The Hellfire Club (1961) User Reviews (14)

Good, but just a few too many "fortunate coincidences" to make it a better film.

[planktonrules · 5/10 · 26 June 2009]

The idea behind this film is pretty good. In the 18th century, there was an organization called the "Hellfire Club" and it really is much the way it was portrayed in the film--a group of noblemen who were libertines who were involved in all sorts of immorality behind closed doors. Membership was secret and most of the club's activities are conjecture--but they undoubtedly involved a lot of sex. This film is about this club that thrived behind closed doors in Britain and how they club conspires to keep a young man from his rightful inheritance. Interesting.

Unfortunately, while the idea is very good, the writing is at times very lame. For example, when the heir wants to ingratiate himself with the current Lord of the manor, it just so happens that a member of the household is being set upon by thieves and he comes to the rescue--earning the family's gratitude. When he looks for a letter proving his legitimacy as heir, he almost immediately finds it in the manor home--though no one else had found it before this time. And, when a lady recognizes the signs that he is the heir, naturally she's also the woman who would keep this secret! When he's captured, he spits out "I'll kill you" to his cousin, yet the cousin doesn't just have him killed there and then! Too convenient, too often--a sign of a less than stellar script.

Aside from all the "fortunate coincidences", the film is a pretty decent adventure film, with lots of sword fights, busty ladies and near-death experiences. It certainly is never dull! However, it's rather sad that the film ended on a rather dull note--with the expected fight scene and showdown. Also, if you are watching the film for Peter Cushing, he's barely in the film at all.

By the way, one of the many great history lessons I learned from this film was that women in the 18th century wore silver sparkly pasties. Who says history is dull?!

THE HELLFIRE CLUB (Robert S. Baker and Monty Berman, 1961) ***

[Bunuel1976 · 7/10 · 11 December 2008]

Having been aware of this film from its poster found in an old scrapbook of my father's as well as Leslie Halliwell's positive write-up in his film guide and given my own partiality to swashbucklers, I made it a point to catch this one during its sole TV screening in my neck of the woods which occurred in the mid-1990s. Somehow, I didn't tape it back then but, thankfully, I subsequently acquired it via Dark Sky's double-feature DVD where it was coupled with another vintage British genre film (albeit of the horror variety) BLOOD OF THE VAMPIRE (1958; which I caught up with recently during this year's Halloween Challenge) produced by the same film-making duo behind THE HELLFIRE CLUB i.e. Robert S. Baker and Monty Berman. Swashbucklers had been Hollywood's most popular genres during the 1950s so it was almost inevitable that it should also flourish in Europe (Britain, France and Italy) as well. Other British examples were a handful of rather atypical Walt Disney productions and Hammer Films but also rare one-offs like THE MOONRAKER (1958) - another film whose poster graces that aforementioned scrapbook of my father's where he used to paste sundry posters and articles of movies released locally during the 1950s and early 1960s.

The plot line of a deposed aristocrat fighting to regain his rightful place is an age-old premise - think of Tyrone Power's South Seas adventure SON OF FURY (1942) for example - and this film follows in that fashion as well as Keith Michell is ousted by his villainous cousin (Peter Arne) who claims both his title and lands following the former's departure as a boy (played by the 1960 VILLAGE OF THE DAMNED's Martin Stephens) from under the clutches of his would-be Satanic father and his 'depraved' peers – hence the title which, incidentally, was an underground society that truly existed but, unsurprisingly, this is no historical account. Ironically enough, the flight of the child and his long-suffering (and ill-fated) saintly mother was precipitated by the boy's cousin goading him to witness the debaucheries of their elders being held in the basement! Needless to say, such wickedness is only mildly (in fact, too mildly if you ask me) depicted by the film-makers and these quaint orgies (relagated to the start and end of the film) are more prone to raise a smile than an eyebrow but, even so, there are three instances of censor-baiting where fetching females (including red-headed Adrienne Corri and Kai Fischer) are shown bare-backed!

