The Skull (1965) User Reviews

Creepy Horror Film by Amicus

[claudio_carvalho · 7/10 · 17 June 2018]

In the Eighteenth Century, after the death of the Marquis de Sade, the phrenologist Pierre (Maurice Good) robs his head from the grave and removes the flesh at home, but dies in a horrible way.

In 1965, in London, the dishonest antiques dealer Anthony Marco (Patrick Wymark) offers to the collector and writer of occultism Christopher Maitland (Peter Cushing) a book with skin made cover about the Marquis de Sade. On the next day, he returns and asks a small fortune for the skull of the Marquis de Sade but without any proof that belonged to him. Maitland does not accept and he offers for half the price until the next day. Maitland meets his friend and also collector Sir Matthew Phillips (Christopher Lee), who tells that the skull had been stolen from him but he does not want it back since he was free of its evil force. He advises Maitland to stay away from the skull otherwise he would be possessed by its evil spirit. But the fate puts the skull on Maitland´s hands affecting his entire life in tragic way.

"The Skull" is a creepy British horror film by Amicus to compete with Hammer with Peter Cushing and Christopher Lee. The screenplay is well-written and the tragic conclusion is announced from the moment Maitland meets his fellow collector and friend and keeps the interest on the skull. The "Kafkanian" judgment of Christopher Maitland is another plus in the story. My vote is seven.

Title (Brazil): "A Maldição da Caveira" ("The Curse of the Skull")

A classic Horror Film from the Old Skull

[Spondonman · 7/10 · 30 November 2014]

Simple story of a complex man wishing to possess a skull once the lifelong possession of the long dead Marquis De Sade which is now possessed by evil forces and which possesses him to possess it and other evil artifacts whatever the cost. Whatever possessed Robert Bloch to ever write such a charming short story I'll never know – it was more in the mind with his stories, the film of course had to be more supernatural and a darker shade more dramatic.

It was a fine Amicus production with great roles for both Peter Cushing & Christopher Lee (and also a memorable part from Patrick Wymark) with many atmospheric scenes and images – as a pair of collectors of objects d'art the production values had the opportunity to be and were sumptuous. Are there really weird people around who like to be surrounded at all times by evil and perverse ornaments and objects, apart from politicians I mean? It's the type of cerebral film to watch at night with the doors and windows closed and locked against the elements and elemental forces, looking over your shoulder to make sure you're still alone. I was entranced by it at age 12, but now it's not so spooky occasionally looking through the eye holes of a skull at various people through the eye holes of middle age; also the floating skull scenes were always borderline risible, but they just about got away with it. The rather flat end might leave you scratching your head too, as the moral is? But maybe I'm just too thick-skulled to get it. Seriously though, this is a wonderful waste of time and engrossing nonsense from start to finish especially if you can get your head round it all.

THE SKULL (Freddie Francis, 1965) ***

[Bunuel1976 · 7/10 · 19 October 2008]

This was among the first vintage horror films I recall watching, but it took me this long to re-acquaint myself with it (after I had foolishly abandoned the prospect of a second viewing as part of a late-night Italian TV program hosted by two amiable ghouls – the same thing would also happen with Hammer's FRANKENSTEIN AND THE MONSTER FROM HELL [1974], which I then had to wait some 13 years to catch up with!).

Anyay, though the film's premise, in itself, is rather daft – that of a host of antiquarians being 'possessed' by the skull of the Marquis De Sade – the result is very stylish and altogether one of Hammer rival Amicus' most satisfying outings. Apart from director Francis, the men behind Amicus – Max J. Rosenberg and Milton Subotsky (the latter also scripted, from a story by Robert Bloch of PSYCHO [1960] fame) – again recruited Hammer's two most popular stars, Peter Cushing and Christopher Lee, for this production. As ever, they play extremely well off each other – even if Lee, ostensibly, is only a "Guest Star" – delivering typically committed performances: Cushing has fun acting crazy – under the influence of the skull – towards the end (and also during a surreal nightmare sequence in which he's forcefully taken before a judge who promptly hands him a gun to play at Russian Roulette!), whereas Lee gives surprising poignancy to his role. Supporting them is a splendid cast indeed – led by Patrick Wymark, who actually matches the stars with his seedy supplier of generally weird artifacts, and the brief (albeit equally welcome) presence of the likes of George Coulouris, Michael Gough, Nigel Green and Patrick Magee!

