Most horror fans who know the history of the genre are familiar with the cultural importance of Hammer Studios, as it helped launch the careers of Peter Cushing and Christopher Lee both soared respectively in the acting careers. However, another individual also played a significant role in their careers as well as many others and is still fondly remembered by filmmakers (directors as well as Editors and Cinematographers) that is Terence Fisher.
Once, again the noting of a Horror Icon comes into focus after their date of death, as then one can examine their entire career; and in fairness we, here at The Horror Times, wait 10-years to see if their impact was a great as when they were alive. Therefore Mr. Fisher began his life on February 23, 1904 and sadly passed on June 18, 1980, 45-years later, now in that we are in 2025; he was the first to establish gothic horror in color thereby creative detail frames that shore gruesome depictions with sexual overtones which delighted moviegoers and included the gaze of male teenagers, just a wonderous new market-share that still thrives today.
Terence started his career as a clapper boy in 1933, which is still used today, that individual’s responsibility is to use the clapperboard at the beginning of each take, and not what take it is. From there he rose with his skill and knowledge to assistant editor in 1934 when he earned his first editor credit of Tudor Rose (1936); he stayed in that position until 1947 working with various films; but always honing his skill and eye for what was necessary in telling a story keeping in mind the audience’s enjoyment rather than his.
Debut as Director
Fisher would finally earn his first directing credit in 1948 with A Song for Tomorrow (1948) which included an obscure minor role for Christopher Lee. In fact, in that year, he did three films, which nowadays is unheard of, though three of them were low budget productions his abilities shined through with Lost Daughter (1949) with a much-improved budget. He continued to work for various production houses, and in 1954 he topped his own record and completed five full length features in one year, an astounding feat.
Hammer Studios
Hammer, in the early 1950s, was making low budget thrillers that would feature a b-grade American actor as the films were direct imports for the US market, one film was The Last Page (1951), it would be the first time Fisher worked with them. The studio enjoyed his work ethic and style and kept him on for another picture Wings of Danger (1952) which was known in the United States as Dead On Course (1952) and once again in 1953 for Mantrap.
Peter Cushing and Terence Fisher
Terence’s career took a major change in direction when the opportunity presented itself, as Hammer hired him to direct The Curse of Frankenstein [1957] that starred both Peter Cushing and Christopher Lee in the top-billing, while shown in glorious color led to huge commercial success. He used a script from Jimmy Sangster who had previously worked with Fisher on a different film as his assistant director, and Sangster heavily reworked Shelley’s source novel into a gory tale questioning the morals of science. The film shocked the British censors and elevated Lee from merely a supporting actor into the clear forefront of the horror world. Fisher’s reimaging of the gothic horror film, lead another incredible project from the studio, the Horror of Dracula [1958], with Lee in the vampire lead and Cushing as Helsing.
Once more, with budget considerations, the locations shrunk in scope, which reduced the number of characters needed this resulted in a tighter storyline yet allowed for more atmosphere to build with the gothic tale. One very interesting aspect thanks to the color aspect and Lee’s performance, Dracula finally was able to have carnal sexual desires on full display, something all future vampiric movies incorporated. For practically the rest of his career the horror genre became home, and once again Hammer thought about developing a series of Sherlock Holmes films and started with The Hound of the Baskervilles [1959] with the dynamic duo Cushing and Lee, however strangely the film had a poor showing in box office returns, some point to long-winded story, which ended those films. Seeking another hit, Sangster was assigned The Revenge of Frankenstein [1958], project with 6-weeks to write a script it was another pairing between him and Fisher both earned another successful film that starred Cushing. Peter and Christopher reteamed again in The Mummy [1959], in which Lee injured his back but soldiered through the remainder of the production. Hammer had been working tirelessly on so many projects The Stranglers of Bombay (1959), not quite horror.
Soon enough, he returned to the horror kingdom, by directing a sequel entitled The Brides of Dracula [1960] which starred Cushing as Dr. Van Helsing – another film that sucked the box office dry. Then The Two Faces of Dr. Jekyll [1960] starring Lee and Oliver Reed in first production for Hammer, did not live up to expectations for a positive return on investment. It was distributed by American International Pictures (AIP) and soured the relationship between both Studios until 1970 with director Jimmy Sangster’s Lust for a Vampire.
