Gothique Film Society

FILMS FOR THE CONNOISSEUR OF THE MACABRE

Filmography details linked to in the film titles on these pages are all courtesy of The Internet Movie Database.

Dave Simpson has comprehensively updated the sections which end this website “A History of The Gothique Film Society” and “Gothique programmes 1966-2011”. Please note his appeal to any long standing society members who may be able to supply information help complete his records.

See below for a preview of Dave’s programme notes to accompany the next screening. As usual, these notes will be available in printed form at the show.

For any late arrivals at the Gothique, even with 3 of the 7 programmes screened, taking out season’s membership at £17.50 still costs in over getting guest tickets at £7 for the remaining shows. However, if you catch Robin in a good mood he may knock it down to £10.

Season 46 October 2011-March 2012

Friday 20 January

THE BLACK PIT OF DOCTOR M (1959).

CURSE OF THE DEVIL (1973)

SEASON 46 FOURTH SHOW 20 JANUARY 2012

CURSE OF THE DEVIL Lotus/Scorpion/1973 84 minutes

Producers: Luis Mendez and Ramiro Melendez; Director: Carlos Aured; Screenplay: Jacinto Molina; Photography: Francisco Sanchez; Editor: Maruja Soriano [Maria Luisa Soriano]; Music: Anton Garcia Abril

Paul Naschy (Waldemar Daninsky), Fabiola Falcon (Kinga Wilowa), Mariano Vidal Molina (Roulka), Maritza Olivares (Maria Wilowa), Jose Manuel Martin (Bela), Elsa Zabala (Gypsy Witch), Eduardo Calvo (Laszlo Wilowa), Ana Farra (Malitza), Maria Silva (Elizabeth Bathory)

THE BLACK PIT OF DR. M Alameda/1959 82 minutes

Producer: Alfredo Ripstein Jr; Director: Fernando Mendez; Screenplay: Ramon Obon; Photography: Victor Herrera; Editor: Charles L. Kimball; Music: Gustavo Cesar Carrion

Gaston Santos (Dr Eduardo Jimenez), Rafael Bertrand (Dr Mazali), Mapita Cortes (Patricia Aldama), Carlos Ancira (Elmer), Carolina Barret (La Gitana), Luis Aragon (Dr Gonzalez), Beatriz Aguirre (Rosario), Antonio Raxel (Dr Jacinto Aldama)

THE BLACK PIT OF DR. M, originally MISTERIOS DE ULTRATUMBA (“Mysteries from Beyond the Tomb”) was one of dozens of pseudo Gothic horrors produced in Mexico during the 1950s and 1960s. The boom period is generally reckoned to be from 1956 to 1966 and, rather appropriately, it was initiated by tonight’s director, Fernando Mendez, with LADRON DE CADAVARES (“The Body Snatchers”) in 1956. Word of mouth was apparently so strong about that film that, even before its release, producer/actor Abel Salazar hired the director to helm the seminal EL VAMPIRO and its quickie sequel EL ATAUD DEL VAMPIRO (“The Vampire’s Coffin”) (both 1957). They were followed by tonight’s offering. In part, these successes can be explained by the fact that Mr Mendez learned his trade in Hollywood, primarily as a make-up artist, albeit on such notorious “classics” as Dwain Esper’s MANIAC (1934) and MARIHUANA (1936)! Returning to Mexico in the early 1940s, he began a journeyman career as a scriptwriter and director, turning out the usual mix of genres. Those films were apparently competent, but showed no particular distinction; it was in the horror field that Mr Mendez truly found his forte. Despite this, he was not to repeat these early successes, and, after helming several Westerns, including horror hybrids LOS DIABLOS DEL TERROR (“The Devils of Terror”) and EL GRITO DE LA MUERTE (“The Scream of the Dead”), he died in 1966 at just 58 years of age. As with many of its contemporaries, THE BLACK PIT OF DR. M was filmed at the legendary Churubusco Azteca Studios. Situated in the Churubusco district of Mexico City, and one of the oldest and largest studios in Latin America, Churubusco Studios had been founded in 1945 by RKO and local Televisa producer Emilio Azcarraga Vidauretta. In 1950 the Mexican government acquired the studio, merged it with Azteca Studios and Laboratories and produced the Churubusco Azteca Studios we are so familiar with.

CURSE OF THE DEVIL, originally EL RETORNO DE WALPURGIS (“The Return of Walpurgis”) was rather summarily dismissed by the Monthly Film Bulletin as “Conventional werewolf shenanigans, whipped to a more colourful froth than usual by lighting which creates wispy compositions beneath the full moon, and by what seems to be a veritable population explosion of psychopathic killers, werewolves and hysterically incanting gypsies”! This was Paul Naschy’s seventh outing as troubled werewolf Waldemar Daninsky, a run that began with LA MARCA DEL HOMBRE LOBO (“Mark of the Wolf Man”) in 1968 and ended, rather ignominiously, with TOMB OF THE WEREWOLF, filmed by low budget genre specialist Fred Olen Ray in Hollywood in 2004. Mr Naschy, who died in 2009, and who wrote tonight’s film under his real name, Jacinto Molina, grew up besotted with the Universal monsters. In 1967, on spec, he wrote LA MARCA DEL HOMBRE LOBO, but was initially fobbed off by filmmakers such as Amando de Ossorio (TOMBS OF THE BLIND DEAD) who told him that horror films weren’t made in Spain: “That’s what Hammer were there for”. Nevertheless, a Spanish/German co-production deal was eventually put together. Mr Naschy’s idol, Lon Chaney Jr, was considered for the title role, but he was much too ill (he died in 1973) and the part went to Mr Naschy, who, from his days as a champion weightlifter, at least had an athletic physique. With the German financiers adamant that neither the werewolf nor the leading actor could be Spanish, the werewolf became Polish (Waldemar Daninsky) and Jacinto Molina became Paul Naschy, the forename taken from Pope Paulo VI(!) and the surname a Germanised version of Hungarian weightlifter Ivan Nagy’s name. Director Carlos Aured had just helmed EL ESPANTO SURGE DE LA TUMBA/HORROR RISES FROM THE TOMB with Mr Naschy, which, despite being the director’s first film, had been a huge hit. His second film, LOS FRIOS SENDEROS DEL CRIMEN (“The Cold Crimes of the Past”), one of the first Spanish films to deal with a serial killer, flopped, but his third, tonight’s film, was another hit. The director had also seen most of the Universal and Hammer horror films, so we have crumbling castles, cobwebbed catacombs and a ‘Middle Europe’ ambiance. Although, stylistically, the film is closer to Hammer, its debt to Universal is obvious – and there’s even a character called ‘Bela’! Adding spice to the story is a prologue featuring none other than Countess Dracula herself, Elizabeth Bathory. Could it be only a coincidence that Hammer’s film featuring the Bloody Countess would presumably have been released in Spain just a year or so earlier?

Dave Simpson

Our next show is on 17 February, when we are showing LADY IN A CAGE (1964; dir: Walter Grauman) and THE INDESTRUCTIBLE MAN (1973, dir: Jack Pollexfen).

Friday 17 February

LADY IN A CAGE (1964).

THE INDESTRUCTIBLE MAN (1956)

Friday 09 March

THE WARE CASE (1938)

THE WIND (1987)

Friday 23 March

SANTA SANGRE (1989)

CONDEMNED TO LIVE (1935)

Filmography details linked to in the film titles on these pages are all courtesy of The Internet Movie Database.

