The Skull

This is for many the quintessential Amicus film. Adapted for the screen by ‘Mr. Amicus’ himself, Milton Subotsky, it adheres pretty closely to Robert 'Psycho' Bloch's short story 'The Skull of the Marquis De Sade' and it is one of Bloch's best. It’s pity that for many he is still remembered for 'that' novel alone.

After the 6-min pre-credit set in the early 19th century, phrenologist Pierre (Maurice Good) robs the grave of the notorious Marquis de Sade and steals his skull. Soon after, he pays the dire consequences…
Forward to the present 1965 and we’re at an auction (Michael Gough appears briefly as the auctioneer). In attendance are two collectors of objects d’art. It won't be too difficult for you to work out who they are: Peter Cushing as ‘Dr. Christopher Maitland’ and Christopher Lee as ‘Sir Matthew Phillips’. Both are keen to acquire a collection of satanic statuettes. Phillips has more money and outbids Maitland by offering an absurdly high price for the figures in question. Maitland’s seedy and snuff taking oppo Marco (Patrick Wymark) also advises him to hold back, “he's got more money than you have". Perhaps it should be pointed out that Wymark's ploy with the snuff is tantamount to what McQueen did with his hat in The Magnificent Seven.

Shortly afterwards Marco arrives at Maitland's period London home and sells him a book (the life of that debauched libertine, the said Marquis) bound in human skin! Marco is a supplier of such curiosa and Maitland is a fevered collector and is “none too fussy” as regards the provenance of said items. The next day, Marco arrives with a skull claiming it to be that of de Sade. For this he asks a very high price but then agrees to accept a much lower offer, hence Maitland suspects it is a fake. Marco claims he wants to get rid of it as it gives him the jitters. Pretty soon after, our seedy supplier makes his appointment with the grim reaper. Maitland visits his old acquaintance Sir Phillips who, over a game of snooker, informs his colleague that the skull is genuine enough: “My dear fellow, that skull was stolen from me! And I advise you to keep well away from it!”
Does Maitland heed the warning? Don't be daft! We all know that no good will come of it. He then steals the skull from Marco's Soho flat, accidentally killing dodgy landlord Bert Travers (Peter Woodthorpe) in the process. And now Maitland’s nightmare is just about to begin, including a beautifully done dream sequence.

Cushing (who after this was never again billed above Lee) is at his best as the fevered and tortured occult collector Maitland. A similar role for him came later in The Creeping Flesh. Second billed Patrick Wymark has all the best lines including a tasty monologue giving a brief yet somewhat exaggerated account of the man “whose name has become a byword for sadism”. And a succulent performance it is too from the revered stage actor. The late Christopher Lee adds his usual cold and austere pomposity to the proceedings, who else could get away with it. Peter Woodthorpe is hilarious as landlord Bert. Stalwarts Nigel Green and Amicus fave Patrick Magee are on hand as the law, though stage actress Jill Bennett is somewhat wasted as Maitland's wife.
Director Freddie Francis has done a sterling job here, and the action seen through the eyes of the skull adds a particularly effective and chilling touch. For these scenes a huge, presumably polystyrene skull was used. John Wilcox's photography did the job amply. You really can feel Cushing's panic through those close-ups! As is usual with the dialogue-hating Subotsky, it is kept to a minimum. Indeed, there is hardly any for the last third of the film. Which must have been a welcome opportunity for the then in-house classical composer Elizabeth Lutyens who very much has to be praised for her score… an integral part of the film's success. The Skull is drenched in atmosphere and its claustrophobic feel (practically no location work or day shots here) only enhances the splendidly spooky vibe throughout. A classic of the genre!

This Dual Format Edition offers the following SPECIAL EFFECTS:

• Exclusively restored 1080p presentation of the film on Blu-ray
• Optional English subtitles for the deaf and hard-of-hearing
• New video interview with film scholar Jonathan Rigby
• New video interview with critic and author Kim Newman
• Reversible sleeve featuring original and new artwork
• Limited Edition Collector's Booklet, featuring an essay by Vic Pratt