The Deadly Bees
Paramount Pictures Presents An Amicus Production
Restored by Legend Films
Starring Suzanna Leigh, Frank Finlay, Guy Doleman
Directed by Freddie Francis
Screenplay by Robert Bloch and Anthony Marriott
Based on the novel "A Taste For Honey" by H.F. Heard
The Deadly Bees is one of those movies that has gained a special place in cinema history as one of those silly films that the guys on Mystery Science Theater 3000 use as the butt of their many jokes. It really is too bad. I'm not entirely sure how it came about that this film has been looked upon so harshly over the years, especially on my first view of it on DVD.
The story follows a young music performer as she goes on holiday to escape the pressures of her busy schedule. Her agent sets her up to get some rest and relaxation by staying in a remote village far from the hectic pace of city life and the attention of the spotlight. The bickering couple she boards with is an interesting pair. The man has a particular interest in beekeeping that his wife dislikes quite a bit, so when her dog turns up stung to death, she immediately goes wild and tries to burn the hives down. This is just the beginning of the suspicious events that occur. One accident after another involving a swarm of bees begins to lead the starlet to believe that there's more to what's going on than what is seen on the surface. Her suspicions are fueled by another beekeeper that lives nearby and begins to question if there is a more sinister plot or reason behind these strange attacks of The Deadly Bees.
The special effects have gone down in history as quite the subject of ridicule. In my opinion, they are no worse than any of the other effects used at the time this film was made and released. Do some of the bees look like they've been pasted in or superimposed on to the film? Of course they do, but no more so than a lot of dinosaurs or monsters did at that time.
The acting is very well done. Everyone is convincing in their parts. The bee attack scenes are done well. The terror is well-played by the actors. The eccentricities of the two beekeepers are quite convincing and not annoyingly over-the-top as sometimes can be done.
The picture is very crisp and clean, which surprised me quite a bit. Legend Films did a great job restoring this film. I'm surprised they could have found a negative still in good enough shape to use as a master to get it looking this good. Most "B-movies" like these weren't exactly kept under the best of circumstances.
The sound is mono, but is good. Many people will probably get a kick out of the performance of The Birds at the beginning of the film, which featured featured a very young Ron Wood (The Rolling Stones, The Jeff Beck Group). This helps to set the tone at what period of time this film was done in.
Overall, I feel that The Deadly Bees has garnered a lot of negative attention over the years for reasons I cannot explain. The story was loosely adapted from a good piece of smart literature by H.F. Heard called "A Taste For Honey" (which is being put back out again and will be available soon) by a phenomenal book and screenplay writer - Robert Bloch (Psycho, American Gothic, Star Trek, The House That Dripped Blood) - and directed by a very seasoned and genre-defining director - Freddie Francis (The Evil of Frankenstein, Dr. Terror's House of Horrors, Dracula Has Risen from the Grave, Tales from the Crypt). I think that the film deserves another look and is re-evaluated for what it was at the time it was put out.
You can order the DVD by going to Best Buy's website. Also, be sure and visit www.legendfilms.com for more great restored classic films.
The Deadly Bees DVD Review
Peter Cushing & His Amicus Films by Christopher Gullo - Part Three
Here is the conclusion to Christopher Gullo's fascinating article on Peter Cushing and his roles in the Amicus films. Be sure to go to www.petercushing.co.uk to check out the book that Mr. Gullo wrote about Cushing and his life.
“Half the evil in this world is caused by confusing the written word with reality”--Peter Cushing as Doctor Pope (And Now the Screaming Starts, 1972 film).
And Now the Screaming Starts is an effectively creepy and atmospheric production. Oakley Court, the gothic mansion in the film, was commonly used by Hammer studios as well. The veteran cast moves the story along well, including Patrick Magee as the family physician and Herbert Lom as Henry Fengriffen, the bringer of the curse. The mechanical star of the film, the disembodied hand, is a relatively hideous little contraption, turning up time and time again to horrify young Catherine. Amicus had used a similar crawling hand in their first anthology venture, Dr. Terror’s House of Horrors, in the Christopher Lee segment fittingly entitled ‘Disembodied Hand’. Clues as to the curse are given away slowly to the viewer that heightens the suspense; the film also features perhaps the finest period costumes in the horror genre. Cushing’s character, Doctor Pope, is almost Sherlockian in his approach to the situation at the Fengriffen estate, for he states during his arrival, “Curiosity is necessary in my line of work.” He also attempts to analyze Catherine and Charles’ past in order to present a rational explanation for the ongoing events. This film was also the first time that Cushing would don a blonde curly wig which he referred to as making him look like Helen Hayes.
