Although not one of Hammer's best films, it is a good movie. The Victorian setting (although it is supposed to take place in Paris) is very charming. Some people have criticized the use of heavy fog in Paris but I feel it adds to the eerie and mysterious atmosphere. Christopher Lee is very effective and is a hero - which is rare in early Hammer films. Hazel Court is absolutely beautiful as the heroine. The plot is interesting and moves quite well. Compared to some other old movies that have been released on DVD, this one is a winner. It is truly a film that belongs in a Hammer fan's collection. Too bad Peter Cushing was not in the film because it would have been even better. I hope some Hammer fans read this and make a plea to have the movie released on DVD. At least it could be one movie of a double feature.
49 Reviews
Hidden "mad scientist" gem from Hammer.
Coventry3 July 2011
Without even knowing anything about the story or themes of "The Man Who Could Cheat Death", you can already rest assured for 100% that the film will be a worthwhile, adequate and highly competent viewing experience. How so? Because this is a horror/Sci-Fi thriller produced by Hammer Studios during their absolute booming years (late 50's – early 60's) and involving a handful of their elite frequent collaborators. "The Man Who Could Cheat Death" is directed by no less then Terence Fisher, scripted by Jimmy Sangster and starring Christopher Lee and muse Hazel Court. In fact, the only one skipping this Hammer party is Peter Cushing, but apparently he didn't like the principal role and dropped out in favor of the underrated Anton Diffring ("Circus of Horror", "The Beast Must Die"). But even without Hammer and all the prominent names involved, this film was guaranteed to entertain. Horror stories centering on mad scientists desperately trying to obtain eternal life are always great fun, especially if their experiment require the lives of innocent others. Georges Bonner is such a brilliant mind who found immortality through a series of gland transplants from very reluctant donors. Immortality has its disadvantages, however, as Dr. Bonner is forced to start a whole new life somewhere else every ten years, and therefore must avoid falling in love with his model victims, and on top of everything he turns green and psychopathic near the end of the ten year period. At 104 years of age, he's currently in the year 1890 in Paris and time is running out for him. Additional troubles arise when his loyal friend and surgeon Dr. Weiss has become too old and ill to perform another operation and Dr. Bonner bumps back into a past love interest. "The Man Who Could Cheat Death" opens very atmospheric, morbidly Victorian and very Hammer-like. The opening sequence is in fact another reference towards the contemporary Jack The Ripper murders, even though immediately after the action moves to Paris. Sadly, in spite of the very promising intro, it takes an awful long time before anything significantly happens after that. What follows is a lot of overlong and talkative sequences between Bonner and his long lost love interest, his new rival, his collaborator and even the police. The only truly horrific and tense moments occur when Dr. Bonner is in dire need of his life pro- longing serum. Whenever that happens, his face and hand turn bright green and he goes completely bonkers, killing victims through melting their skins by the bare touch of his hand. Despite the rather slow and uneventful first hour, "The Man Who Could Cheat Death" benefices from an exciting finale with a few gruesome moments and provocative make-up effects for the time. I've always thought of Anton Diffring as a very underrated horror actor, so I'm glad he appeared in the lead role of this Hammer production. Admittedly his performance is over-the-top occasionally, but at other times he's definitely menacing and creepy. Christopher Lee is terrific as always, though this time in a seldom heroic and eloquent role. Around that time, he was mainly portraying monsters of all sorts in Hammer films. My personal favorite performance comes from Arnold Marlé as the intelligent but aging Dr. Ludwig Weiss.
Diffring Is Chilling
ferbs543 November 2008
"The Man Who Could Cheat Death" is a well-put-together Hammer film from 1959 that boasts a dream cast of horror veterans, an intelligent script and high production values. Still, I can almost predict what the film's inevitable detractors will say: that it is overly talky and builds to a climax that is something of a letdown. And while these charges do have a patina of truth to them, the picture's sterling acting from its three leads more than makes up for any deficits. In the picture we meet Georges Bonnet, a doctor in the Paris of 1890, played by German actor Anton Diffring (who had so impressed me recently in his next starring role, in the following year's "Circus of Horrors"). Though seemingly blessed with all that life can offer--including a lucrative practice and the love of society lady Janine Dubois, played by the luscious Hazel Court--in truth, Bonnet is a desperate man. Unless he can coerce surgeon Pierre Gerard (the always dependable Christopher Lee) to operate on him, and take the place of his ailing friend, Dr. Weiss, the life-preserving serum that has been keeping him alive for--HOW long?!?!--will very shortly lose its mojo. In the role of the aged Dr. Weiss, Arnold Marle almost steals the show as Bonnet's patient but increasingly appalled voice of morality and reason, and his terrific thesping is more than adequately matched by those three horror icons. Yes, the film IS talky, but never dull, and Diffring brings a chilling intensity to his role and really makes us feel the angst, isolation and desperate strait of his unique situation. And yes, though the picture ends a tad abruptly and with something of a disappointment in the makeup department, most fans of restrained, levelheaded and intelligent British horror should, I feel, be left happily grinning. In all, another winner from the great House of Hammer.
How About a DVD Double Feature?
BijouBob8mm7 September 2005
THE MAN WHO COULD CHEAT DEATH (the Hammer Films remake of 1945's THE MAN IN HALF MOON STREET, based on the play by Barre' Lyndon) seems to be a forgotten fantasy-thriller. Often compared with Oscar Wilde's PICTURE OF DORIAN GRAY, this film rarely seems to get the same airplay on late night TV or on any of the "Shock Theatre" programs that many of the other Hammer horror hits did, and has yet to receive a home video release. With so much of the Hammer library now out on DVD, and since Paramount handled Hammer's distribution for this (as well as having produced the 1945 original), it would be nice to see the two films released to DVD as a double feature. (Much like the HOUSE OF WAX/MYSTERY OF THE WAX MUSEUM or the Frederic March and Spencer Tracy versions of DR. JEKYLL AND MR. HYDE.)
Atmospheric Mad Science From Hammer
Witchfinder-General-6666 May 2012
Hammer's most famous and greatest 'mad science' franchise is, of course, the great Frankenstein series starring the almighty Peter Cushing as the ruthless and yet somehow very likable Baron Victor Frankenstein. While THE MAN WHO COULD CHEAT DEATH (1959) is by no means as great as Hammer's Frankenstein films it is a very atmospheric mad-scientist-flick with an excellent cast. Directed by Hammer's Number one, Terence Fisher, THE MAN WHO COULD CHEAT DEATH is an adaptation of a play that was first filmed as THE MAN IN HALF MOON STREET (1945) which I haven't seen yet.
The mad scientist in this film is played by the always-sinister Anton Diffring, who had played Baron Frankenstein in Hammer's own TALES OF FRANKENSTEIN, a 1958 pilot for a planned Frankenstein TV-show that wasn't made. Actually, Diffring's character in this movie, Dr. George Bonner isn't really that 'mad', regarding his situation: In Paris of 1890, Dr. Bonner is a man who seemingly is in his 40s. However, he is in fact 104 years old and keeps his youth with the aid of a serum. In order to survive, he needs periodic gland transplants from young and healthy victims. Needless to say he is willing to kill for his life...