The hero had been taken by his loyal guardian (David Lodge) to stay with a travelling circus troupe where he grew up a strong,agile man with a penchant for theatricality, qualities which he will be forced to rely on in his future run-ins with Arne and his men. Swordfights, floggings, prison escapes and impersonations (by Michell of a foppish French ally of Arne's) are the order of the day making for a pacy, full-blooded entertainment punctuated by Clifton Parker's rousing music score (not to mention an amiably goofy cameo from Peter Cushing as Michell's attorney) that, while perhaps falling short of more renowned entries in the genre, is reasonably representative of its British variant made during its time.

Hellfire

[Bernard-Dunne · 6/10 · 28 September 2009]

Everyone has covered this but it is a good swashbuckler and it does look like the Hammer Films costume dramas from the same period, so rather than it just been that Cushing and Sangster were involved, it also resembles a Hammer Film in everything except name. Also of interest is that this is the film that Kolliatis was watching in bed before he dies in the 'The Man Who Got A New Face' episode of the series 'Department S' Which Robert S. Baker produced between 1969 and 1970. An interesting film for everyone who likes a period piece or a costume drama and unlike Kolliatis you will not die after watching this. Great! Search the TV Guide or get it on DVD it's a good timewaster.

The Hellfire Club

[Scarecrow-88 · 7/10 · 21 June 2007]

Rousing swashbuckling tale of an heir Jason(Keith Michell, in fine form as an Errol Flynn type hero), whose despicable father finally leaves this mortal coil for Hell after his death in a hunting accident, must contend with his equally devious, aristocratic scumbag cousin Thomas(Peter Arne)who lays claim to the estate and has the paper entitling Jason to the kingdom. Unfortunately, Jason will have to secure that paper from Thomas somehow by sneaking into his service as a servant. Jason, who was raised by Timothy(David Lodge), once a servant of his fathers'..and only one his late mother could trust..has been part of a traveling circus for some time and has keen acrobatic abilities, not to mention sword-fighting knowledge. This knowledge, and acrobatic skill, comes in handy when Jason's identity is found out, perhaps through Isobel(Adrienne Corri)who is to marry Thomas but falls in love with his cousin. Isobel is from poverty and so desperately wants a title of wealth that Thomas can provide..but despite her feelings towards Jason he stands in the way of her goals. Thomas' power with the English government(..but his underhanded secret dealings with the French offer possibilities of his possible downfall)puts Jason in prison when the evil aristocrat murders Timothy framing him. Jason had retrieved the paper stating his legitimacy to the kingdom and hid it in his lawyer's study. But lawyer Merryweather(Peter Cushing, amusing even if on screen for mere minutes)will not allow his knowledge of the paper known to the judge or jury at the trial for Jason's being tucked away in prison might just benefit England and bring down the corrupt Thomas and his Hellfire Club cohorts. But, Jason's circus-pals will not stand at bay as their friend lays in prison for the gallows and rescue him. Through a cunning kidnapping of the traveling French Marquis, Jason will go within the lair of Thomas' Hellfire club cavern to rescue his lady-love Yvonne(Kai Fischer), held prisoner so that a thorn can be removed from the evil cousin's side. Can Jason rescue Yvonne, thwart Thomas' plans, and, above all, remain alive?

Lots of sword-dueling, acrobatic stunts, colorful sets & engaging performances rise this above merely the mundane. It has an appealing hero, loathsome villain worth rooting against, beautiful women, and an exciting prison escape. The circus troupe provide lots of joy as they cunningly trick the guards in the prison escape. Good production values and some suspense as poor Jason faces one trial after another so that he can get his revenge and claim his birthright. The Hellfire Club is an interesting backdrop to the action proclaiming what kind of sickening brutes Jason, and England, are up against.

