Buzz
Hammer. A name that resonates with dark, Gothic horror and a very British atmosphere. The Halloween season is perfect for revisiting those years from the late 1950s to the early 1970s, when Hammer—a studio once in decline—discovered the winning formula of breathing new life into classic horror tales, all through the lens of vibrant Technicolor, and drenched in blood and gore. Hammer produced countless films and several TV shows during its heyday (after a brief attempt in the 1930s that was interrupted by wartime difficulties). It ventured into comedies, war films, dramas, and science fiction, but it was the fifteen years of full-color, period horror pieces that stood out—often cheap, sometimes exploitative, but always bold, stylish, and entertaining. While these films might seem tame today, their fake blood and gore comically outdated, they still hold the captivating essence of a time long gone—capturing not just the Victorian/Edwardian settings of the stories but also the feel of the simpler 50s and 60s, when even low-budget horror could be thrilling and dramatic.
Here are thirteen of Hammer’s finest, a mix of my personal picks and the general consensus of Gothic horror fans. While modern audiences might be more skeptical, if you open yourself to the charm of these films, you might find yourself entranced by their vivid visuals, atmospheric tones, and eerie ambiance. Not to mention the unforgettable performances of Peter Cushing, Christopher Lee, Andrew Keir, Barbara Shelley, Michael Ripper, Andre Morrell, and many others—the stalwart actors who made Hammer their home.
These films are presented in no particular order.
13. Quatermass and the Pit
Bernard Quatermass, a character created by Nigel Kneale for the BBC in the 1950s, appeared not just on television but also in a series of films produced by Hammer, starting with 'The Quatermass Xperiment' in 1955. This was followed by another film a couple of years later. Both movies featured the miscast American actor Brian Donlevy, who, with his nondescript face and businesslike appearance, seemed more suited for a role as a businessman than a scientist. After these two black-and-white efforts failed to gain traction, Hammer didn’t revisit the Quatermass series until 1967, when it embraced Technicolor and cast a more fitting actor: Andrew Keir, who brought a gruff, professorial quality to the role.
But there's more—'Quatermass and the Pit' (titled 'Five Million Years to Earth' in the U.S.) took on a Hammer-style supernatural horror twist. The film centers on the discovery of a mysterious and seemingly dangerous object during the construction of the London Underground. Initially believed to be an unexploded German bomb from WWII, it’s revealed to be a Martian spacecraft, complete with mummified Martian corpses and fossils of the ape-men the Martians had experimented on. This plot blends ghostly and horror elements more than traditional science fiction, with the Martian plan to ensure the survival of their civilization through genetically engineered apes (who would evolve into humans) entwined with dark legends of demons, ghosts, and goblins. The Martians’ horned appearance is even linked to the human race’s memory of the devil, and the film ends in a spectacular explosion of electricity and telekinetic energy. For many of us who grew up watching Saturday afternoon monster movie marathons in the 70s, this film still delivers a thrilling jolt.
12. The Hound of the Baskervilles
Not a horror story, you say? Think again. When Hammer took hold of this classic Sherlock Holmes tale, it became a full-fledged horror yarn—and one of the finest. In my opinion, it’s the ultimate version of 'The Hound' ever made, and ranks among the best Holmes films. Peter Cushing delivers a refined twist on the great detective, with Andre Morrell as an impeccable Watson. Christopher Lee is equally captivating as Sir Henry Baskerville, the haunted heir to the cursed Baskerville family. The pairing of Lee and Cushing is always a treat, and this film is no exception. If you’re a Holmes fan, you’ll appreciate Cushing’s portrayal of your beloved detective, and if you’re a horror fan, this film offers a rare and satisfying gem that surpasses the ordinary fare.
11. Scream of Fear
I’ve discussed this before (check out my 'Ten Suspense Movies You Must See'), but it's always worth encouraging new people to revisit an old classic.
During the early to mid-60s, Hammer Studios created a series of psychological thrillers inspired by Hitchcock’s style, and in my opinion, this one stands out as the best. This mind-bending thriller, filled with twists and turns, haunted me so much as a child that I could never forget the eerie image of a corpse floating in a weed-filled pool. I only saw it once, on TV in the early 70s, but that single scene stayed with me for years, prompting me to track down the film decades later. After remembering just fragments of it, I added it to my collection.
Susan Strasberg, charming as ever, plays the wheelchair-bound heiress who returns to her family’s villa on the Cote d’Azur, suspecting that her stepmother and the village doctor may have been involved in her father’s death and are now trying to drive her insane. From this point, the movie takes you on a thrilling ride of unexpected twists, culminating in a satisfying surprise ending. Moody, eerie, and filled with jump scares, anyone I’ve shown this film to has enjoyed it immensely. Let me know your thoughts!