While Francis creates wonderful atmosphere via the cinematography (particularly when shooting through the skull's eyehole) and the set design (the film starts off as a period piece but then reverts to a modern-day setting for the central plot line), I do feel that the possibilities presented by the nonetheless intriguing theme are regrettably constrained by censorship and budgetary restrictions – so that the Marquis De Sade's legacy seems somehow to have been mixed up with that of Jack The Ripper! In any case, THE SKULL is generally considered nowadays as Francis' best directorial effort – though I personally feel NIGHTMARE (1964), THE PSYCHOPATH (1966) and THE CREEPING FLESH (1973) to be superior to it

Amicus,Christopher Lee & Peter Cushing at their best.

[hammer-1 · 2 October 2001]

The Skull is probably the best film Amicus produced,based on a chilling short story by Robert Bloch and directed with visual flair by Freddie Francis it tells the story of a writer on Demonology ; Christopher Maitland(Peter Cushing excellent as usual) who is offered a skull and a fleshbound book originally belonging to none other than the Marquis de Sade for a mere £500,at first he is skeptical of its provenance but finally agrees to buy it from Marco a shifty character(memorably played by Patrick Wymark)who previously stole the skull and book from Sir Matthew Phillips(Christopher Lee)who had fallen under it's sinister spell in the past and was glad the skull and book had been stolen,Matthew tries to convince Christopher of its evil power and advises him to get rid of it as soon as possible,but to no avail,Christopher keeps the skull and begins to come unstuck, he starts hallucinating and having bizarre dreams. All the performances are first rate,but this is Peter Cushings film,he is literally in every scene and gives a convincing performance of a man falling pray to evil. I can't help thinking this could have been a true classic if it had had a bigger budget. The whole cast and crew have worked wonders with what little money and resources they must have had,it also remains(in my opinion) Freddie Francis best film as a director....a must for a cold winters night.

Colourful photography, excellent script - and a skull on wires

[unbrokenmetal · 7/10 · 30 November 2008]

Peter Cushing and Christopher Lee working together again here, though for Amicus this time, not Hammer. Despite the good cast, "The Skull" looks like a low budget studio production, quickly shot - and with the "monster" being a skull flying on visible wires, this easily could have gone awry. But the movie works surprisingly well, first of all due to an excellent script based on a story by Robert Bloch ("Psycho"): Maitland (Cushing) shares an interest in the occult with Phillips (Lee) who warns him to get rid of a skull possessed by a demonic spirit. Of course Maitland doesn't listen and gets into trouble. Because the skull hasn't got any claws to catch victims, the terror has to be mostly psychological, and this is done brilliantly for example in the surreal dream sequence when Maitland believes a judge asks him for a Russian roulette. The extremely colorful photography of John Wilcox ("Legend of the 7 Golden Vampires") makes "The Skull" look really good - knowing that, they let the caretaker fall through coloured glass, not simply on the floor. In opposite to other horror films of the 1960s, "The Skull" still seems quite original, not a story you saw a dozen times before. Well worth watching.

Dug-Up Skull Leads To Skullduggery

[ferbs54 · 7/10 · 21 October 2008]

On paper, the 1965 Amicus production "The Skull" would seem to be a surefire winner. Based on a story by Robert "Psycho" Bloch, directed by horror veteran Freddie Francis, starring British horror icons Peter Cushing and Christopher Lee, and featuring such sterling character actors as Michael Gough, Nigel Green, Patrick Wymark and Jill Bennett, it would seem like a can't-miss proposition. While the film is undeniably fun, however, it somehow falls short of greatness. In it, Cushing plays an occult investigator who comes into possession of the 150-year-old, particularly nasty-looking skull of the notorious libertine the Marquis de Sade, and comes under the influence of its baleful and hypnotic powers. (Indeed, it's more like the skull has come into possession of him!) The film features strikingly handsome sets, a justly celebrated and Kafkaesque dream sequence, stylish direction from Francis (dig those skull's head POV shots!), and, near the picture's end, a very interesting and suspenseful 20-minute segment largely devoid of dialogue. While some viewers have complained of visible strings attached to the levitating skull, that really didn't bother me (a single wire is barely visible for perhaps two seconds); what did vex me is that we never learn of the skull's evil doings between the time of its disinterment and its modern-day shenanigans. It MUST have been up to something during those 150 years, right? The film also seems a bit tentative in that it never lets Cushing become truly possessed and crazed; how much better the picture would have been if ol' Pete really went on a tear! Still, watching Cushing and Lee together has long been one of the supreme pleasures of horror cinema, and this little movie does have its winning ways. It's no "Creeping Flesh" or "Horror Express," but still most enjoyable.

