Long before the cable TV anthology series, there was this little film of short chillers called "Tales from the Crypt." What we have here is 5 vignettes based on old horror comic book stories (Bill Gaines' E.C. comics to be exact) woven together by a silly plot device that works only because it is kept to a minimum. 5 tourist, who get lost in the underground catacombs of what appears to be a crypt. The adventurers then get trapped in a room with the "Crypt Keeper" (Sir Ralph Richardson). The hooded figure stops only long enough to implant stories in their mind, which we see in their full glory on screen, before offering up a silly twist ending that would have had Rod Serling spinning in his grave - had he been dead in 1972.

After the short into, the first vignette ("And All Through the House") is offered up starring Joan Collins. The now-famous "bitch" must have been only slightly known then. Still, she has one of her finest roles here in what is the best tale of the lot. Set at Christmastime, director Freddie Francis has a wonderful time juxtaposing the bright red color of blood against the holiday setting and the crisp white interior of an upwardly mobile family living room. There are actually moments here that make one gasp. This is about the only time we are ever truly shocked. The best part is that it seems like a comic book story come to life on screen. This is when the device works best because the colors and the plot heighten the shock of the ending.

We pause for only a second with the Crypt Keeper before the second story begins. Although it is called "Reflections of Death," we do not see these titles until the end credits. It features Ian Hendry (the film is British by the way) and is a silly dream-within-a-dream type tale that will shock no one. Francis' gimmick of using the camera as if it were the eyes of a character may have been interesting in 1972, but by now it is an old, over-used trick. Still, it makes this story more watchable. The make-up here surely acted as an inspiration for Tom Savini.

The middle piece is a silly riff off of Poe's "The Tell Tale Heart" called "Poetic Justice" that goes on way too long. It is easily the film's most disturbing piece though not intentionally. In it, Peter Cushing has one of his finest post-Hammer roles as a trash man and widower whose greatest joy is children and animals. Cushing is simply marvelous here making a trembling bottom lip express deep emotions successfully. It is nice to seem him playing the good guy for a change.

The disturbing aspect of the vignette comes in the characters of Cushing's neighbors, played by Robin Phillips and David Markham. Although the end credits list them as father and son, it is not mentioned in the story so we are left guessing as two why these two live together. Are they gay? We simply don't know and Phillips' cruelty to Cushing, which Markham, at the very least, condones, seems even more evil for this ambiguity. It's disquieting to ponder this quandary while the story unfolds. Ultimately, the end of this piece, regardless of it's intent, is simply silly and gross.

Part four of the stories is one I remember from when I first saw the film several years ago. Entitled "Wish You Were Here," it's a take off on the old "Monkey's Paw" tale. It even mentions this inspiration in the story. The zinger at the end here is wonderful but it has less effect after it's initial viewing. Laced with some gruesome intestinal special effects (another Savini inspiration?), the whole segment seems rushed. A little more build-up to the punchline may have been helpful. Although, from my perspective, it's hard to say. I still remember the end to this one more than 10 years after my initial viewing.

Francis may have rushed the 4th tale to make way for his elongated ending about a home for the blind called (punnily) "Blind Alleys." This is an amusing piece but it goes on way too long. Nigel Patrick is wonderfully harsh as the heavy and Patrick Magee is equally as brilliant as the hero. There is unfortunately a lengthy mid section that could have easily been cut. The suspense gives way here and anticipation is soon replaced by tedium. Still, as with the best of it's predecessors, the ending here is rather unique and amusing, even if it is a bit implausible upon retrospection.

"Tales from the Crypt" is a must-see for any horror fan. Much of what we call horror today has it's roots in the images here - as these pieces have their roots in horror comics. And, if you know a youngster who's into the TV series, pop this in the VCR and watch it with them. It's 10 times better than the cable rip-off. It's campy fun yet spooky too! they don't make 'em like this anymore.

Note: Followed in 1973 by "Vault of Horror" (Director Roy Ward Baker) which was later re-released as "Tales from the Crypt Part 2."

Screenplay by Milton Subotsky, who also co-produced. Based on original stories by Bill Gaines, Al Feldstein and Johnny Craig first published in the horror comics "Tales from the Crypt" and "The Vault of Horror."

Chief make-up by Roy Ashton. Director of Photography is Norman Warwick. Music by Douglas Gamley. The film opens with a rendition of Bach's "Toccata and Fugue in D Minor" performed on the organ by Nicholas Kynaston.

Gaines, who also brought us "Mad Magazine," testified before the Congressional hearings about the effects of Horror comics in the 50's.

Review written in 1995

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