Keith Michell and Peter Cushing

[kevinolzak · 5/10 · 29 May 2014]

1961's "The Hellfire Club" is really nothing more than a typical swashbuckler that promises more than it delivers. Co-scripted by Hammer's Jimmy Sangster, Keith Michell stars as Jason Caldwell, rightful heir to the Earl of Netherden, which has been claimed by wicked cousin Thomas (Peter Arne) as his own in Jason's absence. The actual Hellfire Club barely figures in the plot, merely a device carefully avoided by the filmmakers, making Jason's father and cousin Thomas members to justify its inclusion (and the title). In deference to its subject matter, both leading ladies are seen in compromising bathing situations, with Adrienne Corri and Kai Fischer supplying equal parts pulchritude and love interest. It's certainly quite watchable, action aplenty, and bolstered by a good cast, Keith Michell acquitting himself well in his athleticism. Best of all, Peter Cushing guest stars as wily attorney Mr. Merryweather, who agrees to take on Jason's case yet behaves in a rather untrustworthy manner, allowing his client to be convicted of murder and sentenced to hang (he's introduced watching the execution of one of his 'less fortunate clients'). A hint of necessary corruption indeed manifests itself in that first scene, as a dismissive Merryweather suggests a way to obtain the document that would prove Jason's inheritance: "if one was dishonest, which of course one is not, one could steal the letter!" His masterful use of props involve spectacles, snuff, and handy handkerchief, a memorable five minute cameo worth the price of admission.

Routine swashbuckling adventure.

[youroldpaljim · 5 February 2003]

THE HELLFIRE CLUB is often wrongly sighted as a Hammer Films production probably because the film was written by Jimmy Sangster and features Peter Cushing in the cast. (I found this film on the Hammer Films shelf at my local video store.) In this adventure set in 1700's, Jason (Keith Mitchell) is driven out of his family estate after his mother is killed and raised by a band of circus performers. When Jason returns to claim his birthright as Lord of Netherden Castle, he discovers it has been taken over by his evil cousin Thomas (Peter Arne) who is a member of the nefarious 18th century secret society The Hellfire Club. With much Errol Flynn style derring do and a capture and an escape, Jason is able to rightfully claim his birthright and expose an evil conspiracy against the crown by the French and the wicked noblemen of The Hellfire Club.

Despite The Hellfire Clubs reputation (the real life secret society, not the film) for depravity and debauchery, mostly what we see of it in the film is pretty tame, even by 1960 standards. The orgy sequence that includes several scantly clad buxom babes in harem outfits is done tongue in cheek and looks as if the films makers were spoofing a harem sequence from some Maria Montez Arabian knights epic. Keith Mitchell as Jason is a bit stiff at times but he performs the sometimes cartoonish heroics convincingly. Peter Cushing is fine as usual in a rather small role as Merryweather. The film has nice production values and moves at a good pace, but overall THE HELLFIRE CLUB is just another movie.

Cheapo swashbuckler

[Leofwine_draca · 5/10 · 21 August 2013]

This cheap 'n' cheesy British swashbuckler is very much like the costume adventure films that Hammer were making during the same period, albeit on a much lower budget. There's a wobbly, fake look to the whole production; the costumes are anything but authentic, and nothing looks very believable when it comes down to it. It has the same authenticity as an episode of DOCTOR WHO around the time of Jon Pertwee, but that's not to say it isn't fun.

The plot is completely predictable, involving a guy who comes home to claim his inheritance, only to discover that a bad guy (his cousin) has taken his place. It's rather amusing to see Keith Michell (THE SIX WIVES OF HENRY VIII) as the straight-laced lead, but the prevalence of familiar faces in the supporting cast helps to even things out a bit. Watch out for a small, fussy turn from Peter Cushing, Peter Arne and Francis Matthews as the suave villains, Adrienne Corri (VAMPIRE CIRCUS) as a potential love interest, Miles Malleson as a judge and Bill Owen (LAST OF THE SUMMER WINE's Compo!) as a circus performer (!).

The production is quite poorly staged and the fight choreography is all over the place, with punches thrown so badly that you can clearly see they never connect. There's a half-rousing sword fight at the climax but it still pales in comparison to other fare from the era. There's lots of titillation though, thrown in as if to make up for the other deficiencies. Nevertheless I love period films from this era, so I still enjoyed THE HELLFIRE CLUB despite the obvious shortcomings.

Fun to watch.

