TIME WITHOUT PITY

 

Out of all the films that Turner Classic Movies is showing this October in honor of Peter Cushing being their Star of the Month, the only one I had never seen was TIME WITHOUT PITY. This is a 1957 black & white melodrama directed by Joseph Losey, with a very distinguished cast. 

Things are not going very well for failed writer David Graham (Michael Redgrave). He's just gotten out of a sanatorium in Canada, where he was undergoing rehabilitation for his alcoholism, and he was without contact with the outside world. Back in London, he finds that his estranged son Alec (Alec McCowen) is going to be executed in 24 hours for murdering his girlfriend! Graham gets little help from his son's lawyer (Peter Cushing), so the man decides to do some investigating on his own. He learns that his son had a friendship with the family of Robert Stanford (Leo McKern), an overbearing automobile magnate. Graham is desperate to find something that will clear his son, but the young man won't open up to him, and the Stanford family has plenty of secrets of their own. The real obstacle is Graham himself....can he keep himself sober, and focused, on the almost impossible task at hand?

The "Lead character has only 24 hours to save someone from being executed for a crime they didn't commit" plot has been used in several movies and TV shows. TIME WITHOUT PITY gives a unique spin on this plot due to the character Michael Redgrave plays and his performance. David Graham is a fidgety, out-of-sorts fellow, which is understandable due to the circumstances that he is dealing with. The suspense in this tale comes from the fact that the viewer doesn't believe that Graham isn't going to be much help to his son whatsoever. 

Graham meets a number of eccentric people during his short odyssey, including Robert Stanford's not-so-dutiful wife (Ann Todd), the auto magnate's lover (a sultry Lois Maxwell) and her flighty mother (Renee Houston), and his son's girlfriend's sister (an unrecognizable Joan Plowright in her big screen debut). Hammer fans will notice Richard Wordsworth and Peter Copley in very small roles. (Even though he's playing a "normal" person, Wordsworth still comes off as creepy.) Due to the heavy dramatics of the story, most of the acting is overwrought, particularly from Leo McKern. A pre-credits scene lets the audience know what really happened to Alec's girlfriend, but even from that standpoint McKern comes off as rather obvious. 

Joseph Losey and cinematographer Freddie Francis (billed as "Frederick") make effective use of real-life London locations, but they also add in such artistic touches as plenty of reflective surfaces and several clocks (as to be expected in a story such as this). The bit-of-a-twist ending is surprising, if downbeat. But it fits the film rather well, since the entire affair is downbeat. 

As for Peter Cushing....even though he gets fourth billing, he has very little screen time overall, and he spends most of it reacting to Michael Redgrave. Cushing does give a solid, low-key performance--he's a model of restraint compared to the other actors in the film. But I wouldn't call this role a major event in Cushing's movie career. 

TIME WITHOUT PITY is well-done, and it has some suspenseful elements to it. I liked it, but I wouldn't go out of my way to watch it multiple times. 

My Favorite Episodes Of THE TWILIGHT ZONE

A couple of weeks ago, the legendary Joshua Kennedy informed me that he had been engaged in watching several episodes of the original THE TWILIGHT ZONE TV series. He asked me what my favorite episodes were...and that was not an easy question. THE TWILIGHT ZONE is one of my favorite TV series of all time, and it's one of the few series in which I have every episode on home video. Making a manageable list of favorite TWILIGHT ZONE episodes required a bit of work, since there are so many of them, and so many of them are very well done. 

There's very few TWILIGHT ZONE entries that I would call weak or even mediocre. The entire five season run of the show had a level of excellence and intelligence that is still rare in American television today. Obviously the brilliant writer Rod Serling was the main force behind THE TWILIGHT ZONE, but several talented individuals contributed, including many classic Hollywood veteran directors and actors, and even music composers such as Bernard Herrmann and Jerry Goldsmith. 