Most of the text from the programme that is mailed out to members is reproduced below. Robin’s comments on the films are directly below the credits.
As in previous seasons, owing to unavailability of titles on 16mm film, some of the screenings will be on DVD.
Newcomers to the Gothique are always welcome. Note that for each programme the screening order will not necessarily be as shown here. Also, the society is really for people interested in the films being shown rather than those who enjoy a perfect cinema experience. The screening facilities at Conway Hall could be described as basic – unraked seats that some may find uncomfortable, the projector whirring away at the back of the room, the film projected on a white-ish wall, occasional technical hitches (snapped film on reel change, sound track problems), occasional intrusive noise from other people using the building ….
The cost of membership for the whole season is £17.50 (£7.00 for guest tickets for a single show). Send Robin a cheque (see below for his address) – we don’t do anything sophisticated like payment by Paypal or credit cards. Let him know whether you are happy to collect your membership card when you first attend a show or would like it posting (obviously enclose a stamped self addressed envelope for this).
Season 46 October 2011-March 2012
Yo! This is the 46th season of the Gothique Film Society. Do you think we will be able to hit the big five-0? Let’s hope the whole world will hit this number! We are quite optimistic that we can make it, with your great continued support of course, which is what the Gothique is all about. This new season is again a mixture of 16mm film and DVD, which seemed to be a pretty good combination overall. Most of us will agree that the DVD medium will be the way to go eventually. But we will never abandon 16mm while there are films still out there that are available to us. ‘Gothique DVD Society’ just doesn’t have a very good ring to it, does it? And besides our illustrious projectionists would be out of a job. This new season again features crime, mystery and, of course, horror. Check out the January double bill! We have tried to mix it up this season a bit more as a lot of members seem to have seen most everything before. Hopefully this new season will have one or two that no one has seen! Don’t forget that there are a few early starters again. But, we’ll say it again, we love the double bills, enjoy! Robin James
Friday 14 October
THE VAMPIRE LOVERS (1970) dir. Roy Ward Baker. 88 mins. Peter Cushing. Ingrid Pitt
The late Ingrid Pitt plays the lesbian vampire in this chilling and atmospheric Hammer production, with the accent on the Erotic. Out of interest, Ingrid Pitt was a guest at the Gothique some years ago, she was alive then
The first of a trilogy of Hammer films based on Sheridan Le Fanu’s Carmilla, followed by Lust for a vampire (1970) and Twins of evil (1971) and, according to Hardy (1985), this is the best of them. The entry in the British Horror Filmography, Flesh and Blood 2 (1993) is equally enthusiastic. Pirie favours Lust … and Eyles Twins …, take your pick. “Rather below par, even by recent Hammer standards, this involves the customary heavy breathing, lusty fangs and tolerably luxurious sets, with the innovation of an exposed nipple or two to support the lesbian angle. The only interest, such as it is, derives from the fact that the script follows Sheridan Le Fanu’s much filmed story unusually closely, even to having the vampire manifest herself in an animal shape reminiscent of a huge cat (though the apparition here looks more like a moth eaten rug).” and rated III (poor) according to Monthly Film Bulletin October 1970. Not sure who did that nice, balanced write up but the back page mentions Ian Cameron, Margaret Hinxman, Derek Malcolm, Gavin Millar, Tom Milne, John R Taylor, Alexander Walker, none of them giving it any stars, IC and GM give it nothing and the rest register their antipathy. “Lesbian vampire returns to enslave sundry girls” according to Gifford. “A lady vampire worms her way into several noble households” according to Halliwell. “In this period Hammer’s biggest hit was Roy Ward Baker’s The Vampire Lovers , … If The Vampire Lovers works it does so because of Baker’s conjuration of dreamy, erotic images that borrow equally from Jean Rollin’s French vampire films and the cobwebby decadence of Roger Corman’s Edgar Allen Poe adaptations. More relevant to its box office takings was the early 1970s tolerance for softcore pornography.” according to Newman. “The box office receipts [for When dinosaurs ruled the earth] showed that Hammer hadn’t quite lost their golden touch, though – as did their next film The Vampire Lovers. Something of an experiment for Hammer, the film was an attempt to try something new within the framework of the established gothic genre and includes elements of lesbianism and nudity, added in an attempt to spice up its commercial prospects. … Filmed in just six weeks on a budget of £170 000, The Vampire Lovers, was directed by Roy Ward Baker with his now customary lack of flair, save for the opening sequence in which the Karnstein family are destroyed by Baron Hartog. Nevertheless, despite its shortcomings, the film went on to considerable box office success thanks to its nudity (pretty mild by today’s standards) and occasional lesbian couplings (discreetly done). Performance wise, Ingrid Pitt makes a strong impression as Carmilla, whilst Cushing is reliable as ever as Spielsdorf, though some of the film’s younger female players occasionally display their lack of experience. An atmospheric score by Harry Robertson … helps to glue things together and Scott McGregor’s sets convey the story’s period well enough (though they lack the flair of Bernard Robinson’s work). Though a box office success, critics weren’t entirely satisfied with the film …” according to Maxford. “However, the era of Gothic was coming to an end and with the more liberated 1970s, sex and blood needed to be writ ever larger. Hammer were useless at the sex and the blood still looked phoney in Gothic. New avenues had to be found and a period of floundering began. The first fruit of this was Countess Dracula, the first outside production handled by Hammer. … A complete disaster area, Hammer lurched into a deal with Fantale that fared little better. Three films were mooted; The Vampire Lovers, Lust for a vampire and The Vampire Virgins. All three were to be soft core lesbian and horror flicks, scripted by Tudor Gates and produced by Harry Fine and Michael Style (the trio that comprised Fantale). In Europe the likes of Jean Rollin and Jess Franco were making this stuff with aplomb but Hammer were too English and too stiff necked to compete. Their movies turned out to be prudish, the lesbians getting their heads chopped off for their sins. Great message, eh? Gates was a good jobbing scriptwriter but his attempts at soft core were appalling. Michael Carrera nixed The Vampire Virgins as being too much of the same thing but the other two got made. The Vampire Lovers has Ingrid Pitt as Carmilla with Dawn Addams in an all too brief bit part as her “guardian”. … Kate O’Mara, Madeleine Smith and Pippa Steele join Ingrid in a display of flashing bosom, which redeems the film somewhat – but, let us be frank, this is all most unfair. My complaint with soft core like this is why are there no chaps dangling their members for the delectation of the female fans, eh? An equality in nudity would have made these soft core horrors more fun for everyone.” according to Boot. “By 1970, with films like the Horror of Frankenstein and Scars of Dracula, Hammer had stooped to the level that critics had long claimed the company wallowed [in] – gratuitous sex and violence. Times had changed and audiences needed more and more of the above to get the same charge they received from The Curse of Frankenstein and Dracula. This was a pivotal period for Hammer and the change would be for the worse. After The Vampire Lovers, Hammer would produce almost thirty pictures, and none would begin to approach the quality productions the company turned out in the late fifties. …Paired with Angels from hell on the ABC circuit, the package broke several attendance records and made the Kinematograph Weekly ‘s Top Moneymaker list for 1970.” according to Johnson and Del Vecchio. Pirie confirms Hammer’s decline post 1970. He talks about Michael Carreras returning to work at Hammer in 1971 after spending the previous decade as an independent producer in the US. He was shown all the recent Hammer product and was shocked by what he saw. This was partly because of the increased nudity etc but mainly because of the poor production values of the recent films. He put this down to two things. Firstly, the 1969 departure of Anthony Hinds, an exceptionally good producer, who had been involved in the production or writing of almost all Hammer’s major films up to that time. Carreras felt that the crop of new producers being used by Hammer were not up to the job. The second factor was the move to production at Elstree where Hammer was just another production company using the facilities. The earlier Hammer films were made at Bray (and other similar small studios) where it was possible to control costs better and the film making had an artisanal and happy family atmosphere which resulted in the better production values. “Beautiful temptress ...... or Bloodthirsty monster? She's the New Horror from Hammer! Even the dead can love. If you dare... taste the deadly passion of the BLOOD-NYMPHS An erotic nightmare of tormented lusts that throb in headless, undead bodies! Carmilla is really queen of lesbian vampires!”
BLONDES FOR DANGER (1938) dir. Jack Raymond. 68 mins. Gordon Harker. Enid Stamp Taylor.
This one’s a bit of an antique rarity. A mixture of comedy and thrills. A taxi driver saves the life of a wounded prince from assassination. Sounds daft, but the nifty short running time should help keep the bums on the seats. Anyway, who has seen it?
Produced by Herbert Wilcox at British Lion, Beaconsfield Studios. Relatively successful as both a first feature and support, at least in Leicester, according to Chibnall. “Taxi-driver saves wounded prince from assassins” according to Gifford. “Lively dialogue, seamless alternation of comedy and thrills and Harker at the top of his fruitiest form” according to Quinlan. “A cockney taxi driver takes an unwanted fare and becomes involved in a deep dark plot” according to Halliwell.
Friday 18 November
BLACK LIMELIGHT (1938) dir. Paul L Stein. 70 mins. Raymond Massey. Walter Hudd. Coral Browne. Robert Beatty
A man accused of murdering his mistress is linked to a serial killer known as the ‘Moon Murderer’. Rare macabre British thriller that cranks up the suspense nicely in the second half of the film.
“Convicted man’s wife proves he did not kill his mistress” according to Gifford. “Strong melodrama, solidly made” according to Quinlan. “Naïve but effective little chiller” according to Halliwell.
THE GOLEM (THE LEGEND OF PRAGUE) (1935) dir. Julien Duvivier. 96 mins. Harry Baur. Ferdinand Hart
This French version of the legendary story of the giant clay monster who is brought to life to help liberate the oppressed citizens of medieval Prague, has rarely been seen and it makes a good alternative to the creaky old silent version
“Rather disappointing remake with entirely French crew” according to Halliwell. “One of the most striking features of Paul Wegener’s performance as the monster of clay in Der Golem (1920) is that … his massively impassive face is belied by extraordinarily expressive eyes. In contrast, Duvivier’s golem (Hart) looks like a well fed wrestler in a rubber suit with a permanent scowl on his deep tanned face, and expresses precisely nothing beyond his tackily conventional monsterhood. … To the film’s credit is some stylish camerawork.” according to Hardy.
Friday 16 December	6:45pm Start
DANCING WITH CRIME (1947) dir. John Paddy Carstairs 83 mins. Richard Attenborough. Sheila Sim. Dirk Bogarde. Diana Dors
A taxi driver becomes involved with a gang of racketeers who use a dance hall as a cover for their crimes. Exciting fast paced British crime thriller 1940s style.
“By 1947 the activities of spivs and black marketeers were providing the British crime movie with a valuable and productive source of stories. … An atmospheric portrait of the seedy underside of post-war Britain Dancing with crime abounds in downbeat locations. In its evocative concentration on the would-be glamorous palais-de-dance which serves as the gang’s headquarters, it prefigures the growing interest of British cinema in the pleasures of the flesh.” according to Hardy (1998). “Not exactly convincing but a confident piece of filmcraft” according to Quinlan. “Taxi-driver and girl thwart black marketeers using dance hall as front” according to Gifford. Murphy sees the film as near the start of a cycle of Spiv Films (better term than the meaninglessly overused “noir”) comprising Waterloo Road (1945), Appointment with crime (1947), Dancing with crime (1947), They made me a fugitive (1947), Black memory (1947), It always rains on Sunday (1947), Brighton Rock (1947), Night Beat (1948), Good time girl (1948), A gunman has escaped (1948) and Noose (1948) with Harry Lime in The third man (1949) and Harry Fabian in Night and the city (1950) finishing things off. “…Both Waterloo Road and Appointment with crime seemed to exemplify what was best in British cinema – the ability to make films cheaply which unravelled powerfully dramatic plots within a recognisably authentic world. But concern over the glamorising of crime and the reluctance of many critics to accept films regarded as sordid and violent meant that many of the subsequent spiv movies were received with hostility. Dancing with crime, also from Alliance, was a less prestigious affair [than They made me a fugitive], though John Paddy Carstairs directs young hopefuls Richard Attenborough and Sheila Sim with aplomb, and Brock Williams turns his hand to the seedily glamorous world of the Palais de Danse with … much proficiency …Low-budget, unpretentious, and solidly on the side of law and order Dancing with crime and Black memory failed to arouse critical ire.”
