to find fame in another BBC serial, "Poldark", which was responsible for a brief surge in the popularity of the baptismal names "Angharad" and "Demelza" (the name of her character) throughout Britain in the mid-seventies. To be honest, Angharad was never the most expressive of actresses, even in "Poldark", but that does not really matter in this film, as there appears to have been a deliberate intention to play Anna as wooden and emotionless in order to emphasise the fact that she is under the control of an exterior force.
"Hands of the Ripper" is at times over-the-top and melodramatic, although if it weren't it would hardly be a Hammer film. Some of the attempts at humour seem a bit forced (such as the fake séance conducted by Anna's guardian, the fraudulent medium Mrs Golding) and some of the death scenes might seem unintentionally humorous by modern standards. Overall, however, this is one of the more inventive and original entries in the Hammer canon- certainly more original than a lot of their standard vampire fare- and can make for enjoyable late-night watching. 6/10
Meet the new generation of Rippers.
Hey_Sweden30 December 2013
This good if not great Hammer production is efficiently entertaining, as it hits the ground running and offers up a provocative story of one forward-thinking person attempting to find an alternative way of dealing with mental illness. Some viewers may feel that the proliferation of elaborate, amusingly gory murders throw things asunder considering the more interesting aspects to the script (and Hammers' typically stylish period atmosphere). Also, one may grow impatient with the protagonists' stubbornness and sneakiness as he goes about doing everything possible to try to make his method work.
That protagonist is eminent Dr. John Pritchard (Eric Porter), a psychoanalyst who is an early follower of Dr. Sigmund Freud. Into his life comes the haunted young Anna (Angharad Rees), who as we see from the opening sequence is none other than the daughter of Jack the Ripper. As a child she'd witnessed her dad murder her mom. Now Anna would seem to be getting possessed by her dear old dads' spirit, and it's causing her to commit murder. Instead of turning her over to police, Pritchard keeps her in his custody and tries his hardest to understand her, believing that studying madness would be more effective than simply punishing the guilty.
The visual quality is gorgeous, the music, by Christopher Gunning, is lush and eloquent, and the direction by Peter Sasdy (also director of "Taste the Blood of Dracula" and "Countess Dracula") creates a reasonably quick moving tale (scripted by L.W. Davidson, based on a story by Edward Spencer Shew) with fine performances by all, including the lovely and endearing Ms. Rees, Keith Bell as Pritchards' son Michael, Jane Merrow as Michaels' fiancée Laura, the delicious Derek Godfrey as the sleazy Parliament member Dysart, Dora Bryan as Mrs. Golding, Marjorie Rhodes as Mrs. Bryant, and a fun Lynda Baron as flamboyant prostitute Long Liz.
Overall, a solid effort from Hammer that lovers of 70s horror cinema should find to be satisfactory.
Seven out of 10.
That protagonist is eminent Dr. John Pritchard (Eric Porter), a psychoanalyst who is an early follower of Dr. Sigmund Freud. Into his life comes the haunted young Anna (Angharad Rees), who as we see from the opening sequence is none other than the daughter of Jack the Ripper. As a child she'd witnessed her dad murder her mom. Now Anna would seem to be getting possessed by her dear old dads' spirit, and it's causing her to commit murder. Instead of turning her over to police, Pritchard keeps her in his custody and tries his hardest to understand her, believing that studying madness would be more effective than simply punishing the guilty.
The visual quality is gorgeous, the music, by Christopher Gunning, is lush and eloquent, and the direction by Peter Sasdy (also director of "Taste the Blood of Dracula" and "Countess Dracula") creates a reasonably quick moving tale (scripted by L.W. Davidson, based on a story by Edward Spencer Shew) with fine performances by all, including the lovely and endearing Ms. Rees, Keith Bell as Pritchards' son Michael, Jane Merrow as Michaels' fiancée Laura, the delicious Derek Godfrey as the sleazy Parliament member Dysart, Dora Bryan as Mrs. Golding, Marjorie Rhodes as Mrs. Bryant, and a fun Lynda Baron as flamboyant prostitute Long Liz.
