THE MAN WHO COULD CHEAT DEATH
UK, 1959, 83 minutes, Colour.
Anton Diffring, Hazel Court, Christopher Lee, Arnold Marle, Delphi Lawrence, Francis de Wolff.
Directed by Terence Fisher.
The Man Who Could Cheat Death was based on the play by Barre Lyndon, The Man In Half Moon Street, filmed in 1944 with Nils Asther. The play has been adapted for Hammer Studios by Jimmy Sangster, writer of many of the Hammer Horror films of the time. It receives the Hammer treatment: lavish 1890 settings, an atmosphere of menace and horror, the strong Hammer cast including Christopher Lee. However, the starring role goes to Anton Diffring who had a specialised career in playing Nazis. This is a welcome change for the actor.
The film was directed by Terence Fisher, director of Hammer's early Dracula and Frankenstein films, who was to work at Hammer for almost 20 years. This film is far more restrained than the horror films, using only suggestions of effects and make up for climactic sequences. it is very much a 19th century style story of scientists wanting to play God. It is quite effective in a more restrained way.
1. Interest in horror films? Themes of immortality? The 19th century atmosphere of science, scientists wanting to play God?
2. The work of the Hammer Studios? Their reputation for horror films? The re-creation of Paris in the 1890s? Decor and style? Special effects? The score? The Hammer cast?
3. Opening mood of the film and the initial murder? The introduction to Dr Bonnet and the echoes of Dr Jekyll? His devotion to science and experiments? His love of art and his model? The atmosphere of violence and repressed sex of the 19th. century?
4. Dr Bonnet and Anton Diffring's presence and performance? Youthful at 104? His works of art? The change in his eyes when he lacked the medicine? Going mad and homicidal? The party and the guests, his entertaining? Time for his dose? The confrontation with the model, damaging her face? His growing desperation?
5. His friend and his late arrival? The man in his late 80s? Their work together, the photo? The friendship, the discussions, the crisis for the operation? The need for the operation every decade and the stories of the disappearing models? The old doctor persuading Dr Gerard to do the operation because of his weak hands? The falling out
with Dr. Bonnet, his death?
6. Bonnet and Dr Gerard? Dr Gerard's love for Genine? Dr. Gerard's social position, his being persuaded to do the operation? The discussions with the police? Bonnet's pressure on him and blackmailing him with Genine's safety? Dr Gerard doing the operation but not replacing the gland?
7. Jenine and her love for Dr. Bonnet, listening to his story, going to his studio and being imprisoned? The confrontation with the mutilated model? The police and the investigations, questions, information?
8. The build up to the climax? Bonnet realising that he would die? Going to his studio, the confrontation with Genine and the model? His becoming his age? The model setting fire to him? The arrival of Dr Gerard and the police? A conventional, but exciting, climactic ending?
9. The film as a 19th century fable about science and progress, the abuse of science and its consequences on human beings? The desire for immortality? The irony of the immortalised person living on when friends and loved ones die, a loneliness, a wanting others to share the immortality? The ironies for immortality with no one dying and over-population? How well were these themes explored in the thriller conventions?