THE MAN WHO COULD CHEAT DEATH co-stars two Hammer icons, British Horror-beauty Hazel Court and the inimitable Christopher Lee. Both deliver great performances as usual. Personally I like Christopher Lee most when he is evil, but hero-roles such as in this film also fit him well. Anton Diffring is a specialist for sinister and macabre characters, and he is once again excellent here. 19th century Paris is a good setting for a Hammer film; even though most of the movie plays indoors here, director Fisher once again makes great use of the Hammer-typical visuals, creating a thick Gothic atmosphere. Overall, THE MAN WHO COULD CHEAT DEATH offers few surprises and may not be an essential must-see, but it is tense and atmospheric Gothic Horror and should not be missed by my fellow Hammer-fans.
The mad scientist in this film is played by the always-sinister Anton Diffring, who had played Baron Frankenstein in Hammer's own TALES OF FRANKENSTEIN, a 1958 pilot for a planned Frankenstein TV-show that wasn't made. Actually, Diffring's character in this movie, Dr. George Bonner isn't really that 'mad', regarding his situation: In Paris of 1890, Dr. Bonner is a man who seemingly is in his 40s. However, he is in fact 104 years old and keeps his youth with the aid of a serum. In order to survive, he needs periodic gland transplants from young and healthy victims. Needless to say he is willing to kill for his life...
THE MAN WHO COULD CHEAT DEATH co-stars two Hammer icons, British Horror-beauty Hazel Court and the inimitable Christopher Lee. Both deliver great performances as usual. Personally I like Christopher Lee most when he is evil, but hero-roles such as in this film also fit him well. Anton Diffring is a specialist for sinister and macabre characters, and he is once again excellent here. 19th century Paris is a good setting for a Hammer film; even though most of the movie plays indoors here, director Fisher once again makes great use of the Hammer-typical visuals, creating a thick Gothic atmosphere. Overall, THE MAN WHO COULD CHEAT DEATH offers few surprises and may not be an essential must-see, but it is tense and atmospheric Gothic Horror and should not be missed by my fellow Hammer-fans.
The Ageless Man
claudio_carvalho13 December 2019
In 1890, in Paris, the artist Dr. Georges Bonnet (Anton Diffring) invites a group of friends for a private exposition of his new sculpture. Among the guests are Dr. Pierre Gerrard (Christopher Lee) and his companion Janine Du Bois (Hazel Court) that had an affair with Dr. Bonnet ten years ago in Italy. When they see each other, their love rekindle. However Dr. Bonnet has a dark secret since he is 104 years old and needs to have a gland transplanted every ten years to keep his youth. But his partner and friend Dr. Ludwig Weiss (Arnold Marle) had a stroke in Switzerland and cannot perform the surgery.
"The Man Who Could Cheat Death" is a combination of "Dr. Jekyll and Mr. Hyde" and "The Picture of Dorian Gray", with a doctor that discovers a means to stay young with thirty and something years. This Hammer production has wonderful sets, great story and excellent cast. My vote is seven.
Title (Brazil): "O Homem que Enganou a Morte" ("The Man Who Cheated Death")
"The Man Who Could Cheat Death" is a combination of "Dr. Jekyll and Mr. Hyde" and "The Picture of Dorian Gray", with a doctor that discovers a means to stay young with thirty and something years. This Hammer production has wonderful sets, great story and excellent cast. My vote is seven.
Title (Brazil): "O Homem que Enganou a Morte" ("The Man Who Cheated Death")
Well acted classic
Panamint22 March 2015
A good thriller in the old-style classic sense, beautifully filmed in color by England's Hammer company. "The Man Who Could Cheat Death" is somewhat static near the beginning and almost stage play in its construction, but that is OK as it is well acted by a fine ensemble cast.
Anton Diffring offers a nervous-energy-driven, neurotically sinister presence from the very beginning of the film. He provides the requisite menace that is essential to his role. Beautiful Hazel Court, Diffring, Christopher Lee and others contribute elegant, psychologically interesting characterizations that are rendered within an uncluttered thriller format.
I can't emphasize enough how thoroughly this film epitomizes the unique Hammer production values, decor, color scheme and general style, while also effectively evoking foggy turn-of-the-century nighttime Paris streets. Despite the Paris locale, it is distinctively Hammer. Laboratories, scalpels, weird medicines, fog, and all the classic elements are here. Fans of the genre and of the era in thriller filmmaking should not miss it.
Anton Diffring offers a nervous-energy-driven, neurotically sinister presence from the very beginning of the film. He provides the requisite menace that is essential to his role. Beautiful Hazel Court, Diffring, Christopher Lee and others contribute elegant, psychologically interesting characterizations that are rendered within an uncluttered thriller format.
I can't emphasize enough how thoroughly this film epitomizes the unique Hammer production values, decor, color scheme and general style, while also effectively evoking foggy turn-of-the-century nighttime Paris streets. Despite the Paris locale, it is distinctively Hammer. Laboratories, scalpels, weird medicines, fog, and all the classic elements are here. Fans of the genre and of the era in thriller filmmaking should not miss it.
THE MAN WHO COULD CHEAT DEATH (Terence Fisher, 1959) ***
Bunuel197624 October 2011
This is among the first Hammer Horrors I watched but, after checking it out twice on Italian TV as a kid (once as part of a late-night horror programme called "Zio Tibia Horror Picture Show" featuring a couple of amiably grotesque puppets, which is how I first caught up with the likes of BRIDE OF FRANKENSTEIN {1935} and THE GHOST OF FRANKENSTEIN {1942}!), the film seems to have dropped off the radar completely in my neck of the woods; finally, it was recently released on R1 DVD by Legend Films since this was the only title from the legendary British company to be distributed by Paramount. It is actually the third version of Barre' Lyndon's play "The Man In Half Moon Street", first filmed in Hollywood in 1943 (albeit only released a couple of years later!) and again for British TV in which Anton Diffring, the star here, actually originated his role (for whatever reason, the name of the protagonist changes from one version to the other!); even so, Hammer's then top leading man Peter Cushing was supposed to play the part but, thankfully, saner minds prevailed as I am not sure he would have been ideal as a ladies' man (the heroine, then, is future "Queen Of Horror" Hazel Court in her last of 2 films for Hammer). It is interesting to have Hammer still adapting stuff from TV at this point, even after they hit the jackpot with reinventing the classic Gothic literary tales!
Anyway, having just watched the earlier movie, it is quite clear which is the superior version since Jimmy Sangster's excellent script deals far more thoroughly with the themes inherent in Lyndon's source which, as mentioned in my review of the original, draws quite a bit from Oscar Wilde's "The Picture Of Dorian Gray" – though, this being Hammer, the horror aspect (aided by Fisher's typically full-blooded handling and Diffring's intense characterization) is a lot more pronounced. That said, Diffring is ably supported by Christopher Lee (who, despite having attained star status thanks to Hammer, generously accepted a supporting and heroic role this time around: oddly enough, his doctor character here shares his name with another one he would play in the later, similarly Sangster-scripted Hammer chiller TASTE OF FEAR {1961}!) and Arnold Marle' (who also reprised his role from the TV version as Diffring's elderly associate).
