I’ve finally gotten around to what is, as expected, the weakest link in an otherwise surprisingly high-quality set of movies in Indicator’s third Hammer collection, Blood & Terror (the three other entries being The Camp on Blood Island, Yesterday’s Enemy and The Stranglers of Bombay). While the film is at heart an old-fashioned potboiler of hidden menace in the Far East in the vein of Sax Rohmer’s Fu Manchu yarns, it’s a pretty mediocre and predictable story, further tarnished by the unfortunate casting of a mostly English cast of Hammer thespians playing Chinese characters, wearing dodgy ‘slitty-eyed’ makeup that looks decidedly un-PC in our enlightened age and also limits the actor’s attempts to emote, instead making them look like wooden actors playing aliens in ‘sixties-era Doctor Who. That being said, Christopher Lee chews up the scenery in his role as the leader of the Red Dragon Tong, as if he’s auditioning for Macbeth or something. I guess he was doing something right, as he’d later be promoted to the role of Fu Manchu in some genuine Sax Rohmer-based flicks later on.
Its also a sign of the times in which it was made, that even though the film seems pretty tame nowadays, it was pretty brutally trimmed by the censors of the time and the cuts, which are really jarring, have never been restored. One death is not so much blink and you’d miss it as much as, well, the character is alive one moment and dead the next- it’s almost quite bewildering and almost breaks the scene its in entirely (surprised they never bothered to try reshoot a censor-acceptable version, but that’s possibly just an indication of how casual the Hammer chiefs were rushing these flicks out as cheaply and efficiently as possible).
Positives, few as they are, are the colourful cinematography and the beautiful Yvonne Monlaur in one of her two Hammer roles, probably the highlight of the film for me- she’s a much better actress than this hokey script, and Hammer in general, deserves, and I think it’s rather odd she didn’t have a more successful career in film. Even in a poor film with a poorly written character, she has a connection with the camera and a presence that really resonates. If ever I decide to rewatch this film again, it’ll be largely just to see her performance (and that of Christopher Lee, of course, chewing up the scenery as only he could- like Peter Cushing, he had a way of elevating Hammer to some kind of Shakespearean tragedy, as if he’s making a film no-one else can see).