BY DARREN ALLISON
In 1965, maverick British producer and writer
Harry Alan Towers (The Bloody Judge) scored a hit with The Face of Fu Manchu, a
thrilling revival of Sax Rohmer’s super-villain imperiously portrayed by
Christopher Lee. Powerhouse/Indicator have lovingly brought together all five
films in the series and in the process produced a rather spectacular
collection.
Christopher Lee was of course no stranger to
playing maniacal, Asian characters. He had already played Chung King, leader of
the Red Dragon Tong's in Hammer’s movie The Terror of the Tongs (1961) directed
by Anthony Bushell. Tall, dark and menacing in his stature, Lee was perfect
casting for novelist Sax Rohmer’s notorious Chinese criminal mastermind.
Produced by Harry Alan Towers and Oliver A. Unger, The Face of Fu Manchu was a
British / West German co-production. Behind the camera was Australian-born
British film director Don Sharp, a man who had made some fine film’s for Hammer
including The Kiss of the Vampire (1961) and The Devil-Ship Pirates (1964) also
starring Christopher Lee.
The film sets out in rather unusual style
with the apparent beheading of Fu Manchu. Where do we go from here one might
ask? Back in London, his nemesis Nayland Smith (superbly played by Nigel Green),
becomes increasingly concerned that Dr. Fu Manchu is not only still alive – but
also back and operating in London. The kidnapping of Professor Muller (German
actor Walter Rilla) unravels a plot involving a potentially lethal solution created
from the seeds of a rare Tibetan flower: the Blackhill poppy. Fu Manchu learns
that the poppy seed's poison can be used as a weapon and that just a pint of
this solution is powerful enough to kill every person and animal in London. And
so begins the classic encounter between good and evil.
It is naturally a perfect example of pulp
fiction in its purist form. Producer Towers (as writer Peter Welbeck) seems to
relish in his comic book approach, and in fairness, it all works incredibly
well and to great effect. One has to remember that these films were made as
family-orientated adventures, although some minor cuts were made in order to
retain its ‘U’ certificate which obviously made good business sense. Unlike the
‘X’ certified Terror of the Tongs which contained much darker, adult themes, Fu
Manchu, in its context is more like a Bulldog Drummond mystery or perhaps a
Charlie Chan adventure from the forties or fifties. It succeeds in creating a
perfect balance of dramatic excitement and a sense of innocent, harmless fun –
all of which is indicative of its period.
Powerhouse/Indicator has produced a wonderful
presentation of the film. Restored from a 4K scan of the original negative, the
Techniscope frame and Technicolor print has never looked so good, revealing sharp
detail and a rich, vibrant colour palette. Blacks are deep and solid and work
especially well in contrast to the silky fabrics of Lee’s costuming. The audio (its
original mono) is also clear and clean without any evidence of hiss or pops.
It’s clear that these films have been worked upon with a great degree of love
and care. Powerhouse has also offered a choice of two versions of the film. It
was revealed at the time of production, reel 3 of the original negative
contained a degree of damage to the left side of frame. This was dealt with at the time by zooming in
on certain shots for the cinema prints and thereby eliminating the damage from
view. Subsequent prints (for TV and other media formats) have always used the
same ‘fixed’ theatrical version. However, for the first time, Powerhouse has
offered the option to view the original print in its uncorrected version.
Whilst the damage is of course still evident, it does however provide the
opportunity of viewing the film without the use of panning or the
post-production corrective fix. It’s a nice little touch on the part of
Powerhouse and one which is bound to please the purists.
