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The Creeping Flesh
Christopher Lee, Peter Cushing, Freddie Francis. But also late 19th
century England, the elegance of the scenes and a mild eroticism. Yes I
know, you're thinking it's a full-blown Hammer film. But no. Tigon,
which also specialises in horror, aims without hypocrisy at the full
Hammer antagonist style, so much so that many still think it is their
product. For better or worse, the company's volcanic owner Tony Tenser
(who leaves the company after the release of this film), succeeds in
his intent.
"The Creeping Flesh" is an interesting horror film, held together by
the well-known pair of actors, but also by a compelling story, a
narrative that skilfully mixes flash backs and the present, and an
ending (which I won't reveal) that is very peculiar.
The problem, however, is that the film by the experienced and
well-received Freddie Francis, develops unevenly, especially in the
central part, where it gets lost in the attempt to add elements to the
basic story. Fortunately, there is a good ending.
The film opens with Peter Cushing welcoming a young doctor into his
laboratory. A collaborator he needs to finish an important study. With
a flash back we discover that Professor Emmanuel Hildern (Peter
Cushing) in 1894 during an expedition to New Guinea finds a human
skeleton of enormous proportions. Something that could win him the
prestigious Richter Prize. Back home, he receives news of the death of
his wife, who has been in a mental institution for years, run by James
Hildern (Christopher Lee), Emmanuel's brother, who intends to present a
study on the woman that could (he hopes) win him the Richter prize.
Meanwhile, Emmanuel accidentally discovers that water can regenerate
the flesh on a skeleton, bringing it back to life. Further studies not
only lead to the ancient existence of giant evil men, but also lead the
man to work on the cells of the regenerated skeleton finger and
synthesise a serum that seems to give excellent results against this
evil. Apparently. And the serum, which the professor also administers
to his daughter, who discovers her mother's tragic death, precipitates
events and the dualism between the two brothers. That is, if they are
brothers at all.
Lee and Cushing perform the task impeccably as always. Or rather,
always in the same way, respecting their masks in every way. A
certainty.
In the end, the two of them, who overshadow Lorna Heilbron's
performance, are enough to save a film that does not fully exploit its
potential.