Overall, a solid effort from Hammer that lovers of 70s horror cinema should find to be satisfactory.
Seven out of 10.
Very Violent Hammer Slasher Predates Jason & Michael
LeonLouisRicci16 October 2015
Way before Jason or Michael Sliced and Diced, this Gory Horror from Hammer's Late Period Set a Template and in a Lot of Ways other Films Noticed and Borrowed from Hammer.
Upping the Violent and Blood Quota for the New Decade of the Seventies, Hammer uses Little Restraint here and even includes Needle to the Eye Nastiness that "Dr. Frederic Wertham" in His Exploitative "Science" Book Attacking Comics, "Seduction of the Innocent" seemed to Find Great Pleasure in Presenting while at the same time Feigning Revoltion from the Depiction.
For the most part the Twist on "Jack the Ripper" Works Well, but some more Picky Fans might Find it a bit Repetitious. The Weakest Scenes in the Film is when a Medium or Psychic Channels minute Details about The Ripper's Daughter's Childhood. It Stretches to the Breaking Point even the Best "Sensitive" Abilities.
Overall, it is a Good Looking Film as usual for the always Visually Interesting Hammer Studios and is one of the most Violent in its Catalog.
The Beginning and Ending Scenes are quite Effective in Starting and Concluding this Lurid Tale of Psychological Mumbo-Jumbo and Victorian Hypocrisy.
Upping the Violent and Blood Quota for the New Decade of the Seventies, Hammer uses Little Restraint here and even includes Needle to the Eye Nastiness that "Dr. Frederic Wertham" in His Exploitative "Science" Book Attacking Comics, "Seduction of the Innocent" seemed to Find Great Pleasure in Presenting while at the same time Feigning Revoltion from the Depiction.
For the most part the Twist on "Jack the Ripper" Works Well, but some more Picky Fans might Find it a bit Repetitious. The Weakest Scenes in the Film is when a Medium or Psychic Channels minute Details about The Ripper's Daughter's Childhood. It Stretches to the Breaking Point even the Best "Sensitive" Abilities.
Overall, it is a Good Looking Film as usual for the always Visually Interesting Hammer Studios and is one of the most Violent in its Catalog.
The Beginning and Ending Scenes are quite Effective in Starting and Concluding this Lurid Tale of Psychological Mumbo-Jumbo and Victorian Hypocrisy.
I actually quite liked this one...
poolandrews9 July 2006
Warning: Spoilers
Hands of the Ripper starts in Victorian London at Berner Street Whitechappel where the infamous serial killer Jack the Ripper has struck again, as the Rippers young child named Anna watches on she witnesses the brutal murder of her Mother by her Father after she discovers that he is the Ripper... Jump forward several years later & Anna (Angharad Rees) is now a beautiful teenage girl who has been adopted by fake spiritualist Mrs. Golding (Dora Bryan), one night after a organised séance Mrs. Golding accepts money from a minister named Dysart (Derek Godfrey) who wants to have underage sex with her. To try & calm her down Dysart gives her a necklace which gleams in the light, unfortunately this bright light brings back the memory of her Father murdering her Mother & she becomes possessed by her Father's spirit at which point she kills Mrs. Golding. Outside a respected scientist named Dr. John Pritchard (Eric Porter) hears the screams & rushes to investigate, he discovers Mrs. Goldings body & realise Anna must have been responsible but instead of turning her over to the police he takes her in in an attempt to discover the motivations behind a murderer & to try & 'cure' her. However, Anna can't stop killing as her Father continues to possess her under the right circumstances...