The wealth of bonus material is also very
impressive. Firstly, there’s an enjoyable, fact-filled audio commentary with
genre-film experts, critics and authors Stephen Jones and Kim Newman recorded
in 2020. Other bonus extras include an archival Interview with Don Sharp – Part
One: From Hobart to Hammer (1993, 96 mins) made as part of the British
Entertainment History Project, featuring Sharp in conversation with Teddy
Darvas and Alan Lawson; the BEHP Interview with Ernest Steward – Part One: The
BIP Years (1990, 96 mins): archival audio recording of an interview with the
respected cinematographer, also made as part of the British Entertainment
History Project. There’s a b/w archival interview with Christopher Lee (1965, 4
mins); an extract from the Irish television programme Newsbeat, filmed during
location shooting in Dublin. Vic Pratt Introduces ‘The Face of Fu Manchu’
(2020, 7 mins), an appreciation by the BFI curator. Underneath the Skin (2020,
49 mins) in which broadcaster,
educationalist and author of The Yellow Peril: Dr Fu Manchu & The Rise of
Chinaphobia, the wonderful Sir Christopher Frayling examines the origin,
history and reputation of Sax Rohmer’s works. There are also a few alternative
titles and credits sequences. For those of a certain age, there are Super 8mm
versions: cut-down home cinema presentations which provide a nostalgic trip
down memory lane. Original UK, German and French theatrical trailers and a
generous image gallery featuring promotional posters, photos and publicity
material round off this impressive world premiere on Blu-ray.
Due to the success of The Face of Fu Manchu –
especially in America- producer Harry Alan Towers wasted very little time by
setting the wheels in motion for a hasty sequel. Hoping to achieve the same
success, Towers again pulled in West Germany’s Constantin Films along with his
own Hallam Productions to co-finance the next project, The Brides of Fu Manchu
(1966). Regardless of a very busy 1966, (a year that also included Hammer’s
‘back-to-back’ productions of Dracula: Prince of Darkness and Rasputin, the Mad
Monk), Towers nevertheless managed to secure his leading man Christopher Lee.
He was also fortunate enough to have original director Don Sharp sign again on
the dotted line.
The story once again revolves around world
domination, this time through the use radio waves which can carry destructive
blast frequencies. In order to carry out his plan, Fu Manchu has kidnapped the
daughters of prominent scientists whom he blackmails into helping him create
his deadly transmitter. It was a simple enough narrative, written again in
easy, comic book style by Harry Alan Towers. The great loss to this particular
film is that of Nigel Green as Nayland Smith. Smith is this time played by Douglas
Wilmer, an actor that had just played Sherlock Holmes in the TV series of 1965.
Wilmer fits the role perfectly well and proves he can handle himself when it
comes to the obligatory fist fight with the dacoits. However, he doesn’t quite possess
the same regimented and commanding drive displayed by that of Nigel Green. As
with his later portrayals of Dracula, Lee also has far less demanding role in
The Brides of Fu Manchu. His presence is still dominating but he has far less
to do. Here he seems more comfortable behind a control or instrument panel. In
fact, it’s his depraved daughter Lin Tang (Tsai Chin) who this time takes a far
more active role alongside lead henchman Feng (played wonderful by Burt Kwouk)
who almost steals the show. Everything here though is all sufficiently menacing
and a great deal of fun.
Powerhouse has again delivered where it
counts. Creating a newly restored transfer from a 4K scan of the original
negative, the film looks beautiful and includes the original BBFC theatrical card.
Director Don Sharp this time opted to drop the Techniscope process (probably
due to Towers ever tightening of the budget) and instead chose to use a
standard 1.85:1 lens – but thankfully this never distracts or lessons the
overall viewing pleasure or impact. The rich greens, golds and pinks of the
costuming again appear so rich. The restoration also reveals a much greater
depth, particularly those cantered in the subterranean chamber; another
beautifully lit set which looks far greater on screen than in probably was in
reality. Every element of these scenes is greatly enhanced and benefit hugely
from the new restoration. Powerhouse has also satisfied the purists by sensibly
utilizing the cleaned original mono audio.
The disc’s bonus material is also impressive
and contains a full audio commentary, this time provided by film historians
Kevin Lyons and Jonathan Rigby (2020). Then there is a continuation of the BEHP Interview with Don Sharp – Part Two:
A Director of Substance (1993, 95 mins) and Part 2 of the BEHP Interview with
Ernest Steward: From Teddington to ‘Carry On’ (1990, 93 mins). Then there’s a
real treat in the shape of The Guardian interview with Christopher Lee (1994,
87 mins): a wide-ranging onstage interview with the legendary actor, conducted
by the film critic David Robinson. Lee was renowned as a great talker, and this
is no exception. The iconic actor delves deep and concise providing the
audience with a rare insight of the business and a feast of industry stories. BFI
curator Vic Pratt provides another unique and newly filmed introduction to The
Brides of Fu Manchu (2020, 7 mins). Pages of Peril (2020, 21 mins): has genre-film
expert, critic and author Kim Newman discuss Sax Rohmer and the Fu Manchu
novels. The film’s original theatrical
trailer, a b/w TV spot and an Image gallery containing production photos,
promotional and publicity material round off the world premiere Blu-ray very
nicely.