The majority of episodes were written by Serling, but plenty of other greats penned tales for the series, notably Charles Beaumont and Richard Matheson. THE TWILIGHT ZONE is best known for its fantasy/science-fiction/horror aspects, but it never was a show for kids--there's a sense of real adult drama in the majority of the episodes that one almost never finds in the genre of the fantastic. Most of the stories told on THE TWILIGHT ZONE are still as relevant as ever (some even more so). 

So here's my list of favorite TWILIGHT ZONE episodes. I tried to avoid picking just the more renowned ones, but certainly some of the most famous tales will wind up here. Please remember that this list only applies to what in my opinion is the real TWILIGHT ZONE, the 1959-64 TV series. This has nothing to do with any later reboots, including the most recent one, which I have no particular inclination to watch.

"The Hitch-Hiker" (First Season) Written by Rod Serling, Directed by Alvin Ganzer

A young woman (Inger Stevens) is taking a cross-country trip by car....and she happens to see the same hitch-hiker over and over again. A simple tale--but quite effectively realized, and perfect for THE TWILIGHT ZONE format. 

"Time Enough at Last" (First Season) Written by Rod Serling Directed by John Brahm

A introspective bookworm (Burgess Meredith) survives a nuclear war...but he's not all that put out by the situation, since it gives him plenty of time to read...or so he thinks. This is one of the best known episodes, and it features many of the elements one would see in the show over and over again--put-upon ordinary characters, the end of the world, and the idea that you should be careful what you wish for. 

"The Fever" (First Season) Written by Rod Serling Directed by Robert Florey

An uptight middle-aged man (Everett Sloane) reluctantly accompanies his wife on a free trip to Las Vegas. By happenstance the man puts a coin in a slot machine--and he's hooked. I'll never forget this one, mainly because of the way the slot machine "calls" its victim's name through the sound of clinking coins!

"A Stop at Willoughby" (First Season) Written by Rod Serling Directed by Robert Parrish

A burned-out businessman (James Daly) gets off his commuter train and finds that he is in a bucolic 19th Century town called Willoughby. As the businessman's life gets worse, he decides that Willoughby is where he needs to be. One could look at this as a tragic tale....but maybe the main character is really better off, wherever he wound up. 

"Walking Distance" (First Season) Written by Rod Serling Directed by Robert Stevens

This tale is the flip side of "A Stop at Willoughby". Another businessman tired of the rat race (Gig Young) goes back to his small home town, only to find that is is exactly the way it was when he was a child. But this time, the lesson is that you can't--and you really shouldn't--go home again. One of the most moving episodes, featuring music by Bernard Herrmann. 

"The Monsters Are Due On Maple Street" (First Season) Written by Rod Serling Directed by Ron Winston

There may have not been any internet arguments when this episode was first aired in 1960, but the ability of humans to turn on and attack each other over essentially nothing was still the same. You don't need aliens to destroy the Earth when humanity is more than willing to do it themselves. 

"Long Live Walter Jameson" (First Season) Written by Charles Beaumont Directed by Anton Leader

Walter Jameson (Kevin McCarthy) really, really looks young for his age. THE TWILIGHT ZONE would deal with the subject of immortality many times, but none better than this episode. 

"Night of the Meek" (Second Season) Written by Rod Serling Directed by Jack Smight

This was one of the few episodes of the show to be shot on videotape. A drunken department store Santa Claus (Art Carney) gets fired on Christmas Eve, but then is given the gift of becoming the real Saint Nick. An unusually touching and warm tale from Serling. 

"Shadow Play" (Second Season) Written by Charles Beaumont Directed by John Brahm 

A man (Dennis Weaver) who is on death row tries to convince everyone around him that he is actually having a nightmare, and if he is executed, their lives will end as well. An episode with a truly mind-bending and thought-provoking premise. 

"The Invaders" (Second Season) Written by Richard Matheson Directed by Douglas Heyes

Yes, it's the "tiny men in spacesuits threaten old farm woman" episode. But it still packs a wallop, due to the overall presentation of the idea and Agnes Moorhead's performance. 