This English production was directed by Peter Sasdy & was presumably an attempt by Hammer studios to try something different from it's well know Dracula & Frankenstein series of films, personally I really liked it for what it was even though I know it's not that well known or thought of that highly which is a shame. The script by L.W. Davidson was based on a short printed story by Edward Spencer Shew & seems to take itself very seriously which I thought it just about got away with, the basic concept is rather far fetched & silly but I thought it worked quite well & was something a bit different even if it unfolds in a slightly predictable & linear way. Some of the character's are a bit underdeveloped & some of them are a bit dull but that's probably how people behaved in Victorian London. The film moves along at a nice pace & is never boring plus it has a nice ending which seemed very fitting. The only thing which didn't really work for me was that it didn't take much for Anna to go into here trance & be possessed & since it was so easy why had it never happened before? Oh & I personally wouldn't let a person who had just slit my maids throat in cold blood walk around my house & do whatever she wanted especially while my family was there!
Director Sasdy does a nice job, I personally love these period horror films & Hammer did 'em as well as anyone. I love the Victorian setting, the sets, the costumes which display plenty of cleavage, the mannerisms, the horse drawn carriage's, the dialogue & decor, Hands of the Ripper is dripping with atmosphere & it looks great throughout. There's some decent gore in Hands of the Ripper too, someone is impaled with a poker, people are stabbed with swords & hat pins, there's more blood than in the usual Hammer film from the period & a great scene when Anna slits someone's throat & sticks the knife in there as well for good measure.
Technically Hands of the Ripper is good, it's well made with nice production values, photography & music. The acting was very good by all involved & I actually think it helps the film that none of the Hammer regulars were used like Christopher Lee or Peter Cushing.
Hands of the Ripper is one of Hammers lesser known, lesser liked films I believe. Well, that's nonsense because it's a fine film that I enjoyed watching on various levels. In my humble opinion Hands of the Ripper is one of Hammers better films, definitely worth watching especially if you like horror or Hammer.
This English production was directed by Peter Sasdy & was presumably an attempt by Hammer studios to try something different from it's well know Dracula & Frankenstein series of films, personally I really liked it for what it was even though I know it's not that well known or thought of that highly which is a shame. The script by L.W. Davidson was based on a short printed story by Edward Spencer Shew & seems to take itself very seriously which I thought it just about got away with, the basic concept is rather far fetched & silly but I thought it worked quite well & was something a bit different even if it unfolds in a slightly predictable & linear way. Some of the character's are a bit underdeveloped & some of them are a bit dull but that's probably how people behaved in Victorian London. The film moves along at a nice pace & is never boring plus it has a nice ending which seemed very fitting. The only thing which didn't really work for me was that it didn't take much for Anna to go into here trance & be possessed & since it was so easy why had it never happened before? Oh & I personally wouldn't let a person who had just slit my maids throat in cold blood walk around my house & do whatever she wanted especially while my family was there!
Director Sasdy does a nice job, I personally love these period horror films & Hammer did 'em as well as anyone. I love the Victorian setting, the sets, the costumes which display plenty of cleavage, the mannerisms, the horse drawn carriage's, the dialogue & decor, Hands of the Ripper is dripping with atmosphere & it looks great throughout. There's some decent gore in Hands of the Ripper too, someone is impaled with a poker, people are stabbed with swords & hat pins, there's more blood than in the usual Hammer film from the period & a great scene when Anna slits someone's throat & sticks the knife in there as well for good measure.
Technically Hands of the Ripper is good, it's well made with nice production values, photography & music. The acting was very good by all involved & I actually think it helps the film that none of the Hammer regulars were used like Christopher Lee or Peter Cushing.
Hands of the Ripper is one of Hammers lesser known, lesser liked films I believe. Well, that's nonsense because it's a fine film that I enjoyed watching on various levels. In my humble opinion Hands of the Ripper is one of Hammers better films, definitely worth watching especially if you like horror or Hammer.
She's a naughty one, Saucy Anna!
BA_Harrison2 April 2017
Warning: Spoilers
As a young child, Anna witnesses the brutal murder of her mother by her father, Jack the Ripper. Now, as a pretty young woman (played by the enchanting Angharad Rees), Anna goes into a trance whenever she sees flickering light, with a subsequent kiss causing her to become possessed by the murderous spirit of dear old daddy (a contrived combo of occurrences that comes into play several times during the course of the film, allowing for a number of grisly murders). Seeking to study Anna at close quarters, aspiring psychologist Dr. John Pritchard (Eric Porter) takes the young woman under his wing, but must help to hide his young ward's bloodthirsty behaviour.