10. Horror of Dracula
This is the first classic 'monster' horror film on the list, marking the first collaboration between Peter Cushing as Dr. Van Helsing and Christopher Lee as Dracula. With Hammer’s signature stylish cinematography, dramatic score, perfect pacing, and expert direction by Terence Fisher, this thrilling ride helped solidify Hammer’s reputation in both America and the UK. It also spawned a series of Dracula sequels and launched the careers of Cushing and Lee as iconic horror stars.
The significance of 'Horror of Dracula' isn't just due to its historical impact. While the title was simply 'Dracula' in the UK (with the 'Horror of...' added for the US release because Universal held the rights to the plain 'Dracula'), it also stands out because it’s simply an outstanding film. It's fast-paced yet never rushed, giving us a fresh take on the original Bram Stoker narrative—possibly even more so than the Universal Lugosi version. Where the original film was more eerie and atmospheric, with Lugosi's Dracula being a sinister yet somewhat restrained figure, the Hammer version is violent, tense, and unnervingly intense. Christopher Lee’s Dracula is a ruthless, bloodthirsty killer, his bloodshot eyes, crimson lips, and demonic gaze elevating the terror. This violent depiction of Dracula sharply contrasts with the suave, aristocratic vampires of Hollywood's past, with Lee’s version embodying a more demonic force than the charming tricksters of old. This is the true Prince of Darkness.
9. Curse of Frankenstein
I've never been as enamored with the Hammer Frankenstein films as I am with their Dracula series. It's not just a matter of preferring the deadly vampires to the hulking creatures; it also reflects the different approaches taken in the two franchises. Christopher Lee's Dracula brings something fresh and chilling to the table in almost every film he appears in, but I feel the Hammer Frankensteins miss that same spark. They often seem derivative, leaning too much on the original Universal films. Despite the Technicolor flair, Hammer's takes on Frankenstein don’t hold a candle to the original works. I can’t watch a Hammer Frankenstein film without thinking of James Whale’s iconic take, or films like 'The Bride of Frankenstein' and 'Son of Frankenstein.' Perhaps it’s because of Karloff, whose portrayal of the monster was unmatched, and Lee could never quite measure up. What's more, the Hammer Frankensteins fail to capture the tragic humanity of the monster or his creator. As Denis Gifford noted in his 'A Pictorial Guide to Horror Movies,' Hammer made a key misstep by making Doctor Frankenstein the recurring focus, rather than the monster. Cushing’s portrayal of Frankenstein was stellar, but his version of the doctor lacked the depth and complexity that Karloff’s monster had. Each new creature in the films distracted from the core tragedy of the original story.
So why is this film on the list? Partly because of its historical importance, as it preceded 'Horror of Dracula' by a year and marked Hammer’s initial foray into the horror genre. But it's more than that—it’s arguably the finest of the Hammer Frankenstein films and definitely the most stylish. Though some of the later entries became more campy and gory, this one keeps things darker and more atmospheric. What's fascinating is how it delves into the tragic humanity of Doctor Frankenstein, brought to life with wicked relish by Cushing. The film is told through flashbacks, and we're never entirely sure whether we’re seeing the truth or simply Frankenstein's warped imagination. In any case, the film delivers a healthy dose of shock and horror, which is what truly matters. Later Hammer films would bring more brutal, violent creations, but in this one, Lee’s creature, while devoid of Karloff's emotional depth, still carries a lingering sadness.
8. The Reptile
In this film, Hammer took a break from recycling Universal's classic monsters and decided to create their own creature—and it's a compelling one. The daughter of a former missionary in the Punjab has been cursed as a result of her father's wrongdoings, condemned to transform into a humanoid, venomous reptile. Anyone unlucky enough to encounter her bite is met with a quick and fatal end, the effects being a grotesque sight akin to rabies. It might sound cheesy, and in some ways it is, but that's the charm of these films. You don’t watch them for realism, you watch them for the nightmares and the surreal dreams they conjure. And like all great horror movies, this one unfurls from beginning to end like a strange and unsettling nightmare.
7. The Plague of the Zombies
Did I just call 'The Reptile' a bad dream? Well, that description fits this film even better. Three years before George Romero’s 'Night of the Living Dead' revolutionized the zombie genre, Hammer was already leading the charge with the first movie to transform zombies from mindless, lumbering corpses into genuine terrifying monsters. No, the zombies here aren't yet feasting on brains or flesh, but they are far more menacing and nightmarish than the lifeless, almost puppet-like zombies of the 1930s and '40s, when they were mostly props in horror flicks, even in notable films like 'White Zombie.' While Val Lewton’s 'I Walked with a Zombie' still holds the crown for the best psychological horror about zombies, I place this film right after Romero’s classic in terms of reshaping zombies into the fearsome creatures we know today.
