The abominable snowman (1957)

The Story: A British botanist and a rough-around-the-edges American scientist join forces to prove the existence of the Yeti in the Himalayan highlands.

There's something about a winter night. It has a unique mystery to it; snow muffling every sound, making any scene seem serene, lonely and silent. Flakes swirling silently before your eyes, obscuring and entrancing all at once, until even the most levelheaded are lost in a maze of white and gray. It's a wonder that this unique tool has only been used effectively by a few horror directors. The Shining is one good example of this, another is The Abominable Snowman.

British botanist, Dr. John Rollason (Peter Cushing), is visiting a Tibetan monastery to learn of the plant life and medicinal herbs used by the monks. Diplomatic and intelligent, he has obviously managed to fit into the Lamas culture reasonably well. Better, at least, than his assistant, Peter Fox (Richard Wattis). Soon the arrival of Dr. Tom Friend (Forrest Tucker), upsets the high lama, as he suspects that Rollason will join him on an expedition to capture a yeti, or Abominable Snowman. Rollason's wife, Helen (Maureen Connell) is equally concerned, as it seems clear that the terrain (and the creature) are too dangerous. Despite protests from the monks and his wife, Rollason leaves with Friend to make the dangerous climb and confront the monstrous Yeti. They find a creature, but encounter more than anyone bargains for when they accidentally kill it, and find that there are others who will miss it.

Director Val Guest manages to set a wonderful mood in this film. As mentioned above, snow has a powerful effect on an environment, and Guest uses it well. The mountain scenes are very well done, and the location shooting (in this case in the French Pyrenees) blends fairly well with the stage shooting done in London. Production Designer Bernard Robinson and Art Director Ted Marshall did some amazing work in this film, particularly with the Monastery set. Also helping with the film's tone is Humphrey Searle, who composed a remarkably chilling score for the time that has an ancient, monastic appeal.

Remember, folks, that this film was made in Hammer's infancy. It is one of Cushing's first films for the studio, released the same year as The Curse of Frankenstein. This film is not a light and sound spectacular of modern cinema! I was disappointed, at first, to see that it is in black and white. Naturally, when viewing a Hammer film, I expect to see vibrant colors... particularly red. But as the film progresses, and moves onto the mountain, you can't help but feel that black and white is the best way to show this film. Color would have probably worked against this production. But even without the flowing red of the later Hammer films, The Abominable Snowman has a certain feel that grips the viewer.

The creature itself is nothing spectacular. Indeed, it is over 50 minutes into this hour and 30 minute film before we even see any hint of the famed snowman. Abominable? I would call it "absentee". Up until that point we are treated to dialogue, and lots of it. Cushing is what carries the picture in that respect. He holds attention better than any other character, delivering his lines with smooth authority and grace. Clearly Hammer grew with him, he did not grow with Hammer. Also turning in an enjoyable performance is Wattis in his role as Rollison's assistant. It's a small role, but I couldn't help but like his character. Both he and Cushing played with subtlety and finesse compared to Tucker's loud over-the-top portrayal of Friend.

There is some interesting theorizing bandied about between the scientists, for fans of evolutionary theory. In addition, there are some nice philosophical moments toward the end, and I actually liked the direction that the Yeti (Yetii?) were taken at the end of the film. There is a nice (read 'clever', not 'impressive') twist here, in the creature's design, which I won't reveal in case you want to see this film. But, the result is an unusual ending for a "creature feature".

Don't look to this film for intense action or scares of any kind. Yes, the snowman does finally show up. Unfortunately, this is one tool Guest doesn't use to his advantage. A twelve foot tall, hairy monster never once tries to scare us! Though, I suppose that is more the fault of the writer than the director, it doesn't make me any less disappointed after viewing the film. It's a good moody film for fans of vintage horror and fans of Peter Cushing, but it's nowhere near one of Hammer's best.