LOVE FROM A STRANGER (1937) (US 1942 re-issue title: A night of terror) dir. Rowland V Lee. 90 mins. Basil Rathbone. Ann Harding.
A wealthy woman slowly realises that her new husband is a maniac and a murderer of rich women. Slow burning suspenseful thriller.
Produced for UA by Max Schach at Denham. Based on an Agatha Christie story. “Slow but smoothly acted suspense drama …” according to Quinlan. “Stalwart suspenser from a popular novel and play” according to Halliwell. “Lottery winner realises she has married a wife murdering maniac” according to Gifford. “How much do you know about the man you love?”
Friday 20 January	6:50pm Start
THE BLACK PIT OF DOCTOR M (1959). (aka Mysteries from Beyond the Tomb) dir. Fernando Mendez. 82 mins. Gaston Santos. Rafael Bertrand
Gothic horror Mexican style. Untold horrors are unleashed when a doctor of an asylum attempts to discover what lies beyond the grave. Classic Mexican horror and on a par with the great Universal classics of the 1930s.
“Following on from his two successful classic movies, El vampiro (1957) and El ataud del vampiro (1957), Mendez directed this macabre zombie story which anticipates the tenor of many Spanish pictures of the sixties. … Mendez stirs the conventions of melodrama, mad scientist movies and funereal lyricism (especially in the impressive return from the grave sequence) into a confusing mixture that is too heterogeneous to be effective … ” according to Hardy (1985). Plunges you into a new concept of terror ... and sudden shocks!!
CURSE OF THE DEVIL (1973) (aka Return of Walpurgis, Return of the Werewolf, The Black Harvest of Countess Dracula) dir. Carlos Aured. 84 mins. Paul Naschy. Fay Fallon
Gothic horror Spanish style. A crusading knight is marked for all eternity with the ancestral curse of the werewolf, after destroying a coven of satanists. Superior horror with the added bonus of bloody gore and nudity! You have been warned, this could be the double bill from hell!.
“Conventional werewolf shenanigans, whipped to a more colourful froth than usual by lighting which creates wispy compositions beneath the full moon, and by what seems to be a veritable population of psychopathic killers, werewolves and hysterically incanting gypsies.” according to Richard Combs in Monthly Film Bulletin October 1976. “… the seventh outing of Waldemar Daminsky (Molina) as the wolfman …While it gives the werewolf legend a more catholic inflection, the movie is also bloodier, sexier and more atmospheric than Molina’s previous lycanthropy films … ” according to Hardy (1985). “Prepare yourself for the HORROR of PSYCHO! The TERROR of EXORCIST! Damn the Exorcist! The Devil won't let go!”
Friday 17 February
LADY IN A CAGE (1964). dir. Walter Grauman. 93 mins. Olivia de Havilland. James Caan.
A disabled woman alone and trapped in her house is terrorised by a group of psychotic thugs. This film was banned outright on its original release because of its then graphic violence and it still packs a punch today. An essay in sadism and mental torture, unpleasant but fascinating viewing.
Heavily cut for its US release then refused a BBFC certificate in the UK. “Violence in Walter Grauman's Lady In A Cage proved too strong for the Board in 1964 and the film was rejected on the grounds that it could 'invite and stimulate juvenile violence and anti-social behaviour by young people'. The Greater London Council granted a cut version of the film an 'X' certificate. After being passed '18' uncut on video in 2000, the work was reclassified to '15' in 2005.” according to sbbfc.co.uk. “Unpleasant and boring suspenser with nasty details” according to Halliwell. “Walter Grauman’s film has become something of a cause celebre, dismissed by some critics (and the censor) as a piece of overt sensationalism, hailed by others as a minor masterpiece. Lady in a cage is not sensationalist (not, at least, by intention), but it is also very far from being a masterpiece. Within the terms he sets Grauman’s direction is not unimaginative. He does at least manage to convey the malevolence of machinery, and the film has, in its close-ups of objects like the electric fan and the lift mechanism, and in Lee Garmes’ hard lighting, an occasional austerity oddly out of tune with the general level of high pitched hysteria. The performances, with the welcome excpeption of Anne Sotherns’ Sade, are all on this level. If only they could have been simpler folk.” according to DW (David Wilson?) in Monthly Film Bulletin August 1967. “Do not see "Lady in a Cage" alone!”
THE INDESTRUCTIBLE MAN (1956) dir. Jack Pollexfen. 70 mins. Lon Chaney. Marian Carr
An executed killer is brought back to life after a bizarre experiment and goes on a murderous rampage. Sounds familiar? Yep, I thought not! Lon Chaney lumbers his way through as the ultimate killing machine in this grade ‘Z’ shocker.
“A decidedly routine outing. … The film is an unofficial remake of The walking dead (1936).” according to Hardy (1995). “Low budget horror mayhem with no style at all” according to Halliwell. “A crude and dismal shocker with a mute Lon Chaney playing the title role with more energy than skill” according to Monthly Film Bulletin October 1956. “In the movies, life restoring experiments are usually just about the quickest and surest way for a well meaning scientist to permanently kill off a roomful or two of people. … Robert Shayne gave it another go in The indestructible man, bringing executed killer Lon Chaney Jr back from the dead via a staggering electrical charge. In that one, Shayne was the brains and Joe Flynn the bow tied, slightly mousy junior assistant. Chaney choked them both to death (simultaneously!) before going out on a new killing binge.” according to Weaver. “300,000 volts of horror! The scream that shocks the screen with 300,000 volts of horror! Inhuman! Invincible! Inescapable!”
Friday 9 March	6:45pm Start
THE WARE CASE (1938) dir. Robert Stevenson. 79 mins. Clive Brook. Barry K Barnes. John Laurie. Ernest Thesiger
A wealthy barrister convicted of murdering his wife’s brother is acquitted by a surprise witness but is he really guilty? One off showing of this rarely seen ancient British crime drama.
Classy stuff, produced by Michael Balcon at Ealing, cinematographer Ronald Neame, writer/ director Stevenson moved on to Hollywood where he made such masterpieces as In search of the castaways, Mary Poppins and That darned cat! “Strongly acted drama …” according to Quinlan. “Courtroom melodrama twice filmed as a silent; stagey but reasonably compelling in its way” according to Halliwell. “Acquitted baronet admits he murdered wife’s rich brother and jumps from a high window” according to Gifford.
THE WIND (1987) (aka Edge of Terror) dir. Nico Mastorakis. 92 mins. Robert Morley. David McCullum
A scythe wielding maniac is on the loose on a Greek island that’s subject to extremely high winds (no doubt due to the after effects of kebab over indulgence). Entertaining horror. This might well be the show no one has ever seen!
“An entertaining, suspenseful drama, The Wind benefits from excellent performances by Foster and Hauser. Theother cast members have little to do but die or move the plot along, though Morley is delightful as ever. Shot on the island of Monemvassia off the coast of Greece, the movie is full of spectacular scenery.” according to Monaco.
Friday 23 March	6:45pm Start
SANTA SANGRE (1989) dir. Alejandro Jodorowsky. 118 mins.
A circus magician goes on a murderous rampage to avenge his mother whose arms were severed by her knife throwing husband! This partially explains the plot of this weird, grotesque, surreal and psychedelic horror drama. (Think Fellini, David Lynch, Frekas and Psycho). An everyday story of circus folk it ain’t.
“Santa Sangre is beautiful, moving, shocking, disgusting and fascinating throughout. It’s partially based on a real Mexican serial killer, partially based on the director’s own life and is packed with symbolism, tattoos, hookers, elephants, blood (lots of blood) and tributes to Luis Bunuel, James Whale and Tod Browning (especially The Unknown). … This was Jodorowsky’s first released feature since The magic mountain (1974)” according to Michael J Wheldon. “… the film conflates elements from Psycho and Terayama’s Pastoral Hide-and-seek to produce a glib and implausible allegory of Mexico’s destiny: Fenix (with the national eagle tattooed across his chest) is the battered son of US imperialism and a heretical sect of the catholic church, trapped within a childhood trauma that pushes him into violence until his soul (Alma) leads him to redemption. …” according to Tony Rayns in Monthly Film Bulletin April 1990. “Phantasmagoria of images of death and mutilation that, despite their occasional visual flamboyance, signify very little” according to Halliwell. “Forget everything you have ever seen”
CONDEMNED TO LIVE (1935) (USA re-issue Demon of Doom) dir. Frank R Strayer. 60 mins. Ralph Morgan. Mischa Auer
A kind and respected professor is in fact a vampire terrorising a European village. Little known poverty row quickie that does benefit from some good production values. Courtesy of the Universal backlot.
From the US independent Chesterfield-Invincible. “Like Strayer’s The vampire bat (1933) this is one of the better independents of the period, unusual in attempting to deal seriously and sympathetically with vampirism. … Too poverty stricken to afford special effects (though looking quite presentable since it employed Universal sets, notably from The bride of Frankenstein (1935)), the film sensibly settles for excellent camerawork, dialogue and performances (Morgan in particular) ” according to Hardy (1985). “An interesting 1935 Chesterfield release is Condemned to live, an out and out horror thriller with Ralph Morgan and Russell Gleason, far from the best of its kind but certainly not the worst. Saddled with a clumsy title, that smacks of a prison yarn, the minor effort was generally overlooked by houses which could well have played it to advantage” according to Miller. “Filmed at Universal with use of standing sets and props. Set in middle Europe around 1900, this well done thriller was written by Karen deWolf and shows how a vampiric curse haunts a man all his life” according to Cocchi. “Pretentious in its class, Condemned to live is one of the few thirties independent pictures to address vampirism. The concept of prenatal influence is a daring theme and apparently a first. The only picture to which Condemned to live bears much likeness is Majestic’s The vampire bat which also presented variations on the theme and which utilised the same director, musical scoring and settings. … Filming at Universal City involved sets that include the European street, still dressed for the just completed The bride of Frankenstein; the exterior of Castle Frankenstein; the bell tower from The hunchback of Notre Dame (1923), with Ted Billings – in his costume from The bride of Frankenstein – ringing one of the great bells; and several European home interiors and some peasant huts. The cliffs and caves are those at Bronson Canyon, which are made to seem part of a seascape by the clever cutting in of a coastal shot and use of the sound of breakers. Costumes from Universal’s two Charles Dickens films Great expectations and The mystery of Edwin Drood are in evidence. The pervading sense of period is aided by rather lofty dialogue that never seems too stilted. The night lighting effects are excellent and the suspense is well conceived in Morgan’s climactic scenes with Miss Doyle.” according to Turner and Price. “What was this creature that DEATH could not claim? SAINT OR SATAN! MAN OR MONSTER! FATE DAMNED HIM WITH A THOUSAND DEATHS!”
Unattributed quotes above are film advertising/ trailer Taglines from IMDB. Otherwise, the quotes are borrowed from the following:-
Andy Boot Fragments of fear Creation 1996
Steve Chibnall Quota quickies: the birth of the British ‘B’ film BFI 2007
John Cocchi Second feature Citadel 1991
Allen Eyles House of horror – the complete Hammer films story Creation 1994
Denis Gifford British film catalogue FD 2000
Phil Hardy Aurum film encyclopedia Horror Aurum 1985
Phil Hardy Aurum film encyclopedia Science fiction Aurum 1995
Phil Hardy Aurum film encyclopedia Gangsters Aurum 1998
Tom Johnson and Deorah Del Vecchio Hammer films – an exhaustive filmography McFarland 1996
Howard Maxford Hammer, House of horror BT Batsford 1996
Don Miller B movies Ballantine 1988
James Monaco Virgin film guide Virgin 1992
Robert Murphy “Riff-raff: British cinema and the underworld” in Charles Barr All our yesterdays BFI 1986
Kim Newman Nightmare movies Bloomsbury 1988
David Pirie A new heritage of horror – the English gothic cinema I B Tauris 2008
David Quinlan British sound films - the studio years 1928-1959 Batsford 1984
George E Turner and Michael H Price Forgotten horrors Eclipse 1979
John Walker Halliwell’s film, DVD & video guide 2007 HarperCollins 2006
Tom Weaver Poverty row horrors! McFarland 1993
Michael J Wheldon The Psychotronic video guide Titan 1996