"On Thursday We Leave For Home" (Fourth Season) Written by Rod Serling Directed by Buzz Kulik 

This is one of the hour-long episodes of the show. The extra-long format didn't really work for it, but it did for this story. A group of colonists have been stranded on a backwater planet for years. The only reason they have been able to survive is through the strength and determination of their self-appointed leader, a man named Benteen (James Whitmore). When a spaceship arrives, and the group suddenly learns that they are going to be taken back to Earth, their reliance on Benteen goes away, and the man becomes angry and jealous. This episode is an example of what THE TWILIGHT ZONE did best, in using a fantasy backdrop to examine everyday human behavior. This story contains some of Serling's best writing, and James Whitmore excels in the prime role of Benteen, a man who sadly finds out he's not as important as he once thought. 

Peter Cushing--The Turner Classic Movies Star Of The Month For October

 

Ever since I've been on the internet, I've constantly suggested that the Turner Classic Movies cable television channel feature Peter Cushing as a Star of the Month, or at least give him a day during their annual Summer Under The Stars event. A few years ago, TCM featured Christopher Lee as a Star of the Month (in October of course). That got my hopes up that eventually Cushing would receive the same honor. 

Now it has finally come to pass--Peter Cushing is the Star of the Month on TCM for October 2020. Should it have happened much earlier than this? Probably, but this news is one of the best things to happen in this ridiculously horrible year, so we might as well enjoy it while we can. 

Every Monday night in October various Cushing films will be shown starting at 8 PM American EST, and continuing to the following early morning, a total of 25 movies in all. 

An examination of the schedule reveals plenty of the "usual suspects" when it comes to Cushing's acting career, but there's more than a few surprises as well. Let's look at the schedule week by week. (All start times are American Eastern Standard Time.)

Monday, October 5-Tuesday October 6

CASH ON DEMAND 8PM

THE END OF THE AFFAIR 9:30PM

TIME WITHOUT PITY 11:30PM

JOHN PAUL JONES 1:15AM

HAMLET 3:30AM

A CHUMP AT OXFORD 6:15AM

VIGIL IN THE NIGHT 7:30AM

This is an unusual way to start off the Cushing tribute, since he has very small roles in every one of these films except CASH ON DEMAND and THE END OF THE AFFAIR. CASH ON DEMAND gets the prime time slot, as well it should, since Cushing does have a starring role in it, and it contains one of his best screen performances. (It is also a Hammer film which is not a horror movie.) The last film on this list, VIGIL IN THE NIGHT, is an example of Cushing's work in Hollywood before WWII. It also stars Carole Lombard, who was born on October 6--and because of that, TCM will be showing Lombard movies for most of the day. I point this out because Peter Cushing is my favorite actor, and Carole Lombard is my favorite actress. 

Monday, October 12-Tuesday, October 13

SWORD OF SHERWOOD FOREST 8PM                                                                                          

DR. WHO AND THE DALEKS 9:30PM

DALEKS INVASION EARTH 2150 A.D. 11PM

SHE 12:30AM

VIOLENT PLAYGROUND 2:30AM

CORRUPTION 4:30AM

Some interesting titles here, with Cushing playing famous characters such as the Sheriff of Nottingham and Dr. Who. The 1965 Hammer version of SHE pops up on TCM often, while VIOLENT PLAYGROUND is much like the Oct. 5/6 lineup in that Cushing has a small role in it. The exceedingly sleazy CORRUPTION gets the late late late slot, which is just as well. 

