Quite how a film like Captain Clegg becomes subject of a double-dip is rather bizarre- its a wonderful little gem of a Hammer film but two copies on Blu-ray seems as financially irresponsible as NHS spending on PPE during the heights (depths?) of a pandemic. But who could have guessed back in 2014 when I bought the disc from Final Cut Entertainment that it would be part of a sixth Hammer boxset in 2021? Crikey, Indicator wasn’t a even a thing back then, and here it is rivalling Criterion in the boutique label arms race (if there was such a thing).
So anyhow, this is the fourth and last film in this sixth Hammer boxset that I’ve watched- last only because its the one that I’d seen before. Have to confess, re-watching the film after several years, I was surprised to realise just how good a film it is: certainly its a ravishing-looking film by Hammer standards, with some fine location photography boasting lovely golden light in some landscape shots that suggests considerable care and attention was made and the sets etc are really good too. Best of all, Peter Cushing is clearly relishing his role here and the result is one of his best performances in any Hammer- and he’s not alone, even Michael Ripper, a frequent Hammer veteran who can irritate sometimes, is possibly never any better than he is in this.
I have often remarked that Peter Cushing would have been the perfect actor to play Robert E Howard’s puritanical anti-hero Solomon Kane, and its never clearer than here, when he was possibly the right age and eminently looks the part with his character’s own puritanical stylings (he plays village priest Reverend Blyss). There are moments that are uncanny; that jawline, those steely eyes… how ironic that Cushing himself probably never even heard of the character during his lifetime, totally ignorant of a role he seems born to have played. A trick of fate and unfair timing, I guess, and certainly our loss- another one of those movie ‘what-ifs’ to haunt us film fans.
Captain Clegg (‘Night Creatures’ in the US) really is the little Hammer film that surpasses expectations, and clearly deserves the extra attention re: supplements that it gets in this Indicator release (which also ports across the extras from the earlier Final Cut edition). They even fixed the colour-timing issues that plagued the day-for-night shooting that troubled that earlier release. Its a whole lot of fun and its such a pleasure to witness Peter Cushing in such fine form. I don’t think I’ll be waiting seven years for my next re-watch…