The Skull (Paramount Pictures) (1965)

Strange Coincidence Well known character actor Patrick Magee, who as a police doctor in “The Skull,” a Paramount release in Technicolor opening...... Auber haces. ochentents Theatre, based on a story ‘The Skull of the Marquis de Sade” by Robert Bloch, was in fact currently appearing in London’s West End playing the notorious Marquis himself in the Marat-Sade Play at the Aldwych Theatre. This Peter Brook stage production created a storm of controversy when it opened in London and was bitterly attacked as a “sordid and dirty” play by many critics who included the famous impressario Emile Littler. Despite this, it continued to attract large audiences and is expected to open in New York very shortly. An Amicus production, “The Skull” stars Peter Cushing, Patrick Wymark, Christopher Lee and Jill Bennett. It is produced by Milton Subotsky and Max J. Rosenberg with Freddie Francis directing. The film tells the story of the skull of Marquis de Sade, dug up from the grave and then bought and sold by various collectors. Each unfortunate individual who _ possesses it becomes the victim of its evil and violent powers. A tale of horror and terror, “The Skull,” which is set in modern times, is hauntingly believable. Still #SK-47 Mat 1D POSSESSED—Peter Cushing is engulfed by an _ evil power stronger than his will as he’s about to kill his wife, played by Jill Bennett, in Paramount’s newest shocker, “The Skull,” in Technicolor and Techniscope opening ...... BPTUNE se srs Theatre. A DASH OF BEAUTY—April Olrich, cabaret star and actress, provides the giamour in the macabre setting of Paramount’s “The Skull,” OPENING ws... Wee et acee e eee at the ee ee Thy Oey Theatre. It’s a story adapted by Milton Subotsky from Robert Bloch’s ‘“‘The Skull of the Marquis de Sade.” Her career began in the United States when, at the age of 11, she became ‘baby’ ballerina of the Metropolitan Opera House ballet. As the only female in the cast of “The Battle of the River Plate,” she did a publicity tour of the United States, travelling from coast to coast, covering a distance of 22,301 miles. “The one mile,” explains April, “was the only distance I walked— from the hotel to the waiting car.” “The Skull” is an Amicus Pfoduction in Technicolor, produced by Milton Subotsky and Max J. Rosenberg. It has all the terrifying elements of horror at its best. The elaborate color production adds reality to the film and the contemporary setting of the action makes it a landmark in updated horror filmfare. “The Skull” tells the story of the dug-up cranium of the Marquis de Sade, which then was bought and sold by various collectors. Each person who possesses it becomes a victim of its evil and violent _ powers. Mat 2B Still #SK-15 FROM THE GRAVE, the skull of the Marquis de Sade is stolen in Paramount’s newest shocker, ‘““The Skull,’ in Technicolor and Techniscope opening ........ atthe ccs a Theatre. Starring Peter Cushing and Jill Bennett, ““The Skull’ deals with those individuals who buy and sell it, and resultingly, become engulfed in its evil and violent power. Expert Makes No Bones About "The Skull" Much is written about the beauty of female film stars, handsome leading men, excellent performances given by talented actors and actresses, but where would they be without the ‘back room boys’ ’?—the technicians, artists and designers who provide the background to the romantic story or the chilling plot? “The Skull,” the new Paramount release in Technicolor, openCat de Ses ane emer BPG. ie ee, Theatre, tells the story of the evil which it is able to transmit to whoever possess it, even from beyond the grave. It has to dominate the scene, gliding from place to place and creating an atmosphere of menace and foreboding. This situation presented some difficulties for art director Bill Constable and his staff when the Paramount film “The Skull” was due to be shot at Shepperton Studios. “IT knew that the skull had to move about, that it was white or light ivory, and I had therefore to keep the walls dark. I had black painted woodwork everywhere and dark blue wall paper so that we could see it at any time. “Practically the whole picture was shot on one composite set—five rooms and a corridor. There also had to be recesses in rooms where lamps could be hidden without being noticeable. “In one scene, Peter Cushing was trapped in a small room with the walls closing in on him. The walls had to be built in trucks and pushed in. My biggest worry was that the crew pushing them in would stop in time!” How does an art director start to design the background for a story? “I read the script,” says Bill Constable, “and then make rough sketches of how I see the set. Then I consult with the director who might suggest modifications to meet the movements