The film makes great use of color to set the mood and tone, showcasing exceptional direction, editing, and makeup effects. A notable highlight is a surreal dream sequence inserted midway through the film, which is a striking departure from the typically straightforward style of Hammer films.
6. Dracula, Prince of Darkness
For me, this stands as the pinnacle of all Christopher Lee’s Dracula films. It’s the one that haunted my childhood with nightmares, lingering in my memory for years. I’m not exactly sure why. Lee doesn’t utter a single line in this movie, yet that only enhances his presence as a more ferocious, animalistic threat. The film itself is a brutal one, pushing the Hammer nastiness to a higher level. It’s not as intense as some of the later entries like 'Scars of Dracula,' but you can still see the bloodstains on the walls. One standout element is the introduction of Dracula’s human servant and protector, Klove, portrayed by Philip Latham with a quietly sinister, yet powerful, menace. The lovely Barbara Shelley plays Dracula’s first female victim, while the always-pleasing Andrew Keir (Doctor Quatermass) portrays a priest who, despite his gruff nature, plays a crucial role in defeating the evil count. The highlight is the savage, sacrificial murder of Charles Tingwell’s character, whose blood is used to resurrect the dust-dry Lee into the undead once more.
5. Curse of the Werewolf
I was initially uncertain about including this film on the list, leaning more towards the later 'Dracula Has Risen from the Grave'—a film in its own right that deserves praise, featuring a menacing Christopher Lee and a memorable role for a failed priest as Dracula’s servant, along with some particularly gruesome murders. However, I realized the list was becoming overly packed with Dracula films and was missing a werewolf entry. Hammer gave the werewolf genre an intriguing spin with this often-overlooked gem.
It stars the ever-watchable Oliver Reed, who delivers an especially tragic werewolf performance. His character is the product of a series of horrific events: a cruel nobleman locks up and tortures a humble beggar, driving him mad. The nobleman then has a servant girl thrown into the beggar’s cell after she rejects his advances. The girl is assaulted, and from this violent union, a child is born who is cursed with lycanthropy.
The makeup used for Reed’s werewolf may seem a bit goofy at times, though that’s a matter of personal taste. But there’s nothing foolish about the story or Reed’s portrayal, both of which carry an undeniable strength and subtlety. Watching this film again, I found myself filled with sympathy for Reed’s character, who is burdened by a curse that was entirely beyond his control. The pathos he brings to the role is profound and deeply felt.
4. Brides of Dracula
This film seems to be a love-it-or-hate-it affair, and I absolutely love it. I think I understand why. Of course, it's the charming array of attractive young women that David Peel’s decadent Baron Meinster, a Dracula stand-in, gets to sink his fangs into. (Though despite the title, this isn't technically a Dracula movie; Dracula is merely referenced as having been destroyed. This story is about those who continue his legacy, spreading the 'disease' he left behind.) The film also features Peel's portrayal of a vampiric, almost metrosexual figure, his cool, clipped voice still carrying a sense of menace. But even more remarkable is Freda Jackson's gloriously over-the-top performance as 'Greta,' the deranged, protective servant of the Baron. Above all, it’s the film's visual style that captivates—brilliantly capturing the essence of gothic Technicolor horror from beginning to end. To truly appreciate this movie, watch it on a cool autumn Saturday with a mysterious breeze rustling the leaves and an ominous quiet settling over the day. You’ll understand exactly what I mean.
While this film may toss Hammer continuity out the window (Van Helsing, once again played by the ever-capable Peter Cushing, asserts in 'Horror of Dracula' that vampires can’t transform into bats, but here, they do), and despite its occasional narrative oddities (characters are introduced, only to disappear without a trace, and the vampiric brides make no effort to prevent Van Helsing from 'curing' himself once Meinster has bitten him), it doesn’t matter. The sheer visual splendor of this film makes you forget all that. It's a veritable feast for the eyes, filled with unforgettable imagery—the eerie 'awakening' of the first bride from the grave, aided by the deranged Greta—the battle between Meinster and Van Helsing in the ominous castle—the heroic 'cure' Van Helsing performs on himself after being bitten—and the inexplicable supernatural release of padlocks from a coffin, to name a few. And let’s not forget David Peel’s delightful take on the malevolent Meinster, delivering the chilling line, 'MOTHER... come here.' The film’s worth the watch for that moment alone.
