While Hammer would eventually make an official third entry in the Quatermass series, it's interesting that they had ideas of their own and tried to write another instalment themselves. The idea didn't pan out of course but the story is a spiritual successor in many ways, as well as being another clear sign of their movement towards horror films. It's not concerned with threats from outer space this time, but instead another story that leans into that other 1950s movie trend - atomic energy. The results perhaps still lack the kind of pacing and impact of their later technicolour efforts but it's still pretty entertaining stuff. The film might be a little dry but it still offers some B-movie fun and occasional shock value.
The central hero this time around is Quatermass stand-in Dr. Adam Royston (Dean Jagger). It's another American lead in a distinctly British film which remains an odd choice, but I guess the overseas marketing just needs this sort of casting decision. Thankfully however his performance is far more likeable than the stiff efforts of Brian Donlevy and the story benefits from his inclusion as a more amicable kind of physicist. His mismatched partner in the story is energy commission investigator 'Mac' McGill played by reliable character actor Leo McKern, which allows for a few typical but entertaining exchanges.
Elsewhere there's on obligatory appearance from Michael Ripper as an army Sergeant just to let you know who produced the film, but generally the rest of the characters are kind of forgettable. The military however is where we begin as an exercise involving men using a Geiger counter come across some rather worrying phenomena in the Scottish countryside. In a reversal of the usual clichés the problem rises from beneath the ground and there are soon unexplained deaths in the area. A lot of the film is spent around this mysterious pit and what lies inside, which of course is a good way to avoid showing any kind of monster effects. But the creature itself is far more ambiguous than you might be expecting.
The unseen threat is soon running amok of course and there are several horrifying moments as the film goes on. As ever the film makers can't show everything until the third act but there are various clues left behind in a local hospital and at a derelict castle tower in the marshes. These are the standout moments where it veers into true horror film territory and there are some genuinely dark scenes included. Innocent doctors and even children fall victim to the monster while those who survive are left in states of illness or severe shock. It's pretty surprising to see some of the more gruesome details they include, and while the special effects aren't amazing they manage to achieve a disturbing tone quite effectively.
The bleak mood is maintained as things go on by the discoveries that Royston and Mac come across. This isn't an unlikely mutant or some kind of contamination but an ancient, inexplicable form of life from the Earth's mantle. What sells it all is how this nuclear powered creature isn't plant or animal but something that instead resembles the real world results of atomic disasters come to life. As the investigation makes clear this is one of those nightmares that civilisation has brought on itself, something that might be stopped today but could reappear with renewed strength at any time in the future. It's hokey but endearing, and the sincere nature of the themes being explored help it past some of the more wobbly elements in the story.
The solution to this dilemma is of course a scientific one, something which Dr. Royston and his colleagues just happened to have been working on at the start of the film. Despite his unorthodox approach causing clashes with the higher ups at the research centre, in typical Quatermass style he's the only one that can solve the problem. It's the weakest aspect of the story despite some nifty effects straight from The Blob and a few interesting moments of suspense. His big plan to lure the monster away just isn't very dramatic. The laboratory scenes are full of throwaway science jargon and unconvincing models, while last minute race to prevent doomsday is all done on radios and maps.
Overall though this is an interesting third chapter in an unofficial trilogy with plenty of striking moments and the occasional disturbing shock. There's nothing particularly fresh here whether it's the nuclear threat or the battling egos of scientists and soldiers, but the execution is solid for the most part. The big reveal might not be entirely terrifying but at least it's not another rubber creature crushing a few miniatures, and the ideas presented are at least moderately chilling. The conclusion is pretty shaky and the science might not hold up to scrutiny, but as a lead up to the bigger name Hammer chillers this is an outing that still manages to leave an impression.
3/5
BONUS REVIEW
VILLAGE OF THE DAMNED (1960)
On a similar note I also wanted to take a brief but overdue look at another British science fiction yarn. It might still be hokey but the results feed into some basic elements of the human condition just as much. Rather than Earth science gone awry or extra-terrestrial killers on the loose this is a film that plays with a wide array of the audiences fears whether it's rape, problem children, or the loss of individuality. In a way this is perhaps Invasion of the Body Snatchers for the next generation, where the victims are not replaced but forced to rear the offspring of an unknown intelligence. It's telling that the immediate responses are accusations of infidelity, and that later there are parental feelings towards creatures that are clearly inhuman.
The story involves the rural village of Midwich and a strange mist which descends over the area, rendering anyone inside its range unconscious. This is of course the work of a force from outer space, one that intends to plant its roots on Earth by using any women of child bearing age to raise its sinister offspring. It's an immediately creepy premise that might have a certain kind of B-movie charm but also has a whole lot of atmosphere. Later films might depict similar ideas with far more explicit imagery, but this remains a very effective take on the subject. Lending it all an extra layer of quality are George Sanders as stoic protagonist Professor Zellaby, one of the new fathers, and Hammer favourite Barbara Shelley as his wife Anthea.
Three years after the incident things start to escalate when it's clear that the children of the village are rapidly ageing and have no signs of human emotion. At the same time they're also developing both telepathy and mind control powers that may have begun to span the globe. Again this could all be done in a way that was utterly stupid but it retains a chilling tone throughout, whether it's during their more violent moments or the off-screen activities of other hive-mind groups overseas. Special effects are also used sparingly which prevents it becoming too overblown. It might be a product of its time as a story about losing whole generations to brainwashing or alien influences, but as a subtle blend of science fiction and horror it's pretty timeless.
4/5
