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English Gothic: A Century of Horror Cinema

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For years, the only good history of British horror films was the one by David Pirie -- but that's almost 30 years old, and Pirie's focus meant he simply did not cover some films. Rigby's astonishing ambitious take on the genre required him to cover every single movie released in England that could be considered horror; he mentions many mouth-watering titles that have never crossed over to this side of the Atlantic or, if they did, are long gone. He's honest, rigorous and intelligent; his ideas, if not startling original, are reasonable and consistent. The book is beautifully illustrated (the British edition has a better cover, though), and a very handsome package. If you have any interest in horror movies, this is simply a must-buy. I cannot recommend this highly enough.

SINCE THE AMAZON.COM SITE IS NOT INTEGRATED WITH THE AMAZON.UK.COM SITE, I DRUG R.TRIPP'S REVIEW TO THE U.S. SITE:

R. Tripp (Gavcrimson@tesco.net) from london, england , 15 August, 2000 The Life and Times of the British Horror Movie.

As the opening chapter to English Gothic-a century of horror cinema by Jonathan Rigby notes there is a tendency among British books on British horror films to be divided into camps. The Seventies offered an endless gravy train of coffee table books, poor old Denis Gifford had a noted passion for horror films of the Thirties, but ignored Hammer films and pained himself to mention anything from the dreaded permissive society. Even younger critics who carried the Hammer torch spat venom at everything that came after. Ever since then few books have covered the entire spectrum of British horror cinema without any sign of generation gaps- the only one in recent memory being Fragments of Fear by Andy Boot. Fragments was chatty and likeable but unfortunately stereotypical of the sort of book that David McGillivray talks of in this books afterword, full of unchecked facts, typos and riddled with errors. Compared to Fragments the tone of English Gothic is more down to business and could be accused of lacking the obvious author enjoyment of Boot's tome, but in every other way this is a superior book. For one, its not about to label Corruption (1967) as a part of the Tigon legacy, when it was made by Titan. In fact English Gothic is the Encyclopaedia Britannica when it comes to obscure facts, quotes and eye opening asides. Well researched ? most of the book is structured chronologically by the day the films went into production! This depth of information is also mirrored visually, when was the last time you saw ads, pressbooks or any pictorial evidence of films like Secrets of Sex, Cover Girl Killer or Burke and Hare?. Despite its title which gives the impression the book is strictly dedicated to period pieces, English Gothic also uncovers 60's and 70's present day titles who carry with them what Rigby dubs "a peculiarly British kind of seediness". Connoisseurs however will notice there is no mention of forgotten shorts like Death Shock and Invitation to Hell or vague transatlantic productions like Slaughter High and Living Doll, but this is the first book to cover the Sohoian likes of Cover Girl Killer and Night After Night or Norman J Warren's back catalogue (the latter notably absent from the Boot book). The sole aspect of discontent is the book's constant references to "depressingly popular" 80's slasher films since only two of the 500 films discussed (Killer's Moon, Don't Open till Christmas) could fit into this category. For all the print offered to the likes of Expose and Satan's Slave this curiously puritanical overkill threatens to drag English Gothic back to the Denis Gifford era, but its only a momentary lapse from what is otherwise an excellent book. No doubt books on British horror movies may come and go (indeed several others are in the pipeline) but in years to come its hard to imagine that English Gothic won't still be used as the definitive reference book.

As a huge fan of horror and science fiction films of the 'Golden Age' of the genre, I've always had a particular fondness for the (generally) more sophisticated and cerebral output of the British studios. As was the case for many of my generation ('baby boomers'), my introduction to these great films began with the legendary Hammer Studio's remakes of the classic Universal monster films, kicked off by the seminal Peter Cushing/Christopher Lee vehicle 'The Curse of Frankenstein'. I recall being scared silly as a child by the indelible image of Christopher Lee's bloodshot, snarling visage in the staircase scene from the superb 'Horror of Dracula', of having my heart race with excitement while watching Lee's turn as 'The Mummy', and, like a drug addict, anxiously awaiting the next chiller to be exported to U.S. movie screens. For those who harbor similar memories, 'English Gothic' is for you (this review is of the 2nd edition).

There have been numerous other books that took a turn at this historically important product, but none (at least that I've read) comes close to this book's comprehensiveness, style and sheer reading pleasure. Author Jonathan Rigby (an actor himself) infuses this masterful work with insightfulness and attention to detail that could well serve as a model for others. Beginning with a chapter titled 'British Horror in Embryo', it concludes with the sad (but accurately titled) final chapter, 'British Horror in Retreat'. In between one will find a veritable treasure trove of detail, the effect of which is to present the reader with a unique contribution that is at once both somewhat scholarly yet readily accessible. While this loving treatment of British horror films (broadly defined, as it encompasses related mystery and science fiction titles as well) stands on its own, the book offers much more. It provides for a fascinating sociological context as well: the output of British studios, both in quantity and theme, reflect the socio/political milieu of the times. In addition, it does what no similar book has done, which is to provide a sense of what British Gothic film making was really like. It's almost like being an invisible observer, hovering over the studios during production. Even movie fans that do not care for horror films would find this aspect of the book worthwhile.

The book's 260-plus pages give appropriate focus on the aforementioned grandfather of British horror, Hammer, without cutting short the contributions of other notable studios (such as Amicus and Tigon), as well as the sometimes complex co-production arrangements between these studios and those of other countries (for example, the collaborations between Hammer and such American production companies as AIP, Universal and Warners). Such detail is very informative. It's surprising how many such films, perceived as American, were in fact British productions (such as 'Fiend Without a Face' and 'First Man into Space').

