The Top 10 Hammer Horror Films

As I continue with Peter Cushing Month here on this blog, I have decided to do something a little different. It is a well-known and documented fact that Cushing gained most fame at Hammer Studios, and Hammer's impact on the history of horror films is just as well known. So today, I count down the Top 10 Hammer horror films. Let it be known that I have not seen every one of Hammer's films, so the following list is made up of my ten favourites. So, without further ado, let's begin.

#10 - The Two Faces of Dr. Jekyll (1960) - Also known as House of Fright, Hammer's unorthodox adaptation of Robert Louis Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde flips the story on its head. By having Jekyll become a handsome, debonair Mr. Hyde, actor Paul Massie shows off an evil which can lurk inside just about anyone. The film is dripping with atmosphere and, despite being made fairly early in Hammer's repertoire, is not for the faint of heart.

The Two Faces of Dr. Jekyll also boats fine performances from Dawn Addams as Jekyll's deceitful wife and Christopher Lee as an equally deceitful friend. But Paul Massie really does steal the show as Jekyll and Hyde and manages to send a few shivers up and down the audience's spines. Though rather downbeat in nature, the film is elevated by some black comedy. In all, its a handsomely made, well-acted horror film and a nice, though dramatically different, adaptation of Stevenson's beloved classic.

#9 - Dracula Has Risen from the Grave (1968) - The third film to feature Christopher Lee as Bram Stoker's vampire count, Dracula Has Risen from the Grave finds the vampire out for revenge after a traveling priest exorcises his castle. Traveling to the priest's village, Dracula spreads terror wherever he goes as he sets his sights on the priest's niece (Veronica Carlson).

Dark in tone and suspenseful in execution, Dracula Has Risen from the Grave may not feature Hammer's most complex plot, but it nicely features Lee in the role of Dracula. There is also something incredibly moody about the film, making it Hammer's most atmospheric horror film. Rupert Davies co-stars as the heroic priest who wonderfully contrasts the epitome of evil that is Lee's Dracula. Veronica Carlson makes her Hammer debut in this film and she proves to be an excellent actress. Her acting chops truly show on a film further down this list. Though not as memorable as some of the other installments in Hammer's lengthy Dracula series, Dracula Has Risen from the Grave makes for an entertaining horror film and it proves that even sequels to incredibly successful films can be quite enjoyable.

#8 - The Phantom of the Opera (1962) - Hammer's adaptation of the beloved Gaston Leroux novel is quite atypical for the studio. Scaling back on the level of violence and blood, Hammer's Phantom of the Opera is nevertheless an atmospheric, thoroughly creepy film. Herbert Lom stars as the Phantom in an underrated and well-done performance. Interestingly, Hammer's first choice to play the Phantom was (of all people) Cary Grant, which might explain why the horrific nature of the film is toned down a bit.

The rest of the cast performs admirably. Heather Sears makes for a fine Christine, the Phantom's protege. Edward de Souza appears as the film's hero, and Michael Gough is wonderfully evil as the movie's true villain. (For all you Doctor Who fans, Patrick Troughton, the Second Doctor, puts in a brief appearance as well.) The film also features an original score as well as an original opera which is performed throughout the movie. It is a beautiful composition, and the scene in which the Phantom gets to see his work performed is truly moving. This version of the story was also the first to have the Phantom play Bach's Toccata on the organ, an iconic image when it comes to all things Phantom of the Opera. In all, The Phantom of the Opera is an excellently realised, beautifully executed, though very atypical horror film.

#7 - Frankenstein Must be Destroyed (1969) - Peter Cushing's penultimate turn as Baron Frankenstein sees the monster-maker at his nastiest. After committing a foul murder, Frankenstein flees town and, under an assumed name, takes up residence at a small rooming house (run by actress Veronica Carlson). Soon, Frankenstein is up to his old tricks again as he sets to work creating another Creature.

Frankenstein Must be Destroyed has just about everything which made Hammer horror so successful. Cushing simply cannot be topped in his role as the Baron, which truly shows Cushing's versatility as an actor. He could play roles on both sides of the law equally well. Veronica Carlson co-stars as Anna, the owner of the rooming house, and she proves to be one of the best actresses in all of Hammer's horror films. Also featured in the cast is Simon Ward as Anna's boyfriend who becomes wrapped up in Frankenstein's schemes, Freddie Jones as the Creature and Thorley Walters who is on hand to supply some comic relief as an inept police inspector. Frankenstein Must be Destroyed is one of Hammer's most triumphant hours, and one of the last films which the studio released which can be given universal praise.