All bone and no brains

[Coventry · 6/10 · 2 May 2014]

"The Skull" definitely isn't on par with the other contemporary Peter Cushing and Christopher Lee pairings, from Hammer or Amicus or whatever other production studios, but it nevertheless remains an interesting and worthwhile slice of 60's Brit-horror. Freddie Francis was always one of the most gifted horror directors in Britain and provides the film with a continuously gloomy and sinister atmosphere. Moreover, he was an even more gifted cinematographer and assures a large number of inventive shots (like, for example, a point of view from inside the skull), while the always reliable Peter Cushing gives away a marvelous lead performance. However, the film specifically struggles with two major shortcomings, namely a) the fact that the script is based on a short story (by Robert Bloch) and it's not exactly fit for a long-feature film and b) the absence of an actual evil villain/monster of flesh and blood. Cushing depicts an avid collector of occult objects who obtains – illegally – the skull of the one and only Marquis de Sade. Fellow collector and former owner of the skull Christopher Lee attempts to warn his colleague about the mysterious and psychedelic forces homing inside the Marquis' skull, but naturally he doesn't listen. During the first two nights of the next new moon, however, he dramatically learns that the skull turns its owner into a helpless murder-committing marionette. I haven't read Bloch's short story, but I presume something went wrong during the processing into a movie screenplay, as there a few too many dull moments and a lack of clarity regarding the skull's incredible powers. The intro, a certain dream sequence and a few flashbacks are extraordinary (what is it with the English and foggy cemeteries). The climax is rather silly instead of frightening, with the skull floating around with the help of clearly noticeable strings as well as grotesque camera gestures and color patterns. Cushing and Lee obviously steal the show, but keep also an eye open for two genuine British cult heroes in minuscule roles: Michael Gough ("Horror Hospital") and Patrick Magee ("A Clockwork Orange").

Very short review

[tl12 · 7/10 · 9 March 2012]

The entire point of this review is that Peter Cushing in a movie can do no wrong. He can take the stupidest script and make it sound believable. From skulls to finger bones to Van Helsing he was always on the mark. The world of film and the world at large is poorer for his passing in 1994. I have tried to collect his films but there are so many that it is hard to find new quality DVD transfers of all of them.

I have heard many people talk about him, from Christopher Lee to unknown co-stars. Not one had anything to say except what a loving and giving person he was. Not a soul I have heard has a bad memory of him. There is a worthwhile documentary called "Fanex Films - Hammer Films" where many people who worked with him are interviewed and speak at length.

It's all pretty silly, but it does have great atmosphere.

[planktonrules · 5/10 · 16 March 2010]

While I am a big fan of British horror films from Amicus and Hammer, this one is certainly not among their better films--mostly because the plot is pretty silly and you must work hard to suspend disbelief to enjoy it and not laugh at some of the plot. But, if you can, you will no doubt find that the film does have a nice spooky atmosphere and could be a bit of fun. Just don't expect a lot from this one.

Professor Maitland (Peter Cushing) is a collector of strange relics. Eventually, some weirdo offers to sell him the skull of the Marquis de Sade--which had been stolen from Christopher Lee. However, when Lee finds out, he isn't angry--telling Cushing he's happy the accursed skull is gone! Lee goes on to tell him that the skull has evil powers and can make you do its bidding. Further, it can even move about by using the powers of Satan! And, soon, all this comes to be. Cushing does indeed have a cursed skull and it makes him have awful dreams and do its evil bidding. Considering he'd been warned and ignored his colleague's entreaties, I say it serves the fool right! Seeing the skull and other things floating about is a bit comical, though I only noticed wires doing this on a rare occasion or two (especially when the book floated about)--so the special effects, for the time, were pretty good. And, the film had excellent creepiness and music. Overall, not great but considering it had Lee AND Cushing, then it can't be all bad.

Oddly, it says on IMDb that the family of the Marguis (who died around the turn of the 18th century) threatened legal action concerning the use of the guy's name in print ads. What the heck?! It's not like they were trying to defend the name of de Sade, where they?! His name is where they derived the term "sadism" due to his very sick behaviors (rape, torture and the like--he really was a horrible and evil troll of a man despite what any movie might say--research him and you'll find out what I mean). And they had the nerve to sue?!?! What's next? Will Hitler's family sue because WWII documentaries cast HIM in a bad light?!?!

When the skull strikes you'll scream

[catfish-er · 6/10 · 21 August 2009]

Throughout the mid 60s and early 70s Amicus Productions churned out a series of wonderful little horror anthologies including: Dr. Terror's House of Horrors, Torture Garden, The House That Dripped Blood, Asylum, The Vault of Horror, From Beyond the Grave, and Tales from the Crypt.

Unlike those movies, THE SKULL is not an anthology. Instead, it is a superb exception!

