Also known as The Vampire Beast Craves Blood, Blood Beast From Hell and Deathshead Vampire, Vernon Sewell’s horror/thriller really couldn’t find the right title for this novel twist on traditional themes. But any film that features both Peter Cushing and special effects by a pre-Alien Roger Dicken deserves a fresh appraisal, and there’s quite a lot to suggest that Sewell’s film is a neglected genre piece.
This is a Tony Tenser/Tigon production, made during the peak of Hammer’s success, and it’s clear that they hoped to find a few franchise-friendly monsters to rival the other studio. So what is the blood beast? Well, it’s a kind of moth, or perhaps a were-moth might be more accurate, since it can take human form; Curse of the Were-Moth presumably tested badly, so Blood Beast Terror it was.
Tigon also took cues from Hammer in terms of casting and approach. Peter Cushing is a name that will always draw genre fans. He was a distinguished and gentle soul who seems to glide around in these films, always polite, even when playing madmen; during the heat-wave scenes here, he never loosens his cravat. He’s ideally suited to Sewell’s production, which is big on drawing room conversations, entomology lectures and the details of coach and horse travel; the setting is the 19th century, but it could easily be the 14th. Cushing plays Detective Inspector Quennell of Scotland Yard, who is trying to solve the murders of several young men. Could Carl Mallinger (Robert Flemyng) and his daughter hold the secret?
There’s some British comedy stalwarts in supporting roles, including Minder’s Glynn Edwards as a cop and Roy Hudd re-invigorating the cliché of the post-mortem medic who loves to eat on the job. An additional point of interest in the female were-moth, played by Benedict Cumberbatch’s mother, Wanda Ventham. It’s not easy for an actress playing a were-moth, but she gives it a good shot.
Cushing reputedly wasn’t wowed by the result, but there’s quite a lot of fun here, notably the beast in a chrysalis form thanks to Dicken. And there’s also an extended theatre-play within a film that features medical students performing a version of Burke and Hare. It seems pointedly aimed at making fun of the Hammer brand, and stops the action in its tracks for a good ten minutes. But the cardboard set, unconscious humour and stilted acting are all on-message with The Blood Beast Terror’s playful genre reconstruction; its another nice find on the impressive Flick Vault channel.