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These Are the Damned (1962)

The Damned (original title)
Approved | | Drama, Fantasy, Horror | 7 July 1965 (USA)
Trailer
2:43 | Trailer
An American tourist, a youth gang leader, and his troubled sister find themselves trapped in a top secret government facility experimenting on children.

Director:

Joseph Losey

Writers:

Evan Jones (screenplay), H.L. Lawrence (novel)

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Cast

Cast overview, first billed only:
Macdonald Carey ... Simon Wells
Shirley Anne Field ... Joan
Viveca Lindfors ... Freya
Alexander Knox ... Bernard
Oliver Reed ... King
Walter Gotell ... Major Holland
James Villiers ... Captain Gregory
Tom Kempinski Tom Kempinski ... Ted (as Thomas Kempinski)
Kenneth Cope ... Sid
Brian Oulton ... Mr. Dingle
Barbara Everest Barbara Everest ... Miss Lamont
Allan McClelland Allan McClelland ... Mr. Stuart (as Alan McClelland)
James Maxwell ... Mr. Talbot
Rachel Clay Rachel Clay ... Victoria
Caroline Sheldon Caroline Sheldon ... Elizabeth
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Storyline

The middle-aged American Simon Wells sails in his boat to Weymouth and stumbles with the twenty year-old Joan on the street. He believes that she is a prostitute but she is actually part of a scheme of a motorcycle gang to rob tourists. Simon is brutally beaten up by her brother King and his gang. The policemen find the wounded Simon and take him to a bar to recover, where he meets the military Bernard and his mistress Freya Neilson. On the next morning, Joan challenges King and meets Simon in his boat, and King and his gang hunts Simon down. Joan and Simon spend the night together in an isolated house and on the morning, they are located by the gang. They try to flee and stumble in a top-secret military facility managed by Bernard. They are helped by children and brought to their hideout in a cave. King falls in the sea while chasing the couple and is also helped by a boy and brought to the same place. Soon Joan finds that the children are cold as if they were dead. What is the ... Written by Claudio Carvalho, Rio de Janeiro, Brazil

Plot Summary | Plot Synopsis

Taglines:

Come At Your Own Risk ... If You Come Alone! See more »


Certificate:

Approved | See all certifications »
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Details

Official Sites:

Hammer Films

Country:

UK

Language:

English

Release Date:

7 July 1965 (USA) See more »

Also Known As:

These Are the Damned See more »

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Box Office

Budget:

$500,000 (estimated)
See more on IMDbPro »

Company Credits

Production Co:

Hammer Films See more »
Show more on IMDbPro »

Technical Specs

Runtime:

| (director's cut)

Sound Mix:

Mono (RCA Sound Recording)

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

"The Brink" was Losey's preferred title, although "The Abyss" was considered, but he thought it 'pretentious'. After the delay in release the studio preferred to link the film with the similar, though source unrelated, 1960 success "Village of the Damned (1960)". See more »

Goofs

A shadow of a crew member can be seen moving after King shoots the soldier in the lab. See more »

Quotes

Captain Gregory: Any bully can command obedience. Only a gentleman can command loyalty.
See more »

Crazy Credits

'sculpture Frink'. (Elisabeth Frink's surname/ signature in her own handwriting alone on right of screen) in opening credits. See more »

Connections

Referenced in Akira (1988) See more »

Soundtracks

Blues in the Night
(uncredited)
Music by Harold Arlen
Whistled by the gang in the night coast scene to signal each other
See more »

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User Reviews

 
Much deeper than it appears?
29 August 2007 | by ldoigSee all my reviews

I saw this recently on a late night "British Film Celebration" series, showing various odds and sods of yester-year. In some ways I wished I had videoed it now, as thinking about it afterwards (and thinking about it is certainly something you'll do)there's clearly something going on with the characterisation that was far more important than lets on at first. A second viewing was perhaps needed, certainly the characters don't seem quite fleshed out and when thinking about it I was wondering if that was the point. But here's what I mean by the characters:

  • The spiritually hurt "old/young" man played (and in fairness, perhaps miscast) by MacDonald Carey, desperate in some way to "complete" himself; the numerous old English establishment/power figures, feeling out of time and place, as if powerless to deal with the worlds changes, still "in" power but somehow no longer; the devout artist, passionate about her work, which in itself is a little dehumanising (there is a great, heart rending scene, where she cries in agony as Oliver Reed destroys some of her art work, that will stay with me for a while); the young girl unable to "become" what she wants, perhaps of her "possessive" brother, who really genuinely wants to protect her from the evils of the world; the emotionless children, full of potential but ultimately radioactive and poison, and most of all the "angry young men" lead masterfully by Oliver Reed, They represent the irrational human, simply wanting to "be" and nothing more.


While trying to follow some sort of standard narrative, there seems to be something else going on in this film that is talking about a far wider, human theme with actually makes it much more of a "pure" science fiction/philosophical film than it maybe gets credit for. Yes, you can look at it at face value and ultimately see it as nothing more than a curious English B movie, but...

The film moves very slowly, but its shift from what looks to be a critique on teenagers turns into a science fiction film with a very gritty message about human survival and with its grim ending its something you tend not to see much in films, either then or now.

Perhaps I am reading FAR too much into the film, but cold war polemic aside there seems to be something far more rhetorical being said about "radiation" and the death of humanity/culture/civility. There seems to be comments made on how the individual deals with a world that can face potential catastrophic change at any moment which will deny you your very humanity and dignity. I'm not saying the film does this successfully, but nonetheless it's a very interesting "attempt" and well worth a little look.

Oh...and as for the "Black Leather, Black Leather, Smash, Smash, Smash" song. Well, it's interesting... Maybe there's a comment being made there too...about inanity? Perhaps I need to get out more.


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