#6 - Cash on Demand (1961) - If I had more time I would devote an entire review to this fine film. You could argue that it isn't quite a horror film, but must still be put on this list as it is a contemporary thriller. Peter Cushing stars as Mr. Fordyce, the manager of a small London-based bank. One afternoon a man (Andre Morell), claiming to be his superior arrives at the bank, but it transpires he has come, equipped with a complex scheme to rob the bank, with Fordyce's unwilling assistance.

A criminally underrated film, Cash on Demand proves to be one of Hammer's finest films as its entire plot relies on the performances of Cushing and Morell. The two actors are brilliant and they add a great deal to this tale of suspense. Set entirely in the bank, the film has an unnerving sense of claustrophobia about it, which makes it a truly intense experience to watch. Again, though not a horror film per se, it is a thriller of the very best kind and is a must-see for fans of Hammer and Peter Cushing alike.

#5 - The Brides of Dracula (1960) - This is where the task of counting down the top ten becomes far more difficult as these next five films are all excellent in their own ways. Nevertheless, number five is The Brides of Dracula, a sequel of sorts to 1958's Dracula which doesn't feature Dracula at all!

All the same, The Brides of Dracula is one of Hammer's most entertaining films and probably the most fun of all the movies which they made to watch. Once more starring Peter Cushing as Van Helsing it finds the intrepid vampire hunter fighting evil once more, this time in the form of the monstrous Baron Meinster (David Peel). The Brides of Dracula is the closest any horror movie will come to being a swashbuckling adventure as it moves from one dramatic set piece to the next. Yet, the movie manages to take its subject matter incredibly serious with Cushing adding multiple layers to the film as does Martita Hunt as the Baron's mother. Combining horror and adventure, The Brides of Dracula is a very entertaining way to spend one's time if they're in the mood to watch a bit of Hammer horror.

#4 - The Hound of the Baskervilles (1959) - I'm sure that my regular readers so this one coming a mile away. Hammer's only foray into Sherlock Holmes territory ended extremely well as the studios' adaptation of Arthur Conan Doyle's most famous detective novel is probably the most atmospheric and one of my favourites.

Perfectly cast as Holmes, Peter Cushing turns in one of his best performances as Holmes and is partnered with Andre Morell who is one of the screen's best Dr. Watsons. Christopher Lee makes for a fine Sir Henry Baskerville and they all perform against one of Hammer's most atmospheric backdrops. The Hound of the Baskervilles brilliantly captures the ghost-story like air of Doyle's novel, and to this day and deliver a chill or two to its audience. There were hopes that the film would be the start of a Sherlock Holmes series for the studio, but low box office returns did not bring this to fruition. Nevertheless, the film is a timeless mystery and one of the best examples of what Hammer was capable of during their heyday.

#3 - The Curse of Frankenstein (1957) - This film must be included on the list as it, more so than any other Hammer horror film, revolutionised the horror genre. Mary Shelly's incredible Gothic horror tale is lovingly brought to life on screen and not only did it change the future of horror films, but was the first movie to pair Peter Cushing and Christopher Lee on screen.

The Curse of Frankenstein features Cushing's breakthrough role as Baron Frankenstein, obsessed with bringing a being from the dead back to life. Expertly handled by its principle cast, as well as director Terence Fisher, The Curse of Frankenstein would prove to have all the right ingredients for audience's tastes, and the formula for horror was repeated countless times throughout each of the studio's coming attractions. In my mind, The Curse of Frankenstein is sadly overlooked today as being one of the most important films in the history of cinema. Try to imagine the horror genre today without it.

#2 - The Curse of the Werewolf (1961) - Another unorthodox horror film, The Curse of the Werewolf ignores the traditional conventions of werewolf cinema, and finds its protagonist, Leon (Oliver Reed) being born a werewolf due to his status as an "unlucky" child. The film is dark and brooding, not featuring the traditional black comedy of Hammer's early efforts, but that fact only heightens the drama of the story.

Oliver Reed is brilliantly cast as Leon and his role in this movie would lead him to stardom. The rest of the cast is equally excellent including Clifford Evans as Leon's sympathetic father figure, Catherine Feller as the woman Leon loves and Anthony Dawson as an evil marquis. The Curse of the Werewolf is also notable in Hammer's repertoire for being set in the eighteenth century Spain as opposed to nineteenth century England. Special mention must also go the make-up as Oliver Reed's werewolf is one of the finest I have ever seen, and the transformation scene is brilliantly executed. The Curse of the Werewolf might have been Hammer's finest film if it weren't for...

#1 - Dracula (1958) - This adaptation of Bram Stoker's novel holds a special place in my heart one reason above all others - it was the first Hammer horror film I watched after I mustered up the courage to do so. It is a brilliant film, not only for its depiction of Stoker's famed vampire, but due to an excellent plot and performances.