he has in mind for the actors to make, usually he accepts the mood of the thing.” A skull that floats seems to present no particular problem for Bill Constable and the special effects men. In Dr. Terror’s House of Horrors” they had to provide a “creeping vine’—a plant which actually grew before your very eyes... and a “crawling hand.” “Horror films particularly” says Australian-born Bill Constable, “call for a good deal of ingenuity and thought.” Still #SK-46 Mat 2C ENGULFED BY AN EVIL POWER, actor Peter Cushing is poised to kill in “The Skull,” a Paramount release in Technicolor and Techniscope opening ..... SN eeprabe LMG@s, hee ste Theatre. The Milton Subotsky-Max J. Rosenberg production also stars Christopher Lee and Jill Bennett. Based on the chilling novel of Robert Bloch, “The Skull of the Marquis de Sade,” “The Skull’ deals with the story of that man’s cranium. It has the power to inflict an evil and terrifying fate upon all who possess it. SYNOPSIS (Not For Publication) Between Professor Christopher Maitland (Peter Cushing), and his lifelong friend, Sir Matthew Phillips (Christopher Lee), there has always existed the kind of rivalry which can only be found among collectors. Sharing a common interest in witchcraft and black magic, they often find themselves in competition for collectors’ pieces. Maitland, however, is puzzled when, in an attempt to purchase some satanic figures at an auction, his friend bids an excessive amount. Phillips explains that something seemed to have taken possession of him and forced him to make the bid. Later that evening Maitland has a caller—Marco (Patrick Wymark), a shifty character who is obviously resented by both the maid (Anna Palk) and Mrs. Maitland (Jill Bennett). Marco, however, insists that he has something that Maitland would like to see. Marco informs Maitland that he considers him his favorite client. He produces a volume, apparently bound in vellum. Maitland jibs at the price, until Marco tells him that the binding is not vellum —it is human skin—a woman’s skin. Maitland is intrigued and purchases the book. The following evening Maitland settles down to read the volume. He is interrupted once again by Marco, who announces that he has a unique collector’s piece to offer. It is a skull. The price is a thousand pounds. Maitland retorts that no skull is worth that amount, but Marco tells him that this is no ordinary skull, it is that of the Marquis de Sade, stolen from his grave in France in 1814 by a phrenologist who, wishing to study it to decide if the Marquis was really insane, was himself found dead the next morning. The skull was brought to England in 1850. When he refuses to pay the money, Maitland is surprised to find that Marco seems anxious to dispose of the skull for half the price. He still refuses and Marco angrily leaves. Alone, Maitland is absorbed in the life story of de Sade. He is hypnotized by what he reads, and appears to have a series of terrifying nightmares, from which he emerges to find himself in the dingy apartment of Marco. He returns home, unable to remember how he got to Marco’s. But the possession of the skull is uppermost in his mind, and during a game of billiards with Sir Matthew Phillips he confides to his friend. ‘‘That skull was stolen from me,” Phillips confesses, but says he is glad. It radiates evil, and he advises Maitland to have nothing to do with it. Ignoring his friend’s advice, Maitland goes once again to Marco’s home. He finds Marco dead. The skull lies leering at him from a corner of the room. The temptation is too great—he must have the skull. But the minute he has it in his possession, he faces disaster. Against his will, he becomes the victim of evil and is engulfed in a morass of crime, proving that the vileness of the man whose name to this day remains a symbol of all that is worse in human nature, still reaches out beyond the grave. Calistepner Maitiane (ae? ee ta PETER CUSHING BRR coisa pn ee cuaeatiey pb AS) PATRICK WYMARK mi Maunew Philos 62s eer no ees CHRISTOPHER LEE PS OAC css se re CE die JILL BENNETT CREDITS Produced by Milton Subotsky and Max J. Rosenberg; Directed by Freddie Francis; Screenplay by Milton Subotsky; Based on a story by Robert Bloch. ADVERTISING BILLING Paramount, micuiressFresemiec. 0 y,. veke ak os. 20% TYE. iets oie eee ue) Pag 100% Starring ETL dao a gh lar alg tet i oh fines te i ional Patrick Wymark te sar os s Guest Star: PSO b eh Mee Kar Sern ey ig oh eb LG Produced by Milton Subotsky | and Max J. Rosenberg | Directed by Freddie Francis Se Va ee EAS as Screenplay by Milton Subotsky Based on a story by Robert Bloch | size optional W ECUINGCIOr TEChMISCONe hale ds oe ee Pk 25% An Amicus Production 200, A Paramount Release PMS PAP aN as aS areca Ns Sy SS Ra gw ee NOR RE ca. fe faa, Ts, %