Review: The Man Who Could Cheat Death

Anton Diffring stars as an 1890s Parisian surgeon who is also a keen sculptor (!), whose medical interests are on the subject of the rejuvenatory merits of parathyroid glands. Hazel Court plays a young lady who was a former flame of Diffring’s, much to the polite displeasure of her gentlemanly suitor Christopher Lee. Meanwhile, people are getting murdered by a Ripper-like killer with quite precise execution. Surgical precision, even. Local Scotland Yard copper Francis de Wolff investigates the grisly case. Arnold Marle plays Diffring’s elderly medical mentor, now stricken with poor health. Delphi Lawrence plays Diffring’s jealous lover.

 

***** SPOILER-HEAVY REVIEW, PROCEED WITH CAUTION *****

 

With a cold, aristocratic pale-eyed look and clipped accent, German character actor Anton Diffring was probably best-known for playing various villainous Nazi characters in a plethora of war movies and TV shows (even uncredited in “Operation Crossbow” he played an SS soldier). Every now and then he’d play a good guy, but he definitely seemed more at home playing the evil Nazi, which is rather interesting given the man born Alfred Pollack was actually Jewish. On occasion, the sometimes campy actor also entered into the horror genre in films like the lead in “Circus of Horrors” and this 1959 Hammer horror effort from director Terence Fisher (“The Horror of Dracula”, “Curse of Frankenstein”, “The Mummy”) and writer Jimmy Sangster (Ditto). It might be a tad talky for some, and I still don’t know why Diffring’s character had to be made to be a scientist and an artist. It makes sense given the character’s secret, but it’s still a bit clunky and I would’ve just dropped the artist side of things. However, on the whole this is an interesting, great-looking and well-acted effort by Hammer. The terrific, sometimes foggy cinematography by Jack Asher (“Curse of Frankenstein”, “The Horror of Dracula”, “The Mummy”) is definitely a highlight. The colours and shadows are especially stunning, and Fisher and Asher get a lot out of Diffring’s sometimes bulging pale eyes.

 

Slightly haughty in demeanour, Diffring is perfect casting in the title role of a man who never seems to age and would very much like to keep it that way. At any cost. Amazingly, he was a last minute casting after Peter Cushing backed out due to apparent illness. Personally, I don’t think Cushing, as versatile an actor as Hammer worked with, would’ve been quite as appropriately cast as Diffring is in the role. He could play villains of course (“Star Wars”) and played a slightly similar part in the underrated “Corruption”. However, I think Diffring turned out the better choice here. Diffring is hammy and theatrical, but hammy is right for this film and character, whose mania and selfishness is barely contained. This man has been cheating death for a very long time, and the pressure of trying to keep that up let alone keep it secret is obviously starting to show some cracks within. The reason – or at least one reason – he’s been keeping this a secret is fascinating and well thought out, too. Delphi Lawrence scores early on in an excellent small turn as a jealous, ill-fated muse, whilst the lovely Hazel Court is typically good in the female lead. Now longer existing, prints used to contain a brief topless scene with Court. You can still find stills of it online if you’re curious and horny. So I’m told. The only problem with Court is that her character is off screen quite a bit, and rather underdeveloped. Christopher Lee is his usual dapper self playing the secondary leading man with trademark seriousness and humourlessness. It’s not the best role, but he’s certainly effectively cast. Even better is Arnold Marle stealing scene after scene as Diffring’s upstanding and brilliant – but physically frail – mentor, who is actually a younger colleague. Francis De Wolff (and his fierce facial hair) is also excellent as the inspector. Terrific ending with decent makeup, though one character does seem to get off awfully lightly given events prior.

 

A solid and interesting mixture of Jack the Ripper, Dorian Gray, and a mad scientist film. Anton Diffring is terrific in a multi-faceted performance as a scientist so obsessed with staying alive that he has lost all sense of perspective or morality whatsoever. This is a classy effort from Hammer with a terrific cast, solid direction, and typically excellent production values on a tight budget. Well worth seeking out for fans of Anton Diffring and Christopher Lee. Slightly overstated music score by Richard Rodney Bennett (“The Safecracker”, “The Nanny”, “Billy Liar”, “Four Weddings and a Funeral”).

 

Rating: B-