Asylum of Horrors

TALES THAT WITNESS MADNESS (1973)

"Does anyone here love me?" Joan Collins in Mel, where her husband's attentions shift to a tree which he sculpts into the female form.

OFTEN mistaken for an Amicus portmanteau, possibly because of the contemporary setting, this Freddie Francis-helmed anthology was actually made by World Film Services. TALES THAT WITNESS MADNESS was inspired by Amicus' ASYLUM released the previous year, not least because of its mental patient setting, but also by its general outlandishness. Psychiatrist Dr Tremayne (Donald Pleasence) relates four cases to Dr Nicholas (Jack Hawkins, dubbed by Charles Grey): in Mr Tiger, introverted boy Paul (Russell Lewis) confides with an "imaginary" tiger against a backdrop of warring parents; an inherited Penny Farthing causes trouble for antique dealer Timothy (Peter McEnery) and girlfriend Ann (Suzy Kendall); Mel is a piece of tree art that starts frictions between husband and wife Brian (Michael Jayston) and Bella (Joan Collins); and Luau tells of human sacrifice involving literary agent Auriol (Kim Novak) and her daughter Ginny (Mary Tamm), where the latter is consumed to appease an Hawaiian god.

Based on short stories by actress Jennifer Jayne (credited here as Jay Fairbank) - who played Donald Sutherland's vampire bride in DR TERROR'S HOUSE OF HORRORS - TALES THAT WITNESS MADNESS is as literal and silly as most of the Amicus product, but elevated to watchable status by its cast (save for Novak who broke a four year hiatus to overplay her highly unlikable character after replacing Rita Hayworth). Jayston and Collins are particularly in tune to their slice of camp nonsense, Bella understandably annoyed not just because of her husbands wandering eye, but also because Mel - the name carved into its trunk - is damaging her cream shag pile carpet. If there is any overall underlying trend, it is a festering resentment with domesticity and the routine of married/working life.

In what is potentially the most interesting tale, Suzy Kendall encounters a haunted portrait and a time-distorting Penny Farthing.

Similar to the unevenness inherent in comedy sketch shows, the anthology subgenre is noted for its varied quality. As Mark Gatiss stated in BBC4's A HISTORY OF HORROR, it is fun to piece together your favourite portmanteau stories into a single outing; Mel could provide the icing on the cake to the wackiest, perhaps together with the reptile sequence from SECRETS OF SEX, the vampire film producer storyline from THE MONSTER CLUB, and the killer piano from TORTURE GARDEN. Yet the origins of the multi-tale film are held in much higher esteem, taking a cue from the episodic structure of Gothic novels The Monk and Melmoth the Wanderer (1876 and 1878 respectively). In fact, it was German silent cinema which first embraced the notion with Richard Oswald's EERIE TALES, Fritz Lang's DESTINY and Paul Leni's WAXWORKS. DESTINY, in particular, opens up The Grim Reaper as a leading character, omnipresent force and deadly puppet master.

"Perfectly dry"

CROOKED HOUSE (2008)
A GHOST STORY FOR CHRISTMAS - THE TRACTATE MIDDOTH (2013)
M.R. JAMES: GHOST WRITER (2013)

CROOKED HOUSE stands as a fine companion to the BBC's celebrated GHOST STORY strand of the 1970's.

AIRED over three consecutive evenings on BBC4 in the lead-up to Christmas 2008, CROOKED HOUSE - written and produced by Mark Gatiss - merges the gravitas of M.R. James with the playfulness of the Amicus portmanteau. The three stories concern Geap Manor - a house with "an interesting reputation" - enveloped by a framing story which sees a museum curator (Gatiss) share his research of the Tudor mansion with history teacher Ben (Lee Ingleby), who has brought in an old door-knocker found in his garden. The first tale, THE WAINSCOTING, sees Joseph Bloxham (Philip Jackson) renovating Geap in 1786 after capitalising on an investment which ruined a fellow speculator. As the building work comes to an end Bloxham hears noises behind the interior wooden panels, which have been sourced from gallows. The second story, SOMETHING OLD, is set amongst a lavish 1920's costume ball at the Manor, where Felix (Ian Hallard) announces his engagement to underling Ruth (Jennifer Hignam). However, this happy event is linked to a tragic wedding day and a ghostly bride. And in the modern day final part, THE KNOCKER, Ben discovers that his property is set in the grounds of the demolished Manor, which sees sinister figures from the past pray upon his new born child.

Director Damon Thomas works wonders with a limited budget, and the cast includes a number of individuals in roles they are relishing, such as Andy Nyman (THE WAINSCOTING), Jean Marsh (SOMETHIND OLD) and even illusionist Derren Brown (THE KNOCKER). Geap is portrayed as a constant threat whatever its condition (the house "drew evil to it like a sponge draws in water") and situations are infused with wry humour (the builders ever-expanding schedule, Ruth's family background "in fish.") While the first two tales are entertainingly creepy, the show saves the scariest till last, containing not only a masterful twist but a swath of 1970's-tinted nastiness. It is, however, the abomination - played by 7'3" John Lebar - conjured out of an Elizabethan crib, that will leave you scurrying for safety.