Again, Peter Cushing shines in the starring role of Dr. Van Helsing, vampire hunter extraordinaire who will stop at nothing to rid the world of the vampire plague. Cushing's performance is one of his best and alongside Michael Gough and Melissa Stribling, the three turn in grand performances. Of course, Christopher Lee's Dracula is the main attraction, and Lee's performance changed vampires forever. Lee's bestial vampire is truly a terrifying presence on screen and I think solidifies this movie as a true classic.

So, there we have it - my top ten favourite horror films released by Hammer Studios. Again, I have not seen every single one of Hammer's releases, so if you think that I;'m missing something on this list, I'd like to know. Or, do you agree with my ten selections. Feel free to leave a comment below and make sure you check back in for my next Peter Cushing review.

Review - "The Mummy" (1959)

With the great successes of The Curse of Frankenstein and Dracula (1957 and 1958 respectively), Hammer Studios' next Gothic horror turn would be yet another remake of a Universal horror film. This time the studio would be filming The Mummy, the subject of this review for Peter Cushing Month.

Before we go onto the review proper, I feel that a little bit of history is needed. Universal Studios' The Mummy was a great success upon its initial release in 1933. Boris Karloff, coming off of the recognition which came with his portrayal of the Frankenstein Monster in 1931's Frankenstein was a solidified as an international star and he became known as "Karloff the Uncanny." Curiously, Universal never made a sequel to the much-loved film, and when they did revisit the Mummy, it was an entirely different story. 1942's The Mummy's Hand, the first in Universal's new Mummy series is a personal favourite of this writer, and Hammer's 1959 remake owes a quite a bit to that film as well as its subsequent sequels.

The Mummy (1959) begins in Egypt, 1895. Archaeologist Stephen Banning (Felix Aylmer) is determined to find the tomb of Egyptian High Priestess Ananka. After months of futile digging, he and his brother Arthur (Raymond Huntley) and his son John (Peter Cushing) uncover the long lost tomb, but no sooner has Banning set foot inside the tomb does he suffer a nervous breakdown and go mad. Three years later, Banning, know residing in a mental institution calls for his son John, warning him of a mummy who is out to kill all those who desecrated Ananka's final resting place. John believes these are the ravings of his disturbed father, but when Banning is found murdered, John starts to think that there may be some credence to his father's story.

The Mummy strikes different chords within me. It is sadly one of the few Hammer horror film I have seen which I cannot give universal praise. While it is by no means a bad movie, it is far from perfect, and I think its main problem lies within its plot. Whereas other Hammer horrors boasted fantastic, suspenseful plots, The Mummy features a story which is far more languid and leisurely paced. Little suspense can be wrought from the plot, and when the film surges into a flashback, it feels as though the action has come to a dramatic and unnecessary halt.

Christopher Lee (left) and Peter Cushing (right) in 1959's
The Mummy

The cast does make up for some of the story's faults, though not entirely. Peter Cushing is good as John Banning, though he is a bit too old to be playing the character. Cushing was naturally a very mature actor and in all of his scenes he comes across as being akin to his performances as Van Helsing or Sherlock Holmes in that he is ready to take on whatever the ancient Egyptian Gods throw his way. There is nothing wrong with the performance, but I felt as though John Banning should perhaps have been a bit more naive and a bit less likely to grasp the concept of ancient curses and a mummy back from the dead.

The other star attraction is, of course, the Mummy, played by Christopher Lee. As Kharis, an ancient Egyptian high priest, who defiled the Gods in trying to restore his love Annaka to life, Lee's mummy is a force to be reckoned with. Physically Lee is very imposing, using all of his six feet four inches to his best advantage as the unstoppable mummy, but he seems underused in the film. During the flashback set in ancient Egypt, Lee seems slightly uncomfortable as the high priest, but the same seems to apply to all of the actors dressed in ancient garb during this sequence.

The rest of the cast is pretty unmemorable, though their acting is fine. Yvonne Ferneaux is severely underused as John Banning's wife Isobel and Eddie Byrne is pretty "by the numbers" as a police inspector. George Pastell walks away with top honours in this film as the determined follower of the ancient Egyptian Gods who unleashes the mummy on the world. The scene in which he confronts Cushing's Banning is probably the film's highlight.

In all, The Mummy is not a bad film but it suffers from a slow plot and under-developed characters. Despite the valiant efforts of both Peter Cushing and Christopher Lee, the film cannot overcome these problems. But, I implore you not to come away thinking this movie is a train wreck. There are some show-stopping moments and it serves its main purpose to entertain its audience. Therefore I give The Mummy 3 out of 5 stars.