Filmography details linked to in the film titles on these pages are all courtesy of The Internet Movie Database.

Membership subscription for all 7 shows...£17.50

Members' Guests...£7.00

All shows are held on Fridays at:
Conway Hall, 25 Red Lion Square, London WC1R 4RL

Shows start promptly at 7:00pm. (unless otherwise stated)

Refreshments are available during the interval.

All correspondence should be addressed to:
Robin James, 75 Burns Ave., Feltham, Middlesex, TW14 9LX

Email enquiries c/o:

j_s_davies@hotmail.com

but don’t expect an instant response.

Committee: Robin James, Roger Townsend, David Smith

--------------------------------------------------------------------------------------------------------------

MEMBERSHIP FORM

I wish to become a member of the Gothique Film Society and enclose a stamped self addressed envelope and a cheque/ postal order for £17.50.

Name ……………………………………………………………………………………………

Address………………………………………………………………………………………….

………..………………………………………………………………………………………….

………..………………………………………………………………………………………….

………..………………………………………………………………………………………….

Please make cheques payable to ‘Gothique Film Society’.

Send to:-

Robin James, 75 Burns Ave., Feltham, Middlesex, TW14 9LX

A History of The Gothique Film Society

by Dave Simpson

The Gothique Film Society is a specialised club for horror and fantasy enthusiasts, quite possibly the longest running specialist film society in the UK. It evolved out of genre fanzine Gothique, created in 1965 by an editorial collective comprising Stan Nicholls, Jean Dempsey, David Griffiths, Ernest Harris and David Stokes (and which continued for 10 issues until March 1970, with a 20th anniversary special being published in July 1985). One of the contributing writers and artists was Robin James, who, in 1966, founded the Gothique Film Society with Jim Kearley. Apart from allowing use of the name “Gothique”, and contributing artwork and programme notes for some of the early shows, Gothique magazine had little involvement with the film society.

Robin and Jim were a true ‘dream team’, able to utilise Robin’s extensive knowledge of the horror and fantasy genres and contacts in the world of 16mm film, and Jim’s long experience in organising and running film societies.

The society’s first meeting was held in September 1966 in the basement cinema at the London School of Film Technique (now the London Film School) in Shelton Street, Covent Garden. A modest audience of about 20 enthusiasts watched Son of Kong.