Monday, October 19-Tuesday, October 20

THE HOUND OF THE BASKERVILLES 8PM

HORROR OF DRACULA 9:30PM

THE MUMMY 11:15PM

THE CURSE OF FRANKENSTEIN 1AM

FRANKENSTEIN CREATED WOMAN 2:45AM

FRANKENSTEIN MUST BE DESTROYED 4:30AM

Hammer time here, with TCM showing most of the best horror films from the company that Cushing appeared in. I think it's kind of refreshing that THE HOUND OF THE BASKERVILLES gets the prime time slot, instead of Cushing as either Van Helsing or Baron Frankenstein. Cushing's portrayal of Sherlock Holmes for Hammer doesn't get screened nearly as often as his Gothic horror roles. I do wish that FRANKENSTEIN MUST BE DESTROYED got a better time slot, since it is one of Hammer's best (although darkest) films, with Cushing at his most chilling. 

Monday, October 26-Tuesday, October 27

NOTHING BUT THE NIGHT 8PM

MADHOUSE 9:45PM

FROM BEYOND THE GRAVE 11:30PM

SCREAM AND SCREAM AGAIN 1:30AM

THE SATANIC RITES OF DRACULA 3:15AM

DRACULA A.D. 1972 4:45AM 

One would expect TCM to start things off with the two Cushing-Lee modern Dracula movies, but instead they go with the somewhat obscure NOTHING BUT THE NIGHT and MADHOUSE. FROM BEYOND THE GRAVE is one of the better Amicus anthologies that Cushing appeared in, and while SCREAM AND SCREAM AGAIN has its merits, PC is only in it for one scene! 

All in all, I think the films being screened give a decent overall presentation of Cushing's movie career. There's some of his supporting roles before he started working for Hammer, some of this all-time horror classics, plenty of his collaborations with Christopher Lee, and a few titles that show what he had to go through due to his status as a genre star. 

For those who do not own most of these titles on home video, or are not that familiar with them, or do not have the ability to record them, you might find yourselves staying up quite late (especially on October 19 and October 26). But it'll be worth it! 

I'm very happy Turner Classic Movies chose to honor Peter Cushing in this way. He's always been beloved by monster movie geeks, but this gives his extraordinary acting talent a chance to be exposed to a more mainstream audience. 

THE EMPIRE STRIKES BACK--Again

 

Monday night I ventured back out to an actual movie theater. I can't even remember the last time I was in a movie theater--was it for 1917, in the early part of this year?? Anyway, it felt like it had been the year 1917 since I last saw a film on the big screen. 

And what did I choose to watch? A movie that I've seen about a hundred times, a movie I own on different home video formats, a movie in which I know every camera shot and line of dialogue by heart--THE EMPIRE STRIKES BACK. 

So why pay to see it again?? Well, it is THE EMPIRE STRIKES BACK. Whenever you have a chance to see any of the Original Sacred Trilogy on the big screen, you take it. (And yes, I'm fully aware it isn't the original theatrical version.) It also gave me a chance to go back to the theater--something that I've missed doing, even though the experience isn't nearly as enchanting as it used to be....and I'm talking about what it was like before the virus mess. 

There was only one other person at the showing I attended, which was fine with me. I sat in the exact center of the theater. Did I sneak in candy, like usual? You're damn right I did. 

There were some new trailers shown--one for a dopey "family comedy" with Robert DeNiro as the crotchety grandpa, and Uma Thurman as the mom (Why, Uma? Why??). There was also a trailer for the new Wonder Woman movie I had not seen before, and the more footage I see of this, the worse and worse it looks. 

As for THE EMPIRE STRIKES BACK--what more can I say? This viewing was just a reiteration of what I had already felt for years. It has by far the best visuals of any Star Wars film. What I mean by that is that it has the best production design, the best art direction, the best cinematography, and the best overall special effects. Combined with John Williams' exquisite music score and Ben Burtt's sound design, the result is a film that deserves to be seen in a real theater, with a proper sound system. 