While American readers will find themselves at a slight disadvantage with the lack of familiarity with references to established British character actors, television programs, scene locations and the occasional slang phrase, this is a minor distraction. If you're a fan of British horror/science fiction, or simply of film making in general, 'English Gothic' deserves a place in your library.

This book covers all strata of British horror, from the silent film era until the millenium. It's a beautifully produced volume, with excellent stills, photos, and side-bars within the text zeroing-in on specific films. Rigby, unlike some reported experts on British horror, gives full credit to Hammer Films for having added to, if not revitalized, a genre that had existed haphazerdly in Britain until the 1950s. The text is smoothly written, with some wit, and gives valuable information on the background of various films and on such modern classics as Peter Walker's trio of highly considered films made in the late sixties-early seventies. Other films convered are the UK-filmed productions featuring Vincent Price. Only in his treatment of Todd Slaughter is Rigby somewhat harsh: the actor made no pretence of being other than melodramatic. This book is highly recommeded, and I would even advise the owner not to lend it to anyone. They might not get it back.

After ploughing through the very disappointing Inside Hammer by Hammer veteran Jimmy Sangster, I was delighted at the brilliance of this volume. Rigby traces British horror films right back to their genesis, with the emphasis rightly placed on the period from about the mid-'40s to the mid-'70s (which period is also covered by David Pirie's A Heritage of Horror, now sadly out of print). The commentary is a skillful blend of background information on key productions, synopsis and critical commentary. There is a good sense of historical flow, as Rigby tells the story of the British horror film in chronological sequence, rather than focussing separate chapters on different genres or directors, say. Thus the reader is made alert to the historical and sociological context, a dimension lacking in lesser books on the same subject.

The style and format is at once readable and also entertaining. Though it is possible, even advisory (and certainly enjoyable), to read the entire book from cover to cover, its format (the chronological order, along with side bars on every page giving details of key films) makes it a great reference tool to dip into from time to time. English Gothic is without doubt one of the finest, most compelling and exciting books I have come across on this subject.

As a longtime fan of old school horror films and British horror films in particular, I was absolutely blown away by this book. First of all I was surprised that I am only now catching up with it but then I haven't focused on these films for quite awhile having devoted most of my time in recent years to films from the silent era now that they are coming out on DVD. I did get the update on David Pirie's book A HERITAGE OF HORROR which remains essential but this one goes beyond that. Jonathan Rigby's subtitle is "A Century of Horror Cinema" and he chooses 100 films that he considers significant as well as provides background information on other films made at about the same time. While I don't agree with all of his assessments, overall the results are simply sensational. Lots of great photos too.

Any list of films is always going to be subjective and I can think of some films that I would have included in the Top 100 and a few that I would have left off but at least the other films are mentioned. I found ENGLISH GOTHIC to be comprehensive but not judgmental. While I understand Rigby's starting the list in 1954 with THE QUATERMASS XPERIMENT for that's when the horror boom begins, I would have included a handful of earlier films like THE GHOUL (1933), DEAD OF NIGHT (1945), LATIN QUARTER (1945), and THE QUEEN OF SPADES (1948) but he does discuss them in the prologue. As of the writing of this review, I have seen 86 of the Top 100 and will try to see the others although some titles like SHADOW OF THE CAT (1960) and CORRUPTION (1968) don't appear to be currently available in any format.

This is a much needed and very valuable summary of the British horror film. The success of Rigby's book hinges on the accessibility of the prose. More recent summaries of this much neglected area of British cinema tend to take a strongly academic bias; either impenetrable psychoanalytical or sociological studies. The quest of academia is to elevate these films to some status of quality, but most horror fans don't give a damn about this. This book is definitely written for enthusiasts of the genre and Rigby himself shows himself to be the fan he is and writes wittily and with affection for many films. Naturally the book is unevenly tilted to the 1960's, a golden era of British horror, which is my only criticism. I personally consider the 1970's to be the most interesting time for British horror. However Rigby gives much needed attention to some forgotten gems such as "Jack the Ripper", "Night of the Eagle" and "The Skull", this isn't just a summary of Hammer Studios. The only fault of the book is that it could have conceivably been twice the length and after it I still felt a truly definitive all encompassing account of British horror is still required.

This is one of the best books written on the horror film. Rigby writes well and is very informative about the development of the British horror film from silents to the Nineties.

Of course, the heart of his book is the era from 1956-74, roughly from "The Creeping Unknown" to "The Wicker Man." Even if you have read about Hammer films before, Rigby has something new to say. He has seen EVERYTHING from this era, and his book steered me to fascinating movies like "Demons of the Mind" and "And Now the Screaming Starts" that I would never have heard of otherwise.

I don't agree with all of his opinions. (Rigby is incredibly down on the movies of Amicus Studios.) But Rigby really appreciates Peter Cushing, Christopher Lee, Terrence Fisher and Freddie Francis, making this a fun, informative read. Horror fans could only do themselves a favor by buying it. A most enjoyable book and one that the reader will go back to many times.

I had high hopes for this book when I heard about it, but shortly after receiving it they were quicky dashed. There is a wealth of information on many different British horror movies, which is interesting - and a lot of movies included made by companies other than Hammer. And the picture selection is excellent, and many readers may want it for that. However, there is a kind of Puritan fog that shrouds this book, which makes it far from appealing, and something I haven't seen before in British books on horror movies. The sexy scenes which are a well-known characteristic of British horror movies are "sleazy" or "vulgar" or "exploitation" and looked at disapprovingly by the author, while he delights in the grisly scenes. . The mild "Circus of Horrors" (1960) is "quasi-pornographic", etc., etc. and the whole book has this kind of feminist film-journal quality about which is far from appealing. This, together with the turgid, humorless style makes it a chore to get through. The main aim of the writer seems to be to take all the fun out of British horror movies. Better pass this one up.