By sheer optimism, a lot of perseverance and positive word of mouth, membership steadily increased. It was very soon evident that a larger auditorium was required, and one was found in the hall on the top floor of Holborn Library, Theobalds Road, WC1. This is where the Gothique came into its own and presented some of its finest double bills of horror classics. Two of the first honorary Presidents were actor Christopher Lee and legendary Hammer director Terence Fisher, who both made regular visits, as did many other stars and personalities.

The Gothique’ seasons were hugely enhanced from January 1970, when Yeovil born, but New York based film writer, scholar and collector William K. Everson presented a show during his seasonal visit to London. He continued presenting his Christmas shows right up until shortly before his death in 1996. Especially in the pre-video days his shows, in which he introduced films from his extensive collection or rare prints borrowed from other US collectors, were the highlight of each season.

The other outstanding Gothique supporter and President was entertainer and comedian Bob Monkhouse, who first attended in March 1968 when he heard, from screenwriter Robert Muller (Billie Whitelaw’s husband) that The Raven (1935) was being shown. In spite of Fridays being the busiest time on the after dinner circuit, where Bob was in high demand, he managed to fit in further personal visits and his introductory talks showed his incredible knowledge of, and love of, the cinema. He was also a very accomplished artist and he drew many of the covers for the society’s programme brochures. A renowned collector, he was also instrumental in helping to track down some of the obscure and rare films that have been shown over the years.

After the first few seasons the society fell into something very similar to its current pattern, with, at that time, shows running from October to April. A rare foray away from the Library Hall was a social evening, held on Saturday 17 March 1973 at the Barley Mow, Horseferry Road, SW1. My principal memory of that evening is being part of a quiz team, comprising young newcomers (I was then just 20), that was annihilated by a team of film enthusiasts of, shall we say, rather longer standing!

Due to work commitments, Christopher Lee resigned as a president in 1975. He was replaced by horror director and legendary cameraman Freddie Francis.

The society’s tenth anniversary was celebrated in appropriate fashion, if not a little early, on Friday 27 February 1976 at Holborn Library Hall. This was a separate occasion, not part of that season’s programme; the only film entertainment was the compilation Monsters We’ve Known and Loved. The many guests included Gothique Presidents Terence Fisher and Freddie Francis, actors Susan Hampshire, Nicky Henson, Jenny Runacre, Ingrid Pitt, Derek Francis and Dave Prowse, film historian John Huntley and genre historian, and Gothique regular, Denis Gifford. A highlight of the evening was a quiz between mixed teams of celebrities and members – and this time I was on the winning side!

During Season 13, on 27 April 1979, a new initiative, “Members’ Choice” was tested. Clive Bennett and I were given the opportunity to select the films and prepare the programme notes. In those pre-video days we were anxious to show something we hadn’t seen, so we presented “Two Corman Classics”: Dementia 13 and The Beast With a Million Eyes. Unfortunately, these are (of course) anything but classics – and after a rather more sensible “Members’ Choice” (Lewton’s Curse of the Cat People and The Leopard Man, chosen by author Stephen Jones) the following season Robin has never been brave enough to repeat this experiment!

Mention should also be made of Kim Newman, who joined the Gothique as a university student and was the one amongst us young fans who achieved his dream of forging a career in the movie business. He is now, of course, a renowned critic, author and media personality, but still pops in from time to time.

Freddie Francis resigned as a President after Season 13 (1978-79) and we sadly lost Terence Fisher a short while later, when he died on 18 June 1980. Season 15 (1980-81) was dedicated to him, with a special tribute screening on 5 December 1980 of Dracula and Frankenstein and the Monster from Hell.

As Season 19 (1984-85) approached the Gothique reached another of its periodic ‘make or break’ moments, with declining attendances quite a concern. In response, and with attendances especially poor for the April shows, the decision was made to reduce the number of shows from nine to (usually) seven, with future seasons running from October to March. As it was, that season kicked off in fine style with an evening with special effects maestro Ray Harryhausen.

For the Gothique’s 20th anniversary season (1985-86), Bob Monkhouse penned a personal note for the programme booklet explaining his life-long fascination with the macabre and how, influenced in equal measure by Boris Karloff and the Marx Brothers, he fell into comedy, rather than horror, since telling jokes came easiest to him!

In 1986 Robin was pleased to announce the Gothique had won two awards, gold and silver, from the British Federation of Film Societies, for its contribution to the film society movement. The awards were handed out at a ceremony at the National Film Theatre.

During Season 27 (1992-93) a potentially fatal blow was struck when, in March 1993, it was announced that the Library Hall was to close, to be transformed into office space. The hunt was on for alternative premises, ideally in the same central area and, even more importantly, at a reasonable rate. Fortunately, with the assistance of the Holborn Film Society, a new home was found just around the corner, in the Brockway Room at Conway Hall, Red Lion Square, WC1. The Hall opened in 1929 and is owned by humanist organisation South Place Ethical Society.

Unlike at the Library Hall there is no separate projection box. Siting the projectors in the body of the room allowed another of the Gothique’s stalwarts, Roger Townsend, to take a more visible role. Roger has been our trusty projectionist pretty much from the beginning (Jim projected the very early shows) but, hidden away in the projection box at the Library Hall he was well nigh invisible. At last he could be a part of the crowd!

The move to Conway Hall also saw David Smith join the team to organise the interval refreshments. For some years at the Library Hall my late wife Diane had undertaken this most important of duties, but David stepped in as part of the move and he has supplied members with coffee and biscuits ever since.

Despite settling in reasonably well at Conway Hall, Robin has always hoped that another venue, especially one better designed for cinema use, might be found. And, for Season 30 (1995-96) he found it in the Crown Preview Theatre, 86 Wardour Street, W1. This splendid mini-cinema had 16mm, 35mm and large screen video facilities and appeared to be ideal. At last, as Robin put it at the time, the Gothique was moving upmarket!

But it was not to be. Following a preview screening on 26 May 1995, Season 30 started as planned – and then it was announced that the Crown would be closing on 15 December! Fortunately Conway Hall was still available so, from January 1996 the society moved back into the Brockway Room, where it has remained ever since.

1996 also brought forth a double dose of sad news, with the death of Bill Everson on 14 April and Jim Kearley’s increasing incapacity, due to illness, preventing him from continuing with the society. Season 31 (1996-97) was dedicated to Bill; the situation was especially poignant as it was Jim who had introduced Bill to the Gothique.

Season 33 (1998-99) heralded a technological revolution, with the introduction of large-screen video. This had been inevitable; the sources for 16mm prints were becoming scarcer, and so much rare material was available on the digital format. Not everyone was pleased, of course, but Robin was keen to reassure members that 16mm would still be the first choice, and video would be used sparingly. Happily, that has remained the case and, to this day, with much effort by Robin, most presentations are still on 16mm.

Following his long illness, Jim Kearley died in early 2000. Season 35 (2000-01) was dedicated to him. We also lost genre historian, and Gothique regular, Denis Gifford the same year.

On a brighter note that year, actress Janina Faye was interviewed by archivist and film historian John Huntley in connection with a screening of Never Take Sweets from a Stranger. Also on that bill was Green Fingers, a short film directed by Gothique member Paul Cotgrove. Other guest appearances in recent years have included actress Valerie Leon, interviewed by John Huntley when Blood From the Mummy’s Tomb was screened during Season 34 (1999-2000), screenwriter David MacGillivray (Frightmare, screened during Season 36 [2001-02]) and actresses Vera Day, for a screening of Woman Eater during Season 38 (2003-04) and Muriel Pavlow for The Shop at Sly Corner, shown during Season 43 (2008-09).

Back in 2003, we sadly lost John Huntley in the August, followed by Bob Monkhouse in the December. Both men were fervent supporters of the Gothique, but it is impossible, in particular, to over-state Bob’s contribution; we can only hope he is looking down as the society he supported, pretty much from the beginning, marches on towards its fifth decade.

Yet another stalwart member, Richard Batten, decided to call it a day during 2007. He had answered a call way back in 1972 for someone to write the programme notes. His first notes were for Count Dracula in November 1972, during Season 7, and he continued until the end of Season 41 in March 2007! Roger Townsend took over for Season 42, after which I was pleased to offer my services. I only hope I can follow Richard in compiling the notes for 35 seasons!

Still one of the few specialised film clubs in Great Britain, the Gothique Film Society is thriving, with no plans to slow down. New members are always welcome, thereby keeping the cinema of fantasy, mystery and horror alive. The philosophy of the Gothique has always been that every film should be judged on its own merits. People should make up their own minds. So please do join us!

Gothique programmes 1966-2011

Compiled by Dave Simpson

The society has not maintained an ‘official’ record of everything that has been shown over the years. However, from the programme booklets, Robin’s recollections and my own notes (I’ve been a member since Season 6 [1971-72]) I’ve been able to reconstruct most of the programmes. However, there are still a few gaps. These are shown in red I would be very grateful to hear from anyone who can help with any of them. (One puzzle is that Robin is sure The Gorilla (1939) has been shown, but I have not been able to verify this.)