Six minutes in; and, we've already gotten the back story, even before the titles roll! The opening is set in the early-19th century. We see a graveyard, with the requisite grave robbers; and, their client, a doctor (albeit a phrenologist).

Peter Cushing plays Dr. Christopher Maitland, an occult researcher and collector who comes into possession of the skull by way of a suspicious dealer in such objects. Christopher Lee portrays Sir Matthew Phillips, a friend of Dr. Maitland; and, coincidentally a former owner of the skull!

THE SKULL details the ghastly misfortunes that befall each successive owner of the skull. That is the skull of the infamous Marquis De Sade. According to the story, the Marquis De Sade was not insane, as many believed; but, was possessed by an evil spirit. And, that spirit still dwells in the skull.

Moving from the literal form seamlessly into dreams and fantasies, THE SKULL is a marvelous example of modern, psychological horror. It was years ahead of its time.

Propaganda

[RaulFerreiraZem · 3/10 · 21 November 2019]

Awful. The film itself was relatively fun to watch up until the 40 or something minute mark. After that it got way too much propaganda-ish for me. I dont see why a writer would waste his money buying "cursed" artifacts that he doesn't even believe that are cursed just to write about it. Weirder than that is the fact that he bought for a lot of money a biography of Marquis de Sade when there are literally dozens of those in any bookstore. The plot barely holds itself together and the cool soundtrack and cinematography can only take you so far. I don't have much to say about this other than Marquis de Sade was not a murderer and he also was not a satanist. He was an enthusiastic atheist and most of his arrests were due to sexual misconduct and debt. If you want a less moralistic view on him read Simone de Beauvoir's must we burn sade.

Life after death for the Marquis de Sade....or at least for his skull

[The_Void · 8/10 · 12 December 2006]

The Skull won't exactly knock you out of your seat with its brilliance, but despite that fact, it is still an enjoyable slice of British horror, with a number of things to recommend it for. Amicus may be better known for their omnibus films, and indeed this story does feel a little stretched over its 85 minute running time, but in spite of that; The Skull is undoubtedly one of the studio's better feature length efforts. The fact that Amicus have managed to get both Peter Cushing and Christopher Lee on board ensures interest from the beginning, and the plot isn't a let down. The Marquis de Sade isn't the most common horror figure, but nevertheless; this film focuses on his disembodied skull. Christopher Maitland is a collector of rare and occult items, and when his supplier; the dodgy Anthony Marco brings a skull to him one day; he is interested because it once belonged to the Marquis de Sade. When his friend, Sir Matthew Phillips, explains that the skull is dangerous, Maitland only becomes more intrigued. But he finds to his peril that skull is dangerous, as it leads its owner to kill...

Freddie Francis directed a number of films for both the big British studios, Hammer and Amicus, and it's not hard to see why he often gets hired as the quality of his direction is not too far behind heavyweights Terence Fisher and Roy Ward Baker. He's got a good creative partner in novelist Robert Bloch, who wrote the story 'The Skull of the Marquis de Sade', upon which this film is based - as well as the far better known novel 'Psycho'. This film doesn't feature a career best performance from either horror heavyweight, but Peter Cushing fits his role as the occult collector brilliantly, while Christopher Lee delivers his usual forceful, scene-stealing, method of acting. Patrick Wymark is also worth a mention, as he is given the most intriguing role in the piece as the slightly sleazy dealer. It has to be said that the first two thirds of the film are more interesting than the third one, which is a shame as the film seems to run out of steam before the end. However, The Skull is still an interesting little film, and I'm sure that fans of classic horror will find lots to like about it.

Flawed but interesting chiller based on a story by Robert Bloch

[InjunNose · 6/10 · 27 March 2017]

"The Skull" is an atmospheric--if somewhat monotonous--vehicle for Peter Cushing, the Gentleman of British Horror and my favorite star of fright films. He plays a collector of occult objects whose shady, unscrupulous dealer (Patrick Wymark) offers to sell him the ultimate rarity: the skull of the Marquis de Sade. Naturally, Cushing is unable to resist...but he soon realizes that something within the skull is still very much alive, and exerting a murderous influence over him. Director Freddie Francis surrounds Cushing with an exceptionally able supporting cast (including Christopher Lee as a fellow collector of oddities and Michael Gough as an auctioneer), but pacing is a major problem in this film: there are lengthy, dialogue-free stretches during which the viewer will find his attention wandering. This renders "The Skull" less than entirely effective as a horror flick, but the tense, disturbing dream sequence midway through makes it worth seeing. Terrific off-kilter cinematography by John Wilcox, and a nail-biting Elisabeth Lutyens score. Six and a half stars.