The other thing that struck me while watching EMPIRE on the big screen again is how clean and uncluttered the storyline is. There's no fluff, no filler. The film has a very smooth flow to it, especially compared with movies today. I can't tell you how many times in the 21st Century I've sat in a movie theater and said to myself, "When is this going to end?" I've even said that during movies I've enjoyed. You don't ever say that during the Original Sacred Trilogy. This version of EMPIRE runs a little over two hours, and every modern filmmaker could learn something from that. 

So, essentially, my return to the movie theater wasn't particularly noteworthy, other than having to wear a mask--and you don't have to wear one when you're stuffing Resse's Pieces in your mouth. I know some people are hesitant about going back to see a movie on the big screen, but I'm not. I'll go again if there's something I want to see--but at the rate things are going, that may not be in a while. What theater chains need to do is re-release more classics--and I'm not talking about just generically popular stuff from the 1980s. It's a human trait to want to go out and do something, and get out of the house. No matter what setup you have in your own home, it's not going to match the experience of seeing a great or beloved film in an actual theater. 

THE GREEN SLIME

 

In the mid 1960s, a quartet of Italian science-fiction films were made concerning the adventures of a futuristic space station called Gamma One. The films were directed by the legendary Antonio Margheriti (aka Anthony M. Dawson). The Gamma One movies are colorful, wild sci-fi adventures, with plenty of aliens, ray guns, and explosions. Producers Ivan Reiner and Walter Manley had worked on the English-language versions of the Gamma One films, and in 1968 they mounted another science-fiction action adventure, this time to be made in Japan with a non-Japanese cast. This story takes place on Gamma Three, and the result was the notorious THE GREEN SLIME. 

Instead of working with Japan's Toho or Daiei studios, who were quite familiar with science-fiction storylines and effects, the Toei company was chosen to handle the production. The director of THE GREEN SLIME was Kinji Fukasaku, who would later go on the make the highly influential BATTLE ROYALE. The stars of the film were Robert Horton (WAGON TRAIN), Richard Jaeckel (THE DIRTY DOZEN), and Luciana Paluzzi (THUNDERBALL). 

Sometime in the future, a humongous asteroid given the name "Flora" (are asteroids named like hurricanes??) is on a course to ram straight into the Earth. No-nonsense Commander Jack Rankin (Robert Horton) is sent to the space station Gamma Three to lead a team to land on the asteroid and blow it up. Gamma Three's commander is Vince Elliott (Richard Jaeckel). Rankin and Elliott served together before, and they were once the best of friends--but they grew apart due to different leadership styles and their shared interest in Gamma Three's sultry doctor, Lisa Benson (Luciana Paluzzi). When Rankin and his team (which includes Elliott) land on the asteroid to plant explosives, they discover an eerie green slime that quickly spreads everywhere. The group sets off the explosives, and manages to get back to Gamma Three just in time--but one of the men has brought back a small patch of the slime on his space suit. The energy that is used to decontaminate the suit mutates the slime into a bizarre one-eyed creature with flapping tentacles. The thing feeds on energy, so hitting it with laser blasts only makes it stronger--and its blood starts mutating into other creatures. Soon the station is overrun with them, and Rankin and Elliott have to set aside their differences and find a way to destroy this threat once and for all. 

I watched THE GREEN SLIME for the very first time last night, and my first impression was that it reminded me of several other genre outings. The movie could be called a combination of ARMAGEDDON and ALIEN. The various models and gadgets used in the FX sequences look very much like they belong on the THUNDERBIRDS TV show (the early part of THE GREEN SLIME, dealing with the mission to destroy the asteroid, plays out very much like a typical THUNDERBIRDS episode). The rivalry between Rankin and Elliott, and their mutual attraction to Lisa, is a subplot that can be found in several war movies. THE GREEN SLIME has a campy reputation now, but its story structure and elements are still being used in much higher profile productions today. 

