General Witchfinders: The British Horror Podcast

Twins of Evil (also known as Twins of Dracula) is a 1971 British horror film directed by John Hough and starring Peter Cushing's in his first film after the death of his poor wife, Helen, along with Damien Thomas and the real-life identical twins and former Playboy Playmates, Mary and Madeleine Collinson. It also sees the return of one of General Witchfinders favourite cinematographers, Mr Dick Bush.*

Twins of Evil was the third film in Hammer's "Karnstein trilogy," following The Vampire Lovers and Lust for a Vampire in a series loosely based on Sheridan Le Fanu's "Carmilla."

These pictures were produced incredibly quickly, -and they were lurid even by Hammer standards, bloody and relatively steamy, with an emphasis on heaving bosoms and vampire-enhanced girl-on-girl sexuality

Much of the interest of the film revolves around the contrasting evil and good natures of two beautiful sisters, Frieda and Maria. Unlike the previous two entries in the series, this film contains only a brief lesbian element.

The film was released in the U.S. as a double feature with Hands of the Ripper (soon to be featured here in your favour British horror podcast)

Ingrid ‘Wicker man’ Pitt was offered the part of Countess Mircalla Karnstein, but refused.

Harvey Hall and Kirsten Lindholm appear in all three films of the trilogy, although in different roles in each one.

Peter Cushing also played one of the leads in the first, The Vampire Lovers.

Special effects veteran Bert Luxford first employed Spam, then a marrow and finally resorted to using a large German sausage to simulate Frieda's decapitation for the climax of the film.

Australian indie rock band Turnstyle used a sample of Karnstein summoning Satan in their song Winter Rodeo, in 1999.

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*FYI Dick Bush also shot Tommy, The Phildelphia Experiment, The Lair of the White Worm, The Blood on Satans Claw, Phase IV, 2 pink panther movies and loads more - ‘Dick Bush Shoots’ could be a legitimate spin off podcast.

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An American Werewolf in London is a 1981 horror comedy film written and directed by John Landis. An international co-production of the United Kingdom and the United States, the film stars David Naughton, Jenny Agutter, Griffin Dunne and John Woodvine. The film's plot follows two American backpackers, David and Jack, who are attacked by a werewolf while travelling in England, causing David to question whether he will become a werewolf under the next full moon. The film made $62 million worldwide against the budget of $5.8 million and At the 54th Academy Awards, it won the first-ever Academy Award for Best Makeup.

Landis wrote the first draft of the screenplay for the film in 1969 and shelved it for over a decade. Prospective financiers believed that Landis' script was too frightening to be a comedy film and too humorous to be a horror film. After achieving success in Hollywood with the comedies The Kentucky Fried Movie, National Lampoon's Animal House and The Blues Brothers, Landis was able to secure financing from PolyGram Pictures to produce An American Werewolf in London.

An American Werewolf in London was the first film allowed to shoot in Piccadilly Circus in 15 years. Landis accomplished this by inviting 300 members of London's Metropolitan Police Service to a screening of his new film The Blues Brothers. The police were so impressed by his work that they granted the production a two-night filming permit between the hours of 1 and 4 a.m. Traffic was stopped only three times for two-minute increments to film the automobile stunts involving the double-decker bus.

An American Werewolf in London was released in the US by Universal Pictures on August 21, 1981. It was a critical and commercial success, winning the 1981 Saturn Award for Best Horror Film and the first ever Academy Award for Best Makeup. Since its release, it has become a cult classic.

In December 2017, Max Landis confirmed on Twitter that he had completed the first draft of the script for a reboot of the film. But beginning in late 2017, accusations by a number of women that Landis had abused them emotionally or sexually began to emerge publicly. In the wake of those allegations, it remains unknown if Landis will be replaced or if the project will be put on indefinite hold.

In November 2019, Variety reported that Robert Kirkman, creator of The Walking Dead comic book series, was in consideration to serve as a producer for a new reboot.

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Dead of Night is a 1945 black and white British anthology horror film, made by Ealing Studios, was their sole attempt at making a horror movie.

It Featured the following stories

• The Hearse Driver, based on "The Bus-Conductor" by E. F. Benson
• The Christmas Party
• The Haunted Mirror
• The Golfer's Story, based on "The Story of the Inexperienced Ghost" by H. G. Wells

and

• The Ventriloquist's Dummy

The individual segments were directed by by Alberto Cavalcanti, Charles Crichton, Basil Dearden and Robert Hamer.

The film is best remembered for the concluding story featuring Michael Redgrave and an insane ventriloquist's malevolent dummy.

Dead of Night is a rare British horror film of the 1940s; horror films were banned from production in Britain during the war. It had an influence on subsequent British films in the genre. Both of John Baines' stories were reused for later films and the possessed ventriloquist dummy episode was adapted into the pilot episode of the long-running CBS radio series Escape.