“The only way to conquer your fear of the past is to face it, even relive it if you have to”--Peter Cushing as Herbert Flay (Madhouse, 1973 film).
Madhouse (a.k.a. The Revenge of Dr. Death) would be the first film in which Cushing and fellow horror star Vincent Price would share equal time. They had previously worked together in Scream and Scream Again although they did not share any scenes nor meet during the filming. The film is really a tribute to Vincent Price; many of his previous films are spliced in to sub for old Dr. Death epics including The Haunted Palace, Tales of Terror, The Raven and The Pit and the Pendulum. In fact, special participation credit is given to Boris Karloff and Basil Rathbone, two of Price’s colleagues in The Raven and Tales of Terror. Also appearing in the film is Robert Quarry, whom AIP had been grooming as their new horror star. Even though the plot is nothing terrific, the interaction of Price and Cushing make the film worthwhile. The two veterans play off each other with ease and one wishes that they could have done more films together. The role of Paul Toombes was certainly no stretch for Price, but a horror actor playing a horror actor was an interesting idea despite being previously done by Boris Karloff in Targets. But the plot of having Toombes unsure of being the real Dr. Death fades rather quickly. After a short amount of guesswork, Cushing is the obvious culprit while doing the most with his character, such as sporting pancake white vampire makeup at a party during the film.
“The love of money is the root of all evil”--Peter Cushing as the proprietor (From Beyond the Grave, 1973 film).
From Beyond the Grave, a clever and frightening anthology, would also mark the second time Cushing served to help link together the different segments. Compared against Dr. Terror’s House of Horrors, the first anthology by Amicus, From Beyond the Grave manages to equal if not best its predecessor. Cushing’s role as the proprietor shines throughout the film. With a mustache and bushy eyebrows, Cushing’s proprietor is a seemingly benevolent old man whose possessed antiques rightfully dole out justice to those who would take advantage of him. Unlike Amicus’s Tales from the Crypt and Vault of Horror, the linking antique shop storyline is just as interesting as the segments, for the viewer is never sure what exactly will happen to the ill-fated customers. Cushing’s comments right before the segments are insightful thoughts as to what might happen to the customers: “Naughty, shouldn’t have done that.”
“Finally when the transmogrification is complete, the urge to eat human flesh is uncontrollable. Its appetite must be assuaged”--Peter Cushing as Dr. Christopher Lundgren (The Beast Must Die, 1973 film).
With a plot similar to The Most Dangerous Game, Amicus' The Beast Must Die is an entertaining romp that encourages audience participation. The film combines blaxploitation with horror, a sort of Shaft meets a werewolf with Calvin Lockhart as a poor man's private eye who provides all the action and most of the over-the-top acting. Amicus was probably hoping to strike gold again with another black actor as they did with William Marshall in Blacula. However, The Beast Must Die is graced by some excellent actors, most notably Cushing, Anton Diffring (Circus of Horrors, The Man Who Could Cheat Death) and Charles Gray (The Devil Rides Out), all of whom interact wonderfully and create a much more involved picture than allowed by the script. Cushing's Dr. Christopher Lundgren is portrayed as a virtual walking encyclopedia of all things related to werewolves; even his appearance resembles a wolf. In the film's publicity, Cushing revealed that he directed the make-up man to give him the appropriate 'werewolfy' appearance in order for his character to seem suspicious-looking. The film also features a one minute "werewolf break" in which the audience is challenged to identify which of the guests is the 'beast that must die.'
“It will bore through solid rock at a rate of seventy-eight feet per minute!”--Peter Cushing as Dr. Abner Perry (At the Earth’s Core, 1976 film).
Unlike Shatter, his last disappointing film for Hammer studios, rival Amicus studios provided Cushing with the opportunity to end their relationship with a bang. At the Earth’s Core was meant to appeal to the younger crowds and is a colorful and exhilarating film with plenty of action and comedic bits. Cushing’s character somewhat resembles his past incarnations for Amicus as Dr. Who, but here he invests Perry with a comedic overtone, shooting off one-liners and using his limber body for sight gags. Publicity pointed out that Cushing’s character was greatly different from many of those he had portrayed in films and added “Cushing is best known internationally in countless “horror” and “terror” movies as the creator of Frankenstein and numerous other roles whose macabre overtones are strikingly at variance with his quiet, well-mannered appearance off the set”.
