Horrors of the Black Museum

The opening scene has a young, attractive woman receive a mystery gift in the mail, a pair of binoculars. When she tries them out two metal spikes impale her brain via her eyes, this is a delicious taste of what else is to come. A series of bloody but elaborate killings is gripping London, the police are on the case (one is played by Geoffrey Keen, a familiar face from the James Bond movies), but so too is Edmond Bancroft, a real life crime writer - who just happens to have his own Black Museum in his large home! Bancroft is played by the marvellous Richard Gough, a star of many films and TV, horror being one of his specialities, and his character here is highly intelligent but equally obnoxious, he hams is up wonderfully. I love black and white movies but this was filmed in colour, so not only do we get red blood but the whole film looks fantastic, very colourful. Not only is this a rather grisly but hammy and fun horror movie it also gives a fascinating glimpse of life in London in 1959. The film's finale takes place at a funfair, the Tunnel of Love scene is brilliant, there is a nod to the Jekyll and Hyde story here. It would also be fair to consider this as an early slasher/psycho maniac movie. I have just watched this for the first time, it was screened on TV. I enjoyed, I have just ordered a copy on DVD and look forward to seeing it again.

It was an OK film. It had a pretty effective "eye-gouging-binocular" murder scene. However, the greatest part of this film is its musical score composed brilliantly by Gerard Schurmann. Before the movie this psychologist gives this speech about hypnotism to get you in the mood. The film was shot in Hypno-Vista. But I didn't really feel affected by it. But then, that's just me.

I love some of the older British horror films and Michael Gough but I could not get into this film at all. It was just boring to me, nothing that stood out and grabbed my attention. Not even the first murder interested me the way it was done. I guess the murders themselves are the reason this film is classified a horror film but it looks, feels and plays out more like a regular crime flick to me with some out of the ordinary murders occurring. So the film bored me to tears - just not my thing. Nothing special. I'm not going to say it's awful but I will say I did not enjoy it and I found it less than mediocre. 2/10

It's a shame, really: with a delightfully lurid and catchy title such as "Horrors of the Black Museum" and advertising that hyped a special "Hypno-Vista" process, this could and should have been more fun. It's reasonably amusing, but its good moments are spread pretty far apart amidst a lot of talk and a slow pace. Fiendish murders are plaguing the city of London, and prominent crime expert / journalist Edmond Bancroft (Michael Gough) just loves to write about it. He definitely has a flair for the sensational. This sets him at odds with the weary Scotland Yard detectives investigating the case, including Superintendent Graham (Geoffrey Keen, whom one may recognize from his appearances in several James Bond franchise entries) and Inspector Lodge (John Warwick). The movie can boast a couple of nifty gadgets: binoculars that shoot needles into unwary eyes, a pair of ice tongs, and a miniature guillotine. The title derives from the collection kept by the Yard of hideous murder implements; Bancroft also maintains an impressive collection of his own. Helping to make this little horror film palatable are gorgeous CinemaScope photography and an excellent cast also including June Cunningham as Bancrofts' fed-up girlfriend, Graham Curnow as his loyal assistant Rick, the lovely Shirley Anne Field as Ricks' gal pal Angela, Beatrice Varley as shop keeper Aggie, and Austin Trevor as Commissioner Wayne. But Gough, not surprisingly, thoroughly dominates the proceedings with a deliciously hammy performance. One could never accuse Gough of not giving a role 100% percent, and he doesn't disappoint here. Overall, this is a mild diversion and no more. Six out of 10.

Edmond Bancroft a famed crime writer/columnist wanting to make sure his next novel captures the accurate depiction of such vicious murders and to get some public notice. Goes about it by getting his inspiration from Scotland Yard's "Black Museum", where he has his own "Black Museum" filled with unpleasant devices he picks up at an local antique shop and he uses them randomly to murder unexpected victims. His assistant Rick, is the one who does his dirty business when he injects him with some substance that turns him into some monster who performs Edmond's bidding. Edmond constantly shows up at Scotland Yard to gloat on how they aren't getting anywhere with this case. This little British b-grade low-end shocker is crudely exploitative and effective when it's going for the throat. Sure time hasn't been kind on it, but the ghoulish ideas are inspired with a delicious blend of black humour, and the few unusual deaths have impact, as they are very daring, nasty and imaginative. Michael Gough turns in a splendorous lead performance of smarting arrogance as Edmond Bancroft. These aspects are the selling points. The story is effortless, but branching off from it is plenty of distracting sub-plots, which can lull about. Some things seem contrived, rushed and a little questionable. Especially how Gough's character leaves himself open to be caught a number of times and how stupid some of his victims are. However writers Herman Cohen and Aben Kendal do strike up some interesting concepts and morbid themes. In between the deaths and Grand Guignol moments, it can becomes overly talky, but this compact script smoothly rolls off the cast's tongues. Director Arthur Crabtree's pastel touch is competent and some suspenseful surprises and gimmicks are neatly handled. The film really does have a musty look that is nabbed by its brusque photography, and settling in is a resounding music score with an ominous sting. The rest of the performances were reasonably sound. It could've been better, but it's cheaply lurid and preposterous horror fun.