Peter Cushing: A Sherlock State-of-Mind

What would this celebration of Peter Cushing Month be without a look at Cushing's multiple turns as the world's greatest detective. The only problem is: I have reviewed all of Cushing's performances as Sherlock Holmes - in some cases multiple times! So, to save myself from repeating myself, I have included links below to some of my posts about Peter Cushing and the great detective.

Peter Cushing - The Immortal Sherlock Holmes?

Avoid the Moor in those Hours of Darkness...
The Horror of the Hound

Review - Sir Arthur Conan Doyle's Sherlock Holmes (1968)

Review - The Masks of Death (1984)

Review - "Dracula" (1958)

"Who will be his bride tonight"? "The terrifying lover who died - yet lived." Though extremely lurid in nature, Hammer Studios certainly knew how to attract attention to the next horror film following the commercial success of The Curse of Frankenstein. It seemed like an obvious choice to follow up Mary Shelly's Gothic masterpiece with the epitome of horror novels, Bram Stoker's Dracula. Today, more than fifty years since its first release, Hammer's Dracula is an engaging and entertaining bit of horror cinema, and one of the finest horror films ever made. Today we continue with Peter Cushing Month by looking at 1958's Dracula!

Before I take a look at the film itself, I think it would be best to look at the history of Dracula. Published in 1897, Bram Stoker's novel had held audience's attention in many forms. Almost as soon as Stoker's book was published he attempted to adapt it to the stage, trying to cajole the great actor (and his boss) Sir Henry Irving to play the part. Irving, apparently so disgusted with the part, refused to appear. However, Dracula's many stage incarnations was still in its infancy. In the 1920's Irish actor and playwright Hamilton Deane decided to bring the horror novel to the stage and set about writing a play with the help of John L. Balderston. What eventually transpired changed the history of Dracula forever as a little-known Hungarian actor named Bela Lugosi stepped into the role of the vampire, instantly mesmorising audiences. The screen adaptation which followed in 1931 was the catalyst for the Golden Age of horror films which followed.

Interestingly Hammer's Dracula does not follow the plot of Stoker's book, nor does it seek inspiration from the famed play. Instead, Jimmy Sangster (who had also scripted The Curse of Frankenstein) streamlines the plot, cutting out many characters, but heightening the suspenseful game of cat-and-mouse bewteen good and evil. Jonathon Harker (John Van Eyssen) has traveled to Castle Dracula on the pretense of acting as Count Dracula's new librarian. However, Jonathon's true mission is to kill Dracula (Christopher Lee) who is a vampire. Dracula traps Jonathon in the castle and turns the tables on his would-be assassin. After Jonathon's abrupt disappearance, Dr. Van Helsing (Peter Cushing), who had employed Jonathon in his task, journeys to Castle Dracula, only to find that Dracula has vanished. When Jonathon's sister Lucy falls victim to the vampire, Van Helsing swears that he shall stop Dracula, no matter what the cost.

Peter Cushing as Dr. Van Helsing

Dracula was really the movie which put Hammer on the map as the new leader in horror films. Everything about the film is brilliant - its atmosphere, its acting, its plot. Everything comes together so well to make a truly engaging movie-going experience. In my mind, the film's greatest asset is its script, which thought streamlining the Dracula story considerably manages to generate great suspense, and unlike some moments in The Curse of Frankenstein, there is never a dull moment. The hunt for Dracula's resting place becomes a frantic race-against-the-clock which makes for real edge-of-your-seat entertainment.

Peter Cushing is simply unmatched in his performance as Van Helsing, vampire hunter extraordinaire. Though Van Helsing is described in Stoker's novel as an older Dutch professor, Cushing's portrayal is much more akin to Sherlock Holmes. This Van Helsing is a young man of action who isn't afraid to go toe-to-toe with the villains of the piece, and come the blood-and-thunder finale, exhibits some athletic prowess which would make a swashbuckler surprised. Cushing's Van Helsing is also slightly aloof and at times condescending, but he is nevertheless an agent of good, and despite a somewhat prickly exterior, you cannot help but be instilled with the knowledge that good with triumph. Interestingly, Hammer was banking on Cushing's name for the film - his name appears above the film's title in the opening credits, but as the Dracula series progressed, Christopher Lee's count would take centre stage. Peter Cushing's Van Helsing would not cross paths with Lee's vampire again until 1972's Dracula A.D. 1972.

So, what of Christopher Lee's Dracula? It would be unfair to compare Lee's Dracula with Lugosi's as the two men's performances couldn't be more dissimilar. Lee's Dracula is a monster - there is very little humanity left in him, and Lee's red-eyed, fanged vampire is pretty nightmarish. Interestingly, Lee's Dracula has only 16 lines of dialogue throughout the film and speaks to no other characters other than Jonathon Harker.