Director Jeremy Summers stepped behind the
camera for the third film in the series, The Vengeance of Fu Manchu (1967). Summers
was a director who had established himself through TV working on shows including
The Saint and Randall and Hopkirk (Deceased). Vengeance was again a British/West
German Constantin Film co-production and the first to be filmed in Hong Kong.
It was distributed by Warner-Pathé in the United Kingdom and released in the
December of 1967 as part of a double-bill with another Harry Alan Towers
production, The Million eyes of Samburu. Samburu was a spy thriller outing
starring Shirley Eaton as the title character and was also filmed at the Shaw
Brothers studios in Hong Kong.
Taking refuge in his impressive Asian temple,
the evil Dr Fu Manchu begins to plot the death and discredit his arch-rival,
Nayland Smith of Scotland Yard. It is the first step in an elaborate plan to
become leader of the world's most feared criminals. This is all of course very
familiar territory. However, the narrative is an interesting, if a rather
obscure one which has plenty of twists. Fu Manchu attempts to ruin Nayland
Smith’s reputation by replacing him with a killer lookalike. A quite remarkable
piece of facial sugary follows (in just 48 hours) and with the help of a
renowned blackmailed surgeon. What develops thereafter is all good fun – but the
film certainly crossed over into darker areas and became a transitional entry
in the series. The films took on a more sinister aspect, and stepped into the
realms of more adult orientated / horror genres. The movie was also (after
cuts) the first to receive an ‘A’ certificate by the BBFC.
The new 4K restoration certainly benefits The
Vengeance of Fu Manchu, particularly with the impressive Hong Kong location
shooting. Fu Manchu’s temple in particular is a grand spectacle to behold. Shot
again in a standard 1.85:1 (as all of the remaining films would be), the
picture detail is sharp and defined. The colours are both fresh and vibrant
while the original mono audio remains clear and free from any defects.
Bonus features are again well represented,
beginning with an audio commentary with film historians Kevin Lyons and
Jonathan Rigby (2020). Both gentlemen present an uplifting narration, and
despite the general mixed reception that the film often attracts, Lyons and
Rigby convincingly point out a great deal of positive aspects and present a good
argument for the film’s overall appeal. There is also a further BEHP Interview,
this time featuring director Jeremy Summers (2001, 72 mins); an archival audio
recording, made as part of the British Entertainment History Project, featuring
Summers in conversation with Darrol Blake. BFI curator Vic Pratt presents
another of his unique Introduction to The Vengeance of Fu Manchu (2020, 7
mins). Tall, Lean and Feline (2020, 50 mins) is a very enjoyable piece by film
historian Jonathan Rigby, author of English Gothic, on the early career of
Christopher Lee. The Cheque’s in the Post (2020, 5 mins): first assistant
director Anthony Waye remembers Harry Alan Towers and Fu Manchu. Having had the
pleasure of meeting Anthony Waye, I only wish this was a longer piece, the man
has so many wonderful stories to tell. The Ghost of Monk’s Island (1966, 93
mins): Jeremy Summers directs this exciting mystery made for the Children’s
Film Foundation. The entire film is presented here in full, and what a joy it
is too. So many memories of this delightful and much loved film will come
flooding back, as it remains something of a minor classic. This world premiere Blu-ray
concludes with an alternative title sequence, the original theatrical trailer
and a generous Image gallery containing photos, promotional posters and a
selection of publicity material – all of which is very impressive.
The Blood of Fu Manchu (1968) is often
referred to as the ‘beginning of the end’ by a great deal of fans and commentators.