The circular plot of Dead of Night inspired Fred Hoyle's steady state model of the universe, developed in 1948.

Mario Livio in Brilliant Blunders cites the impact of a viewing of Dead of Night had on astrophysicists Fred Hoyle, Hermann Bondi, and Thomas Gold. "Gold asked suddenly, "What if the universe is like that?' meaning that the universe could be eternally circling on itself without beginning or end. Unable to dismiss this conjecture, they started to think seriously of an unchanging universe, a steady state universe.

In the early 2010s, Time Out conducted a poll with several authors, directors, actors and critics who have worked within the horror genre to vote for their top horror films. Dead of Night placed at number 35 on their top 100 list. Director Martin Scorsese placed Dead of Night 5th on his list of the 11 scariest horror films of all time.

Writer/director Christopher Smith was inspired by the circular narrative in Dead of Night when making his 2009 film Triangle.

Something Horrific:

Censor

https://www.youtube.com/watch?v=KRrhXjH1M70

HAMMER HOUSE OF HORROR The Mark of Satan

https://www.youtube.com/watch?v=zTKjizivKRU

Help my House is Haunted

https://www.youtube.com/watch?v=NPpZOb0svC0

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Ghostwatch, a drama produced for the BBC anthology series Screen One, is a British reality–horror/pseudo-documentary television film, broadcast on BBC1 on Halloween night, 1992. Written by Stephen Volk, and directed by Lesley Manning. Despite having been recorded weeks in advance, the narrative was presented as live television.

During and following its first and only UK television broadcast, the show attracted a considerable furore, resulting in an estimated 1,000,000 phone call enquiries to the BBC switchboard on the night of broadcast, comprising a mixture of complaints and praise for the programme's unique presentation, these calls included a call from Michael Parkinson's own concerned mother and a very nervous 15 year old Ross.

Ghostwatch has never been repeated on UK television.

The story, based on the tale of the Enfield Poltergeist, was put into production months before and was complete fiction. The presentation contained realistic elements which suggested to a casual viewer that it was an actual documentary. The studio scenes were recorded in Studio D, BBC Elstree Studios, Clarendon Road. The scenes at the house and the street were all shot on location around 5–6 weeks before the recording of the studio scenes. The recorded scenes in the house and street were then played into the studio, where Michael Parkinson, Mike Smith, and "Doctor Pascoe" had to interact with them.

It earned the dubious honour of being the first TV programme to be cited in the British Medical Journal as having caused Post Traumatic Stress Disorder in children.

As featured in his collection Dark Corners, screenwriter Stephen Volk wrote a short story entitled 31/10, which is effectively a sequel to Ghostwatch. The piece was later selected for "The Year's Best Fantasy and Horror 2007".

The Apparition Phase

Will Maclean

https://www.penguin.co.uk/books/1119138/the-apparition-phase/9781786091017.html

No one Gets out Alive

https://www.youtube.com/watch?v=sY2TLiK27g4

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Xtro is a 1983 British science fiction horror film directed by Harry Bromley-Davenport.

Starring Bernice Stegers, Philip Sayer, and Simon Nash, the film focuses on a father who was abducted by, what could be seen as aliens, and returns to his family three years later, where he goes in search of his son.

Even though the plot involves extraterrestrials, the creatures in this film are at no point referred to as aliens. Some fans like thinking of them as Lovecraftian-type beings coming from another dimension.

The film had a six week shooting schedule and was completed in February 1982. Chris Hobbs, a sketch artist helped finalise the visual concepts for the production, which originally involved a faceless rubber suit for a creature. This was changed to man standing with his back to the ground on his arms and legs. A mime was hired to perform the strange scuttle of the walk.

When released on home video in 1983, the film was subject to a prosecution case in relation to British obscenity laws. Unlike many other "video nasties", as they were then called, Xtro had actually been passed uncut by the BBFC with an 18 certificate for theatrical release (with both the original and an alternate ending).

Bromley-Davenport made two sequels to the film, Xtro II: The Second Encounter and Xtro 3: Watch the Skies. Neither film had anything to do with the original film. In March 2011, Davenport confirmed that Xtro 4 (The Big One) was in the works.

Even though he has made many deviations from the exploitation field since Xtro, the stigma is still attached, as Bromley-Davenport himself admits that: "Getting a start in exploitation films, as I did, suddenly became unfashionable about 20 years ago, and such movies are now regarded as smut, despite the fact that they gave Martin Scorsese, Francis Ford Coppola, Jim Cameron, Joe Dante, Jonathan Demme and countless others their first opportunities to direct a professional movie."

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