From Hammer studios, Hands of the Ripper is a delightfully dippy and gloriously gruesome take on the Ripper mythos. The plot is extremely silly, Pritchard covering up for a serial murderer being utterly ridiculous, even if the killer in question doesn't know what she is doing, but the outbursts of extreme violence make this a real treat for gore-hounds despite the lack of logic. The first of Anna's victims is charlatan spiritualist Mrs. Golding (Dora Bryan) who is pinned to a door with a fire poker, housemaid Dolly (Marjie Lawrence) is stabbed in the neck with a broken mirror, drunken whore Long Liz (Lynda Baron) has hatpins pushed through her hand and into her eye, a medium is stabbed with her spectacles (!?!), and Dr. Pritchard is run through with a sword (which he removes by hooking the hilt over a door handle and falling to the floor. Yeowch!). That other staple of '70s Hammer films, gratuitous female nudity, is limited to a brief glimpse of a topless Rees in the bath.
The film ends with a tragic yet fitting climax that takes place in the Whispering Gallery of St. Paul's Cathedral, the fatally wounded Pritchard calling to Anna to join him—which she does by climbing over the edge of the gallery and falling to her death.
7.5 out of 10, rounded up to 8 for IMDb.
From Hammer studios, Hands of the Ripper is a delightfully dippy and gloriously gruesome take on the Ripper mythos. The plot is extremely silly, Pritchard covering up for a serial murderer being utterly ridiculous, even if the killer in question doesn't know what she is doing, but the outbursts of extreme violence make this a real treat for gore-hounds despite the lack of logic. The first of Anna's victims is charlatan spiritualist Mrs. Golding (Dora Bryan) who is pinned to a door with a fire poker, housemaid Dolly (Marjie Lawrence) is stabbed in the neck with a broken mirror, drunken whore Long Liz (Lynda Baron) has hatpins pushed through her hand and into her eye, a medium is stabbed with her spectacles (!?!), and Dr. Pritchard is run through with a sword (which he removes by hooking the hilt over a door handle and falling to the floor. Yeowch!). That other staple of '70s Hammer films, gratuitous female nudity, is limited to a brief glimpse of a topless Rees in the bath.
The film ends with a tragic yet fitting climax that takes place in the Whispering Gallery of St. Paul's Cathedral, the fatally wounded Pritchard calling to Anna to join him—which she does by climbing over the edge of the gallery and falling to her death.
7.5 out of 10, rounded up to 8 for IMDb.
A fine film that deserves more recognition in the Hammer oeuvre
TheSmutPeddler11 December 2002
Warning: Spoilers
ATTENTION: SPOILERS LIE AHEAD!!!
HANDS OF THE RIPPER is a well crafted, entertaining dose of period-Victorian horror in which a comely but spiritually lost girl, the daughter of Jack the Ripper (Angharad Rees), has tragically and unknowingly inherited her father's penchant for killing -- she goes into a murderous trance whenever kissed on the cheek!
Angharad Rees acquits herself well in the role of amnesiac Anna. Her performance arouses pity for her character, a true victim of her own unfortunate birth and of circumstances-which-are-beyond-her-control. Eric Porter is a fine choice for "Dr. John", Anna's self appointed patron, and seems packed with ambition as well as interesting character flaws. An interesting touch: the fiancee of Porter's son (Jane Merrow) is blind, and Porter appears to despise her for a variety of reasons, ranging from her obvious clumsiness to the old "she's-not-good-enough-for-my-son" notion, to the thought that she will take over the position his late wife held in the household. Here we have a bit more depth to the characters than one might expect from a later Hammer effort, and it is most welcome.