Features Peter Cushing & Christopher Lee, but way too much filler

[Wuchakk · 4/10 · 28 March 2020]

A researcher of the occult and esoterica (Peter Cushing) apprehends the skull of the nefarious Marquis de Sade and learns that something evil is attached to it, which negatively influences its owners. Patrick Wymark plays his source for artifacts while Christopher Lee plays a rival collector. Patrick Magee is on hand as an inspector.

"The Skull" (1965) is worth checking out for fans of British horror featuring Cushing and/or Lee, but it places with the least of their works. There's just way too much filler. The runtime could've been cut in half and it would've been a compelling mini-movie. As it is, it's just too drawn out for the material to maintain interest.

However, the theme is interesting: Can articles have evil spirits attached to them? During the days of the early Church, articles that Paul touched, like handkerchiefs and aprons, "were taken to the sick, and their illnesses were cured and the evil spirits left them" (Acts 19:11-12). It was the same thing with Peter's shadow. These things had the anointing of God on them and thus physically or mentally ill people exposed to them were healed and demons fled! A good example from the Old Testament would be Elisha's bones noted in 2 Kings 13. These various items were blessed as conduits of God's power. Could the inverse also be true? Could certain items be cursed with a demonic non-anointing? If the former is true with the kingdom of light, isn't it possible that the reverse is also true with the kingdom of darkness in some cases, particular items like idols?

The movie runs 1 hour, 23 minutes and was shot at Shepperton Studios, Shepperton, Surrey, England; as well as Great Cumberland Place, Marylebone, London (Maitland's home).

GRADE: C-

Creepy

[eibon09 · 17 April 2001]

Plays on the imagination of the viewer with some psychological suspense and terror. Peter Cushing is good in the role of Dr. Maitland. Its too bad that Christopher Lee does not have a much more substantial role in The Skull(1965). The Skull(1965) is a chilling feature that is based on the Robert Bloch short story, THE SKULL OF THE MARQUIS DE SADE. The direction by Freddie Francis is one of his most skillful in a non Hammer motion picture. Nigel Green and Patrick Magee do a fine job in their supporting roles.

those wonderful sets look great in Blu-ray

[christopher-underwood · 7/10 · 21 December 2017]

Starts really well and the simple tale is well set up with fabulous sets and a multitude of spooky artefacts. Lee and Cushing work well together and all the cast are effective, the ladies perhaps less so but then maybe I'm used to the stylish girls of Hammer and the Italians. Everything is seemingly going fine until about halfway through and then it slows almost to a stop. There are moments when nothing happens and the cameraman is left to pan around the rows of masks and various trophies. The script ran out and with it the film and although it does pick up for the ending it is rather a shame. I would have though even a little back story of what the mask has been up to in the past years would have been relatively simple to film. Still, a little bit different and those wonderful sets look great in Blu-ray.

The Skull

[Scarecrow-88 · 7/10 · 5 June 2008]

The skull of the Marquis De Sade, imbued with demonic powers, is removed from his grave by a phrenologist with an obsessive curiosity regarding the notorious writer's sanity. This skull has the ability to mind control individuals, often resulting in death to others. The film introduces us to researcher and artifact collector Dr. Christopher Maitland(Peter Cushing)who often writes about(..and has a distinct fascination with)the occult, as his interests lie in studying his collection, a vast cornucopia of objects, antiques & books, hoping to unlock the secrets of the unknown. When a fellow colleague, whose sole interests in the occult are to make a hefty sum from collectors such as Maitland, offers him a chance to retrieve the possession of the Marquis De Sade's skull, it's hard to refuse. Maitland later discovers that his fellow occult collector, Sir Matthew Phillips(Christopher Lee, billed here as a guest star, when in fact he has one of the strongest, albeit despite a small amount of time on screen, roles in the film)once had the skull, but it was stolen by Anthony Marco(Patrick Wymark)the very one who wishes to sell it to him. But, Phillips informs Maitland that he's glad the skull was stolen, telling him of nightmares and the evil control it has over the owner, warning him to stay away from it. But, Maitland shrugs off Phillips's warnings of the skull's danger as superstitious mumbo jumbo, and discovers for himself how all too real this evil truly is.