I can be contacted at david.simpson399@btinternet.com or see me on the front row at the meetings!

Remember: ‘OTHERS CREATE, WE IMITATE’

Season 45 2010 - 2011

Friday 22 October 2010

THE EARTH DIES SCREAMING (1964)

THE LAST PAGE (1952)

Friday 19 November 2010

BLACK MAGIC (1949)

THE HORROR OF IT ALL (1963)

Friday 17 December 2010

APPOINTMENT WITH CRIME (1946)

MURDER IN SOHO (1938)

Friday 21 January 2011

THE HUNCHBACK OF NOTRE DAME (1956).

DEAD MEN ARE DANGEROUS (1939)

Friday 18 February 2011

THE CABINET OF CALIGARI (1962).

CURSE OF THE UNDEAD (1959)

Friday 11 March 2011

FEAR IN THE NIGHT (1972)

VIKING WOMEN (1957)

Friday 25 March 2011

NIGHT MUST FALL (1937)

THE PRICE OF VANITY (1955/Episode from “The Vise”)

Season 44 2009 - 2010

Friday 23 October 2009

FACE THE MUSIC (1954)

MEET SEXTON BLAKE (1944)

Friday 20 November 2009

MAN WHO LAUGHS (1928).

BLACK MOON (1934)

Friday 18 December 2009

BRIDES OF DRACULA (1960)

DEATH IN HIGH HEELS (1947)

Friday 22 January 2010

MINE OWN EXECUTIONER (1947)

DEAD MEN WALK (1943)

Friday 19 February 2010

THE HANDS OF ORLAC (1960)

OUT OF THE FOG (1962)

Friday 12 March 2010

THE SNORKEL (1958)

BLACK MEMORY (1947)

Friday 26 March 2010

TOURIST TRAP (1979)

SUSPECTED PERSON (1942)

Season 43 2008 - 2009

Friday 17 October 2008

CRESCENDO (1969)

BOSTON BLACKIE’S RENDEZVOUS (1946)

Friday 21 November 2008

THE SHOP AT SLY CORNER (1946)

Actress Muriel Pavlow was interviewed by film archivist John Huntley

COSH BOY (1952)

Friday 19 December 2008

Special surprise show:

THE FALL OF THE HOUSE OF USHER (1949/“Lights Out” TV series/30mins)

MURDER AT THE GRANGE (1952/31mins)

THE DARK LAKE (“Douglas Fairbanks Jr Presents”/1955)

MONICA (“Thirty Minute Theatre”/1965)

THE TRIUMPH OF DEATH (“Late Night Horror”/1968)

Friday 16 January 2009

UNEARTHLY STRANGER (1963)

FIRE MAIDENS FROM OUTER SPACE (1956)

Friday 6 February 2009

COMMUNION (1977)

THE BLACK ROOM (1935)

Friday 6 March 2009

CAPTAIN KRONOS VAMPIRE HUNTER (1974)

THE DARK LIGHT (1951).

Friday 27 March 2009

FRANKENSTEIN MEETS THE SPACE MONSTER (1965)

THE HANGMAN WAITS (1947)

Season 42 2007 - 2008

Friday 12 October 2007

TERROR OF THE TONGS (1961)

CAT GIRL (1957)

Friday 16 November 2007

MADONNA OF THE SEVEN MOONS (1944)

MUMMY’S BOYS (1936)

Friday 14 December 2007

GOTHIC (1986)

ANOTHER FACE (1935)

Friday 11 January 2008

MAN WITHOUT A BODY (1957)

THE RETURN OF PETER GRIMM (1935)

Friday 8 February 2008

THE WITCHES (1966)

THE PROJECTED MAN (1967)

Friday 7 March 2008

THE DEVIL COMMANDS (1941).

PAUL TEMPLE RETURNS (1952)

Friday 28 March 2008

THE FLANAGAN BOY (1953)

VOODOO MAN (1944).

Season 41 2006 - 2007

Friday 13 October 2006

THE CAMP ON BLOOD ISLAND (1958) [replaced FALL OF THE HOUSE OF USHER (1949)]

THE ECHO MURDERS (1945)

Friday 17 November 2006

IT! THE TERROR FROM BEYOND SPACE (1958)

THE PHANTOM OF CRESTWOOD (1932)

Friday 15 December 2006

A STOLEN FACE (1952)

THE CRIMES OF STEPHEN HAWKE (1936)

Friday 12 January 2007

SO EVIL MY LOVE (1948)

SEVEN KEYS TO BALDPATE (1930)

Friday 9 February 2007

GHOST SHIP (1943)

GHOST SHIP (1952)

Friday 2 March 2007

THE UNINVITED (1944)

THE CASE OF CHARLES PEACE (1948)

Friday 23 March 2007

CLOUDBURST (1951)

THE LOST SQUADRON (1932)

Season 40 2005 - 2006

Friday 21 October 2005

A PLACE OF ONE’S OWN (1945)

EXCESS BAGGAGE (1933)

Friday 17 November 2005

THE DARK MAN (1950)

THE BLACK ABBOTT (1933)

Friday 9 December 2005

SO LONG AT THE FAIR (1950)

FORBIDDEN (1948)

Friday 13 January 2006

THE AMAZING MR X (1948)

SHOCK (1946)

Friday 10 February 2006

MURDER IN REVERSE (1945)

THE SQUEAKER (1937)

Friday 3 March 2006

DOCTOR SYN (1937)

DARK SECRET (1949)

Friday 17 March 2006

DUAL ALIBI (1947)

CRIME OVER LONDON (1936)

Season 39 2004 - 2005

Friday 22 October 2004

HANGOVER SQUARE (1945)

THE TOWER OF TERROR (1941)

Friday 19 November 2004

THE PICTURE OF DORIAN GRAY (1945)

THE MAN FROM YESTERDAY (1949)

Friday 10 December 2004

THINGS TO COME (1936)

THE SPHINX (1933)

Friday 14 January 2005

POISON PEN (1939)

DEAD EYES OF LONDON (1961)

Friday 11 February 2005

GOLIATH AND THE VAMPIRES (1961)

CORRUPTION (1968)

Friday 4 March 2005

COUNTERBLAST (1948)

BLACULA (1972)

Friday 18 March 2005

HATTER’S CASTLE (1941)

MIDNIGHT AT MADAME TUSSAUD’S (1936)

Season 38 2003 - 2004

Friday 17 October 2003

THE FACE OF FIRE (1959)

THE THIRTEENTH CHAIR (1937)

Friday 14 November 2003

LATIN QUARTER (1945)

LADIES IN RETIREMENT (1941)

Friday 12 December 2003

THE MYSTERY OF EDWIN DROOD (1935)

SCROOGE (1935)

Friday 16 January 2004

THE GAUNT STRANGER (1938)

FOUR SIDED TRIANGLE (1952)

Friday 13 February 2004

CLAYDEN TREASURE MYSTERY (1938)

DEATHTRAP (1976)

Friday 5 March 2004

THE QUEEN OF SPADES (1949)

TANGLED EVIDENCE (1934)

Friday 19 March 2004

THE GHOST OF ST MICHAELS (1941)

WOMAN EATER (1957)

Season 37 2002 – 2003

Friday 18 October 2002

THE FOUR SKULLS OF JONATHAN DRAKE (1959)

A GAME OF DEATH (1946)

Friday 15 November 2002

MAN WHO CHANGED HIS MIND (1936)

THARK – THE HAUNTED HOUSE (1932)

Friday 13 December 2002

DERANGED (1974)

PHANTOM OF THE OPERA (1943)

Friday 17 January 2003

THE PHARAOH’S CURSE (1957)

CURSE OF THE FACELESS MAN (1958)

Friday 14 February 2003

LOVE FROM A STRANGER (1947)

THE WALLS CAME TUMBLING DOWN (1946)

Friday 7 March 2003

TWICE TOLD TALES (1963)

CHARLIE CHAN AT THE CIRCUS (1936)

Friday 21 March 2003

MASTER MINDS (1949)

DEAD MAN (1996)

Season 36 2001 – 2002

Friday 19 October 2001

FRIGHTMARE (1974)

Actress Sheila Keith had been invited, but was unable to attend. A videotaped interview was shown. Scriptwriter David McGillivray attended instead.