Being a relatively early genre effort by the company, the color palette is very handsome, effectively rendering both the late 19th century Parisian setting and the moments of pure horror, notably the greenish hue emitted by the boiling flask which holds Diffring's life-sustaining serum. Incidentally, while the protagonist of the 1945 version was really a 90-year old, here he is made to be 104 (and it is amusing to watch Diffring try to convince Lee that he is actually a good 15 years older than the stroke-stricken Marle'); again, the protagonist has a dual career as an artist (though he is a sculptor now rather than a painter) but, inconveniently, his models all fall for him and have to be disposed of (which is one of the clues the Police – represented by Francis De Wolff – eventually follow). Here, too, the gland operation is good for a whole decade but, in this case, we are better able to accept the fact that in the interim he tries to rebuild his life, not to mention that when the effect begins to dissipate and Marle' has still not turned up to perform the life-saving operation, he is forced to kill and kill again because the gland withers after a few days!
Among the number of differences between the two movie versions one finds that, in the 1945 movie, when the protagonist's colleague is unable to operate, he has to rely on a young man he saves from suicide and who just happens to be a medical student (after having gone through a list of disgraced members of the profession), whereas here it is Lee who gets asked (who is in love with Court herself, naturally) but initially refuses (so that Diffring has to refer to an alcoholic doctor and, bafflingly, an oculist!). Here, too, he does operate eventually but he does not perform the gland transplant, which obviously proves Diffring's undoing; the latter comeuppance is quite messy (much more horrific, in fact, than the original's) – involving both the age reversal (featuring great make-up effects by Roy Ashton) and his being set on fire by a model he had kept imprisoned (and deformed, since apparently his skin becomes abrasive as the effects of the drug fade!) after she discovered his secret.
Diffring would follow this with an even more notorious genre outing, CIRCUS OF HORRORS (1960), but he never quite became a star (being too often relegated to playing Nazi officials in Hollywood WWII epics); even so, later horror titles of his include MARK OF THE DEVIL PART 2 (1973; which I will be getting to presently), THE BEAST MUST DIE (1974; for Hammer rival Amicus and with Peter Cushing!) and Jess Franco's FACELESS (1987; which also sees him involved in unethical operations spiced with a series of murders). Incidentally, following these viewings, I am also in the process of acquiring Ruggero Deodato's belated giallo PHANTOM OF DEATH (1988) starring Michael York, Edwige Fenech and Donald Pleasance in view of its apparent thematic similarity to the Barre' Lyndon play.
Anyway, having just watched the earlier movie, it is quite clear which is the superior version since Jimmy Sangster's excellent script deals far more thoroughly with the themes inherent in Lyndon's source which, as mentioned in my review of the original, draws quite a bit from Oscar Wilde's "The Picture Of Dorian Gray" – though, this being Hammer, the horror aspect (aided by Fisher's typically full-blooded handling and Diffring's intense characterization) is a lot more pronounced. That said, Diffring is ably supported by Christopher Lee (who, despite having attained star status thanks to Hammer, generously accepted a supporting and heroic role this time around: oddly enough, his doctor character here shares his name with another one he would play in the later, similarly Sangster-scripted Hammer chiller TASTE OF FEAR {1961}!) and Arnold Marle' (who also reprised his role from the TV version as Diffring's elderly associate).
Being a relatively early genre effort by the company, the color palette is very handsome, effectively rendering both the late 19th century Parisian setting and the moments of pure horror, notably the greenish hue emitted by the boiling flask which holds Diffring's life-sustaining serum. Incidentally, while the protagonist of the 1945 version was really a 90-year old, here he is made to be 104 (and it is amusing to watch Diffring try to convince Lee that he is actually a good 15 years older than the stroke-stricken Marle'); again, the protagonist has a dual career as an artist (though he is a sculptor now rather than a painter) but, inconveniently, his models all fall for him and have to be disposed of (which is one of the clues the Police – represented by Francis De Wolff – eventually follow). Here, too, the gland operation is good for a whole decade but, in this case, we are better able to accept the fact that in the interim he tries to rebuild his life, not to mention that when the effect begins to dissipate and Marle' has still not turned up to perform the life-saving operation, he is forced to kill and kill again because the gland withers after a few days!
Among the number of differences between the two movie versions one finds that, in the 1945 movie, when the protagonist's colleague is unable to operate, he has to rely on a young man he saves from suicide and who just happens to be a medical student (after having gone through a list of disgraced members of the profession), whereas here it is Lee who gets asked (who is in love with Court herself, naturally) but initially refuses (so that Diffring has to refer to an alcoholic doctor and, bafflingly, an oculist!). Here, too, he does operate eventually but he does not perform the gland transplant, which obviously proves Diffring's undoing; the latter comeuppance is quite messy (much more horrific, in fact, than the original's) – involving both the age reversal (featuring great make-up effects by Roy Ashton) and his being set on fire by a model he had kept imprisoned (and deformed, since apparently his skin becomes abrasive as the effects of the drug fade!) after she discovered his secret.
Diffring would follow this with an even more notorious genre outing, CIRCUS OF HORRORS (1960), but he never quite became a star (being too often relegated to playing Nazi officials in Hollywood WWII epics); even so, later horror titles of his include MARK OF THE DEVIL PART 2 (1973; which I will be getting to presently), THE BEAST MUST DIE (1974; for Hammer rival Amicus and with Peter Cushing!) and Jess Franco's FACELESS (1987; which also sees him involved in unethical operations spiced with a series of murders). Incidentally, following these viewings, I am also in the process of acquiring Ruggero Deodato's belated giallo PHANTOM OF DEATH (1988) starring Michael York, Edwige Fenech and Donald Pleasance in view of its apparent thematic similarity to the Barre' Lyndon play.
He's a little bit Phantom, He's a little bit Dorian Gray....
mark.waltz14 December 2013
Warning: Spoilers
Anton Diffring is Dr. Georges Bonner, a physician with an eye for sculpting beautiful ladies, and when provoked by mysterious mood-swings (which require a smoking green potion to bring him down), literally loves them to death! What is causing his homicidal tendencies? Only one person seems to know the answer, and he is Dr. Ludwig Weiss (Arnold Marle'), a visiting doctor who at first seems to be Dr. Bonner's mentor until a shocking truth is revealed. The fact that he wants to involve the beautiful Hazel Court in his evil discovery brings the sinister past of this doomed soul to light, covering a series of murders of women strangled after having their busts sculpted.
This is a fascinating study of a megalomaniac so consumed with his own immortality that he doesn't consider the people that he loves with desires so selfish and cunning. You know that his come-uppance is going to be delicious just like the fates of so many monstrous humans in horror films that utilized the talents God gave them for their own ends which resulted in a lavish destruction. Delphi Lawrence is pathetically memorable as one of Diffring's victims while Court is a combination of loveliness and charm who must suddenly turn to stupidity when Diffring locks her in a basement laboratory and simply sits there waiting to be left out. Christopher Lee gets to be a little bit more sedate and non-villainous as a doctor acquaintance of Diffring's who is shocked by what he learns. Marle' is the heart of the story, an elderly doctor filled with regret by what he did in his past in the name of scientific discovery and must now pay for his part in Diffring's devilish plot.