Once it's established that young Anna is bound to go on killing spree after spree (before she is ultimately restrained), we get to settle back and relish the creative flair brought to each of the killings, and suspense abounds prior to each of the gristly murders. Entranced, Anna appears to be accomplished at improvising, grabbing nearby, everyday items, and turning them into weapons of destruction. This is truly chilling! To illustrate: fake medium Dora Bryan is impaled with a common fireplace poker onto a door (hoisted on her own deceitful petard!)...a handful of innocuous hatpins are thrust into the eye of a streetwalker...and a shattered hand-mirror almost unbelievably forms a makeshift dagger with which Anna disposes of her maid. The deaths are all very clever, stylish, and colorful set-pieces.
The big finale, with Eric Porter coaxing Ms Rees into a spectacular deathfall from the uppermost ("Whispering") gallery of St. Paul's cathedral seems operatic in its grandeur and effect, yet solemn and touching as well.
There is a wholly appropriate surfeit of melancholy throughout this production that some might argue is distasteful, but I believe it adds significantly to the tragic cause. Contributing greatly to this is Christopher Gunning's score which stands out as one of Hammer's best. Gunning captures the introspective mood, childlike innocence, and sad beauty of Anna. [This "main theme" sounds as though it might have been composed by the great Erik Satie.] The tumultuous, horrific eruptions of Jack the Ripper which surface any time Anna is kissed come through in whirling orchestral frissons.
This is probably the high point in director Peter Sasdy's career (the lowpoint being, arguably, a tawdry but entertainingly dreadful excursion known as THE LONELY LADY (1982) which was supposed to be a rocket-to-stardom vehicle for Pia Zadora, but which remains highly regarded as one of cinema's biggest forays into bad taste. HANDS OF THE RIPPER, on the other hand, is an achievement of which Sasdy has every right to be very, very proud.
Beware of TV versions that Universal purchased, re-edited, and spoiled by adding footage featuring two doctors in a library discussing Anna's case. It's wholly unnecessary garbage, and detracts greatly from the deliberate unfolding of the story. Universal did similar butchery on its TV print of TWINS OF EVIL, the box office counterpart to HANDS OF THE RIPPER. One can only imagine how terrific a double feature those two films would have made at the time (sadly, I was too young to receive my parents permission to see these films theatrically).
Hopefully HANDS OF THE RIPPER will be a Hammer horror to arrive soon on DVD, complete, and well handled. With so much hooplah made about Hammer's most famous projects (HORROR OF DRACULA, CURSE OF FRANKENSTEIN, et.al.), it's a shame HANDS OF THE RIPPER often gets overlooked by fans, and therefore by the public as well.
For a late-Hammer effort, HANDS OF THE RIPPER is among the company's best efforts.
HANDS OF THE RIPPER is a well crafted, entertaining dose of period-Victorian horror in which a comely but spiritually lost girl, the daughter of Jack the Ripper (Angharad Rees), has tragically and unknowingly inherited her father's penchant for killing -- she goes into a murderous trance whenever kissed on the cheek!
Angharad Rees acquits herself well in the role of amnesiac Anna. Her performance arouses pity for her character, a true victim of her own unfortunate birth and of circumstances-which-are-beyond-her-control. Eric Porter is a fine choice for "Dr. John", Anna's self appointed patron, and seems packed with ambition as well as interesting character flaws. An interesting touch: the fiancee of Porter's son (Jane Merrow) is blind, and Porter appears to despise her for a variety of reasons, ranging from her obvious clumsiness to the old "she's-not-good-enough-for-my-son" notion, to the thought that she will take over the position his late wife held in the household. Here we have a bit more depth to the characters than one might expect from a later Hammer effort, and it is most welcome.
Once it's established that young Anna is bound to go on killing spree after spree (before she is ultimately restrained), we get to settle back and relish the creative flair brought to each of the killings, and suspense abounds prior to each of the gristly murders. Entranced, Anna appears to be accomplished at improvising, grabbing nearby, everyday items, and turning them into weapons of destruction. This is truly chilling! To illustrate: fake medium Dora Bryan is impaled with a common fireplace poker onto a door (hoisted on her own deceitful petard!)...a handful of innocuous hatpins are thrust into the eye of a streetwalker...and a shattered hand-mirror almost unbelievably forms a makeshift dagger with which Anna disposes of her maid. The deaths are all very clever, stylish, and colorful set-pieces.
