Lovesusti The Worst Film Ever

Jeanskynebu the audience applauded

Lollivan It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Bea Swanson This film is so real. It treats its characters with so much care and sensitivity.

Edgar Soberon Torchia This entertaining adventure drama about smuggling in late 18th century is somehow betrayed by its low budget, more evident in the ship wrecking scenes, under furious storms. It tells the story of a British coastal town laden with taxes, where almost everybody has turn to smuggling to make ends meet. The action never stops with good rhythm and precise dialogue, and the enjoyment is evident in the actors' faces. All the cast is very effective, with Peter Cushing as a magistrate with a secret that haunts him, Bernard Lee as the villain before playing M to Sean Connery's James Bond, John Fraser as a dashing young swordsman and William Franklyn as a highwayman that becomes a hero. With pretty Michèle Mercier as the love interest, June Thorburn as Cushing's daughter and Liz Fraser in one of her best early roles as waitress-spy, this is one of John Gilling's best contributions to period drama.

Leofwine_draca Although primarily known for their horror output, Hammer Studios did a handful of pirate/smuggling/swashbuckling movies back in the early '60s, and this is one of the most well-known. Unfortunately, it's an exceedingly dull affair, that never really becomes exciting – even during some acceptable fencing and sword-fighting bouts. Why is the film so dull? Well, it's a mystery, not least because John Gilling is the man who bought us the excellent and atmospheric PLAGUE OF THE ZOMBIES.FURY AT SMUGGLERS' BAY retains the same kind of rugged, wild settings on the Cornish coastline, so at least the scenery is very easy on the eye. And another plus is the casting – Hammer have amassed a bunch of dependable, believable actors for all the parts, top-lined of course by Cushing's indomitable Squire Trevenyan. Although Cushing is a good guy this time around, he's just as cold and ruthless as Baron Frankenstein, even more so in some instances! Cushing is ably supported by Bernard Lee, chewing the scenery as the wrecker, Black John. Lee would, of course, go on to great fame as 'M' in the James Bond films, and he's just as good here.The young, dashing, romantic males are played well by John Fraser and William Franklyn, who both bring charisma to their parts, and they in turn are supported by some engaging love interests – especially Michele Mercier (AVENGER OF THE SEVEN SEAS), who has got to be one of the finest French women in existence! Liz Fraser is thoroughly alluring as the buxom blonde waitress. There are lots of familiar faces lower down in the cast list, including Miles Malleson in yet another amusing cameo (after Dracula), Maitland Moss, and George Coulouris. For my money, though, all these guys have their thunder stolen by two ethnic actors – the first is Christopher Carlos, whose hulking pirate is a real brute, the second is a young Indian lad known only as 'Juma', who's pretty handy with a knife.The film's storyline is a little convoluted, but bolstered by plenty of action, from shoot-outs to fist-fights, to fencing bouts. There are some twists and turns that are quite engaging and the music is, as always for a Hammer film, spot on. Nevertheless, the entire movie seems devoid of excitement, even during the climax; it just seems routine rather than engaging.

Spikeopath Fury at Smugglers' Bay is directed, produced and written by John Gilling. It stars Peter Cushing, Bernard Lee, John Fraser, Michèle Mercier, William Franklyn and George Coulouris. Out of Regal Films International with music scored by Harold Geller and Eastman Color/Panascope photography by Harry Waxman.18th century England on the Cornish coast and a fearsome band of Wreckers are luring ships on to the rocks so as to plunder the cargo.There was a mini pirate/smuggler/swashbuckler based film revival in early 60s Britain, John Gilling was a key player in that revival. Sadly this, one of the first to show its face, is a mundane and schizophrenic piece. The story is safe enough, where a village indulges in "light" smuggling but come under threat by "big boy baddies" who prefer to cause carnage as well. Into the mix comes hidden secrets, forbidden passions and kidnap. It should be a recipe for good period costume malarkey, but Gilling, who was capable of excellent work (see The Flesh & the Fiends/The Reptile), provides a poor script and unimaginative direction. It's also sad to see the great Peter Cushing turn in a half hearted performance, but again much of that can be attributed to the script that fails to give his character any meaty purpose, with the big "secret" at the core of plotting about as weak as it gets.Irritation is further compounded by the look and sound of the picture. For interiors we do get good period flavours, with the costumes (Phyllis Dalton) and colour lensing feeling authentic, but once the picture goes outside, which is for most of the run time, it loses the feel. The day for night blueness for night sequences dulls the viewing and Waxman's photography around the locale, which is not Cornwall but Abereiddy in Wales, sadly looks like it's 1960 and not 1789. Waxman (Twisted Nerve/The Wicker Man) was a very good cinematographer, but his work here represents a big fail. The editing (John Victor-Smith) is off, where characters sort of mill about in the narrative without achieving anything, and Geller doesn't know if he is scoring a comedy or a period drama!There's some value in watching a pre-James Bond franchise Bernard Lee belching and brooding, while the finale is certainly rousing enough. Yet it looks and plays cheap, something that the similar genre films out of Hammer Productions didn't suffer from, this in spite of the same budget restrictions. It's noted that the original cut of the film was around 92 minutes, where now it runs at just 82. The missing 10 minutes may have helped the flow of the story, but it's highly doubtful it would improve the film as a whole. 5/10

JHC3 This tale of shipwreckers in rural Cornwall was inspired by the real history of the area. The brutal tradition of shipwrecking has been covered in a number of films and is truly worthwhile subject for dramatization. One would have thought that with a director like John Gilling and a star like Peter Cushing that a well done tragic story would result.Peter Cushing plays Squire Trevenyan. The Squire is the sole judge and jury for the area and is periodically backed up by soldiers. His efforts succeed in nabbing a group of smugglers/wreckers, but only provokes more violence. Soon, his beloved son is the target of a kidnapping plot aimed at obtaining freedom for the captured criminals.This is truly a well crafted film. It seems to have the makings of an excellent film: strong cast, excellent shooting locations, good cinematography, and strong production values. Unfortunately, the story just didn't grab me. The result was tepid. In fact, "dull" is closer to the mark. Nevertheless, die hard fans of Peter Cushing, John Gilling, or the genre should probably still give it a chance. Perhaps others will see something in it that I missed. I really wanted to like this film, I really did.