Peter Cushing & His Amicus Films by Christopher Gullo - Part Two
Here is the second part of Christopher Gullo's fascinating article on Peter Cushing and his roles in the Amicus films. Be sure to go to www.petercushing.co.uk to check out the book that Mr. Gullo wrote about Cushing and his life.
“My whole life is centered around Edgar Allan Poe in every aspect”--Peter Cushing as Lancelot Canning (Torture Garden: Segment – The Man Who Collected Poe, 1966 film).
“Was she modeled from life?”--Peter Cushing as Philip Grayson (The House That Dripped Blood, 1970 film)
In The House That Dripped Blood, Cushing appeared as a character that would soon uncannily resemble his own personal life. This third anthology film by Amicus was definitely better than their last outing
Amicus’ adaptation of the Robert
“I don’t understand it, everyone was so kind. Now this, no work, no children, no one to make toys for”--Peter Cushing as Arthur Grimsdyke (Tales from the Crypt, 1971 film)
Tales from the Crypt was Amicus Studio’s stylish adaptation of the original 1950’s E.C. comics Tales from the Crypt and Vault of Horror. At the time, Cushing’s role as the elderly widower Grimsdyke in the segment “Poetic Justice” was an obvious yet incredibly moving take on his own sense of sorrow. With a few days growth of stubble and a woolen cap, Cushing created a character that was all too real. One cannot help but think of the actor’s own personal grief when watching Grimsdyke trying to communicate with his wife, also named Helen. His tortured existence at the hands of the Elliots is truly sad and was one of the best performances in Cushing’s career. Cushing’s appearance as the Grimsdyke zombie was horrifying, with black gauze for eye sockets, a set of crooked teeth borrowed from an old BBC Sherlock Holmes episode, and grayish makeup to complete the lifeless, rotting look. This would be the only time in Cushing’s career that he would don monstrous makeup, for he always wanted Helen to recognize him. For his emotionally powerful role as Arthur Grimsdyke in Tales from the Crypt, Cushing received the Licorne d’Or Award as the Best Male Actor of 1971 at the second French Convention of Fantasy Cinema.
“Am I correct in assuming that you can tailor a garment from any material of my own
By the time Amicus Studios made Asylum, their sixth anthology horror film, they had clearly mastered the format. The film benefited from an excellently assembled veteran cast, some clever stories by screenwriter Robert Bloch and the best linking story since the studio’s original foray into the format with Dr. Terror’s House of Horrors. The linking story had a young Dr. Martin (Robert Powell) arriving at the Dunsmoor Asylum for the incurably insane. There he has applied for a position as the senior houseman. But he is asked by Dr. Rutherford (Patrick Magee) to undergo a special ‘test’ before being hired--he must examine the asylum’s inmates and deduce which one was the former head of the institution. The segment with Cushing, The Weird Tailor, was not the best, which goes to the horrifying Frozen Fear, but worked because of the combination of the acting of Morse and Cushing that carries the segment from beginning to end. While Morse’s performance has a steady feel of constant worrisome, Cushing’s performance builds throughout, from being a mysterious figure to a desperate father willing to risk everything in order to bring his son back to life.
(To be concluded next week)
Peter Cushing & His Amicus Films by Christopher Gullo - Part One
Author Christopher Gullo has been a life-long admirer of actor Peter Cushing. He has spent the last four years collecting rare materials and conducting interviews with Cushing’s co-workers for his research on his book, "In All Sincerity...Peter Cushing". In the beginning of 2000, he took over the running of The Peter Cushing Association, a club for all fans of the great actor, which was created under the guidance of Peter Cushing’s former secretary, Joyce Broughton. Over the past couple of months, he's been compiling photos and info for the upcoming Amicus issue of Little Shoppe of Horrors. If you're interested in picking up a copy of his book, go to www.petercushing.co.uk. This is the first of a three part series on Peter Cushing and his roles in the Amicus films.
Mention the name Peter Cushing and Hammer Films usually springs into mind with such memorable Cushing performances as Baron Frankenstein and Van Helsing. But there is another studio that Peter Cushing was also closely associated with, that of Hammer’s rival – Amicus Films. Started by Max Rosenberg and Milton Subotsky, Amicus Films would become well-known for their tried and true formula of anthology horror films. The following list represents all of the films that Peter Cushing starred in for Amicus Films.
“The more exact translation would be terror, an unfortunate misnomer for I am the mildest of men; however, I sometimes foretell things which are frightening”--Peter Cushing as Dr. Schreck (Dr. Terror’s House of Horrors, 1964 film).