The big finale, with Eric Porter coaxing Ms Rees into a spectacular deathfall from the uppermost ("Whispering") gallery of St. Paul's cathedral seems operatic in its grandeur and effect, yet solemn and touching as well.
There is a wholly appropriate surfeit of melancholy throughout this production that some might argue is distasteful, but I believe it adds significantly to the tragic cause. Contributing greatly to this is Christopher Gunning's score which stands out as one of Hammer's best. Gunning captures the introspective mood, childlike innocence, and sad beauty of Anna. [This "main theme" sounds as though it might have been composed by the great Erik Satie.] The tumultuous, horrific eruptions of Jack the Ripper which surface any time Anna is kissed come through in whirling orchestral frissons.
This is probably the high point in director Peter Sasdy's career (the lowpoint being, arguably, a tawdry but entertainingly dreadful excursion known as THE LONELY LADY (1982) which was supposed to be a rocket-to-stardom vehicle for Pia Zadora, but which remains highly regarded as one of cinema's biggest forays into bad taste. HANDS OF THE RIPPER, on the other hand, is an achievement of which Sasdy has every right to be very, very proud.
Beware of TV versions that Universal purchased, re-edited, and spoiled by adding footage featuring two doctors in a library discussing Anna's case. It's wholly unnecessary garbage, and detracts greatly from the deliberate unfolding of the story. Universal did similar butchery on its TV print of TWINS OF EVIL, the box office counterpart to HANDS OF THE RIPPER. One can only imagine how terrific a double feature those two films would have made at the time (sadly, I was too young to receive my parents permission to see these films theatrically).
Hopefully HANDS OF THE RIPPER will be a Hammer horror to arrive soon on DVD, complete, and well handled. With so much hooplah made about Hammer's most famous projects (HORROR OF DRACULA, CURSE OF FRANKENSTEIN, et.al.), it's a shame HANDS OF THE RIPPER often gets overlooked by fans, and therefore by the public as well.
For a late-Hammer effort, HANDS OF THE RIPPER is among the company's best efforts.
Original - and gruesome - slant on an old story
Leofwine_draca25 July 2016
Warning: Spoilers
A great title for a great Hammer horror film, bursting with the Gothic atmosphere we all know and love. Instead of the latest monster, be it Dracula or Frankenstein, Hammer opted for the psychological thriller in this film, in much the same way as DEMONS OF THE MIND or FEAR IN THE NIGHT. And it works. The setting is the grim and gloomy back streets of London, familiar to us from things like THE CREEPING FLESH. Personally I love this type of setting myself, and Hammer were among the best at bringing us sleazy horror full of prostitutes and sexual repulsion.
What helps to make the film work is the distinguished cast, lead by a stern and commanding Eric Porter (THE LOST CONTINENT) as Dr. Pritchard, whose philosophy that the end always justifies the means leads him to coldly dismiss the bodies that Anna has recently murdered. Angharad Rees, who plays the young schizophrenic girl, does a great, scary believable job of conveying the difficult impression that there are two personalities in her body trying to get out. The supporting cast is also effective, especially Keith Bell and Derek Godfrey.
While the score may not be one of Hammer's most memorable, the images on screen always hold the viewer's attention. I think that Hammer made a brave and correct decision to move away from the more traditional monster horrors in the early '70s and tackle some more psychological terrors, and this film's treatment of a mental disorder is both intriguing and sometimes frightening. The pacing is also good, and the film seems to fly by, while the ending at St Paul's Cathedral is a powerful finale where death and destruction are the order of the day.
Of course, as the more lenient approach to gore arrived in the '70s, Hammer decided to fill their films with as much of it as possible. It makes for good drama, definitely. HANDS OF THE RIPPER is a disturbing exercise in fear and deserves another look.