[Hey_Sweden · 7/10 · 18 May 2016]

"The Hellfire Club" is an amiable swashbuckler. It's not among the best of its genre, but it's quite agreeable. It has a very fine pace, a respectable amount of energy, an appreciably high level of humor, and an extremely engaging cast.

The setting is England in the 1770s. Young Jason (Martin Stephens) and his mother (Jean Lodge) flee for their lives, from the tyranny of their cruel father / husband (Andrew Faulds). 15 years later, Jason is now a hunky, strapping adult (Keith Michell) living with a circus troupe. He receives word that his father has died, and decides to return to the family home to reclaim his birthright. But to do so, he will have to battle his sleazy and corrupt cousin Thomas (Peter Arne).

The action and the sword fights may indeed not be the slickest that you'll ever see, but they're still entertaining enough to watch. Lavishly photographed in widescreen by Robert S. Baker and Monty Berman (who are also the producers and the directors), it's violent without ever being gory, and its sets and costumes are reasonably appealing. The music score by Clifton Parker is appropriate all the way through. As said before, the sense of humor helps a lot, especially during the sequence where Jason masquerades as a French Marquis (Bernard Hunter); Michell is hysterical in these scenes.

There are solid contributions from much of the cast: lovely Adrienne Corri as the grasping but honest Lady Isobel, ever delightful Peter Cushing as the lawyer Mr. Merryweather, David Lodge as Timothy, Miles Malleson as a judge, Francis Matthews as Sir Hugh Manning, and Skip Martin as Joey. Michell is a worthy hero, and Arne is an effectively slimy villain.

"The Hellfire Club" remains consistently diverting for its entire 93 minute run time.

Seven out of 10.

Fun, disposable swashbuckler - easy viewing but quite forgettable.

[barnabyrudge · 5/10 · 4 November 2011]

Historically speaking, the Hellfire Club was the name given to a number of secret sects and societies in the 18th and 19th century. Often the members consisted of aristocrats and politicians. The most notorious Hellfire Club of all – and the one people think of immediately at mention of the name - was run by Francis Dashwood in the mid-18th century. This sect practised devil worshipping, animal sacrifices, sorcery, wife-swapping, orgies and other such infamies. This 1961 movie draws its inspiration from Dashwood's club, but the promise of sensationalism and titillation is quickly ditched in favour of a more wholesome approach. There's little that is gruesome or sexual here; this is a brisk, clean family swashbuckler, totally enjoyable whilst on and totally forgettable once finished.

Young aristocratic cousins Jason and Thomas discover their parents are involved in a depraved secret society. Thomas is perversely thrilled by the discovery; Jason utterly horrified by it. Jason is spirited away by his mother and ends up on the continent working as part of a travelling circus troupe. Thomas stays behind in England, and seizes titles, estates and land that rightfully should have belonged to Jason. Many years later, adult Jason (Keith Michell) returns to England to claim his birthright. By now, adult Thomas (Peter Arne) has become a wicked and powerful senior figure who runs a depraved secret society of his own, safe from prosecution because half the lawmen and politicians in the land are already members of his clandestine sect. Jason is persuaded by wily lawyer Merryweather (Peter Cushing) that he will need evidence if he is to depose Thomas and claim back his title. He goes undercover as a stable boy, intending to find and steal documents which will prove his identity. But the quest is fraught with danger, and Jason knows that if Thomas ever learns his true identity he will be killed for sure....

In his first leading role, Keith Michell makes a rather attractive hero – smooth, spirited and righteous. Arne as the villain wears his best villainous sneer and generates plenty of boos and hisses. The rest of the cast are essentially there for window dressing, although guest star Cushing creates a memorable characterisation as the cunning lawyer Merryweather (it would be nice if he had a little more screen time). Technically there's nothing wrong with the film – it is brightly shot, judiciously edited and solidly staged. Some of the dialogue is rather laughable, and the plot is littered with improbable coincidences and unlikelihoods. But overall, this is a fun and disposable swashbuckler that passes 90 minutes of time easily enough.

Entertaining swashbuckler

[Woodyanders · 8/10 · 14 April 2016]

The 1770s. Jason Caldwell (a perfectly dashing portrayal by the handsome Keith Michell) returns to his ancestral estate in the wake of a lengthy absence to reclaim his lordship. However, Jason discovers that his evil and decadent cousin Thomas (ably played with lip-smacking wicked relish by Peter Arne) has turned the manor into a disreputable den of sin and inequity.

Directors Monty Berman and Robert S. Baker, working from a compact and eventful script by Jimmy Sangster and Leon Griffiths, offers a vivid and flavorsome evocation of the 18th century period setting, keeps the enjoyable story moving along at a brisk pace, stages the rousing action set pieces with rip-roaring gusto, and tosses in a few saucy moments of near female nudity for extra tantalizing measure. Moreover, it's acted with considerable zest by a tip-top cast: Adrienne Corri provides plenty of spark, sass, and sexiness as the feisty Lady Isobel, Peter Cushing contributes a lively turn as cagey lawyer Mr. Merryweather, Kai Fischer makes a favorable impression as the bubbly and enticing Yvonne, and David Lodge does well as the loyal Timothy. Clifton Parker's spirited score hits the stirring spot. The crisp widescreen cinematography supplies a vibrant and sumptuous look. An extremely fun romp.

There are only three good reasons to watch this

[Venus-25 · 28 September 2013]

Those reasons are two actors and the production look.

This early look at Keith Michell was a treat, to see him as he was prior to his true star turn as Henry VIII in that excellent BBC miniseries. He is a great historical chameleon who looks authentic in any period of history and can speak all versions of English. Peter Cushing is virtually unrecognizable as the lawyer whose beard is totally out of fashion in this era of both vice and enlightenment. Good performances by both.

The 18-century costumes were spectacularly accurate and well-done and the actors wore and moved in them well. The sets were worth of Hammer's usual period setting work.

However, the harem-girl stuff on the exploited females will always remind me of Hollywood drivel.

The story is an Alexandre Dumas-style cliché which could have worked with a little more effort on the writers' part. In the hands of actors less capable than Keith Michell, Peter Cushing, and Peter Arne, this would have been an even bigger mess.

The typical European swashbuckler for this period.

[searchanddestroy-1 · 12 March 2023]

The early sixties was the period, the era for swashbucklers from Europe; mainly France with the adaptations of instance from Alexandre Dumas' novesl, and directed by the likes of Andre Hunnebelle and Bernard Borderie. And from Italia, there were hundreds of them. But from England, well, not that many of them and this one is one of the exceptions. It is inspired not from a novel, but from actual facts related to some kind of a sect which existed in eighteenth century Britain: the HELL FIRE CLUB, a topic also evoked in one season of THE AVENGERS series, starring Diana Rigg and Patrick McNee. Several years later, you also had another historical adventure, costume movie called WITCHFINDER GENERAL, not the same topic but the same kind of settings, period; though more disturbing. This movie is colorful, fun, never boring and the production design perfectly adequate for this kind of adventure film.

Disappointing

[malcolmgsw · 5/10 · 3 January 2020]

I was expecting a film related to the title,instead of turned out to be a swashbuckler with little swash and a lot of buckle.A good cast,decent production,marred by a poor script and badly staged fights.Just compare the climatic fight on the staircase with that between Flynn and Rathbone in Robin Hood and you will get the idea.

Good Adventure Story and I loved the Costumes

[ldeangelis-75708 · 7/10 · 30 June 2023]

Being an 18thc fan, when a movie takes place in that era, I kind of like it already, though sometimes it falls below expectations. That wasn't the case with this film. Though it's a bit misleading from the title, as very little of it has to do with that infamous club, but nonetheless, I enjoyed the story of the hero fighting to reclaim his estate and title from his evil cousin, who inherited everything due to his supposed death, and intends to make that happen!

There was some comedy here, too, when our leading man waylays the Frenchman on route to the family mansion, steals his close and takes his place, going way over the top with his phony accent and effeminate style.

There's also some romance, as he's torn between two women. I'm happy to state that he makes the right choice!

Worth watching!