Friday 16 November 2001

COBRA WOMAN (1944)

CULT OF THE COBRA (1955)

Friday 14 December 2001

NIGHT STRANGLER (1973)

THE MONKEY’S PAW (1948)

Friday 18 January 2002

THE LOST CITY (1935)

THINGS HAPPEN AT NIGHT (1947)

Friday 15 February 2002

THE MAD MAGICIAN (1954/in 3D)

CHARLIE CHAN IN EGYPT (1935)

Friday 8 March 2002

THE TELL TALE HEART (1960)

THE MAGNETIC MONSTER (1953)

Friday 22 March 2002

SO DARK THE NIGHT (1946)

FLESH AND FANTASY (1943)

Season 35 2000 – 2001

Friday 20 October 2000

THE BAT (1959)

THE QUEEN OF BLOOD (1966)

Friday 17 November 2000

NEVER TAKE SWEETS FROM A STRANGER (1960)

Actress Janina Faye was interviewed by film archivist John Huntley

GREEN FINGERS (1999/short)

Friday 15 December 2000

UNKNOWN ISLAND (1948)

DANTE’S INFERNO (1935)

Friday 12 January 2001

THE WOMAN IN WHITE (1948)

THE DELUGE (1933)

Friday 9 February 2001

EXPERIMENT IN EVIL/THE TESTAMENT OF DR. CORDELIER (1959)

THE NORLISS TAPES (1973)

Friday 2 March 2001

DOCTOR JEKYLL AND THE WEREWOLF (1972)

CATMAN OF PARIS (1946)

Friday 24 March 2001

SOMETHING CREEPING IN THE DARK (1971)

WHISPERING GHOSTS (1942)

Season 34 October 1999-March 2000

Friday 22 October 1999

BLOOD FROM THE MUMMY’S TOMB (1972)

Actress Valerie Leon was interviewed by film archivist John Huntley

Friday 12 November 1999

I, MONSTER (1970)

BRIDE OF THE GORILLA (1951)

Friday 17 December 1999

DEATH TAKES A HOLIDAY (1934)

BRIDE OF THE MONSTER (1955)

Friday 7 January 2000

WEREWOLVES ON WHEELS (1971)

THE WEREWOLF (1956)

Friday 4 February 2000

THE VAMPIRE’S COFFIN (1958)

THE VAMPIRE (1957)

Friday 3 March 2000

THE OLD DARK HOUSE (1963)

THE GREEN SLIME (1968) [QUEEN OF BLOOD (1966) was unavailable]

Friday 24 March 2000

THE CORPSE (1970)

DEATH IS A NUMBER (1951)

Season 33 1998 – 1999

Friday 23 October 1998

THE BLACK SLEEP (1956)

THE BRAINIAC (1961)

Friday 13 November 1998

TOMBS OF THE BLIND DEAD (1971)

THE MYSTERIOUS DOCTOR (1945)

Friday 18 December 1998

FIEND WHO WALKED THE WEST (1958)

VALLEY OF THE ZOMBIES (1946)

Friday 8 January 1999

BLOOD AND ROSES (1960)

TERROR IS A MAN (1959)

Friday 5 February 1999

NIGHT TIDE (1961)

BARON BLOOD (1972)

Friday 5 March 1999

THE MASK (1961/in 3D)

FACE OF MARBLE (1944)

Friday 26 March 1999

I BURY THE LIVING (1958)

THE MANSTER (1959)

Season 32 1997 – 1998

Friday 17 October 1997

DONOVAN’S BRAIN (1953)

TARGET EARTH (1964)

Friday 7 November 1997

CAULDRON OF BLOOD (1967)

HOUSE OF HORRORS (1946)

Friday 9 January 1998

TRACK OF THE VAMPIRE (1966)

DEAD MEN WALK (1943)

Friday 6 February 1998

PHANTOM OF THE RUE MORGUE (1954)

MARS NEEDS WOMEN (1968)

Friday 6 March 1998

THE BRAIN THAT WOULDN’T DIE (1963)

THE LONDON BLACKOUT MURDERS (1942)

Friday 3 April 1998

HANNAH – QUEEN OF THE VAMPIRES (1972)

SOUL OF A MONSTER (1944)

Season 31 1996 – 1997

Friday 18 October 1996

MURDER MANSION (1946)

CAT WOMEN OF THE MOON (1953)

Friday 15 November 1996

JUST IMAGINE (1930)

THE MAN WITH NINE LIVES (1940)

Friday 6 December 1996

ISLAND OF LOST SOULS (1932)

INVISIBLE RAY (1936)

Friday 3 January 1997

THE MAZE (1953) [DONOVAN’S BRAIN (1953) was unavailable]

INNER SANCTUM (1948)

Friday 31 January 1997

THE WEREWOLF OF LONDON (1935)

TOWER OF LONDON (1939)

Friday 14 February 1997

DAY THE EARTH CAUGHT FIRE (1961)

THE APE (1940)

Friday 14 March 1997

THE OLD DARK HOUSE (1932)

MURDERS IN THE RUE MORGUE (1932)

Friday 11 April 1997

THE VAMPIRE LOVERS (1970)

THE MOST DANGEROUS MAN ALIVE

The season was dedicated to the memory of William K. Everson.

Season 30 October 1995-April 1996

Friday 6 October 1995

Billed as William K. Everson’s show, but he was too ill to attend

HOUSE OF MYSTERY (1961)

NIGHT WATCH (details/year?)

Friday 3 November 1995

FRANKENSTEIN 1970 (1958)

THE INVISIBLE GHOST (1941)

Friday 15 December 1995

UNNATURAL (1952)

QUEEN OF OUTER SPACE (1958)

The following shows were cancelled when the Crown Preview Theatre closed:

Friday 12 January 1996

DEATHTRAP (1976)

PROJECT MOONBASE (1953)

Friday 9 February 1996

CULT OF THE COBRA (1955)

ZOMBIES OF MORA TAU (1957)

Friday 8 March 1996

DOCTOR BLOOD’S COFFIN (1960)

THE MANSTER (1959)

Friday 29 March 1996

NIGHT TIDE (1961)

TERROR IS A MAN (1959)

Friday 12 April 1996

30th anniversary celebration

The following rearranged shows were held at Conway Hall:

Friday 12 January 1996

CAT PEOPLE (1982)

PROJECT MOONBASE (1953)

Friday 9 February 1996

NOSFERATU THE VAMPYRE (1979)

ZOMBIES OF MORA TAU (1957)

Friday 8 March 1996

CAPTAIN KRONOS: VAMPIRE HUNTER (1973)

CAPTAIN CLEGG (1962)

Friday 22 March 1996

DOCTOR BLOOD’S COFFIN (1960)

HOMICIDAL

Friday 12 April 1996

30th anniversary celebration:

THE LOST CONTINENT (1951)

This season saw the Gothique move to the Crown Preview Theatre. But that closed in December 1995 and the society returned to Conway Hall.

Before the main season there had been an introductory show at the Crown Preview Theatre:

Friday 26 May 1995

THE HITCH-HIKER (1953)

THE MYSTERIOUS MR. WONG (1935)

Season 29 1994 – 1995

Friday 21 October 1994

CRY OF THE WEREWOLF (1944)

DEAD MEN TELL (1941) [replaced CREATURE WITH THE ATOM BRAIN (1955)]

INSOMNIE (short)

Friday 18 November 1994

THE MYSTERY OF THE MARIE CELESTE/PHANTOM SHIP (1935)

MADHOUSE (1974)

Friday 23 December 1994

BACK FROM THE DEAD (1957)

THE GAMMA PEOPLE (1956)

Friday 6 January 1995

William K. Everson presents:

THREE WEIRD SISTERS (1948)

THE MAD MONSTER (1942)

Friday 10 February 1995

THE ANGRY RED PLANET (1959)

THE DISEMBODIED (1957)

Friday 10 March 1995

THE CAT O’NINE TAILS (1970)

ONE BODY TOO MANY (1944)

Friday 7 April 1995

Members’ Choice, from a selection of titles provided on the night:

THE CREATURE WITH THE ATOM BRAIN (1955)

THE BLACK RAVEN (1943)

Season 28 October 1993-April 1994

Friday 15 October 1993

THE STRANGE DOOR (1951)

THE MONSTER MAKER (1944)

Friday 26 November 1993

RIDERS TO THE STARS (1954)

THE GIANT CLAW (1957)

Thursday 9 December 1993

ATTACK OF THE MAYAN MUMMY (1963)

THIRTEEN GHOSTS (1960)

Friday 7 January 1994

William K Everson presents:

JUNGLE WOMAN (1944)

THE UNKNOWN (1946)

Friday 11 February 1994

HORROR CASTLE (1963)

THE CASE OF THE FRIGHTENED LADY (1944)

Friday 11 March 1994

THE PHANTOM OF THE OPERA (1983)

THE PHANTOM CREEPS (1939)

Friday 15 April 1994

HORRORS OF THE BLACK MUSEUM (1959)

This was the Gothique’s first season in its new home, just around the corner at Conway Hall in Red Lion Square.