What helps to make the film work is the distinguished cast, lead by a stern and commanding Eric Porter (THE LOST CONTINENT) as Dr. Pritchard, whose philosophy that the end always justifies the means leads him to coldly dismiss the bodies that Anna has recently murdered. Angharad Rees, who plays the young schizophrenic girl, does a great, scary believable job of conveying the difficult impression that there are two personalities in her body trying to get out. The supporting cast is also effective, especially Keith Bell and Derek Godfrey.
While the score may not be one of Hammer's most memorable, the images on screen always hold the viewer's attention. I think that Hammer made a brave and correct decision to move away from the more traditional monster horrors in the early '70s and tackle some more psychological terrors, and this film's treatment of a mental disorder is both intriguing and sometimes frightening. The pacing is also good, and the film seems to fly by, while the ending at St Paul's Cathedral is a powerful finale where death and destruction are the order of the day.
Of course, as the more lenient approach to gore arrived in the '70s, Hammer decided to fill their films with as much of it as possible. It makes for good drama, definitely. HANDS OF THE RIPPER is a disturbing exercise in fear and deserves another look.
Wonderful Ripper film
rose-29428 February 2008
Warning: Spoilers
Saucy Jack has a possessed daughter who kills people in Edwardian London. No, this is not your typical slasher. The film looks fantastic, beautiful but atmospheric - actually, the visuals are a total antithesis of that sleazy and cheap period when it was made - and the characters are sympathetic and interesting. Angelic purity and innocence of psychotic Anna who does not know she is used by Jack to murder other people gives a nice contrast to her dangerousness. The sour but sympathetic psychiatrist who takes Anna to his family to study her and the impulses of murderers means well - and pays the ultimate price for it. Another great Hammer film and certainly much, much better than the average IMDb rating claims.
Hand me down.
morrison-dylan-fan27 October 2015
Warning: Spoilers
With having enjoyed the commentary that Kim Newman had done with Alan Jones for Dario Argento's The Bird With The Crystal Plumage,I started to search round for other commentaries that Newman was involved in,and I stumbled upon a title which was made during the last days of Hammer Horror,which led to me getting ready to shake hands with the ripper.
The plot:
Returning home from his latest murder,Jack kills his wife in front of their child Anna. Traumatized by the sight of her dad killing her mum,Anna finds her subconscious inheriting her dads murderous legacy.
15 years later:
Visiting a medium with some friends, psychoanalyses Dr. John Pritchard discovers that the sounds of the "spirits" have actually been made by a girl called Anna,who was hidden away from view.Leaving with the group,Pitchard notices an MP enter the building,and pay to have sex with Anna,in what Pitchard realises is a secret brothel.Waiting round for his carriage (as you do!) Pitchard hears a blood curdling scream.Rushing in,Pitchard is horrified to find that Anna has brutally killed the medium.
As the MP threatens to put Anna in the "nut house",Pitchard stops him in his tracks,by saying that he believes that a cure can be found for Anna's psychological problems,and that if the MP lets him take care of Anna,then he will not report the MP for visiting a brothel.Finding himself cornered,the MP agrees to Pitchard's demands.Wanting to give Anna a life which will give her a chance to get away from her horrible past,Pitchard starts introducing Anna to his friends & family,but soon discovers that he is unable to stop the return of the hands of the ripper.
View on the film:
Made just as Hammer was to enter a decade where it would fight for its survival,director Peter Sasdy & cinematographer Kenneth Talbot tear the traditional primary colours of Hammer Horror down,to instead grind murky browns and blacks into the film,which along with giving the title an excellent grim atmosphere,also perfectly shows how murky Anna's mind has become.Backed by a smooth score from Christopher Gunning,Sasdy shows a remarkable skill in making sure that the psychological terror is not drowned out by the blunt-force set pieces,with Sasdy using restrained camera moves which allow the viewer to decide if the killings our either being done by the traumatised Anna,or the "spirit" of Jack the Ripper.