The rest of the cast is equally fine. Michael Gough runs the gambit of emotions throughout the film as the once stiff and upper-crust Arthur Holmwood. Melissa Stribling plays his wife Mina who becomes the object of Dracula's reign of terror, and Stribling's performance adds an unnerving note of sensuality to the film. In the unforgettable scene in which Dracula corners Mina in her room, Stribling seems to greatly anticipate the vampire's bite - almost biting her lower lip "as if she were a school girl with a crush." Dracula also boasts some fine black comedy performances including George Benson as a n easily-bribed border crossing guard and Miles Malleson as a comedic undertaker.

Dracula is released in 1958, and when released in America, the name was changed to Horror of Dracula in an effort not to confuse the film with the 1931 original which was being re-released at the time. Since its release, there have been countless other Dracula films - the vampire count is the second most adapted literary character of all time (Sherlock Holmes being the first). Though some subsequent films may have eclipsed Hammer's film, I still hold Dracula in very high regard. I therefore give it 4.5 out of 5 stars.

Review - "The Curse of Frankenstein"

Here's a bit of history. Horror films were at their height in the 1930's and '40's. Universal Studios dominated the horror market, but it wasn't long before other Hollywood studios such as 20th Century Fox, M-G-M and RKO jumped on the bandwagon. It is generally accepted that horror died out in the late 1940's and that a new breed of film emerged to tingle the spines of audiences - sci-fi. Movies such as It Came From Outer Space, Creature from the Black Lagoon and The Blob were this period's most famous offerings - the nostalgia of vampires, swirling mist and monsters seemingly long forgotten.

That is until Hammer Films decided to remake Mary Shelly's immortal novel Frankenstein as a full-fledged horror film. Gothic horror was about to make a dramatic comeback, and the eventual product, 1957's The Curse of Frankenstein would redefine horror films forever. Today, we begin Peter Cushing Month as I review this still powerful and entertaining film.

The Curse of Frankenstein begins in a small Swiss hamlet where the once noble Baron Frankenstein (Peter Cushing) is imprisoned for murder. A priest arrives at the Baron's cell and the Baron begins to tell his unfortunate story. As a young medical student, Frankenstein became interested in the secret of life, and, with the help of his tutor Paul Krempe (Robert Urquhart), successfully restored life to a dead dog. But Frankenstein's ambitions get the better of him. He is determined to create a man himself, to build a human being from scratch. In his quest to do so, Frankenstein turns to lying, grave robbing and even murder. In obtaining a brain for his creature, something goes terribly wrong, and once it is fitted into the cranium of the monster, terror ensues as the Creature (Christopher Lee) is brought to life and begins to terrorise the countryside.

The Curse of Frankenstein is an incredibly handsomely-made film, made even more stunning when one remembers it was the first of its kind. Prior to the film's release, Hammer had dabbled in science fiction horror, but most of their previous ventures had been in black and white. Even though The Curse of Frankenstein was made on a minimal budget, it certainly doesn't show. The sets, costumes and acting is all top natch. The quality of Hammer's early horror films in part inspired Alfred Hitchcock in making Psycho - the director took it upon himself as a challenge to create a high-grossing horror film made on a low budget.

The acting is The Curse of Frankenstein's finest achievement. The main focus of the movie is shifted from the Creature to Baron Frankenstein himself, expertly played by Peter Cushing. Though Cushing has gained the reputation as the good guy, or the gentle man of horror films, his characterisation of Baron Victor Frankenstein is one of pure evil. Frankenstein is a vainglorious, self-obsessed man, driven purely by his scientific desires - and the occasional tryst with maid Justine, out of eye-shot of his fiancee. Cushing's villainous performance couldn't be heightened if he were oozing slime every time he spoke. But, what is so brilliant is that we cannot help but feel for Baron Frankenstein. We see that he is an adulterer, grave-robber and murderer, and yet we are sucked into his word of villainy. It is simply a mesmorising performance.

But what a Frankenstein movie would be complete without a creature? Though granted little actual screen time, Christopher Lee's performance as the Creature is a powerful and imposing one, due in part to Lee's impressive physicality. The Creature, as played by Lee, comes across as a genuine threat, and is fairly unpredictable. This heightens the horror of the Creature's scenes dramatically. A word must also be said for the make-up, an original concept by Hammer make-up artists, which was created last minute when Universal Studios (who owned all copyright claims to the famous make-up as worn by Boris Karloff in their 1931 original) threatened legal action. So, we're given a very human-looking Creature - two different coloured eyes and scars not withstanding.