This was of course the Jesús (Jess) Franco period in the series which did (undeniably)
mark a radical change of direction for the remaining two films and in respect
of their overall context.It’s arguably fair to say that by 1968 the
plot lines regarding the Fu Manchu series were becoming a little ‘thin’ in
content. The movies were on a downhill slide and gradually running out of
steam. The Blood of Fu Manchu was released under a number of different titles -
Fu Manchu and the Kiss of Death, Kiss of
Death, Kiss and Kill (U.S. title). The dropping of the central character’s name
in the title is an indication that the
franchise was in deep trouble. The plotline of The Blood of Fu Manchu was bordering
on the absurd and simply echoed the overall sense of desperation. But despite
the threadbare mentality, the films continued to stay afloat – surviving
perhaps on the mere strength and pulling power of its iconic star Christopher
Lee.
The plot sees Fu Manchu (in a remote jungle
hideaway) developing a deadly venom discovered in the Amazon and is only effective
on men. Women, however, can become hosts of the ‘kiss of death’ after being
bitten by a venomous snake. The deadly kiss causes immediate loss of sight and
is ultimately followed six weeks later by death. Using hypnotic mind control,
he deploys six women at Nayland Smith (Richard Greene) and other prominent
enemies with political influences. The general purpose is to stop them from
interfering with his ultimate plan, which (if you hadn’t already guessed) is to
gain world domination.
Spanish director Jess Franco was a prolific
filmmaker who was known for his fast-paced style of film making and was also prominent
within the exploitation genre. So it was perhaps inevitable that these elements
would thread their way into the Fu Manchu series. And so, for the first time bare
bums and boobs were on display, the torture was more detailed and the killings
were more graphic with protruding knives and spears. All of this amounted to an
original ‘X’ certificate in the UK, until the film was ordered cut and resulted
in it receiving an ‘A’ rating. A lot of the action in Blood of Fu Manchu does
appear to be a bit disjointed; some of the fight sequences look as if they are
bordering on the threshold of martial arts – a genre that was becoming
increasingly popular towards the end of the sixties. But the fights look to be
over almost as quick as they started, and there is a suggestion that they may
have been edited or watered down to enable the more family favoured
certificate. Some of the scenes appear entirely out of context, most famously
perhaps is Shirley Eaton’s appearance. Eaton appears in a completely unrelated scene,
looking as if she has just stepped in off of swinging Carnaby Street? The director had inserted some stock footage
of her from the movie The Girl from Rio (1968) (also directed by Franco and
produced by Towers). Eaton was never
informed and argued that she never did appear in a Fu Manchu movie. She only
found out years later that she had been used, and of course, in true Towers
tradition, Eaton added that she was never paid for it. Nevertheless, the sheer
madness of ‘Blood’ adds up to some enjoyable, popcorn fodder, and it certainly
has its fans.
The movie was filmed in Spain and Brazil.
Powerhouse’s new restoration from a 4K scan vastly overshadows all previous
versions. Exotic locations are used well and look splendid under the
restoration treatment. There’s a new, genuine sense of freshness to these
Franco films, as they always needed improving, and they probably won’t ever look
any better than this. The disc includes two presentations of the film: with the
original The Blood of Fu Manchu title sequence, and the alternative Kiss Me to
Death titles. The audio commentary is
provided by critics and authors David Flint and Adrian J Smith (2020), both
provide an enjoyable and not too serious appreciation. BFI curator Vic Pratt provides
his regular introduction to ‘The Blood of Fu Manchu’ (2020, 7 mins). The Men
Who Killed Fu Manchu? (2020, 41 mins): author and musician Stephen Thrower present
a very interesting piece on Jess Franco and Harry Alan Towers. Then there is Any
Way to Save Money: (2020, 11 mins) which features clapper loader Ray Andrew who
recalls some amusing stories about Harry Alan Towers and Fu Manchu. The Mystery
of Dr. Fu-Manchu: ‘The Fiery Hand’ (1923, 37 mins) is a chilling episode from
the original silent serial starring Harry Agar Lyons, presented with an
optional new score by the band Peninsula or viewed in silent mode. The new
score is a rather modern piece rather than the more classical silent film
accompaniment. Other bonus features include alternative title sequences, some previously
unseen colour tests of Christopher Lee and Tsai Chin, the original UK theatrical
trailer, the U.S. Kiss and Kill theatrical trailer and an image gallery containing
photos, promotional posters and publicity material. Powerhouse has certainly
spared no expense in packing out these discs.