Well, I'll say this, Peter Cushing and director Freddie Francis give it everything they have despite a rather hokey premise of a skull having supernatural powers. Cushing displays how his character is unable to resist the powers of the skull's control, with horror and confusion taking over. We see a battle of wills with Cushing's researcher losing almost every time, simply too weak to overcome the evil which slowly takes over his mind. We see how the skull, since the one who once had it was such a sadistic and cruel sort who enjoyed pleasure through pain(..claimed in this film as possibly practicing sorcery, an apprentice for Lucifer)commands those whose minds it takes hold over to kill others nearby. In Maitland's case his wife, with the only thing saving her being a crucifix she wore as a necklace. The Christian iconography is heavily used to establish the oft-used theme of "good vs. evil" against the skull and it's demonic grasp of Maitland. We also see how, if you do not obey what it wishes, the result is grim, as the ending so well tells us. Francis, with the flimsy material that probably wouldn't hold under close scrutiny(..if the skull was so powerful how come it never exited the grave? If De Sade in life was such a sorcerer, how come he died the way he did in a prison? And, where does the power of the skull derive from when all that is left of the one who practiced sorcery is dead?), does what he can through tricks and style. The De Sade book, with binding made of human skin, sold to Maitland by Marco, removes itself from a shelf floating to the table where the skull lies within the "devil's star". The camera P-O-V peering at Maitland through the following eyes of the skull. A key turning on it's own releasing the skull from it's "glass cage". Windows opening on their own with the wind blowing the curtains. A mirror breaking as Maitland walks past. And, Francis sure opens the film with a visual aplomb..a distorted graveyard with a creaky gate as the phrenologist enters the dug grave of De Sade relishing the moment. And, any film which has a bidding war over Satanic artifacts between Cushing and Lee, and the two icons playing pool, works for me! Some great names in the cast have smallish roles such as Nigel Green as an inspector with Patrick Magee as his partner, investigating the violent aftermath of what the skull leaves behind. Michael Gough as an auctioneer. Jill Bennett as Maitland's wife Jane whose life is in danger while she sleeps as her husband grapples with plunging a dagger into her. This is definitely Cushing's film. He has many scenes where it's just his character alone with the skull, attempting unsuccessfully to fight the evil desiring to overtake him. Peter Woodthorpe has a memorable role as the nosy landlord of Marco's, whose poking nose sends him to an early grave.

Probably the film's most bizarre, baffling set-piece is a nightmare where Maitland is forced by cops into a car, led to a strange building with a judge forcing him into putting a gun to his head, before carting him off to a room as a colorful poisonous gas enters through vents.

The Skull of the Marquis de Sade.

[hitchcockthelegend · 7/10 · 29 August 2012]

The Skull is directed by Freddie Francis and adapted to screenplay by Milton Subotsky from the short story The Skull of the Marquis de Sade written by Robert Bloch. A Technicolor/Techniscope production, it stars Peter Cushing, Christopher Lee, Jill Bennett and Patrick Wymark. Music is scored by Elisabeth Lutyens and cinematography by John Wilcox.

When collector of occult artifacts Christopher Maitland (Cushing) acquires the Skull of the Marquis de Sade, he gets more than he bargained for.......

Out of Amicus Productions, The Skull represents one of the more successful ventures for the studio away from the portmanteau formula they would become regarded for. That's not to say it's without problems, because it is far from flawless, but with Francis casting an ethereal sheen over the production, the film does hold tight as a 60s Gothic chiller of some worth. Actually it's one of the rare films that is reviewed quite accurately by the majority of writers who have written about it. Most agree that the material isn't quite up to being stretched to a feature length film, the long passages of silence in the story proving to be a necessity rather than a creepy tactic by the makers. The string work effects are cheesy, Lee is underused and the rest of the cast away from Cushing are thinly drawn. But it does overcome its flaws.

There are a number of great things within the picture. The use of Skull-Cam that gives us POV from inside the skull itself, works really well, as does the colour tones that Francis uses whenever the skull is holding court. A set piece involving a character falling through stained glass is very well constructed (good stunt work too), and Lutyens musical score is top draw-nerve jarring stuff. Then there is Cushing himself, forced to react for the most part to nothing more than a prop, he gives much by way of visual acting, totally mesmerising for the near silent last third of the piece. It's a very under valued turn from Cushing as it features a different string to his acting bow.

With shady characters, suspenseful silences (the opening pillaging of de Sade's grave is excellently macabre) and visual treats aplenty, The Skull is well worth checking out. 7/10

Fine acting from a distinguished cast

[Leofwine_draca · 6/10 · 21 December 2016]

An early effort from the popular Amicus company, one of Hammer's main rivals who are noted for their anthology films. Just by looking at the cast list - a sheer roll call of '60s British horror names - you can tell that this film is going to be good and it won't let you down. However, it is dated and remains quite tame and slow-paced, but if you can get over these hurdles then you will enjoy it. Patrick Magee and Michael Gough both pop up in small roles as a doctor and an auctioneer respectively, and Nigel Green is good in his small role as a stern police inspector (talk about typecasting!). Christopher Lee appears in a 'guest' role and is impressive, playing another distinguished gentleman who has an unhealthy interest in the black arts.

