Il mostruoso uomo delle nevi

Val Guest directed this atmospheric thriller set in the Himalayas at a remote monastery, where Dr. John Rollason(played by Peter Cushing) is a botanist with his wife(played by Maureen Connell) and associate Peter(played by Richard Wattis). He is awaiting the arrival of American Tom Friend(played by Forrest Tucker) so that they can undertake a scientific expedition to find the legendary and elusive Yeti. John is dismayed to learn that Friend is really a showman who plans on killing the creature for display, but also uses a corpse to attract a live one as well, which is exactly what happens, though not in the way they expected... intelligent story, fine direction and performances, and an eerie feel all combine to make this a memorable thriller, which discreetly keeps the Yeti mysterious.

Fabulous little implicit horror gem from Hammer Studios with subtle performances by Forrest Tucker and Peter Cushing. I was amazed to see how youthful looking Peter Cushing looked in this movie compared to just a few years later. Seemed to have come after The Curse of Frankenstein(1957) and The Horror of Dracula(1958). The Abominable Snowman(1957) looks at the notion of the yeti in an abstract manner. The legendary yeti in the film is given an ambiguous quality that makes them into a fearful presence. Intellgent film that could only have been done by the British for filmmakers of Hollywood(many of them) would not make a film richly deep with implicit fright and intellegence. When it comes to creating Science fiction flicks that are scary as well as intellegent the British filmmakers for the most part are bar none the best. Parts of the story reminds me of Frank Capra's Lost Horizon(1937) which also took place in the Himalayas mountains. Both The Abominable Snowman(1957) and Lost Horizon(1937) deal with ideas of spiritality and humanity. Peter Cushing as Dr. Rollason is a good counterpart to the money and fame hungry Dr. Friend played by Forrest Tucker. Peter Cushing gives a gentle and thoughtful performance that is uncharacteristic of the many roles he had for Hammer studios. Imaginating written by Quatermass creator, Nigel Kneale who is a master of suggestive terror. The Abominable Snowman(1957) is one of the main influences besides Cannibal Holocaust(1979) for Blair Witch Project(1999). Abominable Snowman(1957) is a more effective film in suggesting terror than Blair Witch Project(1999) for a couple of reasons. First, the former does show bits and pieces of the yeti which is more imaginative than not showing anything of the witch at all as the latter. Second, the fear and terror felt by the characters in The Abominable Snowman(1957) feels geniune unlike in Blair Witch Project where emotions of fear and terror feel manipulated and forced. An excellent motion picture for a someone like Val Guest whose career is filled with ups and downs. The Abominable Snowman(1957) ends on a thought provoking note about the Yeti as well as other intellegent metaphysical issues.

Dr. John Rollason (Peter Cushing), his wife, Helen (Maureen Connell), and a colleague, Peter Fox (Richard Wattis), have traveled to a remote location in the Himalayas, ostensibly to study rare plant specimens. However, Helen and Peter soon learn that John had an ulterior motive, when he reveals that a ragtag group of explorers, headed by Dr. Tom Friend (Forrest Tucker) are on their way to meet up with John. They plan to lead a small expedition further into the mountains, in search for the infamous abominable snowman, or Yeti.

The Abominable Snowman is a marvelous combination of adventure, horror, and a film with a broader message. The beginning may seem a bit slow to younger viewers, but it is crucial to the plot, and Peter Cushing, as always, turns in a tremendous performance. The monastery setting seems authentic, as do the climbing shots that follow, even though most of the film was shot in Hammer's UK studios and the mountains are actually the Pyrenees in France.

It doesn't take long for director Val Guest to build tension, first dramatically with the ulterior motive revelation and the conflict is causes between John and his wife, then during the Friend expedition's climb, and most importantly, when our crew nears the Yeti. Because the creature effects, especially in the 1950s, can't rival the viewer's imagination, Guest wisely keeps the creatures off-screen for the bulk of the film, and when we see more, it's in heavy shadows. This makes the Yeti material extremely effective.

The message at the end is sincere and poignant, as it also would have been at the time of the film's release, when anthropological exploration of seemingly alien cultures was still regular, captivating news.

Overall a 9 out of 10 for me, and very close to being a 10.

In the fifties, Hammer produced a few highly noted films that were scripted by Nigel Kneale and directed by Val Guest. Among them were QUATERMASS EXPERIMENT and the highly disturbing QUATERMASS II (a.k.a. ENEMY FROM SPACE). Though produced on low budgets, these productions were of a higher quality than most of the usual Science-Fiction releases at the time.

Kneale's literate screenplays were directed towards a more sophisticated audience and Guest's direction displayed much creative imagination, proving that innovation can often override a limited budget.

The story begins as botanist Peter Cushing teams up with crass hustler Forrest Tucker for the purpose of finding the ever elusive Yeti, despite protests and warnings from Cushing's wife (Maureen Connell) and the llama. As the research team progresses on its expedition, they begin to find subtle clues that the yeti may truly exist. While they sleep, they are awaken by the sounds of strange wailing in the night. Upon investigating, they find large footprints of something not apparently human.

