Quatermass and the Pit (film)

Professor Bernard Quatermass was introduced to audiences in two BBC television serials, The Quatermass Experiment (1953) and Quatermass II (1955), written by Nigel Kneale. The rights to both these serials were acquired by Hammer Film Productions, and the film adaptations – The Quatermass Xperiment and Quatermass 2, both directed by Val Guest and starring Brian Donlevy as Quatermass were released in 1955 and 1957, respectively.[3] Kneale went on to write a third Quatermass serial – Quatermass and the Pit – for the BBC, which was broadcast in December 1958 and January 1959. Once again interested in making a film adaptation, Hammer and Kneale, who had by then left the BBC and was working as a freelance screenwriter, completed a script in 1961. It was intended that Val Guest would once again direct and Brian Donlevy would reprise his role of Quatermass, with production to commence in 1963.[4] Securing financing for the new Quatermass film proved difficult. In 1957 Hammer had struck a deal with Columbia Pictures to distribute their pictures, and the companies collaborated on thirty films between 1957 and 1964.[5] Columbia, which was not interested in Quatermass, passed on the script, and the production went into limbo for several years.[6] In 1964 Kneale and Anthony Hinds submitted a revised, lower-budget script to Columbia, but the relationship between Hammer and Columbia had begun to sour and the script was again rejected.[7] In 1966 Hammer entered into a new distribution deal with Seven Arts, ABPC, and Twentieth Century Fox; Quatermass and the Pit finally entered production.[6]

Kneale wrote the first draft of the screenplay in 1961, but difficulties in attracting interest from American co-financiers meant the film would not into production until 1967.

The screenplay is largely faithful to the television original. The plot was condensed to fit the shorter running time of the film, the main casualty being the removal of a subplot involving the journalist James Fullalove.[6] The climax was altered to make it more cinematic, Roney using a crane to short out the Martian influence, whereas in the television version he throws a metal chain into the pit.[6] The setting for the pit was changed from a building site to the London Underground.[7] The closing scene of the television version, in which Quatermass pleads with humanity to prevent Earth becoming the "second dead planet", was also dropped, in favour of a shot of Quatermass and Judd sitting alone amid the devastation wrought by the Martian spacecraft.[8]

Andrew Keir, playing Quatermass, found making the film an unhappy experience, believing Baker had wanted Kenneth More in the role.

James Donald first came to prominence playing Theo van Gogh in Lust for Life (1956) before going on to play a string of roles in the World War II prisoner of war films The Bridge on the River Kwai (1957), The Great Escape (1963) and King Rat (1965).[9] Although not playing the title role, Donald was accorded top-billing status.[10]

Nigel Kneale had long been highly critical of Brian Donlevy's interpretation of Quatermass and lobbied for the role to be recast, arguing that enough time had passed that audiences would not resist a change of actor.[11] Several actors were considered for the part, including André Morell, who had played Quatermass in the television version of Quatermass and the Pit.[12] Morell was not interested in revisiting a role he had already played.[11] The producers eventually settled on the Scottish actor Andrew Keir, who had appeared in supporting roles in other Hammer productions, including The Pirates of Blood River (1962), The Devil-Ship Pirates (1964) and Dracula: Prince of Darkness (1966).[12] Keir found the shoot an unhappy experience: he later recalled: "The director – Roy Ward Baker – didn't want me for the role. He wanted Kenneth More ... and it was a very unhappy shoot. [...] Normally I enjoy going to work every day. But for seven-and-a-half weeks it was sheer hell."[13] Roy Ward Baker denied he had wanted Kenneth More, who he felt would be "too nice" for the role,[14] saying: "I had no idea he [Keir] was unhappy while we were shooting. His performance was absolutely right in every detail and I was presenting him as the star of the picture. Perhaps I should have interfered more."[15] He reprised the role of Quatermass for BBC Radio 3 in The Quatermass Memoirs (1996), making him the only actor other than Donlevy to play the role more than once.[16]

Barbara Shelley was a regular leading lady for Hammer, having appeared in The Camp on Blood Island (1958), Shadow of the Cat (1961), The Gorgon (1964), The Secret of Blood Island (1964), Dracula: Prince of Darkness and Rasputin, the Mad Monk (1966) for them.[17] Quatermass and the Pit was her last film for the company and she subsequently worked in television and the theatre.[18] Roy Ward Baker was particularly taken with his leading lady, telling Bizarre Magazine in 1974 that he was "mad about her in the sense of love. We used to waltz about the set together, a great love affair."[13]

Roy Ward Baker first met Julian Glover when he directed him in an episode of The Avengers ("Two's a Crowd", 1965). Baker said of Glover's performance: "He turned in a tremendous character, forceful, autocratic but never over the top."[15] Glover recalled of the role: "I think I was too young for it. [...] I think I played it all right. It was very straightforward. Bit of a stereotype. [...] The obligatory asshole!"[19]