The Curse of Frankenstein is also fortunate enough to have an excellent script written by Hammer regular Jimmy Sangster. Sangster's story is fast-paced and energetic, moving from one great set piece of the next. There are also few scenes set outside of Frankenstein's castle, lending the story an air of claustrophobia which lends the movie an extra aura of suspense and horror. Sangster would come to script many more of Hammer's ventures and his story for The Curse of Frankenstein is an excellent example of Hammer's writing at its best.

The Curse of Frankenstein still holds up remarkably well today, due no doubt to the excellent performances from its principle actors, which truly never goes out of style. Peter Cushing turns in one of his best, villainous performances and opposite Christopher Lee's excellent performance as the Creature, The Curse of Frankenstein stands out as one of the finest horror films of the period. The film would also push the envelope in what was acceptable in horror films, and it would pave the way for Hammer's future offerings. I award The Curse of Frankenstein 4 out of 5 stars.

Check back regularly for more Peter Cushing reviews! 

The Top 10 Greatest Television Sherlock Holmes (Of All Time) Part II

Well, let's not waste anymore time. I'd like to think for the past week you've all been mulling over what my top five picks would be. If that's not the case, so be it. But, anyway, let us continue.

#5 - The Crucifer of Blood (1991) - This at times flawed, but harmless Sherlockian effort was born from the mind of Paul Giovanni's successful play of the same name. I admit to having a soft spot for this adaptation, as I find it an enjoyable film, though not perfect. The main reason to watch is the plot, which is a streamlined version of The Sign of Four. The new plot heightens suspense and manages to condense a lot of the novel's exposition. What's more, the climax plunges into the realm of film-noir, something lacking in most Sherlock Holmes films.

Charlton Heston, whose filmography is as long as one's arm, if not longer, takes a reasonable stab at the role of Sherlock Holmes, and pulls off the role well. What's more, Heston seems to be having a grand old time playing the great detective, and honestly who could blame him? Richard Johnson's Watson is more level-headed and serious than the norm, but too old to be romancing Miss Irene St. Clair (played by Susannah Harker), and their scenes together are positively cringe-worthy. A solid cast of familiar English character actors also put in appearances. Edward Fox's Major Ross is the epitome of stubbornness and antagonism and Simon Callow's Inspector Lestrade is a fun, though dim-witted police representative. The Crucifer of Blood is a fun, theatrical yarn and comes recommended from me, though I daresay this made-for-television film may not be everyone's cup of tea.

#4 - The Hound of the Baskervilles (2002) - I know what is going through your mind: How could this be on a Top 10 List? Or, How can this be so close to number one? I'll tell you how: it's because it is my Sherlockian guilty pleasure. By no stretch of the imagination a perfect adaptation, this version of Hound boldly tried to do something different, taking the well-loved novel and putting a more contemporary spin on things. A true sign of the times, this adaptation features a rough-around-the-edges detective, as played by Richard Roxburgh, who takes the law into his own hands on more than one occasion. Paired with Ian Hart, one of the better Watson's of recent times, the two are an unusual, and rather dark version of Doyle's intrepid heroes.

The Hound of the Baskervilles isn't shy when it comes to atmosphere either, with a moody score and evocative location filming on the Isle of Mann. There's also a bit of fun to be had from Richard E. Grant's Stapleton as well as a truly creepy seance held by Dr. and Mrs. Mortimer at which the hound makes a truly startling appearance. Speaking of the hound, the computer-generated demon dog, though pretty unconvincing, seems to be a force to be reckoned with. All in all, The Hound of the Baskervilles is an oft-critised adaptation, and though not perfect in every respect, makes for entertaining viewing when one is open to a change of pace.

#3 - The Sign of Four (1983) - Ian Richardson, star of 1983's The Sign of Four is a sadly overlooked name when it comes to Sherlock Holmes. He shines his brightest in this version of Doyle's novel, which brilliantly takes Doyle's novel and enthuses it with elements of true Gothic horror. This tinge of the horrific is what makes me rate this particular adaptation so highly. Included herein: a brawl between Holmes and Tonga, the deadly pygmy, a chase aboard a fairground merry-go-round and through a hall of mirrors and a rip-roaring boat chase down the Thames.

