As a break from their better-known horror fare, Hammer made a series of rousing historical adventures in the early 1960s and this is one of their more original efforts, a story that depicts smuggling in the 18th century in a Kent coastal village. With assured direction propelling it along nicely and a pretty wonderful cast of actors, this is an enjoyable film complete with two-fisted action, adventure and even a few horror elements along the way. I found that this yarn had an effective a script as Hammer's horror outings and just as much atmosphere; plenty of chills and thrills are wrung out of the marshy backdrop in scenes not dissimilar from Hammer's own HOUND OF THE BASKERVILLES.
One of the most engaging things about the production is that there are no 'good' or 'bad' characters: instead, people are painted in shades of grey, with viewers allowed to make up their own minds. For instance, is Peter Cushing's kindly pastor really such a good guy? Even after all of the (effective) twists have played out, there's little that makes him evil or a stock villain like his Frankenstein. On the other hand, Patrick Allen is the supposed good guy, the King's revenue man, and yet I'm sure most viewers will hope that the smugglers get one over on him rather than allow him to gain the upper hand! There are plot elements here galore, and some of the most effective involve a mysterious moving scarecrow that acts as a signalman to the smugglers. There's also some Treasure Island-type piracy thrown in with the inclusion of the hulking Milton Reid in one of his biggest roles as a mulatto who's had his tongue cut out.
Female viewers get a genteel romance between two very pretty partners (the remarkably uplifting Yvonne Romain and the rugged Oliver Reed at his most dashing). The horror elements involve men on horseback dressed as skeletons, not too dissimilar from Halloween costumes, but it's a testament to the director and crew's skill that even these scenes possess their own eerie charm. Plus we get Michael Ripper in his biggest, most developed supporting role yet. I didn't get excited about this in the same way I did about something like TERROR OF THE TONGS, but I did enjoy watching the eventful story play out in Hammer's own unique and colourful style.
One of the most engaging things about the production is that there are no 'good' or 'bad' characters: instead, people are painted in shades of grey, with viewers allowed to make up their own minds. For instance, is Peter Cushing's kindly pastor really such a good guy? Even after all of the (effective) twists have played out, there's little that makes him evil or a stock villain like his Frankenstein. On the other hand, Patrick Allen is the supposed good guy, the King's revenue man, and yet I'm sure most viewers will hope that the smugglers get one over on him rather than allow him to gain the upper hand! There are plot elements here galore, and some of the most effective involve a mysterious moving scarecrow that acts as a signalman to the smugglers. There's also some Treasure Island-type piracy thrown in with the inclusion of the hulking Milton Reid in one of his biggest roles as a mulatto who's had his tongue cut out.
Female viewers get a genteel romance between two very pretty partners (the remarkably uplifting Yvonne Romain and the rugged Oliver Reed at his most dashing). The horror elements involve men on horseback dressed as skeletons, not too dissimilar from Halloween costumes, but it's a testament to the director and crew's skill that even these scenes possess their own eerie charm. Plus we get Michael Ripper in his biggest, most developed supporting role yet. I didn't get excited about this in the same way I did about something like TERROR OF THE TONGS, but I did enjoy watching the eventful story play out in Hammer's own unique and colourful style.