However this is really Peter Cushing's film and he carries it commendably. His haggard features are perfect for his central role as a man corrupted by the evil influence of the skull and the ending, a tour-de-force with Cushing mentally fighting the influence which is compelling him to kill his wife, is brilliant. The film itself is quite routinely plotted as there is only so much you can do with an evil skull but it's still a minor gem. Watch it for the atmosphere and the fine acting on display from the distinguished cast.

Don't Touch It.

[AaronCapenBanner · 5/10 · 25 November 2013]

Freddie Francis directed this thriller that stars Peter Cushing as Dr. Maitland, a collector of unusual objects who comes into possession of the skull of the Marquis De Sade, a reputedly evil man with supernatural powers. His friend(played by Christopher Lee) tries to warn him about its evil, and to get rid of it, but he doesn't listen, and as a consequence, is plagued by nightmares, as people around him start dying, and the evil nature of the skull tries to influence and then destroy him... Good cast of course, which also includes Patrick Wymark and Michael Gough, with intriguing back story, but film becomes tedious and far-fetched, leading to an unsatisfying, downbeat end.

Needs a bit more meat on the bone

[DPMay · 6/10 · 22 August 2020]

I've not read the short story by Robert Bloch upon which this feature film was supposedly based, but it's often difficult to stretch a short story plot out to effectively fill a full-length film, and I think this 1965 entry is indicative of that.

The first half-hour is strong, compelling stuff as the viewer is introduced to Peter Cushing's character of Christopher Maitland, a student and avid collector of the macabre, and Patrick Wymark's Antony Marco, the man who sells him rare and remarkable items just so long as no questions are asked.

When Marco produces what is purported to be the skull of the Marquis De Sade, Maitland cannot help but want it for his collection, and ignores the warnings of fellow collector - and previous owner of the skull - Sir Matthew Phillips (played by Cushing's frequent co-star Christopher Lee) who believes it possessed of evil spirits and dangerous.

Of course Phillips' warnings aren't without substance and Maitland finds his calm, ordered life quickly starts to unravel.

However, the film starts to unravel a little, too. The latter third will test the attention of many a viewer, given that it largely lacks dialogue or character interaction and could have been a disaster were it not relying on the fine performance of Peter Cushing and the directorial talents of Freddie Francis. That the person most under threat at the climax is Maitland's wife, a character with very little presence throughout the film, rather serves to undermine the horror rather than enhance it.

In fact, only Cushing, Wymark and Lee have much to do in the film at all. The cast is littered with some outstanding character actors including Nigel Green, Michael Gough, George Colouris and Patrick Magee, but they generally only have a scene or two each which seems a waste of such talent.

The film's saving grace is its direction, which has some great moments and is very effective at giving the titular skull a tangible screen presence even when it is seen sitting stationary in long shot at the back of a room.

Definitely worth a watch for genre fans but one can't help but wish that its script was rather more balanced and had a stronger second half.

Not bad, for what it is...

[JoeB131 · 5/10 · 15 May 2010]

Has anyone ever done a scorecard of how many films Peter Cushing and Christopher Lee did together, and how many times they killed each other? This one has a simple enough plot. The Maquis DeSade's skull is stolen from it's grave, but still manages to exert an evil influence on anyone who possesses it. The end of the film is a rather trippy bit with Cushing's character being exhorted by the skull to kill his sleeping wife.

Amicus film was the poor man's Hammer. While Hammer had the rich sets and good costumes, Amicus put their productions on whatever could be worked up in a hurry. Still, this film looks good and is a bit of fun.

Skull-Duggery

[JanosSkorzeny · 10/10 · 30 January 2006]

The initial scenes of the film THE SKULL are deceptive. Set in an early-19th century graveyard complete with grave robbers, hooting owls, and what is all too obviously a doctor about to delve into "things man was not meant to know;" one might be forgiven for expecting that this picture is going to walk-on the well-trodden path of Hammer Films. But such is not the case. Producers Max J. Rosenberg and Milton Subotsky, and screenwriter Robert Bloch have a surprise in store for the audience. What will follow this, by now, formulaic opening, will not be a Hammer 'ripoff.' Rather, the viewer will be treated to a unique psychological thriller with supernatural underpinnings. A film that will explore nightmare states and dreamscapes with a strong Kafkaesque flavor and a modernist sensibility.