Gripping the viewer with a short,sharp,shock of a pre-credits sequence,the screenplay by Lewis Davison (here credited as L.W. Davidson) and Edward Spencer Shew takes an impressively mature approach to Anna's psychological troubles,with Pitchard being a flawed,but well-meaning man,who believes that Freud's teachings can be used to save Anna from the darkness inhabiting her.Making sure that the film does not become too serious,the writers cut into a vicious proto-Slasher body count,as Anna's killing spree follows that of the real life Jack,with each stylish set piece murder being even gorier than the last one.
Looking absolutely angelic, the cute Angharad Rees (whose dad was distinguished psychiatrist Linford Rees!) gives a marvellous performance as Anna,thanks to Rees giving Anna a real frailness which turns to stone when the blood-socked hand of her dads past returns.Desperate to help Anna, Eric Porter gives a fantastic performance as Pritchard,with Porter dipping the movie into My Fair Lady,as he gives Pritchard a real caring nature towards Anna.Sharing most of their scenes with each other,Rees & Porter wonderfully complement each other,with both of them bringing a real sense of parental bond to Anna & Pritchard's relationship,as the hands of the ripper strike again.
The plot:
Returning home from his latest murder,Jack kills his wife in front of their child Anna. Traumatized by the sight of her dad killing her mum,Anna finds her subconscious inheriting her dads murderous legacy.
15 years later:
Visiting a medium with some friends, psychoanalyses Dr. John Pritchard discovers that the sounds of the "spirits" have actually been made by a girl called Anna,who was hidden away from view.Leaving with the group,Pitchard notices an MP enter the building,and pay to have sex with Anna,in what Pitchard realises is a secret brothel.Waiting round for his carriage (as you do!) Pitchard hears a blood curdling scream.Rushing in,Pitchard is horrified to find that Anna has brutally killed the medium.
As the MP threatens to put Anna in the "nut house",Pitchard stops him in his tracks,by saying that he believes that a cure can be found for Anna's psychological problems,and that if the MP lets him take care of Anna,then he will not report the MP for visiting a brothel.Finding himself cornered,the MP agrees to Pitchard's demands.Wanting to give Anna a life which will give her a chance to get away from her horrible past,Pitchard starts introducing Anna to his friends & family,but soon discovers that he is unable to stop the return of the hands of the ripper.
View on the film:
Made just as Hammer was to enter a decade where it would fight for its survival,director Peter Sasdy & cinematographer Kenneth Talbot tear the traditional primary colours of Hammer Horror down,to instead grind murky browns and blacks into the film,which along with giving the title an excellent grim atmosphere,also perfectly shows how murky Anna's mind has become.Backed by a smooth score from Christopher Gunning,Sasdy shows a remarkable skill in making sure that the psychological terror is not drowned out by the blunt-force set pieces,with Sasdy using restrained camera moves which allow the viewer to decide if the killings our either being done by the traumatised Anna,or the "spirit" of Jack the Ripper.
Gripping the viewer with a short,sharp,shock of a pre-credits sequence,the screenplay by Lewis Davison (here credited as L.W. Davidson) and Edward Spencer Shew takes an impressively mature approach to Anna's psychological troubles,with Pitchard being a flawed,but well-meaning man,who believes that Freud's teachings can be used to save Anna from the darkness inhabiting her.Making sure that the film does not become too serious,the writers cut into a vicious proto-Slasher body count,as Anna's killing spree follows that of the real life Jack,with each stylish set piece murder being even gorier than the last one.
Looking absolutely angelic, the cute Angharad Rees (whose dad was distinguished psychiatrist Linford Rees!) gives a marvellous performance as Anna,thanks to Rees giving Anna a real frailness which turns to stone when the blood-socked hand of her dads past returns.Desperate to help Anna, Eric Porter gives a fantastic performance as Pritchard,with Porter dipping the movie into My Fair Lady,as he gives Pritchard a real caring nature towards Anna.Sharing most of their scenes with each other,Rees & Porter wonderfully complement each other,with both of them bringing a real sense of parental bond to Anna & Pritchard's relationship,as the hands of the ripper strike again.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews