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Horripilations Review of The Man Who Turned to Stone (1957)

Movie Review: The Man Who Turned to Stone (1957)

Synopsis:

The Man Who Turned to Stone is a British science fiction horror film directed by the prolific director, Paul Dickson. The narrative takes place in a gothic-style psychiatric institute equipped with a sinister secret. The story begins with a series of mysterious disappearances plaguing the hospital, as several patients go missing under the care of its stern and enigmatic doctors. The plot thickens when a group of new patients discover that the doctors are utilising them for their twisted experiments aimed at achieving immortality.

The central figure of the film is Dr. Boulanger (played by John Paul), who has developed a horrifying technique that allows people to turn into stone in a bid to preserve them indefinitely. Instead of granting the gift of eternal life, this monstrous transformation leads to death and despair. As whispers of dissent arise amongst the patients and the staff, the tension intensifies, leading to a confrontation between morality and ambition.

The emotional core of the film lies in the desperation of the patients, particularly a woman named Joan (played by Barbara Shelley), who must confront Dr. Boulanger and his unsettling methods. With its combination of horror and psychological thriller elements, The Man Who Turned to Stone navigates the thin line between sanity and madness, ultimately showcasing the dark side of human experimentation and ambition.

Cast

  • John Paul as Dr. Boulanger
  • Barbara Shelley as Joan
  • Peter Cushing as Dr. Phillips (a more sympathetic character who ultimately opposes Boulanger’s ideology)
  • David Gassman as Patient
  • Marjorie Rhodes as Miss Blake
  • Michael Ripper as a Doctor
  • Richard O’Sullivan as a Young Patient

Review

The Man Who Turned to Stone is emblematic of the 1950s British horror genre, marked by a captivating premise and understated performances. Director Paul Dickson utilises classic techniques of suspense effectively, creating an atmosphere dripping with tension from the very beginning. The film adheres to a slow burn approach, allowing audiences to gradually uncover the depths of Dr. Boulanger’s villainy, which adds to the overall chilling ambience.

One of the film’s standout elements is Barbara Shelley’s portrayal of Joan. She delivers a commendable performance as a victim caught in the suffocating grasp of Dr. Boulanger’s twisted experiments. Her character embodies both vulnerability and defiance; Shelley captures Joan’s emotional turmoil sufficiently, drawing viewers into her struggle against fate. The depth in her performance is further accentuated by her chemistry with Peter Cushing’s Dr. Phillips, adding complexity to the narrative.

Peter Cushing, well-known for his roles in horror films, brings a level of gravitas and warmth to Dr. Phillips. His presence in the film lends it a sense of credibility; he represents a voice of reason amid the chaos, contrasting sharply with Dr. Boulanger’s cold ambition. Cushing’s performance is a tour-de-force of restraint and righteousness, and one can’t help but root for his character’s advocacy for humane treatment of the patients, providing a crucial balance to Boulanger’s chilling brutality.

The production quality of the film, while reflective of its era, holds a certain charm that is evocative of classic horror. The hospital setting, with its dimly lit corridors and claustrophobic interiors, contributes significantly to the film’s atmosphere. There’s a visual language that plays with shadows and darkness, evoking a sense of dread that is unmistakable. It’s worth noting that some of the film’s special effects, though not groundbreaking by today’s standards, manage to convey the grotesque transformation in compelling ways that align with the narrative’s horror.

The pacing of The Man Who Turned to Stone may strike some contemporary audiences as slow, particularly given today’s fast-paced cinematic landscape. However, as one digs deeper into the film’s thematic concerns, the deliberate pacing can be appreciated as a way of intensifying tension and allowing for character development. What could have been a mere "creature feature" transforms into a cautionary tale about ethical boundaries in the pursuit of science.

The narrative raises thought-provoking questions about the nature of humanity and the moral implications of scientific experimentation. In an age where biotechnology is advancing rapidly, the themes in The Man Who Turned to Stone seems even more relevant. The film warns of a pathway where ambition, when unchecked by ethics, can lead to monstrous outcomes — a term still poignant in current discussions around medical and scientific ethics.

Critically, the film’s presentation of female characters, particularly through Joan, opens a dialogue about agency and victimhood. Joan’s fight against Boulanger’s machinations represents the struggle for autonomy within a system designed to control and dehumanise individuals. While the film’s portrayal is undoubtedly a product of its time, it does tasked itself with encouraging its female lead to rise against male oppression, embodying an early feminist streak that was uncommon in 1950s cinema.

As the narrative unfolds, the unsettling notion of transformation unfurls. Dr. Boulanger’s proclivity for turning his patients into stone serves as a metaphor for freezing their existence and stripping them of their humanity. The psychological horror extends beyond mere physical transformations; it illustrates the loss of self that comes from being subjected to excessive control and de-humanisation, relevant themes that resonate with the audience even today.

The climax of the film, while predictable by some standards, offers a satisfying conclusion to the increasingly tense buildup. The final confrontation between Joan and Dr. Boulanger is charged with emotion, revealing the full extent of Boulanger’s depravity while showcasing the resilience of the human spirit.

Conclusion

Overall, The Man Who Turned to Stone is a fascinating exploration of horror that transcends the limitations of its time. It deftly intertwines chilling horror with emotional depth, creating a compelling tale that serves not only as entertainment but also as a social commentary on the excesses of ambition and the ethics of scientific inquiry. With strong performances from its cast, particularly from Barbara Shelley and Peter Cushing, the film remains an intriguing watch for both fans of classic horror and those interested in the conceptual explorations of cinema’s evolving relationship with science and morality.

In the landscape of 1950s horror, The Man Who Turned to Stone may not be as well known as some of its contemporaries; however, it warrants recognition for its thought-provoking themes and artistic merits. I would rate this film a 7.5 out of 10. Despite its shortcomings and slower pacing, its concentration on character development and moral dilemmas make it a worthwhile cinematic experience, particularly for those who appreciate the nuances of classic horror cinema.

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