This is a fascinating study of a megalomaniac so consumed with his own immortality that he doesn't consider the people that he loves with desires so selfish and cunning. You know that his come-uppance is going to be delicious just like the fates of so many monstrous humans in horror films that utilized the talents God gave them for their own ends which resulted in a lavish destruction. Delphi Lawrence is pathetically memorable as one of Diffring's victims while Court is a combination of loveliness and charm who must suddenly turn to stupidity when Diffring locks her in a basement laboratory and simply sits there waiting to be left out. Christopher Lee gets to be a little bit more sedate and non-villainous as a doctor acquaintance of Diffring's who is shocked by what he learns. Marle' is the heart of the story, an elderly doctor filled with regret by what he did in his past in the name of scientific discovery and must now pay for his part in Diffring's devilish plot.
Not prime Hammer, but still watchable.
Hey_Sweden22 June 2013
Warning: Spoilers
"The Man Who Could Cheat Death" is certainly entertaining, with the kind of period recreation and atmosphere that the Hammer studio always did so well. The acting is first rate and the story is a pretty good one. The problem is that one can tell this derived from a stage work, as it gets bogged down in talk without having too many really good horror moments.
Previously filmed as "The Man in Half Moon Street", it tells the tale of an eminent doctor, Georges Bonnet (Anton Diffring, who stepped into the role after Peter Cushing backed out) who dabbles in sculpting. Bonnet is maintaining a pretty big secret: he's actually a LOT older than he looks, managing to stay healthy and youthful looking by a scientific process involving removing glands from unwilling donors. An old girlfriend of his, Janine Du Bois (the lovely scream queen Hazel Court) wants to come back into his life, despite being involved with a surgeon named Pierre Gerrard (Sir Christopher Lee). It's up to Gerrard and the intrepid Inspector Legris (Francis De Wolff) to do something to stop the mad doctor.
The film has an impressive pedigree, with frequent Hammer director Terence Fisher doing a more than capable job, and Jimmy Sangster (Fisher, Lee, and Sangster, having previously done "The Curse of Frankenstein" and "Dracula" together) writing the script. The settings of late 19th century Paris are moodily photographed, and the music score composed by Richard Rodney Bennett is excellent. The cast has a field day with the material, with Diffring managing to be equal parts demented and sympathetic. It's nice to see Lee in a heroic role, and in support Arnold Marle and De Wolff do great work.
Hammer completists will want to see this but due to the films' more-talk-than-action nature, it won't be for all horror fans. Still, with the amount of talent in front of and behind the camera, it does have a fair bit going for it.
Six out of 10.
Previously filmed as "The Man in Half Moon Street", it tells the tale of an eminent doctor, Georges Bonnet (Anton Diffring, who stepped into the role after Peter Cushing backed out) who dabbles in sculpting. Bonnet is maintaining a pretty big secret: he's actually a LOT older than he looks, managing to stay healthy and youthful looking by a scientific process involving removing glands from unwilling donors. An old girlfriend of his, Janine Du Bois (the lovely scream queen Hazel Court) wants to come back into his life, despite being involved with a surgeon named Pierre Gerrard (Sir Christopher Lee). It's up to Gerrard and the intrepid Inspector Legris (Francis De Wolff) to do something to stop the mad doctor.
The film has an impressive pedigree, with frequent Hammer director Terence Fisher doing a more than capable job, and Jimmy Sangster (Fisher, Lee, and Sangster, having previously done "The Curse of Frankenstein" and "Dracula" together) writing the script. The settings of late 19th century Paris are moodily photographed, and the music score composed by Richard Rodney Bennett is excellent. The cast has a field day with the material, with Diffring managing to be equal parts demented and sympathetic. It's nice to see Lee in a heroic role, and in support Arnold Marle and De Wolff do great work.
Hammer completists will want to see this but due to the films' more-talk-than-action nature, it won't be for all horror fans. Still, with the amount of talent in front of and behind the camera, it does have a fair bit going for it.
Six out of 10.
Perpetual life, it's a killer!
hitchcockthelegend23 August 2012
The Man Who Could Cheat Death is directed by Terence Fisher and adapted to screenplay by Jimmy Sangster from the Barré Lyndon play The Man in Half Moon Street. It stars Anton Diffring, Hazel Court, Christopher Lee, Arnold Marlé, Francis de Wolff and Delphi Lawrence. Out of Hammer Film Productions, music is by Richard Rodney Bennett and Technicolor photography by Jack Asher.
Paris 1890 and sculptor Georges Bonnet (Diffring) has perfected a way to halt the aging process. Trouble is that it involves murdering young women so as to extract their parathyroid gland to formulate his eternal life elixir.
Disappointingly weak Hammer Horror that would be near unwatchable were it not for the efforts of Asher, Fisher and Bernard Robinson (production design). The source story is made to measure for Hammer, where berserker science mixes with Gothic murder tones, all the ingredients are there for a lively fusion of Dr Jekyll and Mr Hyde with The Picture of Dorian Gray. But the film is more concerned with much talking and posturing, thinking that sci-fi babble and moral quandaries are going to keep things interesting. We of course want some meat and reasoning for main characters to impact on the plotting, but using up an hour for it, in a film that only runs an hour and twenty minutes, leaves very little room for thrills and drama. It also demands that the finale be explosive, a whirlwind of horror revelations and biting comeuppance, sadly the ending we get is rather a damp squib.
Things aren't helped by the casting of Diffring, who overacts far to often, or that Lee is underwritten and firmly disinterested in making the thin characterisation work. Court looks ravishing and gives the film its best performance, but she is also hindered by a bare bones script from the usually excellent Sangster. The story just plods to its inevitable conclusion, the screenplay never daring to veer away from the safe formula road. While much of the detective work from de Wolff's Inspector LeGris leaves a great deal to be desired. On the plus side it looks real nice, a triumph over low budget restrictions, the minimal sets dressed in period splendour, the colour sizzling and Fisher uses wide shots to make certain scenes that are played out on tiny sets actually look expansive.
Devoid of up-tempo terror and finishing on a whimper, this is very much average Hammer and not easily recommended to the horror faithful. 5/10
Paris 1890 and sculptor Georges Bonnet (Diffring) has perfected a way to halt the aging process. Trouble is that it involves murdering young women so as to extract their parathyroid gland to formulate his eternal life elixir.
Disappointingly weak Hammer Horror that would be near unwatchable were it not for the efforts of Asher, Fisher and Bernard Robinson (production design). The source story is made to measure for Hammer, where berserker science mixes with Gothic murder tones, all the ingredients are there for a lively fusion of Dr Jekyll and Mr Hyde with The Picture of Dorian Gray. But the film is more concerned with much talking and posturing, thinking that sci-fi babble and moral quandaries are going to keep things interesting. We of course want some meat and reasoning for main characters to impact on the plotting, but using up an hour for it, in a film that only runs an hour and twenty minutes, leaves very little room for thrills and drama. It also demands that the finale be explosive, a whirlwind of horror revelations and biting comeuppance, sadly the ending we get is rather a damp squib.