Aside from the excellent Ian Richardson are some equally fine performances. David Healy makes for a good foil as Watson, Joe Melia is a creepy, one-legged Jonathon Small, Clive Merrison, BBC Radio's Sherlock Holmes, is a thoroughly malicious Bartholomew Shalto and Thorley Walters is at his manic best as John Shalto. Yet, none of them can match Richardson, surely one of the best actors to take on the role of the great detective. Taking the part to heart, Richardson's performance is distinctly Doylean in style, prefiguring both Jeremy Brett and Benedict Cumberbatch, and it is easy to picture Richardson when one reads the canon. Though he returned to the role for a second time in The Hound of the Baskervilles (1983), The Sign of Four is a more entertaining and thoroughly remarkable Doylean adaptation.

#2 - Sherlock: A Scandal in Belgravia (2012) - There was no doubt that Sherlock was going to be represented on this list, it was just a matter of which episode and where will it fall? Of all the episodes (and there's only nine to pick from), the one I had to showcase was the brilliant A Scandal in Belgravia, arguably the finest 90-minutes committed to television screens in the last decade. Right from frame one and its resolution to the Series 1 cliffhanger to the end of the credits, A Scandal in Belgravia is a roller coaster ride of suspense, thrills, laughs and tears.

The episode brilliantly balances character pieces and writer Steven Moffat expertly peels back the outer layers of the great detective's being looking at Sherlock Holmes, the man. Benedict Cumberbatch handles himself brilliantly in the episode as does Laura Pulver as Irene Adler. Though somewhat side-lined, Martin Freeman's John Watson is always likable and Mark Gatiss' Mycroft is at his manipulative best. Complimenting the fine performances are the wonderful references to the canon which is willing to bring a smile to any Sherlockian's face. A Scandal in Belgravia is a beautifully executed episode, and surely the crowning achievement in this brilliant television run. So, how could anything top it?

 #1 - The Adventures of Sherlock Holmes (1984-1985) - Unlike my other television show picks on this list, I could not narrow this down to one episode. Jeremy Brett's debut performance as Sherlock Holmes is the finest set of Sherlockian adaptations ever made. With beautiful attention to detail and acting as a loving tribute to Doyle's work, The Adventures of Sherlock Holmes is elevated by fine writing and truly awe-inspiring acting. Watching this series always reminds me just how fine Jeremy Brett's portrayal of the great detective truly is.

To work with Brett is the finest Dr. Watson the screen has ever seen in the form of David Burke. The two share such fine screen chemistry, which makes their performances so much more genuine and come the season finale in The Final Problem, all the more moving. While the quality of Granada Television's Sherlock Holmes series' were consistently high, their debut season, The Adventures of Sherlock Holmes is the high water mark. Surely if a Sherlockian has not seen this series, they are missing something brilliant, and it must be seen as it provides some of the finest adaptations of the Conan Doyle canon ever made.

Well, that's all for yet another Top 10 list. What did you think this 'round? A bit more controversial than my Top 10 Movie list? Any TV shows or television movies I left out? Feel free to comment below!

The Top 10 Greatest Television Sherlock Holmes (Of All Time) Part I

It's time for television to get its time in the limelight since it was removed entirely from my last Top 10 list. This time I look at the best of the best when it comes to television shows, episodes and TV movies. Keep in mind that this is of course all subjective, and I hope to defend a few of my choices when we get 'round to them. So, let's plunge right in!

#10 - A Royal Scandal (2001) - Okay, so the controversy starts already! I'll say it now: I like Matt Frewer's Sherlock Holmes. So often he's put down for being an unworthy footnote in the history of Sherlockian entertainment, but he is judged too harshly. Sure, his first outing in 2000's The Hound of the Baskervilles was a bit too over-the-top, but it seemed pretty clear to me that Frewer was having an absolute ball playing Holmes, and that carries through in this made-for-television movie.

By the time that Frewer starred in A Royal Scandal, he'd toned down his theatrical performance a bit, and I'd say that his performance here is his most down-to-earth and humane. An extremely clever combination of Doyle's A Scandal in Bohemia and The Bruce-Partington Plans, the complex plot showcases Holmes and Irene Adler as well as a group of German spies and a pretty villainous Mycroft Holmes. Frewer's performance is grand, in particular the fine scene in which he relates to Watson how he was duped by Miss Adler in the past. Speaking of Watson, Kenneth Welsh is an excellent Watson, oneof the finest in most recent years, but a sadly overlooked one. His firmly grounded performance helps to reign in Frewer's Holmes, making their chemistry on screen all the better. Though it may be Sherlockian heresy to say that I like all of Matt Frewer's Sherlockian turns, A Royal Scandal stands out as one of the best.

#9 - The Master Blackmailer (1994) - I was never fond of the feature length Granada Sherlock Holmes stories. In my mind changing the formula which worked so well was tampering in a domain in which they did not belong. It did not help that Jeremy Brett was beginning to show signs of failing health as Granada attempted to switch formats, so when the series needed a leading man to carry off the switch successfully, it did not have one. Yet, The Master Blackmailer is easily the best of the feature-length TV films, and a fine example of Granada's high quality, even in its later years.