Adapted from his own short story, "The Skull of the Marquis De Sade," Robert Bloch's script parallels his own career as an author. Starting off as a disciple of H.P. Lovecraft in the 1930s, and publishing a number of well-received tales in the Cthulhu Mythos canon; Bloch later developed into a premier advocate of the modern, psychological horror story. Indeed, he is best known to laymen as the author of perhaps the most famous psychological horror novel of all time, "Psycho." Interestingly, the story arc of THE SKULL follows Bloch's literary trajectory in that it begins in the tradition of romantic gothicism but ends in the darkly absurdist realms of Kafka, Orwell, Dali, and Max Ernst.

The basic plot of THE SKULL details the various unpleasant fates that befall subsequent owners of the skull of the infamous Napoleonic-era pornographer, the Marquis De Sade. Bloch's fictional construct is that Sade's historical excesses can be explained by the 'fact' that he was possessed by a demon. A demon who still dwells in the eponymous skull and who still retains a taste for dark ceremonies and murder.

Peter Cushing plays Dr. Christopher Maitland, an occult researcher and collector who comes into possession of the skull through the offices of one Marco (Patrick Wymark), a shady 'dealer' in obscure objects d'art. Christopher Lee portrays Sir Matthew Phillips, friend of Maitland, and former owner of the skull, who warns its new possessor of the item's destructive powers. THE SKULL really is Cushing's movie. Mr. Cushing's performance carries the last 2/3 of the film and is of grueling intensity. Mr. Lee's role as the doomed Phillips, who meets a violent end at the hands of the friend he tries to help, is crucial to the overall structure of the plot and flawlessly performed.

The highlight of the film is a nightmare sequence that could have been taken straight out of Kafka's "The Trial." Here Mr. Cushing gives a world class performance that echoes his earlier triumph as Winston Smith in the BBC television production of Orwell's "1984." This segment is gripping in the extreme and still carries a tremendous emotional wallop nearly 40 years later.

With stellar performances by Peter Cushing and Christopher Lee; standout supporting and cameo roles by Jill Bennet, Patrick Wymark, Nigel Greene, Peter Woodthorpe, and Patrick Magee; a thoughtful and literate script by Bloch and Subotsky; and measured, restrained direction by Freddie Francis, THE SKULL is an outstanding example of contemporary, modernist horror. This movie is not only a must-see for any Christopher Lee/Peter Cushing fan, but a lesson in intelligent, stylish film making.

"All I can say to you is keep away from the skull of the Marquis de Sade!"

[utgard14 · 6/10 · 4 June 2014]

Peter Cushing plays a guy who researches demonology or devil-worship or some such. He manages to get his hands on the skull of the Marquis de Sade, despite warnings from the skull's previous owner (Christopher Lee) that it's cursed. Sure enough, the skull starts controlling Cushing and making him do evil things. It's been my experience that people never listen when you try to warn them about owning the skull of an 18th century sadist. After the success of Dr. Terror's House of Horrors, director Freddie Francis reunites with Cushing and Lee for this, Amicus' second horror movie. Francis makes the most of a rather flimsy story, crafting a nice little atmospheric horror film. Good score by Elisabeth Lutyens helps. It's not the best from Francis, Cushing, or Lee, but it is enjoyable and under-appreciated.

Bone-headed nonsense.

[BA_Harrison · 4/10 · 30 August 2014]

An early attempt by Amicus at a Hammer style horror movie, The Skull opens in wonderful Gothic mode with a night-time grave robbing scene, complete with unkempt, windblown cemetery, creaky metal gate, random owl hoots and a howling dog (the foley artist really went to town on this one). The desecrated grave in question turns out to be that of the infamous Marquis De Sade, the reason for the illicit exhumation being the retrieval of his skull, which is apparently host to an ancient demon called Baalberith, who drives men to commit blasphemy and murder.

Unfortunately, the enjoyably excessive Gothic atmosphere of the film's opening scene is virtually abandoned when, many years later, said skull falls into the hands of obsessive antiques collector Dr. Christopher Maitland (Peter Cushing), who becomes possessed by the demon and proceeds to do its evil bidding. Apart from director Freddie Francis's (over)use of unusual POV shots and a couple of cool floating skull shots, the film exhibits very little flair or innovation, lacks genuine thrills, features almost no graphic gruesomeness, and quickly becomes tiresome. The film's most interesting aspect—the involvement of a secret satanic society—goes absolutely nowhere (and seems to exist purely to pad out the weak story to feature length).

It says a lot when my favourite scene in the whole film is Maitland playing snooker against fellow antiquities collector Sir Matthew Phillips (played by Christopher Lee): despite owning his own snooker room, Phillips seems to possess zero skill at the game, randomly hitting balls to no avail (although he does rack up some points on the score-board, the cheat!). Maitland is equally as inept. At least the film gave me a few giggles, I suppose.