The studio decided to pivot and give a different assignment which surprisingly was a Robin Hood tale Sword of Sherwood Forest (1960) which had a minor role for Oliver Reed. This lead to Reed achieving the lead in The Curse of the Werewolf [1961] based on the novel ‘The Werewolf of Paris’ by Guy Endore, which was released on a double bill with Shadow of the Cat [1961] directed by John Gilling; this signaled how underperforming the Werewolf flick was even though it was the first time the beast was shown in color. Then in 1962, Hammer invested heavily for their most expensive movie of then The Phantom of the Opera (1962) that starred Herbert Lom and character-actor Michael Ripper (who was in at least his sixth film with Fisher directing); however, it was a massive failure at the box office. Most of the blame lays at screenwriter Anthony Hinds’ extremely loose version of the source material leading to a misguided direction from Fisher.
Director for Hire
After five years Hammer, released him and he became a director for hire, meaning whoever paid got his services. The first out had dreadful results for German company and movie Sherlock Holmes and the Deadly Necklace (1962), starring Lee as Holmes which was a one and done for both men. Then Lippert Pictures hired him for a two-picture deal first a horror-comedy entitled The Horror of It All [1963] which is all but forgotten as ill-received at theaters and a second sci-fi feature called The Earth Dies Screaming [1964].
Shockingly Hammer hired Fisher again, and a blessing was as he reunited with Cushing and Lee for The Gorgon [1964] a well-received production. Terence continued his journeyman pattern and was hired to direct another sci-fi and horror film Island of Terror [1966], that starred Cushing for Planet Film Productions, it earned a mixed bag of reviews, though most enjoyed Terence’s direction and did not rely on jump scares rather build suspense and atmosphere. The film inspired another critically acclaimed horror movie, It Follows [2014]. Once more he returned to Hammer to work on two of their long enduring profitable franchises Dracula: Prince of Darkness [1966] and Frankenstein Created Woman [1967]. He and Lee teamed together for the now cult-classic and highly respected The Devil Rides Out [1968] based on the novel of the same name by Dennis Wheatley from 1934 and condensed by screenwriter Richard Matheson. Sadly, at the time the film was panned by critics and ultimately failed to return a profit, even Lee considered it a serious-tone of Christianity battling devilish-influences. In 1969 he filmed what was considered the conclusion to the Frankenstein story with Frankenstein Must Be Destroyed which included both suspense and engaging scenes for the audiences to enjoy. Terence’s horror career ended with one final film for Hammer, entitled Frankenstein and the Monster from Hell [1974], and Cushing insisted Terence direct; it was clear the director had lost a step his style and direction were behind the times and was a failure at the box office.
Terence Fisher and Christopher Lee in The Devil Rides Out (1968)
Terence Fisher Impact After Death
Therefore, one important thing remains did Terence Fisher have a lasting impression on the cinematic world and horror film genre?
Yes, the genre has had many obvious influential directors with incredible visionary skills and Fisher brought forth exceptional gothic storytelling with emphasis on vibrant color palettes and exceling with limited funding which likely assisted Roger Corman with his productions. However, let’s dive deeper, by looking at a few of his key contributions; namely reimagining the classic Universal Monsters, with a fresh appeal that heightened colorful cinematography and exquisite set designs that enhanced a grandiose visual for audience while masking the cheapness of the production. Furthermore, the visual mastery blended seamlessly elements of gore, violence, and gothic authenticity while introduced both carnal lusts and sexuality. His upbringing in the industry working several different jobs helped him achieve the mastery of lighting, camera angles and especially how well he handled the acting talent, with a more hands off style; that created a more natural manner for the cast to immerse themselves into the scene. For example, in the Horror of Dracula, the usage of shadows projects more sinister atmosphere and occasional misdirection; this is used in countless horror films – both Sam Raimi, Tim Burton, and Peter Jackson have clearly acknowledged his style into their films.
Usage of Shadows in Horror of Dracula
Undoubtingly, Fisher was a skilled storyteller, and he truly incorporated the characters’ depth which is a rarity to develop a horror film. One only needs to examine his movies closely to see what he explored and use the moral dilemmas the characters encounter to show deeper fears in the form of failure or susceptible situations. His approach worked favorably as the depth did not rely on jump scares, rather complexities of taboo topics primarily the crossroads of morality and sexuality leading to fears within audience.
Hence, his character-driven traits compelled stronger layered storytelling to keep the audience engaged, have worked throughout the horror cinema. As well as, his mixture of color, lighting to build upon the shadows, and infer a duality within a scene of good and evil; a striking fixture in many supernatural flicks to manipulate the moods of the viewers.
LINK:
https://www.imdb.com/name/nm0279807/