Hammer Film's relatively unambitious adventure in historical exploitation is lifted above the norm by 2 major factors: the genius of set designer Robinson and the fine heavy styles of Chris Lee and Barby Shelley, pros of the genre in every sense. The scene with Rasputin smoking in bed while Shelley cowers in a gathering of blankets is a classic visual statement.
This film tells the story of Rasputin with more of an eye to screen exploitation values than truth (which I think is how it should be, as Plato said that truth is rarely a likely story), including a scarring incident with acid -- what Hammer Film would be complete without facial mutilations? Chris Lee's use of his body and hands is notable; Don Sharp's direction is fine. If only it wasn't quite so cheap, and thus confined (mostly to one or two houses, which is all Bray Studios was), this could have been a really good film. Mediocre script also helps drag it down, but Lee and Shelley's styles are so forceful that it is almost unnoticeable.
This film tells the story of Rasputin with more of an eye to screen exploitation values than truth (which I think is how it should be, as Plato said that truth is rarely a likely story), including a scarring incident with acid -- what Hammer Film would be complete without facial mutilations? Chris Lee's use of his body and hands is notable; Don Sharp's direction is fine. If only it wasn't quite so cheap, and thus confined (mostly to one or two houses, which is all Bray Studios was), this could have been a really good film. Mediocre script also helps drag it down, but Lee and Shelley's styles are so forceful that it is almost unnoticeable.