The elemental menace of THE TRACTATE MIDDOTH is stylishly photographed by Steve Lawes.

Gatiss penned - and made his directorial debut - with THE TRACTATE MIDDOTH, a faithful adaptation of James' story first published in the 1911 collection More Ghost Stories. Young librarian Garnett (Sacha Dhawan) has a vision of a skull-like entity while searching for an old tome for John Eldred (John Castle). Garnett takes some leave in the country where he meets Mrs Simpson (Louise Jameson) and her daughter Anne (Charlie Clemmow), who tell him of a missing will that would make them heir to a sizeable inheritance. Unfortunately the document has been written in an obscure book, linking the librarian to late priest Dr Rant (David Ryall): "twisted, he was, twisted, while others had a soul, he had a corkscrew; don't trust him in life or death." On the written page the first appearance of "the figure" is an upper face which is "perfectly dry" with deep-sunk eyes covered in cobwebs; the prosthetics on screen are very much in accord with this suitably crusty visage, and the climax - the second "monster of the week" moment - is effectively carried out in broad daylight.

THE TRACTATE MIDDOTH on BBC2 Christmas Day 2013 was followed by Gatiss' M.R. JAMES: GHOST WRITER. What is most striking about this documentary is how secondary in his life the ghost stories James wrote were; they were almost a hobby, a pursuit after his astonishing achievements as a medieval scholar. Gatiss paints a picture of a sexually repressed man who also viewed his tales as a social device, particularly for readings at King's College's Chitchat Society (where James enjoyed sessions of "ragging," essentially floor-bound genital-grabbing). It is a compelling piece, where we follow James' journey from happy childhood - fascinated with the historical and the supernatural - to his studies, his infatuation with James McBryde, and increasing disillusionment with The Great War.

Dawn of the Doctor

AN ADVENTURE IN SPACE AND TIME (2013)

William Hartnell's Doctor Who - played by David Bradley - among a Dalek, Cyberman and Menoptera, in this promotional image.

WRITTEN by Mark Gatiss, this nostalgic drama made to celebrate DOCTOR WHO's 50th anniversary reveals how the show was nearly exterminated after just four episodes. On the 22nd November 1963, John F. Kennedy was assassinated, plunging the world into deep mourning; the following day the Time Lord debuted at its Saturday tea time slot between GRANDSTAND and JUKE BOX JURY, and even viewers in the mood for such escapist entertainment couldn't necessarily tune in because a power cut blacked out parts of Britain. But there were also tensions behind the scenes; the BBC Head of Drama, Canadian Sydney Newman, ordered the first episode to be totally re-shot to make it more child-friendly, and his decision to assign the BBC's first female producer to the venture - partygoer Verity Lambert - caused frictions between the stuffy crew (though Lambert forged an alliance with young Indian director Waris Hussein). Syphoned off to the depths of Lime Grove Studio D, the team struggled to make the crudest of facilities - and the oldest of cameras - work in their favour. Even Doctor Who himself, William Hartnell, was an aging, grumpy, heavy drinker and smoker, yet he formed a close bond with Lambert, turning around the show's fortunes which was ignited by the introduction of the Daleks (which, in itself, went against Newman's instructions for "no bug-eyed monsters.")

In this docudrama, Verity (Jessica Raine) initially struggles to impress Newman (Brian Cox) with her handling of the project, but eventually wins him over with a new-found brutality and verve, standing by Hartnell (David Bradley) as he struggles with the scientific scripts and the realisation that his film star credentials are now being played out on a children's show. When Hartnell's health declines and his memory is affected, the actor becomes even more frustratingly angry and disorientated, forcing Newman to re-cast the lead role fortuitously creating the notion of regeneration (Patrick Troughton is played by Reece Shearsmith in a Three Stooges wig). One wonders that if Hartnell's health had not deteriorated with arteriosclerosis, the legacy of DOCTOR WHO would have been cancelled after five years or so without the notion of regenerated ever having to be considered.

Daleks over Westminster Bridge; an iconic recreation

from THE DALEK INVASION OF EARTH.

The professional Hartnell/Lambert relationship is at the heart of AN ADVENTURE IN SPACE AND TIME, but this ninety-minute love letter to the past is too fractured and obvious, dialogue-dropping worn facts into a strained sentimentality. Feelings and situations are portrayed like snapshots from a photo comic strip, breezing through the First Doctor's tenure like a fanboys' wish list. And as AN ADVENTURE IN SPACE AND TIME seemingly grinds to its digest-friendly halt, a real gut punch is delivered. There is a moment when Hartnell activates the TARDIS and then, looking across, he sees The Eleventh Doctor (Matt Smith) lovingly caressing the console. This silent, poignant interchange says much about Hartnell’s place in the ever-evolving DOCTOR WHO canon.