By the time Quatermass and the Pit finally entered production Val Guest was occupied on Casino Royale (1967), so directing duties went instead to Roy Ward Baker.[11] Baker's first film had been The October Man (1947) and he was best known for The One That Got Away (1957) and A Night to Remember (1958).[20] Following the failure of Two Left Feet (1963), he moved into television, directing episodes of The Human Jungle (1963–64), The Saint (1962–69) and The Avengers.[21] Producer Anthony Nelson Keys chose Baker as director because he felt his experience on such films as A Night to Remember gave him the technical expertise to handle the film's significant special effects requirements.[6] Baker, for his part, felt that his background on fact-based dramas such as A Night to Remember and The One That Got Away enabled him to give Quatermass and the Pit the air of realism it needed to be convincing to audiences.[14] He was impressed by Nigel Kneale's screenplay, feeling the script was "taut, exciting and an intriguing story with excellent narrative drive. It needed no work at all. All one had to do was cast it and shoot it."[22] He was also impressed with Hammer Films' lean set-up: having been used to working for major studios with thousands of full-time employees, he was surprised to find that Hammer's core operation consisted of just five people and enjoyed how this made the decision making process fast and simple.[14] Quatermass and the Pit was the first film for which the director was credited as "Roy Ward Baker", having previously been credited as "Roy Baker". The change was made to avoid confusion with another Roy Baker who was a sound editor.[20] Baker later regretted making the change as many people assumed he was a new director.[14]

Filming took place between 27 February and 25 April 1967.[7] The budget was £275,000 (£4.53 million in 2019).[23] At this time, Hammer was operating out of the Associated British Studios in Elstree, Borehamwood. A lack of space meant that production was relocated to the nearby MGM Borehamwood studio.[24] There were no other productions working at the MGM Studios at this time so the Quatermass crew had full access to all the facilities of the studio.[25] Roy Ward Baker was particularly pleased to be able to use MGM's extensive backlot for the exteriors of the Underground station.[25] The production team included many Hammer regulars,[19] including production designer Bernard Robinson who, as an in-joke, incorporated a poster for Hammer's The Witches (1966) into the dressing of his set for the Hobbs End station.[26] Another Hammer regular was special effects supervisor Les Bowie. Roy Ward Baker recalled he had a row with Bowie, who believed the film was entirely a special effects picture, when he tried to run the first pre-production conference.[15] Bowie's contribution to the film included the Martian massacre scene, which was achieved with a mixture of puppets and live locusts, and model sequences of London's destruction, including the climactic scene of the crane swinging into the Martian apparition.[27]

Tristram Cary was chosen to provide the score for Quatermass and the Pit. He developed an interest in electronic music while serving in the Royal Navy as an electronics expert working on radar during the Second World War.[28] He became a professional composer in 1954, working in film, theatre, radio and television,[29] with credits including The Ladykillers (1955).[30] He said of his assignment: "I was not mad about doing the film because Hammer wanted masses of electronic material and a great deal of orchestral music. But I had three kids, all of which were at fee-paying schools, so I needed every penny I could get!"[31] Cary also recalled that "the main use of electronics in Quatermass, I think, was the violent shaking, vibrating sound that the "thing in the tunnel" gave off ... It was not a terribly challenging sound to do, though I never played it very loud because I didn't want to destroy my speakers—I did have hopes of destroying a few cinema loudspeaker systems, though it never happened."[32] Several orchestral and electronic cues from the film were released by GDI Records on a compilation titled The Quatermass Film Music Collection.[33] The soundtrack was released on yellow vinyl in the UK for Record Store Day 2017.

The title sequence of Quatermass and the Pit was devised to be evocative. Kim Newman, in his British Film Institute (BFI) monograph about the movie, states: "The words 'Hammer Film Production' appear on a black background. Successive jigsaw-piece cutaways reveal a slightly psychedelic skull. Swirling, infernal images are superimposed on bone – perhaps maps or landscapes – evoking both the red planet Mars and the fires of Hell. Beside this, the title appears in jagged red letters."[34]

The script was sent to John Trevelyan of the British Board of Film Censors in December 1966.[21] Trevelyan replied that the film would require an X certificate and complained about the sound of the vibrations from the alien ship, the showing of the Martian massacre, scenes of destruction and panic as the Martian influence takes hold, and the image of the Devil.[35]

Quatermass and the Pit premiered on 9 November 1967 and went on general release as a double feature with Circus of Fear on 19 November.[12] It was released in the US as Five Million Years to Earth in March 1968.[36] The critical reception was generally positive. Writing in The Times, John Russell Taylor found that, "after a slowish beginning, which shows up the deficiencies of acting and direction, things really start hopping when a mysterious missile-like object discovered in a London excavation proves to be a relic of a prehistoric Martian attempt (successful, it would seem) to colonize Earth [...] The development of this situation is scrupulously worked out and the film is genuinely gripping even when (a real test this) the Power of Evil is finally shown personified in hazy glowing outline, a spectacle as a rule more likely to provoke titters than gasps of horror."[37]

Paul Errol of the Evening Standard described the film as a "well-made, but wordy, blob of hokum", a view echoed by William Hall of The Evening News who described the film as "entertaining hokum" with an "imaginative ending".[38] A slightly more critical view was espoused by Penelope Mortimer in The Observer who said: "This nonsense makes quite a good film, well put together, competently photographed, on the whole sturdily performed. What it totally lacks is imagination."[39] Leslie Halliwell wrote: "The third film of a Quatermass serial is the most ambitious, and in many ways inventive and enjoyable, yet spoiled by the very fertility of the author's imagination: the concepts are simply too intellectual to be easily followed in what should be a visual thriller. The climax, in which the devil rears over London and is "earthed", is satisfactorily harrowing."[40]

According to Fox records, the film required $1.2 million in rentals to break even and made only $881,000 ($5.54 million in 2021).[41]