Cushing, an honorable man of decent principles, is outraged when he learns that Tucker's real aim is to capture and cheaply exploit the yeti for monetary and personal status gain. During the night, a claw reaches into the tent, sending their superstitious guide out into the night in a fit of total panic. The other members, with the exception of Cushing who tries to maintain his sense of reason, become more and more unhinged as they fear that the creatures are now stalking them. Member Macnee (who claims he once caught a glimpse of one on a previous expedition) believes that they are trying to psychically attack him and he falls to death. Cushing asserts that Macnee was mentally unstable and fell victim to his own frightened carelessness, while Tucker cynically feels that they deliberately drove him to his death.

Tucker proposes a reckless trick to entrap one of the creatures in a cave with a steel net, as his trapper buddy stands by with a gun, just in case. As Cushing and Tucker wait in a nearby tent, a raging blizzard breaks out. Cushing deduces that the Yeti may actually be intelligent beings, perhaps the missing link between man and ape and are a lost chapter in our history of evolution. He feels its possible that they may actually be biding their time, waiting for mankind to die out, so that they can then take over. Tucker only has money-money-money on his sleazy mind and thinks the scientist has flipped-out from cabin fever and is off on an intellectual tangent. Besides, being the hollow man he finally reveals himself to be, Tucker couldn't care less.

The pair hear the hunter's scream and a roar from the cave. They find his dead body with an expression of sheer horror on his face and see that the steel net has been ripped to shreds. As the remaining two members decide to hold-up in the cave til morning, Cushing then hears the radio announcer saying that they are strongly advised to leave their gear and get out of the area immediately. There is only one problem: The radio was busted earlier and is not working, and Tucker says that he didn't hear any such announcement.

I won't say anymore. In many ways Kneale's intriguing story (based on his acclaimed BBC serial THE CREATURE) bears allegorical similarities to Huston's TREASURE OF THE SERRA MADRA, in that the characters are actually pursuing a myth and are inevitably destroyed by their own greed and paranoia. Like TWILIGHT ZONE and OUTER LIMITS, the science-fiction premise takes on supernatural overtones and serves as a cautionary morality play. Though some may think that that old "there are some things that man should not meddle with" message is a preachy cliche, it does have validity when the man's sense of perception, judgement, personal ethics and real motives are highly in question.

Director Guest creates an absorbing atmosphere of mounting terror from beginning to end as the characters' (and the viewers') smugness and complacency is gradually devoured; then the unknown takes over, and total helplessness and fear become the terrifying and tragic results. What at first seemed far-fetched now becomes all too real. This skillful technique was effectively employed in the Quatermass films as well as Tourneur's memorable scare classic NIGHT OF THE DEMON.

The B & W photography evokes the proper dark, eerie mood which leaves you with that unsettling feeling that something truly is out there and it's inevitably closing in on you. Though many critics and viewers felt that the highly overpraised BLAIR WITCH was original with its idea of the unseen menace that preys upon your doubt and paranoia, it's now obvious that it was nothing more than a slipshod rehash of these notable films that were produced decades earlier.

As long as you're not expecting some stupid, slasher monster movie, sophomoric puns and another overblown demo roll of special-effects, then give this unique, intelligent film your serious consideration. It may leave you haunted and disturbed.

Just as the Yeti in the film stood head and shoulders over the humans, so this film stands head and shoulders over most of the horror/monster films of the 1950's.

You wouldn't think so from reading the reviews at the time though; one reviewer thought it too subtle, but that could be another way of describing it as intelligent and stylish, the qualities that make it so watchable 60 years later. The film was also saddled with a poor trailer (it's on YouTube). Obviously the marketing people didn't think the film monsterish enough; the trailer gives totally the wrong impression.

British botanist, John Rollason (Peter Cushing), along with his wife Helen (Maureen Connell) and assistant, Peter Fox (Richard Wattis) arrive at the monastery of Long Buk as the guests of the head lama. They are searching for rare plants. A team of American adventurers led by Doctor Tom Friend (Forrest Tucker) also arrives, but this party is searching for the legendary Yeti.

The Americans, Tom Friend and his associate, big game hunter Ed Shelley, are loud, brash and totally ruthless as far as preservation of the Yeti is concerned. The members of the British contingent on the other hand are masters of understatement, impeccably mannered and respectful of all life including the Yeti. This was a British film after all.

Although obviously shot on a sound stage, the monastery scenes are effective replete with gongs, monks and a head lama in deep meditation. What really gives the film visual substance are the snow-covered mountain climbing sequences; they were apparently shot in the Pyrénées, but a mountain is a mountain, and these scenes open out the film.

Eventually, Rollason accompanies Friend on his quest in the interests of science, and without spoiling things too much, they encounter the Yeti. However the outcome is unexpected and gives this film the edge over the mostly cheesy monster movies of the day.

There is a touch of Val Lewton style about this film; it has plenty of mood and there is no rush to reveal the 'monster' with the best effects left to the imagination.