Although we, like most fans, were first attracted to Hammer for its Gothic horror movies, our purpose is to present an exhaustive reference work detailing all of their output that will reveal the company as a diversified producer of entertainment, rather than as the “House of Horror.” While it was certainly pictures like The Curse of Frankenstein and Dracula that brought Hammer its fame, the company worked in a variety of genres. Saddled with cramped conditions and even tighter budgets, Hammer managed to film war, mystery, science fiction, adventure, comedy, and even musicals in addition to the horrors.
Since Hammer is a British company, the focus of this book is British. The films are referred to by their original British titles and the emphasis is on their release and criticism within the United Kingdom.
We are well aware that not every Hammer film is a masterpiece, and that even many of the company’s best pictures are flawed. While we often offer praise, we have tried to criticize each movie at its intended level; we do know the difference between Ben-Hur and The Brides of Dracula. Conversely, if we are a bit rough on a particular film, it is because of the high standard to which we hold the company.
A book like this requires the help of many people, and we were fortunate in the number of both celebrities and friends who came to our aid. If any big “names” are missing, please be assured that it was their decision not to become involved, rather than our lack of interest in securing their assistance.
Our special thanks to the late Peter Cushing, and to Jimmy Sangster and James Bernard, who were kind enough to contribute a Foreword, an Introduction, and an Afterword. A book about Hammer could have no better beginning or end. Others in the business who generously gave us their time were Barry Andrews, Samuel Z. Arkoff, Geoffrey Bayldon, George Baxt, Martine Beswicke, Norman Bird, Peter Blythe, Veronica Carlson, Herman Cohen, Hazel Court, Jim Danforth, Robert Day, Richard Gordon, Guy Green, Val Guest, Ken Hughes, Freddie Jones, the late Phil Leakey, Richard Matheson, Kerwin Mathews, Francis Matthews, Ingrid Pitt, Dave Prowse, Michael Ripper, Margaret Robinson, the late Cesar Romero, Don Taylor, and Geoffrey Toone. Without the valuable input of the late Len Harris, we would have been at a loss. Thank you one and all.
We also could not have done without Ann Del Vecchio, Carl Del Vecchio, Linda Greth, Elaine Hahn, Tammy Hahn, Debbie Hart, Fred Humphries, Doug Kauffman, Dick Klemensen (and Little Shoppe of Horrors), Gloria Lillibridge, Jessie Lilley, Greg Mank, Mark Miller, Mike Murphy, Tim Murphy, Joey O’Brien, Ted Okuda, Louis Paul, Ernie Price, Ume Sommerlad, Gary and Sue Svehla (and Fanex), Tony Timpone (and Fangoria), Richard Valley, Randy Vest, Carol and Steve Werner, and Brent and Rebecca Worley. Tom Weaver helped rescue this book from overwriting, and Colin and Sue Cowie did far too much to even begin to thank them adequately.Without the cooperation of Roy Skeggs and Richelle Wilder of Hammer Films, this book could never have been written; and without the British Film Institute and Lincoln Center, we would have had very little to write about. Our sincere thanks to everyone for their kindness.
Tom Johnson
Deborah Del Vecchio
Summer 1995