Things aren't helped by the casting of Diffring, who overacts far to often, or that Lee is underwritten and firmly disinterested in making the thin characterisation work. Court looks ravishing and gives the film its best performance, but she is also hindered by a bare bones script from the usually excellent Sangster. The story just plods to its inevitable conclusion, the screenplay never daring to veer away from the safe formula road. While much of the detective work from de Wolff's Inspector LeGris leaves a great deal to be desired. On the plus side it looks real nice, a triumph over low budget restrictions, the minimal sets dressed in period splendour, the colour sizzling and Fisher uses wide shots to make certain scenes that are played out on tiny sets actually look expansive.
Devoid of up-tempo terror and finishing on a whimper, this is very much average Hammer and not easily recommended to the horror faithful. 5/10
Enjoyable Hammer horror outing
Woodyanders15 June 2016
Warning: Spoilers
Paris, France in 1890. The ruthless and unscrupulous Dr. Georges Bonnet (well played with chilling conviction by Anton Diffring) has found the secret to living forever by using glands taken from unwilling donors. More honorable colleague Dr. Pierre Gerrard (the always excellent Christopher Lee) suspects that something is amiss with Bonnet and becomes determined to stop him.
Director Terence Fisher relates the compelling story at a steady pace, offers a flavorsome evocation of the late 19th century period setting, stages the fiery climax with exciting aplomb, and does a nice job of conjuring up a reasonable amount of misty'n'spooky atmosphere in a few back alley scenes. Jimmy Sangster's smart and literate script addresses interesting issues concerning ethics, moral responsibility, and upsetting the balance of nature. Diffring brings a strong sense of urgency and even a touch of pathos to his juicy lead role, with Bonnet paying a heavy lonely and emotional price for his immortality. Moreover, there are sturdy supporting contributions from Hazel Court as the sweet Janine DuBois, Arnold Marle as the aging and ailing, yet resolutely principled Professor Ludwig Weiss, Delphi Lawrence as the bitter Margo Philippe, and Francis De Wolff as the pesky Inspector Legris. Both Jack Asher's vibrant color cinematography and Richard Rodney Bennett's rousing score are both up to par. While this film does occasionally get bogged down in too much talk, it nonetheless still rates as extremely intelligent and entertaining fright fare just the same.
Director Terence Fisher relates the compelling story at a steady pace, offers a flavorsome evocation of the late 19th century period setting, stages the fiery climax with exciting aplomb, and does a nice job of conjuring up a reasonable amount of misty'n'spooky atmosphere in a few back alley scenes. Jimmy Sangster's smart and literate script addresses interesting issues concerning ethics, moral responsibility, and upsetting the balance of nature. Diffring brings a strong sense of urgency and even a touch of pathos to his juicy lead role, with Bonnet paying a heavy lonely and emotional price for his immortality. Moreover, there are sturdy supporting contributions from Hazel Court as the sweet Janine DuBois, Arnold Marle as the aging and ailing, yet resolutely principled Professor Ludwig Weiss, Delphi Lawrence as the bitter Margo Philippe, and Francis De Wolff as the pesky Inspector Legris. Both Jack Asher's vibrant color cinematography and Richard Rodney Bennett's rousing score are both up to par. While this film does occasionally get bogged down in too much talk, it nonetheless still rates as extremely intelligent and entertaining fright fare just the same.
The Man Who Could Cheat Death
Scarecrow-8828 July 2011
Warning: Spoilers
It was Anton Diffring's turn to shine in this decent Hammer chiller, set in Paris, where he stars as a talented sculptor, and scientist, who kills Parisians for their glands so that he can remain youthful and alive despite being the age of 104 years old! Dr. Georges Bonner (Diffring) needs a difficult surgery in order to continue living, but his old friend, Dr. Ludwig Weiss (Arnold Marlé) has a crippled hand and arrives too late, forcing the sculptor to kill someone because he was unable to keep cadaver glands in the appropriate condition needed. Christopher Lee is a well-respected surgeon, Dr. Pierre Gerrard, who agrees, albeit reluctantly, to perform the surgery, only willing to do so at the request of Weiss, a famous Vienna doctor with a renowned reputation, who promised to be in attendance. Hazel Court is Janine Du Bois, once a model—and lover—for Bonner, still in love with him, acknowledging her feelings passionately, not knowing of the sculptor's dark side. Francis De Wolff (Hound of the Baskervilles; Corridors of Blood) is Inspector Legris, trying to locate a missing model who discovered to her horror Bonner's secret, disrupting him as he was in the middle of drinking a prepared serum which will stave off the old age which lies dormant in the sculptor's system. This green fluid in a flask, kept in a locked safe, is only a brief substitute as Bonner truly needs a surgery in order to survive the lurking age underneath a veneer of youth and handsomeness. Bonner is so desperate to stay alive and not accept the death that is longing to release that he'll do whatever it takes in order to do so. Weiss, who realizes the monster that Bonner has become, tries to stop him from living any longer—attempting to interfere with Bonner's drinking of more fluid from the flask in the safe—only incurring his long-time friend's wrath. Seeing no other alternative when Gerrard backs out of surgery due to Weiss' absence, Bonner will, at first, seek help elsewhere, ultimately blackmailing him by imprisoning Janine. While this Hammer mad scientist movie is set in Paris, "The Man Who Could Cheat Death" feels like we are in London with a mostly British cast. Lee is, as usual, more stern, serious, principled, and pious, while Diffring shows the unstable nature his character is going through, hiding the madness while amongst others, becoming unglued when confronting what lies underneath, old age looking to break free. Arnold Marlé and Diffring have the most intense scenes in the film because we witness the disintegration of a friendship, evaporating over the unethical and immoral practices of Bonner—Bonner, clinging to his immortal status, not allowing, if he can help it, the failure of others, preferably Gerrard, to provide the services he demands. Good small cast, with lovely, ravishing redhead Hazel Court and her heaving bosom most welcome. Fiery climax, in the style of many Terence Fisher Hammer outings, featuring old age make-up (to me similar to the mummy make-up of future Hammer movies), allowing Lee to come to Court's rescue as Diffring's madman wants her to attain the same "miracle of youth" that he (thinks he) has. Diffring goes all out, bug-eyed and unhinged, when his character's body starts to deteriorate if he doesn't drink the serum, some trick of light and a bit of make-up assisting the actor during these slight transformations. During this changing stage, his touch is acidic as he burns those he grabs during his mad fits. Okay Hammer flick, but nothing too memorable.
An interesting idea that just doesn't quite deliver.
planktonrules13 September 2008
Warning: Spoilers
This is a film from Hammer Films that was directed by Terrence Fisher--a man who made many of the more famous horror films for this studio. Oddly, although Christopher Lee appears in the film, he's in a supporting role and Anton Diffring, a man NOT used to starring roles, plays the leading man.
The film begins with a bizarre art show. That's because the artist is a doctor and he never sells his statues. Additionally, he shows them off once and never lets anyone see them again! None of this made any sense, but the idea that followed is pretty interesting. It seems that although Diffring looked to be in his early to mid 40s, he was supposed to be 104 years old! It seems that he'd discovered a way to make himself live forever--but there was a price. Every ten years, he needed to kill in order to obtain a needed gland that would keep him alive.