Ordering the very good Horror Noir Cat Girl from Network during their sale,I stumbled upon another British Horror film. Becoming aware of the title after reading a positive review from Kim Newman,and knowing Michael Gough as one of the main character actors from Hammer Horror,I got a ticket for the museum. The plot: For the last few weeks someone has been going around killing women in London and the police have no clue who it could be. Being a best selling True Crime writer, Edmond Bancroft pushes into the station and gets details for his next book. Laughing behind their backs, Bancroft falls in love with doing the killings himself,and knowing that there is no chance the cops will catch him (with the bonus that he can included the murder in his next book!) Going to buy his next murder weapon from the antiques shop,Bancroft is taken aback,when the seller asks him what has he been using the objects for. View on the film: Including the US " Hypnovista" intro as an extra,Network deliver a sparkling transfer,with the picture retaining its vivid shine,and the soundtrack ringing with crisp screams. Made when British Gothic Horror was at its peak,the screenplay by Herman Cohen and Aben Kandel breaks the castle walls down with an almighty thump.Taking inspiration from Film Noir,the writers dismantle the English "Gentlemen" cad of British Horror for the scum of the earth,who wallow in darkness as Bancroft pens a new murderous tale.Taking delight in keeping the cops completely out of their depths,the writers axe the flick with a mischievous dark sense of humour, throwing bonkers methods of killing (a bedroom guillotine!)and acid-tongue,spiteful dialogue at the viewer. Bowing out for the final time,director Arthur Crabtree stakes the most kitsch aspects of the film with a sheer delight.Giving Bancroft his own "Batcave" Crabtree paints Bancroft's novel with the most garish colours possible,grinding in wet blood being dropped on the streets by Gerard Schurmann's roaring score,to Bancroft's lair being soaked in brightly coloured blocks. Curling his lips at every wickedly chewy one liner, Michael Gough gives a raging, bouncing off the wall performances as Bancroft,thanks to Gough knocking his wooden co-stars down with a sly smile which breaks out into shrieks and howls,as the Black Museum closes its doors.

Call me crazy(and many do!)...I have a thing if you will for Michael Gough - the Third-rate Horror King! Konga! Black Zoo! Horror Hospital! Berserk! Trog! Satan's Slave! He did these - and a few more - whilst being a proper, mainstream British actor. He really did have quite an amazing career. Here again, Gough overacts his way as a crippled author way too interested in some murders in Londoin involving weapons he knows are in the police's infamous arsenal of murder weapons - their Black Museum. Watching Gough oil his way through scenes, bark out orders or diatribes about some silly nonsense, accentuate his crippled affectation, or just leer or look condescendingly on some poor unfortunate person make this film work for me. Made in 1959 the film does have some grizzly murders: a pair of murderous binoculars. A bedroom mini-guillotine. Fantastically large ice tongs. The murders are, for the time, quite bloody. Producer Herman Cohen, who would work on many of the above films with Gough, always knew how to put a good show on for the audience. This film is no different. As always in these films, the acting far exceeds my expectations. Gough is Gough. He is the film's main attraction in my opinion. You just got to love that voice and that bi-colored hair! But the supporting players are all very decent with Geoffrey Keene doing a very serviceable job as a police inspector. He was in many of the Bond pictures post 1970. Gerald Anderson is good as a physician. Grahmn Curnow is interesting as Gough's murderous assistant. Not great mind you. Then there is June Cunningham as Gough's mistress. First, let us say that she is sexy. Very sexy. Blonde. Buxom. What more could you want? If you said nothing more, then good because that is exactly what you get. Cannot act at all. But the scene where she belittles Gough is a great scene just for the humor - mostly unintended and its sleazy aspects. What about the scene where she mugs for the camera shamelessly dancing by herself. It was very, very funny. Now, we come to what was the most painful aspect of the film. The 13 minute Hypnovision lecture by eminent hypnotist Emile Frachel. He is long-winded, boring, and repetitive. I was almost hypnotized to turn the film off. The only thing I saw at all in the subsequent film that dealt with Hypnovision was the ways some scenes would fade with red, because we were taught in that 13 minute opus that colors mean certain things. YAWN! Anyway, I enjoyed this film. It is better than some might have you think. It is fun and entertaining. It has Michael Gough. He may not have been one of the mainstream horror icons, but he has a place there in my heart and memory.