What makes THE GREEN SLIME particularly notable (and infamous) are the monsters. They are almost impossible to describe, so I've added a picture of them below. The creatures fit the tradition of Japanese kaiju being as outlandish as possible, without having any concern over whether they make any sense. The viewer gets to see far too much of the monsters, and this only exacerbates their rubbery man-in-a-suit aspects. It doesn't help that the creatures move about like a bunch of kids wearing bulky Halloween costumes. One has to wonder how the monsters would have turned out if the THE GREEN SLIME had been made in Italy, like the Gamma One films, since Antonio Margheriti was also a FX artist. 

What THE GREEN SLIME turns into

THE GREEN SLIME does feature some determined performances by Robert Horton and Richard Jaeckel. Both actors deserve credit for playing their roles with absolute sincerity. Luciana Paluzzi's doctor isn't just a damsel and distress--she's a capable professional who is an important part of the Gamma Three team. Most of the supporting cast were apparently non-actor Americans who happened to be living in Japan at the time--and it shows. One of the main officers on Gamma Three is played by Robert Dunham, who also appeared in a number of Toho kaiju features. Linda Miller, the leading lady of KING KONG ESCAPES, is also here, but she's basically an extra (one is able to glimpse her briefly in a couple scenes if you look hard enough). 

According to Bill Cooke's cover story on THE GREEN SLIME in VIDEO WATCHDOG #162 (which most of the information in this blog post comes from), the Japanese version of the film is significantly different than the English-language one. The Japanese version is much shorter--but it contains scenes that are not in the American cut. (The version I watched on the Xfinity TCM app was the full 90 minute English-language cut.) 

I liked THE GREEN SLIME...but one must remember that this is the type of movie that interests me, and that I've spent most of my life watching vintage science fiction and horror films. I can forgive just about anything in older monster movies, except boredom--and no matter what you may think of THE GREEN SLIME, it isn't boring. There's very little filler in it, and if one accepts the premise (and the style of the special effects), it's entertaining. I realize that many will not be able to get over the look and actions of the creatures (or the main title song--yes, I said title song), but THE GREEN SLIME is a rollicking far-out adventure with stalwart heroes and plenty of imaginative elements. 

THE COSMIC MONSTER

 

American character actor Forrest Tucker starred in three different science-fiction movies made in England that were released in 1957-58. The U.S. titles of the films are THE ABOMINABLE SNOWMAN OF THE HIMALAYAS, THE CRAWLING EYE, and THE COSMIC MONSTER. Out of the three, THE COSMIC MONSTER is the lesser one. I watched it for the very first time yesterday. 

Like the other two films in the Transatlantic Tucker Trio, THE COSMIC MONSTER was based on a British TV miniseries. The English title of this movie was THE STRANGE WORLD OF PLANET X, and for some reason most American posters and ads for it have COSMIC MONSTERS as the title. 

Somewhere in England, near a small village, a determined scientist named Dr. Laird (Alec Mango) is attempting to change the molecular structure of metals with the use of powerful magnetic fields. Gil Graham (Forrest Tucker), who is assisting Laird, is worried about the danger of these experiments--one of them has injured another assistant. The British government, which is funding Laird's work, is concerned as well. Laird winds up damaging the Earth's atmosphere, allowing powerful cosmic rays to seep through. These rays have a powerful impact on the insects in the woods near Laird's facility, causing them to mutate into monstrous creatures. Graham and the authorities try to correct the situation, with the help of a mysterious stranger named "Smith" (Martin Benson). 

THE COSMIC MONSTER has an intriguing premise, and for most of the story has a Quatermass-type feel to it, with discussions concerning scientific ethics and responsibility. Unfortunately the ending brings down the rest of the film, with the mutated insects displayed through numerous giant close-ups that feel like they come from a nature documentary. These "effects" are poorly integrated with the actors, and we see far too much of this footage, diluting its impact. There's also an appearance of a spaceship during the climax, which, in all honesty, resembles a child's toy. 