While all this is pretty exciting stuff, the execution left an awful lot to be desired. You'd think with such a creepy plot it would naturally be exciting, but sadly it wasn't. Part of it may have been that the role didn't fit Diffring's talents very well and part of it may just be the very pedestrian script. All I know is that I found myself being rather bored towards the end and it's not one of Hammer's finer moments.
Note that the DVD release contains no extra features at all--just an adequate print of the film. Also, near the very end you find the one lady you think is dead is still alive but quite mad. You wonder why Diffring killed a prostitute for the gland but left this poor wretch locked in a dungeon--this didn't make much sense.
The film begins with a bizarre art show. That's because the artist is a doctor and he never sells his statues. Additionally, he shows them off once and never lets anyone see them again! None of this made any sense, but the idea that followed is pretty interesting. It seems that although Diffring looked to be in his early to mid 40s, he was supposed to be 104 years old! It seems that he'd discovered a way to make himself live forever--but there was a price. Every ten years, he needed to kill in order to obtain a needed gland that would keep him alive.
While all this is pretty exciting stuff, the execution left an awful lot to be desired. You'd think with such a creepy plot it would naturally be exciting, but sadly it wasn't. Part of it may have been that the role didn't fit Diffring's talents very well and part of it may just be the very pedestrian script. All I know is that I found myself being rather bored towards the end and it's not one of Hammer's finer moments.
Note that the DVD release contains no extra features at all--just an adequate print of the film. Also, near the very end you find the one lady you think is dead is still alive but quite mad. You wonder why Diffring killed a prostitute for the gland but left this poor wretch locked in a dungeon--this didn't make much sense.
Watchable but no classic
trevorwomble11 July 2020
This is definitely one of the lesser Hammer movies. Whilst the director has been creative with the obviously tight budget, my biggest problem is the dull script and the awful miscasting of Anton Diffring. Diffring always made a reliable supporting actor but I feel he really struggles to carry this film. The dialogue is also terrible at times and whilst Peter Cushing was a master at delivering terribly written dialogue due to his excellent natural delivery and magnetic presence, Diffring just doesn't have the same ability. Don't get me wrong, Anton Diffring was not a bad actor, he just doesn't seem comfortable here that's all. I know Cushing wasn't available for filming yet Herbert Lom would have been a better fit as, like Cushing, he too had a style of delivery that transcends bad writing and would have papered over the cracks.
That said, the film is a middling Hammer effort that is part Baron Frankenstein and part Dr Jeckyl and Mr Hyde. It is also an early Hammer effort, so the studio had not yet perfected its style and consistency yet. With this in mind its faults can be mostly forgiven as the visual is already there. So all in all this is a flawed film that is worth a watch but lacks the punch and panache of classic Hammer and shows how getting the casting right is so important.
That said, the film is a middling Hammer effort that is part Baron Frankenstein and part Dr Jeckyl and Mr Hyde. It is also an early Hammer effort, so the studio had not yet perfected its style and consistency yet. With this in mind its faults can be mostly forgiven as the visual is already there. So all in all this is a flawed film that is worth a watch but lacks the punch and panache of classic Hammer and shows how getting the casting right is so important.
Cheat codes.
morrison-dylan-fan27 October 2016
Warning: Spoilers
Recently picking up the DVD/Blu-Ray of Dracula,I started looking out for other Hammer Horror films. Taking a look to see what was on the Horror section of Netflix UK,I was surprised to spot a lesser-known Hammer title,which led to me cheating death.
The plot-
Paris 1890:
Looking for ways to make life eternal, scientist Georges Bonnet makes the discovery but also finds one catch,that one ingredient for eternal life is the parathyroid glands of a women. Over the next decades,Bonnet kills one women every 10 years and continues to live. Moving to Paris in order to get his next locals, curious locals soon discover that Bonnet has no past.
View on the film:
Rushed into the movie just days before production due to Peter Cushing suddenly quitting, Anton Diffring (the only one to put on a French accent!) gives a good performance as Bonnet,with Diffring getting an easy feel of the "Hammer Gentlemen" side of Bonnet,and displaying a clear delight in leaping into the wide-eyed madness of the everlasting scientist. Despite pretty much being limited to screaming on the sidelines looking pretty, Hazel Court gives the title a quality touch of beauty as Janine Du Bois,whilst Christopher Lee gives Dr. Pierre Gerrard a considerate edge.
Cut onto screens a year before the "Mad Scientist" epic Eyes Without a Face,the screenplay by Jimmy Sangster gets Hammer Horror into first place in some parts,via openly revealing the body parts Bonnet needs to survive. Based on Barré Lyndon's play, Sangster is unable to break from the stage roots,from the dialogue having a dusty atmosphere,to the limited locations draining the movie of any real shots of menace.
Finding room for style in the uncompromising stage roots,directing auteur Terence Fisher and cinematographer Jack Asher heat Bonnet's madness up in a blaze of primary colours,where lines of ultra- stylised lime green dash across the screen and get under the ageing skin. Stuck in limited locations,Fisher pushes the movie open with creepy,tightly-held close-ups pulling out the deranged ideas of the man who cheated death
The plot-
Paris 1890:
Looking for ways to make life eternal, scientist Georges Bonnet makes the discovery but also finds one catch,that one ingredient for eternal life is the parathyroid glands of a women. Over the next decades,Bonnet kills one women every 10 years and continues to live. Moving to Paris in order to get his next locals, curious locals soon discover that Bonnet has no past.
View on the film:
Rushed into the movie just days before production due to Peter Cushing suddenly quitting, Anton Diffring (the only one to put on a French accent!) gives a good performance as Bonnet,with Diffring getting an easy feel of the "Hammer Gentlemen" side of Bonnet,and displaying a clear delight in leaping into the wide-eyed madness of the everlasting scientist. Despite pretty much being limited to screaming on the sidelines looking pretty, Hazel Court gives the title a quality touch of beauty as Janine Du Bois,whilst Christopher Lee gives Dr. Pierre Gerrard a considerate edge.
Cut onto screens a year before the "Mad Scientist" epic Eyes Without a Face,the screenplay by Jimmy Sangster gets Hammer Horror into first place in some parts,via openly revealing the body parts Bonnet needs to survive. Based on Barré Lyndon's play, Sangster is unable to break from the stage roots,from the dialogue having a dusty atmosphere,to the limited locations draining the movie of any real shots of menace.
Finding room for style in the uncompromising stage roots,directing auteur Terence Fisher and cinematographer Jack Asher heat Bonnet's madness up in a blaze of primary colours,where lines of ultra- stylised lime green dash across the screen and get under the ageing skin. Stuck in limited locations,Fisher pushes the movie open with creepy,tightly-held close-ups pulling out the deranged ideas of the man who cheated death
Slow starting but improves considerably
Prichards123452 June 2012
Warning: Spoilers
The Man Who Could Cheat Death is a carefully presented and decently crafted movie from Hammer Films; and while for the most part it lacks the gusto of Curse Of Frankenstein and Dracula it's a decent enough addition to Hammer Horror.