3. The Mummy
Another Hammer film that draws inspiration from Universal’s classic monsters, 'The Mummy' stars Christopher Lee and Peter Cushing, with Lee taking on the role of the towering, moldy Egyptian mummy Kharis. Kharis is condemned to a living death, his tongue removed as punishment for attempting to revive his long-dead love, the princess Anank-ah, using the powerful 'Scroll of Life' (which, in the original Universal film, was called the 'Scroll of Thoth'). It just so happens that the princess Anank-ah bears a striking resemblance to the wife of Egyptologist/archaeologist Cushing. The tragedy and madness of Kharis’s quest to restore his lost love form the heart of the story.
When Cushing and his family arrive in Egypt with plans to loot Anank-ah’s tomb, they unknowingly provoke the wrath of Mehmet Bey (played by George Pastell), a devoted follower of the ancient god Karnak's religion. (It's worth noting that Karnak was actually a place in ancient Egypt, not a deity.) Bey decides to revive the mummified Kharis to seek vengeance on those who desecrated the tomb, setting the stage for a deadly pursuit where Cushing and his relatives become the next targets.
In truth, this plot borrows heavily from later Universal mummy films, but the ultimate standard is the 1932 Karloff classic—and in that regard, this version holds its ground quite well. What’s especially intriguing is watching Christopher Lee—wrapped in bandages from head to toe—convey emotions solely through his eyes. It’s incredible how he expresses anger, determination, and even sadness with a simple shift in his gaze. This is the mark of a truly skilled actor. As for Peter Cushing, he’s, of course, fantastic as usual, and the film delivers enough of a moody atmosphere to keep things scary. While subsequent Hammer Mummy films (without Lee or Cushing) upped the gore and body count, this one retains the stylish Hammer flair that makes it enjoyable until the end. It's not a masterpiece, but it's a solid film. The later mummies were scarier and bloodier, as seen in 'Curse of the Mummy's Tomb' and 'The Mummy's Shroud,' but it's Lee’s captivating performance and Cushing’s presence that make this one worth watching.
2. Nightmare
Here's another Hammer psychological thriller. I almost included 'Paranoiac' instead, but ultimately decided that 'Nightmare' stands as the superior film. It tells the story of a young girl who witnessed her mentally unstable mother murder her father years ago, and now she suffers recurring, increasingly realistic and terrifying nightmares centered around a woman she's never seen before. After being released from school, she returns to her home, where her guardian, nurse, and servants look after her. But as her nightmares intensify, the girl uncovers a sinister plot—her guardian and his mistress have been manipulating her in an attempt to dispose of the guardian’s wife, and the story takes many dark twists and turns from there.
The tale unfolds around a teenage girl haunted by memories of her insane mother murdering her father years ago. Now plagued by recurring, vivid nightmares, the girl returns home after being released from school, only to find her nightmares becoming more intense and increasingly real. They all seem to revolve around a mysterious woman she doesn’t recognize. As events unfold, we learn that her guardian, along with his mistress, has concocted a nefarious scheme to rid himself of his wife, leading to a web of deceit and horror.
A solid, spine-tingling suspense film, brimming with atmospheric and eerie moments that make it worth watching.
And yes, don’t forget to check out 'Paranoiac' as well.
1. The Phantom of the Opera
I briefly considered a number of other films for this spot, but then I thought about Hammer’s remake of 'Phantom of the Opera,' and I decided—why not? What sets this film apart, beyond the usual stunning Hammer cinematography, is the portrayal of Herbert Lom’s tortured Professor Petrie. His performance adds layers to the character, and while this version doesn’t strictly follow the original Leroux novel, it’s no different than Lon Chaney's legendary 1927 portrayal or the 1940s remake starring Claude Rains, which was more of a romantic musical than a true horror film. While I still prefer Chaney’s Phantom, a figure driven by pure madness and ugliness, there’s also a sense of pathos in Lom's performance. You can’t help but feel sympathy for him. This is also thanks to Michael Gough, who brings his usual villainous charm to the screen, and Patrick Troughton, who adds a sly touch as a treacherous rat catcher.
Lom’s Phantom ultimately dies a hero, saving the day in a dramatic finale. But before we reach that point, we’re treated to the classic tale, given the Hammer treatment—complete with period decadence and a slight dark edge. While it’s not as terrifying as some other Hammer films, it still offers a satisfying and entertaining experience. It's easy to enjoy without feeling the need to compare it directly to Chaney’s portrayal, even though his version will always remain the superior one.