So
often, especially when films come packaged as a collection, there is usually a
rotten apple in the basket. Castle of Fu Manchu (1969) was the last in the
series of Christopher Lee films. One could argue that is was one film too many,
but nevertheless, it’s part of the collection and the set would leave a gaping
hole had it not been included, so in that context, it’s essential. Castle of Fu
Manchu is not a great movie, and in cases such as this, I like to look upon it
as a bonus disc as it usually makes things a whole lot easier to digest. The film
was also released as Assignment Istanbul, again dropping the name Fu Manchu
from the title. The plot has Fu Manchu planning to freeze the world's oceans
with a new device. With his evil daughter, Lin Tang (again featured more
prominently), his army of dacoits, and the help of the local crime organization
led by Omar Pasha (José Manuel MartÃn), Dr. Fu Manchu takes over the governor's
castle in Istanbul and holds a massive opium reserve. The opium is a vital
element in fuelling his new device. Dr. Fu Manchu needs the help of an
intelligent scientist with an ailing heart whom he has held captive. In order
to keep the scientist alive, he kidnaps a doctor and his wife to give the
scientist a (rather lengthy) heart transplant from one of his obedient servants.
Opposing him from Britain's branch of Interpol are his nemeses, Nayland Smith (Richard
Greene) and Dr. Petrie (Howard Marion-Crawford).
The
film is a genuine low point in the series. Directed again by Jess Franco, it is
obvious from the pre-credit sequence that the production was operating on a wafer
thin budget. In fact, the opening sequence uses the climax of The Brides of Fu
Manchu (and overdubbing the dialogue) and intercuts with Rank’s sinking of the
Titanic from the film A Night to remember (1958). These sequences were given a
strange blue tint in order to try and disguise the fact that the film was in
black and white. The result is all a bit too desperate. Nevertheless, Lee
approaches the role with his normal professional panache and plays it straight
- despite of being in earshot of the final nails being hammered into the coffin
lid.
Despite
its failings, Powerhouse’s new 4K restoration is impressive. The exotic
locations really shine with nice contrast and rich colours. It’s nice to see that
Powerhouse has treated it with just as much respect as the first film in the
series. They have also provided two presentations of the film: with the
original The Castle of Fu Manchu title sequence, and the alternative Assignment
Istanbul title – another simple enough task but one thoughtful enough to please
the purists. Bonus features also include BFI curator Vic Pratt’s introduction,
who by now, can recite with his tongue ever so slightly planted in his cheek. From
Alicante to Istanbul (2020, 13 mins): actor Rosalba Neri remembers Jesús
Franco, Maria Rohm and the making of The Castle of Fu Manchu. An Interview with Harry Alan Towers (2008, 45
mins): far-reaching personal account of the intrepid producer’s life in radio,
TV and film. This is a highly enjoyable piece in which Towers shares many
stories and memories – and what a memory! The Further Mysteries of Dr.
Fu-Manchu: ‘The Coughing Horror’ (1924, 31 mins): Fu Manchu torments Nayland
Smith with a terrifying creature in this silent serial sequel, presented with
an optional new score by the band Peninsula. There are also the usual features
including the original theatrical trailer, alternative title sequences and an
image gallery containing photos, promotional posters and publicity material.
Powerhouse
has produced an exceptional collection of films in a very appealing package.
The films not only look and sound remarkable – but are also enhanced by
additional minor details such as new and improved English subtitles for the
deaf and hard-of-hearing. The set also contains a limited edition exclusive
120-page book with a new essay on the Fu Manchu cycle by Tim Lucas, a look at
the career of producer/screenwriter Harry Alan Towers, an examination of the
work of Fu Manchu creator Sax Rohmer, new writing on The Ghost of Monk’s Island
and the Stoll Pictures’ Fu Manchu silent serials, archival newspaper articles
on the films, extracts from the films’ pressbooks, an overview of contemporary
critical responses, and film credits. In addition to this, there’s an exclusive
double-sided poster and five replica production stills. Limited to just 6,000
numbered units, I doubt that this collection will be around for long. It’s
pretty much perfect.
CLICK HERE TO ORDER (Note: this is a UK Region B format release.)