The movie does take quite a while to get going, though. The first 45 minutes or so are bogged down in over-talky scenes that occasionally tell the viewer plot details that are already known - or at least strongly guessable - and the film suffers from some quite bad overacting from Anton Diffring in the set up stages of the plot. Like the film, though he improves as things develop and ceases to look as if he's acting, which is the biggest fault in his performance in the early part of the movie.
Diffring plays Georges Bonnet, both a surgeon and noted amateur sculptor, well respected by the art fraternity. Bonnet hides a ghastly secret, however: this 35 year-oldish handsome man is actually 104 (about the same age as Cliff Richard) and through means of a glandular operation has been able to prolong his life, banishing sickness and ageing to boot. Every 10 years the effect wears off, and Bonnet must find a new unwilling donor to increase his already unnatural life span.
Diffring is lent sterling support from Hazel Court and Christopher Lee - this is one of Lee's most relaxed early performances and he does well in the role of a young surgeon coerced into performing the operation on Bonnet - and Hammer's production design is as usual impeccable.
The movie also ends on a neat twist which you will probably see coming, but is effective anyway. All in all a neatly done, not quite top draw Hammer offering. It just needed more pace during the first half.
The movie does take quite a while to get going, though. The first 45 minutes or so are bogged down in over-talky scenes that occasionally tell the viewer plot details that are already known - or at least strongly guessable - and the film suffers from some quite bad overacting from Anton Diffring in the set up stages of the plot. Like the film, though he improves as things develop and ceases to look as if he's acting, which is the biggest fault in his performance in the early part of the movie.
Diffring plays Georges Bonnet, both a surgeon and noted amateur sculptor, well respected by the art fraternity. Bonnet hides a ghastly secret, however: this 35 year-oldish handsome man is actually 104 (about the same age as Cliff Richard) and through means of a glandular operation has been able to prolong his life, banishing sickness and ageing to boot. Every 10 years the effect wears off, and Bonnet must find a new unwilling donor to increase his already unnatural life span.
Diffring is lent sterling support from Hazel Court and Christopher Lee - this is one of Lee's most relaxed early performances and he does well in the role of a young surgeon coerced into performing the operation on Bonnet - and Hammer's production design is as usual impeccable.
The movie also ends on a neat twist which you will probably see coming, but is effective anyway. All in all a neatly done, not quite top draw Hammer offering. It just needed more pace during the first half.
Retread of ideas
malcolmgsw11 September 2020
Worth a look
Leofwine_draca5 November 2020
Warning: Spoilers
Not one of Hammer's better known films, THE MAN WHO COULD CHEAT DEATH is nonetheless an interesting piece from the studio's most famous period. Directed reasonably well by Terence Fisher and with a typically sinister performance from Anton Diffring as the lead (replacing Peter Cushing at short notice), this feels like a cross between two literary classics, The Picture of Dorian Gray and The Strange Case of Dr Jekyll & Mr Hyde. The plot is quite small scale and character-focused, even dragged out a bit at times, but authoritative performances from Christopher Lee and in particular Hazel Court make it an entertaining watch.
Solid Hammer Outing, but lacks that final bit of verve
lemon_magic26 March 2020
Warning: Spoilers
I will always cheerfully and willingly sit down to watch a Fischer/Sangster collaboration. You know about what you're going to get, and you know how you're going to get it. And that's true here, too. Fisher rarely stumbles in his efforts, and Sangster can be depended on for a good, meaty script.
But this placidly paced offshoot of "Dorian Gray" seems just a little too matter-of-fact about the horrors it is supposed to shock us with.
Don't misunderstand - I liked it a lot. It just wasn't great. I thought the lead actor was a good choice, with his fine, aristocratic features and bearing, and he carried the picture well. He was fine...he just wasn't...great. (But I wouldn't hesitate to watch another picture with him in the cast).
In fact, that's true of everything here. Somewhere early on, the energy sort of leaks out of the movie and never really comes back, even in the violent scenes in the latter part of the movie. But everything looks good, and if you like Hammer...you'll probably like this one just fine.
But this placidly paced offshoot of "Dorian Gray" seems just a little too matter-of-fact about the horrors it is supposed to shock us with.
Don't misunderstand - I liked it a lot. It just wasn't great. I thought the lead actor was a good choice, with his fine, aristocratic features and bearing, and he carried the picture well. He was fine...he just wasn't...great. (But I wouldn't hesitate to watch another picture with him in the cast).
In fact, that's true of everything here. Somewhere early on, the energy sort of leaks out of the movie and never really comes back, even in the violent scenes in the latter part of the movie. But everything looks good, and if you like Hammer...you'll probably like this one just fine.
Tepid mix of Jack the Ripper and Dr. Jekyll and Mr. Hyde, but still enjoyable
Wuchakk1 November 2019
In 1890, a sculptor in Paris (Anton Diffring) is suspected of something sinister when it's discovered that he shows up in different city every ten years with missing persons linked to each transition. Hazel Court plays his romantic interest while Christopher Lee rounds out the potential love triangle.
"The Man Who Could Cheat Death" (1959) is an obscure Hammer film that should be appreciated by fans of these particular gothic horrors. As my title blurb points out, it meshes elements of Jack the Ripper and Dr. Jekyll and Mr. Hyde with the typical style/sets/locations of Hammer horror. If you favor similar flicks like "The Gorgon" (1964), "Frankenstein Created Woman" (1967) and "Frankenstein Must Be Destroyed" (1969), you'll probably like this one. Yet it's the least of these due to unnecessarily puzzling elements concerning the sculptor's sinister doings.
Nevertheless, Diffring is effective in the titular role and it's nice to see Lee in his younger days playing a noble character, plus redhead Hazel Court is ravishing; and blonde Delphi Lawrence ain't no slouch. The Paris setting is another distinguishing factor.
The role of the sculptor was originally offered to Peter Cushing, but he turned it down. The European release featured a tame scene in which Ms. Court briefly appears topless.
The movie runs 1 hour, 23 minutes, and was shot at Bray Studios in Berkshire, England.
GRADE: C+
"The Man Who Could Cheat Death" (1959) is an obscure Hammer film that should be appreciated by fans of these particular gothic horrors. As my title blurb points out, it meshes elements of Jack the Ripper and Dr. Jekyll and Mr. Hyde with the typical style/sets/locations of Hammer horror. If you favor similar flicks like "The Gorgon" (1964), "Frankenstein Created Woman" (1967) and "Frankenstein Must Be Destroyed" (1969), you'll probably like this one. Yet it's the least of these due to unnecessarily puzzling elements concerning the sculptor's sinister doings.
Nevertheless, Diffring is effective in the titular role and it's nice to see Lee in his younger days playing a noble character, plus redhead Hazel Court is ravishing; and blonde Delphi Lawrence ain't no slouch. The Paris setting is another distinguishing factor.
The role of the sculptor was originally offered to Peter Cushing, but he turned it down. The European release featured a tame scene in which Ms. Court briefly appears topless.
The movie runs 1 hour, 23 minutes, and was shot at Bray Studios in Berkshire, England.