Before one gets to the climax, there's a lot of talk. Forrest Tucker acquits himself well (even though it's a bit strange to see him wearing a white lab coat and glasses). Tucker underplays the character, and he even gets a chance at romance with Dr. Laird's new assistant, a French computer expert named Michele (Gaby Andre). As expected, Andre winds up being menaced by the cosmic monsters. Her performance suffers due to her being dubbed by another actress. Alec Mango is quietly intense as Laird, but one wonders if a more emotional actor in the role might have given the character more flair. Martin Benson winds up making the most impact due to his Klaatu-like role. 

THE COSMIC MONSTER was directed by a man named Gilbert Gunn, who I know nothing about. Gunn tries to inject some suspense through scenes set in the dark woods around Laird's laboratory. There's a subplot about a tramp being affected by the cosmic rays, and becoming a madman who attacks people in the wooded area. This is far better handled than the giant insects climax. 

THE COSMIC MONSTER isn't terrible, but it needed a longer running time--and a much bigger budget--to adequately present the ideas and events depicted in the finished film. 

Book Review--RUNGS ON A LADDER: HAMMER FILMS SEEN THROUGH A SOFT GAUZE

 

One of my latest discount book purchases is RUNGS ON A LADDER: HAMMER FILMS SEEN THROUGH A SOFT GAUZE. This is a short memoir on what it was like to work behind the camera for Hammer Films from the mid-1960s to the early 1970s. 

The author of this volume is Christopher Neame--but this is NOT the actor Christopher Neame, who appeared in such Hammer movies as DRACULA A.D. 1972 and LUST FOR A VAMPIRE. The Christopher Neame that wrote this book was the son of famed British director Ronald Neame. 

This Neame also wanted to work in the film industry, but he wanted to follow a different path than his father. As a young man Neame found himself working as a clapper boy on Hammer's DRACULA PRINCE OF DARKNESS. He would eventually serve on a number of Hammer productions over the next few years, eventually rising to the status of production manager. 

At first Neame was taken aback by Hammer's meager budgets and lack of resources (his father was connected to some of the leading lights of the British film business). He soon learned to appreciate the ingenuity and think-on-your-feet creativity that flourished at Hammer. Neame became fond of working for the company, and he looked forward to whatever Hammer title he became attached to. 

Neame got to work alongside and personally know such famed genre names as Anthony Hinds, Terence Fisher, Peter Cushing, Jimmy Sangster, and Anthony Nelson Keys. He also experienced the beginning of the company's downfall in the early 1970s. Neame would become a successful producer in his own right, but he looks on his days at Hammer with a sense of appreciation for what he learned there. 

Among the highlights are Neame's dealings with Bette Davis during the making of THE ANNIVERSARY, his travails as a second unit director on THE DEVIL RIDES OUT, and the various problems that arose during the filming of BLOOD FROM THE MUMMY'S TOMB. 

RUNGS ON A LADDER is not a gossipy, tell-all book. Neame writes of his time at Hammer with affection, even those times in which things did not work out properly (which happened rather often). Most of what Neame details will not be major revelations to Hammer fans (Peter Cushing was a joy to work with, Andre Morell could be irritable, Terence Fisher was kindly and affable, etc.). 

The book is written in a very clear, easy-to-read style. One does not have to be a film expert or have a knowledge of cinema technique to enjoy it. There is a small photo section, but most of the pictures will be quite familiar to major Hammer fans (some of the photo captions are in error). There is a very short foreword by Christopher Lee.

If the book has a fault, it is that it's too short. It is only 130 pages, and it is a quick and easy read. One wishes that Neame had given more detail on certain subjects. (The author barely covers his work on FRANKENSTEIN AND THE MONSTER FROM HELL.) 

RUNGS ON A LADDER is a decent book, and it will certainly be enjoyed by Hammer fanatics, but it is also a very small and slim volume. I'm glad I got it at a discount, because the book was published by Scarecrow Press, and their original list prices are quite expensive. I wouldn't say that RUNGS ON A LADDER is essential Hammer reading, but it is nice to have if you can get it at a low price.