Season 27 1992 – 1993

Friday 30 October 1992

THE MAN FROM PLANET X (1951)

GOG (1954)

Friday 20 November 1992

HELL NIGHT (1981)

MR WONG DETECTIVE (1938)

Friday 4 December 1992

THE LAST MAN ON EARTH (1964)

FLIGHT TO MARS (1951)

Friday 15 January 1993

William K. Everson presents:

DEAD MEN WALK

THE MAN ON THE TRAIN (c20mins/dir: Robert Florey)

THE PREDICTION (“Thriller”)

Friday 12 February 1993

GORILLA AT LARGE (1954)

GORILLA MAN (1943)

Friday 12 March 1993

THIRST (1979)

THE MAGIC SWORD (1962)

Friday 2 April 1993

27th anniversary celebration:

THE EVILS OF CHINATOWN (1962)

FLASH GORDON (US TV episode)

This was the Gothique’s final season at Holborn Library Hall, following the announcement in March 1993 that the hall was to be converted into office space.

Season 26 1991 – 1992

Friday 18 October 1991

THE SHOUT (1978)

SHE WOLF OF LONDON (1946)

Friday 15 November 1991

THE BEES (1978) [replaced NIGHT OF THE EAGLE, shown on 17 January]

THE STRANGE MR. GREGORY (1945) [replaced HOUSE ON MARSH ROAD, shown on 27 December]

Friday 6 December 1991

THE DAY THE SKY EXPLODED (1958)

SVENGALI (1954)

Friday 27 December 1991

William K. Everson presents:

BEWITCHED (1945)

THE HOUSE ON MARSH ROAD (1960)

Friday 17 January 1992

NIGHT OF THE EAGLE (1962) [replaced THE BEES, shown on 15 November]

SON OF DOCTOR JEKYLL (1951)

Friday 14 February 1992

THE SENTINEL (1977)

DOOMED TO DIE (1940)

Friday 13 March 1992

Members only 26th anniversary celebration:

THE ELECTRONIC MONSTER (1958)

Season 25 1990 – 1991

Friday 19 October 1990

THE MONSTER WALKS (1932)

THE MAN WHO TURNED TO STONE (1957)

DARK SHADOWS (“Crime Does Not Pay” short)

Friday 16 November 1990

20,000 LEAGUES UNDER THE SEA (1916)

THE GIRL FROM SCOTLAND YARD (1937)

Friday 7 December 1990

DICK TRACY’S G MEN (1939)

THEATRE OF DEATH (1966) [replaced HOUSE OF FEAR (1945)]

Friday 28 December 1990

William K. Everson presents:

THE LONDON BLACKOUT MURDERS (1943)

THE BLACK CAMEL (1931)

SWEET SPIRITS OF NIGHTER (1941/only the second of two reels shown)

Friday 18 January 1991

SUDDENLY (1954) [replaced EVILS OF CHINATOWN (1962)]

THE LIVING DEAD (1934)

Friday 15 February 1991

Members only 25th anniversary celebration:

STRANGE ILLUSION (1945)

Friday 15 March 1991

WITCHFINDER GENERAL (1968)

SHE DEMONS (1958)

Season 24 1989 – 1990

Friday 20 October 1989

TARANTULA (1955)

THE DEATH KISS (1932)

Friday 17 November 1989

ISLAND OF DOOMED MEN (1940)

THE STRANGE CASE OF DR RX (1942)

Friday 8 December 1989

NEANDERTHAL MAN (1953)

GIANT FROM THE UNKNOWN (1958)

Friday 29 December 1989

William K. Everson presents:

CATMAN OF PARIS (1946)

THE GLASS KEY (“Alfred Hitchcock Presents”)

THE PREMATURE BURIAL (“Thriller”)

Friday 19 January 1990

A STUDY IN SCARLET (1933) [replaced SHE (1935)*]

THE THING THAT COULDN’T DIE (1958)

Friday 16 February 1990

Members only 24th anniversary celebration:

VOODOO MAN (1944)

CROONER’S HOLIDAY (1932/19mins)

THE CASE OF THE STUTTERING PIG (Warner Bros. cartoon)

Friday 16 March 1990

THE PHANTOM OF THE OPERA (1925/Tinted red, finest print the society had seen)

ATOMIC SUBMARINE (1959)

*SHE was shown on TV around this time, so members were asked whether they wished a change of film. Evidently they did!

Season 23 1988 – 1989

Friday 21 October 1988

FLESH AND THE FIENDS (1960)

VAMPIRE’S GHOST (1945)

Friday 18 November 1988

THE BAT WHISPERS (1930)

INVASION OF THE HELL CREATURES (1957)

Friday 9 December 1988

SILENT SCREAM (1980)

THE SHE CREATURE (1956)

Friday 30 December 1988

William K. Everson presents:

FAHRMANN MARIA (1936)

THE MYSTERY OF MARIE ROGET (1942)

Friday 27 January 1989

MURDERS IN THE RUE MORGUE (1971) [replaced HORRORS OF THE BLACK MUSEUM (1959)]

BLACK ZOO (1963)

Friday 17 February 1989

Members only 23rd anniversary celebration

Film(s) not known

Friday 17 March 1989

BLUE SUNSHINE (1976)

DAUGHTER OF DOCTOR JEKYLL (1957)

Season 22 1987 – 1988

Friday 30 October 1987

SOMETHING WICKED THIS WAY COMES (1983)

THE FLYING SERPENT (1946)

Friday 20 November 1987

DUNWICH HORROR (1970)

FACES IN THE DARK (1960)

Friday 11 December 1987

NIGHT OF THE DEMON (1957)

MONSTER FROM GREEN HELL (1958)

Friday 30 December 1987

William K. Everson presents:

THE CLIMAX (1944)

JUNGLE CAPTIVE (1945)

Friday 29 January 1988

THE FUNHOUSE (1981)

THE BRIGHTON STRANGLER (1945)

Friday 19 February 1988

Members only 22nd anniversary celebration

Film(s) not known

Friday 18 March 1988

THE HOUSE OF THE SEVEN GABLES (1940)

DEVIL DOLL (1964)

Season 21 1986 – 1987

Friday 31 October 1986

THE KEEP (1983) [replaced SOMETHING WICKED THIS WAY COMES – shown October 1987]

MURDER BY TELEVISION (1935)

Friday 21 November 1986

KINGDOM OF THE SPIDERS (1977)

TERROR IN THE WAX MUSEUM (1973)

Friday 12 December 1986

BLUEBEARD (1944)

TERROR TRAIN (1980)

Friday 2 January 1987

William K. Everson presents:

THE NINTH GUEST (1934)

THE VAMPIRE’S COFFIN (1957)

Friday 16 January 1987

DARK INTRUDER (1965) [replaced THE VAMPIRE’S GHOST (1945)]

SWAMP OF THE LOST MONSTER (1957)

Friday 20 February 1987

Members only 21st anniversary celebration

THE DEVIL BAT (1941)

Friday 20 March 1987

THE RED HOUSE (1947)

REVENGE OF THE ZOMBIES (1936)

Season 20 1985 – 1986

Friday 11 October 1985

THE FLY (1958)

NIGHT OF TERROR (1933)

Friday 15 November 1985

20th anniversary celebration:

MYSTERY OF THE WAX MUSEUM (1933)

Friday 13 December 1985

RETURN OF THE FLY (1959)

I MARRIED A MONSTER FROM OUTER SPACE (1958)

Friday 30 December 1985

William K. Everson presents:

DOUBLE DOOR (1934)

TORMENTED (1960)

Friday 17 January 1986

EYES WITHOUT A FACE (1960)

SHADOWS IN THE NIGHT (1944)

Friday 14 February 1986

CURSE OF THE FLY (1965)

THE SPIDER WOMAN STRIKES BACK (1946)

Friday 14 March 1986

MAN WHO WOULDN’T DIE (1942)

THE DARK (1982)

Season 19 1984 – 1985

Friday 19 October 1984

An evening with Ray Harryhausen:

20 MILLION MILES TO EARTH (1957)

Friday 9 November 1984

THE MAD MAGICIAN (1954)

FROZEN GHOST (1945)

Friday 7 December 1984

SHOCK/BEYOND THE DOOR II (1977)

THE SOUL OF A MONSTER (1944)

Friday 28 December 1984

William K. Everson evening:*

SHE (1935)

THE STRANGE CASE OF DR. RX (1942)

Friday 25 January 1985

PLANET OF THE VAMPIRES (1965)