by Frank Calvillo
Scream and Scream Again opens on a powerful first scene in which a non-descript male jogger in early ’70s London is shown running down a city park. All of a sudden we cut to said jogger waking up from a medically-induced sleep in a strange hospital to discover his leg has been amputated, leading him to wail out in horror and disbelief. It’s a scene both ominous and chilly, which should have set the stage for a horror outing full of similar tension-filled moments. Sadly, this was never to be.
Very few films have tried to insert as much plot as this one does, and even fewer get away with it. In Scream and Scream Again, a mad scientist (Vincent Price) happens to be connected to a series of disappearances around the area, while a Nazi-like organization is preparing its overtaking of Europe. And if this wasn’t enough, a charming nightclub-goer/vampire (Michael Gothard) has been stalking the London night time in search of young, female victims. All of this takes place as a hopelessly clueless police force tries to connect the various pieces together.
Needless to say, the film tries to be a mash-up of genres, none of which it excels at. You get the get the feeling that overly large amounts of details are missing from the already convoluted plot. And yet despite this, there still seems to be so much going on in such a short amount of time, making the film feel horrendously choppy as it plods on. In the end, its almost impossible to really know what the bad guys are about and why they’re doing what they’re doing. I’m normally a big believer and supporter in the blending of film genres, but this is one time where it simply does not work. Though the film tries to redeem itself with a thoughtful scientific explanation at the end, not even that can redeem or justify what’s come before.
The one sub-plot in Scream and Scream Again which actually manages to work is that of the vampire known as Keith. Gothard plays the role as both sinister and intriguing, never letting his true motives or origins be known to anyone. Watching Keith stalk his prey in a maze of darkness, strobe lights, and psychedelic music was truly good fun thanks to the sequence’s rich and effective atmosphere. When the authorities finally get hold of Keith, the ensuing car chase and on-foot pursuit proves one of the most thrilling of the genre. While it’s only a fraction of the film, the sub-plot was more than good enough to stand as a movie in its own right.
The obvious draw of choosing to watch Scream and Scream Again is the chance to see three horror icons together on screen for the first time. Sadly, though, Peter Cushing’s waste of time cameo, along with Christopher Lee’s phoning in of his supporting role as a member of British Intelligence and the obviousness of Price never fully understanding what he’s doing in the film, all give new meaning to the idea of phoning it in. Still, it’s fun to see Price and Cushing share a scene together, however brief and meaningless it is.
As far as the other performances go, this is another day at the office for everybody, with the majority of the cast coming off as unmemorable. The only notable exceptions are Gothard, who is so compelling as the animalistic Keith, and Uta Levka as Price’s beautiful yet highly dangerous nurse.
Technically, Scream and Scream Again is a fantastic film. There’s some great use of music sound effects and some semi-innovative camera work at hand. Interesting cuts, such as a scene showing a blonde witness about to be tortured with pliers, which suddenly cuts to a scene in a club with a singer performing the film’s title track, is impossible not to applaud. And overall, the violent film does manage to be more suggestive rather than exploitative. I’m sure the novel on which Scream and Scream Again is based on is a thrilling read, but as a film it simply fails to work.
The Package
Commentary by Film Historians Tim Sullivan and David De Valle accompany the release of Scream and Scream Again. While Sullivan believes it had stood the test of time, De Valle admits that watching the film for the first time leaves one disappointed. The two acknowledge the film’s flaws, but then try to justify them and even encourage repeat viewings, letting the audience know that even Fritz Lang was a fan of the film.
There’s an interesting short documentary on director Gordon Hessler’s work for American International Pictures, the film’s studio, and a 2015 interview with Levka in which she recalls not getting along with Lee, whom she found arrogant and smug, and bonding with the unpretentious Price over a shared interest in cooking.
The Lowdown
Made for only the most diehard fans of the three horror icons. Yet even they would be hard pressed to call this one a favorite.