The gimmick of being filmed in "Hypnovision" seems very little help in making this a memorable film. Gruesome and brutal methods of murder do give you something to talk about, especially the binocular scene. Michael Gough is a writer that uses hypnotism to commission chilling murders. Also appearing are June Cunningham, Geoffrey Keen, Shirley Ann Field and Graham Curnow. Watching this today seems to conjure up more giggles than shudders. But for 1959, this one is a slow chiller.

I've seen Horrors of the Black Museum a couple of times and found it quite enjoyable if gruesome for its time. A writer, Edmond Bancroft hypnotises his assistant to murder people and then write about the crimes in the local newspaper and also for his books. He does some of the murders himself. The thing about these killings are the unusual weapons used: a rather lethal pair of binoculars, a pair of ice tongues and a rather unusual guillotine. Bancroft also electrocutes his doctor and then puts him in a bowl of acid. He injects his assistant just before he takes his lover to the fair and he turns into a monster, kills his lover and climbs up a big wheel where Bancroft appears along with the police and he jumps off the wheel and stabs Bancroft to death and is shot dead himself. Horrors of the Black Museum was made in 1958 and is rather violent and gory for its time. Certainly not family viewing. Joining Michael Gough (Dracula, Konga) in the cast are Graham Curnow, Shirly Anne Field (These Are the Damned), Geoffery Keen and June Cunningham. This is a must for all horror fans. Excellent. Rating: 3 and a half stars out of 5.

Is it forever Michael Gough's fate to play crippled characters? With his hand-less performance in DR TERROR'S HOUSE OF HORRORS, his wheelchair-bound role in HORROR HOSPITAL, and now this cane-assisted stance in HORRORS OF THE BLACK MUSEUM, it seems this unfortunate actor always comes off the worst. But I digress. HORRORS OF THE BLACK MUSEUM is a classic example of an early exploitation film, produced by non less than Herman Cohen, responsible for loads of classic films of this type in the late '50s/early '60s. With an off beat and clever idea (crime writer commits murder to sell his stories) and a twist monster-on-the-loose ending (with Cohen involved, what else would you expect?), the film never fails to entertain. Chief entertainment comes from the series of murders, which, while not explicitly gory like the Friday the 13th films, are however all staged elaborately and decoratively, and also cleverly, with much relish, like the murders in THEATRE OF BLOOD and the PHIBES films (but never so campy!). Highlights include the memorable binocular death and a woman having her head cut off by an axe, but the best death (or tackiest) occurs when the doctor is electrocuted by a bad special effect, then has his skin boiled off and becomes a skeleton! This scene is a piece of classic horror and easily the best moment of the film. Although the monster makeup leaves something to be desired (it basically looks like grey paint), there is a good scene with the monster in a hall of mirrors, where he is taunted by a young couple before turning on them with a knife! While none of the acting is sub-par, with the likes of Shirley Anne Field involved (also, Geoffrey Keen has a role as a tough policeman), the film really belongs to Michael Gough as the criminal genius. He also sports the same ridiculous bleached hair as he did in the next year's KONGA! Gough is superbly civilised and a man of true evil, much like in his other films, and as always he's a delight to watch, I'm surprised that this prolific actor is overlooked so much and in the shadow of contemporaries like Cushing and Lee but he always puts in a solid, tongue in cheek performance and raises the level of the films he's in (much like Peter Cushing did). HORRORS OF THE BLACK MUSEUM is a typical piece of '50s exploitation, much in the style of CIRCUS OF HORRORS and is a film which is raised above average by the strength of Gough's performance alone. Definitely one for the collection.