The Skull (Paramount Pictures) (1965)

Producer Milton Subotsky Believes People Enjoy The Thrill of Being Frightened Fast-talking, quick-thinking Milton Subotsky does not fit the general conception of an American film producer. A nonsmoker, non-drinker, his appearance does not in any way betray his profession. New York born, but a Londoner by adoption, he was trained as a chemical engineer but his mecca was always the world of entertainment. Had he not become a film producer he would have made an ideal teacher. His patience with children is inexhaustible although he is, surprisingly enough, a bachelor. His ideas on education are revolutionary and unconventional and his greatest ambition is to make children’s films. “Unfortunately there is little enthusiasm and a lack of financial backing for this project” says Milton—‘‘except for Disney films.” With many films to his credit, he closely follows the highly successful color production the Paramount release, “Dr. Terror’s House of Horrors” with yet another high-gloss, Technicolor-Techniscope horror film, “The Skull,” another Paramount release opening ........ at theese. au ok Theatre. Milton Subotsky has definite ideas about this type of film. “I like to make them” he says, “because in a horror film it is possible to tell the story in pictures rather than words. Also I like films of the imagination rather than of reality. Horror stories, fantasy, science-fiction fairy stories, children’s stories, all lend themselves to being made into films of the imagination.” Subotsky wrote the screenplay of “The Skull” from a novel, “The Skull of the Marquis de Sade” by Robert Bloch. Like “Dr. Terror’ it again stars Peter Cushing and Christopher Lee—‘“no horror film is complete without them” says Milton Subotsky—but this time with the addition of Patrick Wymark, who recently made the “Actor of the Year’ by British television. Top quality acting combines with skillful special effects to make this Techniscope-Technicolor production a horrific experience which audiences will long remember. “Dripping blood, pulsing hearts, men with their tongues ripped out —these sort of things do not constitute a horror film” says Milton Subotsky. “They are merely nauseating and gruesome. “A true horror film is the story of man versus the unknown. Sometimes the unknown wins, sometimes the man. It frightens people; and they like to be frightened, especially when sitting in the comfort and safety of their cinema seats. This I regard as real entertainment. “T like the mood and atmosphere which can be created in horror films. I cannot understand or believe in the need for censorship of this type of film. One wouldn’t think of censoring children’s fairy stories —for example the Brothers Grimm, and nothing could be as horrifying as these. I think children like this kind of horror because they know that they are quite safe. In fact I think it makes them much less fearful of the supernatural. I have not seen any evidence that a child could be harmed by this type of film. Of course, I am not referring to films of violence and brutality, sadism or cruelty which I regard as pandering to the barbaric—the sadist, in man.” “The Skull,” co-produced with Max J. Rosenberg, has all the terrifying elements of horror at its best. The elaborate color production adds reality to the film and the contemporary present of the action makes it a landmark in updated horror filmfare. It tells the story of an unlucky individual who gets possession of the skull and becomes engulfed in its evil power. 6 Mat 1A Still #SK-44 HYPNOTIC POWER — Peter Cushing is engulfed by the power of a skull in Paramount’s newest shockfest, “The Skull,” in Technicolor opening ...... atiether op eetienss Theatre. A Milton Subotsky-Max J. Rosenberg production, the film tells a horrific tale set in contemporary times. Horror In a Modern Setting Peter Cushing, famed horror actor, whose face is familiar to audiences all over the world, will soon be seen in the accustomed setting, a spine-chilling horror film, ‘‘The Skull,” a Paramount release in Technicolor, opening .......... at these i ea eereerete eae Theatre. The noted difference is an unfamiliar background. Usually horror films are set in the era of gaslight, hansom cabs, and eerie mansions of the 18th and early 19th centuries, and the star of the film is arrayed in costume of the day. In the Milton Subotsky and Max J. Rosenberg production of “The Skull,” the setting is present-day and for the first time in a horror film, Peter Cushing wears contemporary clothes and is clean-shaven. “TI wonder if the audience will recognize me?” he asks. “The Skull” is an Amicus Production in Technicolor and Techniscope. It tells the story of the skull of the Marquis de Sade, dug up from the grave, then bought and sold as a collector’s item. Each unfortunate individual who gets possession of it becomes engulfed in its evil and violent power, proving that the vileness of a man can reach out from the grave and infect its victim with a mercilessly horrific fate. e THAT EXTRA TOUCH — When Milton Subotsky, who co-produced “The Skull,” a Paramount release OWENING He) sasersiven aves ee atts at the Eee Jeane ay cy ralstetnih Stedele Theatre, at Shepperton Studios, went to see the Sadlers Wells production of “The Flying Dutchman,” he was so struck by the weird lighting effects produced by a chromotrope—a special effects lighting machine—that he decided to incorporate it in the film. “It was just what I required for one scene in the film,” he said. Sadlers Wells obliged, and the machine was installed at the studio. “The Skull” is a Milton SubotskyMax J. Rosenberg co-production in Technicolor and Techniscope. “The Skull” Proves to be a Master Entry for Top Horror Honors—It's an Eerie Shockfest! Some psychiatrists claim that horror stories are a release for pent-up aggressions and emotions. There are many arguments pro and con about this subject. But one thing is certain, ‘““The Skull,” a Paramount release in Technicolor opening ............ Be. oe Andee o% 258 Theatre, is a superb and thrilling shocker that’s sure to be the hypnotic horror hit of the year. The screenplay of “The Skull,” written by Milton Subotsky, is based on the chilling and spinetingling Robert Bloch novel, “The Skull of the Marquis de Sade.” Dealing with an evil remnant from the grave, “The Skull” is a pulsating and frightening power of terror that inflicts its ugly violence upon all who possess it. The tantalizing and eerie mobility of this gleaming cranium presents a unique and captivating storyline that will intrigue horror fans the world-wide. Co-produced by Max J. Rosenberg, whose last shocker success was “Dr. Terror’s House of Horrors,’ and Milton Subotsky, the film is first class professionalism. These two masters of horror enlisted the renowned talents of Peter Cushing for the starring role of a possessed and unfortunate holder of the skull. For Cushing, the flavor is the same, but the setting is refreshingly different. “The Skull,” unlike usual horror films set in ghostly and gaslighted mansions adorned with cobwebs, has a present day motif. Thus, for the first time in horror films, Peter Cushing is seen clean shaven and wearing contemporary clothes. Each unlucky individual who gets possession of the skull becomes engulfed in a morass of crime—proving that the vileness of a man whose name to this day remains a symbol of all that is worse than human nature, still reaches out beyond the grave to infect its victims with a merciless evil fate. “The Skull,” an Amicus Production, has all the terrifying elements of horror at its best. The elaborate color production adds reality to the film and makes it a landmark in updating horror films into the contemporary present. This film stands as a feather in the caps of its producers as well as a juicy item to be happily devoured by all the enthusiastic horror film fans. Still #SK-53 Mat 1B FRIGHTENING — Jill Bennett screams with horror in her Still #SK-56 Mat 2A VICTIM OF AN EVIL FATE—Peter Cushing, possessed by the dug-up cranium of the Marquis de Sade, stars in Paramount’s newest shocker, “The Skull,” in Technicolor and Techniscope OP EMING: siacs-siap see eke atthe <-.:.06 es Theatre. A Milton Subotsky-Max J. Rosenberg production, “The Skull” was produced with a keen sense of reality and a modern setting. Not only is it horror at its best, but it is also a landmark in updated horror films. “| Enjoy Committing Murder,” Says MaxJ.Rosenberg, Who as a Result, Has Become a Very Wanted Man There’s a man walking around loose, who has plotted all kinds of grisly murders in London, Berlin, Tokyo and Rome. Not only is he “free,” but he executes the crime, with but one single motive; profit! “TI enjoy committing murder!’ So says Max J. Rosenberg, who isn’t wanted by the police, but is wanted by various motion picture distributing companies, including, and especially Paramount, which is releasing his latest Technicolor thriller, “The Skull’? which Ovens use. . hs At inet oo as. Theatre. Urbane, sophisticated, well educated, this soft spoken, mild mannered man is happiest when he has completed another thriller-chiller. About his latest venture into the world of the eerie, “The Skull,” which he co-produced with Milton Subotsky, Rosenberg sums up what audience reaction will be: ‘‘When the Skull starts to move—you will start to scream!” Rosenberg began his film shocker wave with “The Curse of Frankenstein,” which was filmed in England. His first venture into gore proved so successful at the box-office that although he has done other types of pictures, his specialty has been the horror film at which he has by now, along with Subotsky, become a master. “The Skull,” introduces another novelty besides the tantalizing and shocking mobility of the gleaming cranium. Usually, horror films are set in the era of gaslight, hansom cabs and eerie mansions adorned with cobwebs. “The Skull,” how Still #SK-30 Mat 1C CURIOSITY is part of the downfall for Peter Cushing, role as the wife to Peter Cushing, both starring in “The Skull,” a Paramount release in Technicolor and Techniscope opening ...... at. the cs. ae Theatre. The film tells the amazing tale of the power of a skull and the evil fate it inflicts upon a!l who possess it. ever, has a present day setting; and, for the first time in a horror film, Peter Cushing is seen clean shaven and wearing contemporary clothes. Rosenberg believes that film thrillers are a legitimate outgrowth of the horror tale brought to its peak by Edgar Allan Poe. who stars in “The Skull,” a Paramount release in Technicolor and Techniscope opening eXeliattote sei ails Atte “Besse capstan Theatre. Portraying the role of Christopher Maitland, Cushing eagerly buys the cranium and, becomes quickly engulfed in its evil powers. Copyright © 1965 by Amicus Productions Ltd. Permission granted for newspaper and magazine reproduction. (Made in U.S.A.)