GRADE: C+
A fine film well worth watching.
english-rose30 August 2006
The Man Who Could Cheat Death is a remake of The Man In Half Moon Street, the stage version of which also starred Anton Diffring. The book of this title gives much more back-ground to the character of Georges Bonnet which explains his actions, but unfortunately is lost in the film version, but I think Anton Diffring conveys the torturous life of Bonnet very well. Although he appears cold and heartless he is in fact in desperate need of being loved in a secure relationship, but because of his past he cannot allow himself to achieve this. He is incapable of understanding why his actions are so wrong, and this makes him a vulnerable character despite his obvious intelligence, success and wealth and in the end invokes pity from the audience. I believe Peter Cushing was originally down to play the starring role in this film opposite his familiar adversary Christopher Lee, but because of other commitments he had to turn down the part and suggested Diffring instead. From appearing cold and heartless to pleading and frightened I think Anton Diffring excels in this film and was the perfect choice for the role, although in some parts the acting would have benefited from more positive directing. Christopher Lee and Hazel Court are excellent in their roles and give fine performances in what is a thought provoking and beautifully shot film.
Tame compared with modern day horrors and, indeed, by Hammer standards at that time. But rewarding nonetheless.
jamesraeburn200328 November 2016
Warning: Spoilers
Paris 1890: A doctor and sculptor called Georges Bonnet (Anton Diffring) has discovered the secret of immortality. Every ten years he commits murder and removes the victim's parathyroid gland to replace his own. However, after 104 years his surgeon, Ludwig (Arnold Marle), who knows his secret is too old to perform the necessary operation. Bonnet, in desperation to save his life, blackmails a young surgeon, Dr Pierre Gerard (Christopher Lee) into doing it for him by kidnapping and threatening the life of the girl both men love, Janine De Bois (Hazel Court)...
Inevitably tame nowadays compared with contemporary horrors and, indeed, with some of the stuff Hammer were turning out even at that time. Nevertheless, this is still a rewarding early offering from that studio and its best known director Terence Fisher. The screenplay by Jimmy Sangster at times plods along like a tedious drawing room play - it was, after all, adapted from a stage play by Barre Lyndon - but it is rich in period detail thanks to impeccable costume design and Bernard Robinson (the production designer) was a master at turning out lavish looking sets giving the films the impression of being more expensive than was actually the case. Hammer's master cinematographer, Jack Asher, sees to it that the film has a dreamlike quality with its wash of warm yellows and the luminous greens of Diffring's laboratory. Fisher succeeds in generating maximum suspense where the opportunity affords like when Diffring abducts Court and reveals his intention to make her like him thus preserving her beauty and keeping his lover under his thumb forever. It is up to Christopher Lee and the police inspector, Francis De Wolfe, to save her. But can they? With three of Hammer's top talents involved, the general mood of the work is enough to carry it through despite its shortcomings in the script and shock department.
Inevitably tame nowadays compared with contemporary horrors and, indeed, with some of the stuff Hammer were turning out even at that time. Nevertheless, this is still a rewarding early offering from that studio and its best known director Terence Fisher. The screenplay by Jimmy Sangster at times plods along like a tedious drawing room play - it was, after all, adapted from a stage play by Barre Lyndon - but it is rich in period detail thanks to impeccable costume design and Bernard Robinson (the production designer) was a master at turning out lavish looking sets giving the films the impression of being more expensive than was actually the case. Hammer's master cinematographer, Jack Asher, sees to it that the film has a dreamlike quality with its wash of warm yellows and the luminous greens of Diffring's laboratory. Fisher succeeds in generating maximum suspense where the opportunity affords like when Diffring abducts Court and reveals his intention to make her like him thus preserving her beauty and keeping his lover under his thumb forever. It is up to Christopher Lee and the police inspector, Francis De Wolfe, to save her. But can they? With three of Hammer's top talents involved, the general mood of the work is enough to carry it through despite its shortcomings in the script and shock department.
not so campy horror film.
ksf-214 December 2020
Anton Diffring is doctor George Bonnet, who also happens to be a sculptor. but he has darker secrets. after running away from Janine ( Court) in italy, he returns to his other patients... and models. but Janine follows him home, and wants to spark the flames again. his "research partner" is Dr. Weiss, who is the secret to Bonnet's youth. together they harvest spare parts from others that keep Bonnet young. but... when Weiss cannot perform the operation, they must find another doctor who will keep their secret! alas, if you were hoping to see Hazel Court as a topless model, you'd have to watch the european version. Turner Classic has the more innocent version. only the statues can be shown topless! in the U.S. version, it appears they just cropped the screen, and it's a lower res close-up on Court, to avoid showing her breasts. the film is quite good! sound and picture are great, and it's not at all campy (Vincent Price style). it's all quite professional, and takes itself very seriously. the science of transplants used might be a little murky here, but this was made in 1959. directed by Terence Fisher, who had started in more serious films, but ended up with Hammer, making so many Dracula and Frankenstein films. Story from a play british playwright Barré Lyndon.
Far from Hammer's best.
BA_Harrison29 January 2016
Brilliant doctor and sculptor Dr. Georges Bonnet (Anton Diffring) is 104 years old but looks less than half his age; the secret to his youthful appearance is to periodically undergo surgery to replace one of his glands with that of another human being. When his longtime associate Dr. Ludwig Weiss (Arnold Marlé) fails to perform the operation vital to his survival, Bonnet resorts to temporary solution—a liquid that can keep him fresh for a few hours at a time. But with the fluid running out, and with Georges hoping to spend eternity with his beautiful betrothed, Janine (busty Hazel Court, providing the Hammer glamour), the desperate doctor uses any means necessary to convince renowned surgeon Pierre Gerrard (Christopher Lee) to perform the transplant.
The Man Who Could Cheat Death (1959) boasts the great production values and fine performances one would expect from a Hammer movie of the era, but the film is let down by a hackneyed plot that borrows ingredients from Jack The Ripper, Dorian Gray and Jeckyll and Hyde, but which does very little of interest with them. Diffring, Lee and Court do the best they can with the material, but it's all so familiar and frustratingly pedestrian that the excellent cast can do little to save matters. The film does pick up for the final act, with a nice twist courtesy of Lee's character and a spectacular finale in which age finally catches up with Bonnet before he is burnt to a crisp in a raging inferno, but there is no denying that this is far from Hammer's best.
5/10—however, if I ever find the elusive European cut featuring Hazel Court's topless scene, I might be tempted to give it slightly more.
The Man Who Could Cheat Death (1959) boasts the great production values and fine performances one would expect from a Hammer movie of the era, but the film is let down by a hackneyed plot that borrows ingredients from Jack The Ripper, Dorian Gray and Jeckyll and Hyde, but which does very little of interest with them. Diffring, Lee and Court do the best they can with the material, but it's all so familiar and frustratingly pedestrian that the excellent cast can do little to save matters. The film does pick up for the final act, with a nice twist courtesy of Lee's character and a spectacular finale in which age finally catches up with Bonnet before he is burnt to a crisp in a raging inferno, but there is no denying that this is far from Hammer's best.
5/10—however, if I ever find the elusive European cut featuring Hazel Court's topless scene, I might be tempted to give it slightly more.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