Dr. Terror’s House of Horrors was Amicus Studio’s first foray into the anthology horror film, pioneered by the excellent Dead of Night (1945), which was followed in 1959 with City of the Dead, their first horror hit starring Christopher Lee. Dr. Terror’s House of Horrors is a horror classic and one of Amicus’ best efforts. The rival of Hammer would turn out other anthology films with varying success, practically making the use of the format their very own. The format almost always guaranteed that at least one or two of the segments would prove popular and carry the rest of the film. This proved true in Dr. Terror with the best segment being Disembodied Hand with Christopher Lee playing a snobbish art critic who gets his just punishment for his actions. The only real problem with the film was that Lee’s segment was not held for the end. He is the only passenger who continually opposes Dr. Schreck’s (Peter Cushing) claims of fortune- telling and after he is put in his place, the last segment with Donald Sutherland loses some of its power since viewers know that everyone is doomed. With this aside, Dr. Terror’s House of Horrors proved popular at the box office and gave Cushing employment with another company from time to time.
“It’s all part of the unknown. The unknown is always intriguing”--Peter Cushing as Christopher Maitland (The Skull, 1965 film).
In the second production for Amicus after the popular Dr. Terror’s House of Horrors, Cushing would be given the plum role of an obsessed collector in this basically one character study. The Skull is definitely one of the more interesting horror films of the 1960s and it is a welcomed change of pace from the regular cast of movie monsters that were making the rounds. Of course, the Marquis de Sade was an actual person, which makes the film all the more creepier. Cushing’s portrayal as the inquisitive Maitland is the true centerpiece of the film; all the events are directly or indirectly aimed towards him. His character questions Lee’s Phillips on how the skull could possibly be the harbinger of death: “But how can a mere skull be dangerous? Only your mind makes it so.” The film also showcased the new ideas that Amicus would use to compete with Hammer, their established rival. Director Freddie Francis used an interesting technique as he shot some scenes from the viewpoint of the skull’s empty sockets to give ‘life’ to an inanimate villain.. An interesting aspect of the film is the 'Maitland' connection. Cushing's character is named Christopher Maitland, a name which is a death sentence in an Amicus film. The use of the name was the product of Milton Subotsky, but no one knows if there ever was a real Maitland that inspired such a curse.
“Anyone can understand science if they only put their minds to it”--Peter Cushing as Dr. Who (Dr. Who and the Daleks, 1965 film).
Dr. Who and the Daleks, based on the popular children’s BBC science-fiction adventure, was produced by Amicus although the name was changed to AARU by financial backers. The actor portraying the doctor on TV was William Hartnell, but it was decided that the film needed a more recognizable ‘name’ actor; the producers settled on Peter Cushing, one of their tried and true talents. As originally envisioned, Dr. Who was a renegade alien who traveled the universe battling evil wherever it existed. Hartnell portrayed the doctor as a grumpy but brilliant character who did not fear the unknown. For the film adaptation, Dr. Who was changed to an eccentric inventor on Earth and Cushing portrayed him as a dotty but kindhearted man. The film was obviously heavily influenced by the events of the time; lava lamps and a psychedelic sets served to create an ‘alien’ world. Like the TV series, the film also catered to children, with young Roberta Tovey as Susan, an inquisitive and spirited girl. The comedy relief comes courtesy of Roy Castle, whose Ian is constantly tripping about in displays of physical humor. Although Dr. Who and the Daleks did not quite measure up, an improved-upon sequel was instantly in the works.
“Just as time is regarded as the fourth dimension, so space is equally the fifth dimension, though space knows no boundaries and is completely timeless. Now, I’m sure that has made it perfectly clear”--Peter Cushing as Dr. Who (Daleks: Invasion Earth 2150 A.D., 1966 film).
Compared with its predecessor, Dr. Who and the Daleks, Daleks: Invasion Earth 2150 A.D. is a vast improvement in plot pacing and budget, due to the story line taking place on Earth which helped to trim costs and allow for better special effects. Indeed, the poorly-made forest sets of the first film are in stark contrast to the sets of the ruined city in this sequel which look impressive and have explosions galore. Peter Cushing and Roberta Tovey return as Dr. Who and Susan, pretty much identical to their last appearances. New to the cast are Bernard Cribbins and Jill Curzon, along with rebel leader Andrew Keir, all of which assist the movement of the plot with the exception of Curzon who does not add much. But it is Cribbins this time who offers the comedy relief; an amusing scene involves him trying to imitate a roboman. Even though this sequel improved upon the original film, future films were scrapped, due to poor receipts outside of England, for most people in America were not familiar with the characters so widely watched on the BBC.
(To be continued next week)