The real star of The Master Blackmailer is Robert Hardy as Charles Augutus Milverton, the titular blackmailer. Hardy's performance is excellent, wonderfully evocative of Doyle's original descriptions. The screenplay supplied by Jeremy Paul is equally well done, managing to expand on Doyle's original (arguably slim) story and transforming it into a two-hour television film. Yet, most of the plot details from Doyle's original short story are contained, and very little is actually altered when it comes to the movie's plot. Add to this Jeremy Brett, who still manages to show he could still be on top form, along with the ever likable Edward Hardwicke as Watson, and you have a recipe for an extremely well-written, well-acted television film.

#8 - Sir Arthur Conan Doyle's Sherlock Holmes: A Study in Scarlet (1968) - A while back I reviewed this series (or what's left of it) on a whole, and though I came away with some mixed feelings, it is for the most part a good Sherlockian effort. The highlight for me was without doubt the adaptation of A Study in Scarlet. By eliminating both the introductory stages of the novel and the American flashback, Sir Arthur Conan Doyle's Sherlock Holmes managed to condense the mystery into an hour, with surprising good results.

The scenes never feel rushed, though there's a lot of plot to include, and Peter Cushing carries it all. His performance is toned down from his last turn in 1959's The Hound of the Baskervilles, but his softer, more gentle Sherlock Holmes is still a pleasure to watch. He has excellent screen chemistry with his Watson, Nigel Stock, which greatly enliven the episode. The examination of the crime scene features it's dialogue almost verbatim from Doyle's original, and Cushing pulls it off brilliantly, spouting out some of the episode's finest lines: "Rache is German for revenge." Though this show ran the gambit in terms of quality, A Study in Scarlet is a quality episode, and a surprising one in that it was the first time the story had been filmed since 1914.

 #7 - Sherlock Holmes and the Case of the Silk Stocking (2004) - I can hear you all sputtering in front of your computers: "But...you reviewed this and gave it 2 stars out of 5! How can this possibly be on the top 10 list?" Well, I've had a change of heart. It doesn't happen a whole lot, me being the person so fixed in my ways that I am. Yet, on a recent re-watch of Case of the Silk Stocking, I was struck by how hasty my judgment had been before, and how much merit this made-for-television movie really deserves.

Sure, the plot is more likely to be found on an episode of Law and Order than Sherlock Holmes, but the cast performs very well. Rupert Everett's Holmes is a melancholic thinking man, and it is perhaps at first jarring to see the great detective portrayed as quiet individual. Ian Hart makes for a fine Dr. Watson, and he plays off well opposite Everett. It's a shame that the two men couldn't share more scenes together. Again, in terms of plot, it is a little odd to find Holmes and Lestrade analyzing the psychosis of the murderer in order to track him down, but if you're willing to go along with it, than it works. At least it's detective work of a kind, and in another time, Sherlock Holmes would have made an excellent criminal profiler. Is Sherlock Holmes and the Case of the Silk Stocking perfect - no. But should every DVD copy be found and destroyed - good heavens no! It is a well though-out change of pace, and every once in a blue moon, there's nothing wrong with that.

#6 - The Hound of the Baskervilles (1982) - My recent discovery of the much-loved Russian Sherlock Holmes series of the 1980's was one of the most spectacular finds in recent memory. While the entire series was filmed with much love, the efforts of cast and crew seem at their highest when it came to this adaptation of Doyle's most famous work. Remaining doggedly faithful to the source material, this adaptation of Hound is a Sherlock Holmes TV movie of epic proportions, cramming so much plot into its 2+ hours. Plot aside Vasily Livanov is in top form as Holmes, and Vitaly Solomin carries much of the film on his own as Dr. Watson, and he proves to be one of the best Watson's in screen history.

The atmosphere is brilliantly created, the lonesome Russian countryside, though not exactly an exact fit for Dartmoor, evokes a great deal of mystery and isolation. This is reinforced by a haunting soundtrack, and a truly creepy hound, which sadly only appears on screen for the briefest of time. The Hound of the Baskervilles is a real gem for any Sherlock Holmes fan, due mostly to its strong adherence to Doyle's source material. Yet, the adaptation does not drain the life from the story, which makes this an incredibly entertaining movie too. Next time I'm in the mood for Hound and I've got two hours on my hands, I think I'll make a return visit to this particular adaptation.

Well, that's all for now. What do you think of these picks so far? Too many controversial ones for your liking? Feel free to leave a comment below and return next week for Part II.