The Skull is the companion piece to the Cherub mentioned in the previous blog, and the pair of bronze sculptures, powder-coated with gold, designed by Kenny Hunter, can be seen on opposite corners of Glasgow’s Tron Theatre. They form a single work: Cherub/Skull – and the skull is the one not so well known, as its hidden in its little niche on the much quieter Parnie Street.
But for me, this is the one I always go out of my way to walk past when I’m in town, as looking up to this image brings back memories of being a kid in the early 1970s and that wonderful ’Don’t Watch Alone’ series, the title created by Scottish Television that covered all those horror movies shown on a Friday night, starting at 11pm. It was my first introduction to those atmospheric old black and white Universal, RKO and also colour-infused Hammer Horror classics that still to this day have remained my favourites.
And the reason I always look out for it is my fondness for the underrated and relatively unknown gem I first saw as a 10-year-old, The Skull (adapted from a short story by Robert Bloch, author of Psycho), a wonderful 1965 movie from Amicus, the British horror studio that attempted to rival Hammer Horror. And The Skull (streaming on Netflix) is a fearsome, finely acted and moody tale of Gothic horror and demonology with a solid cast of British thespians.
The premise is that the skull of the Marquis de Sade has been taken from its grave, bringing terror to those who own it, and it stars those two legendary masters of the macabre, Peter Cushing and Christopher Lee, who team up for the umpteenth time together as occult collectors in this doom-laden shocker – but with the twist being that this is the only movie featuring the gruesome twosome where Cushing plays the bad guy to Lee’s good guy.
Leica M3 & 2.8/90mm Elmarit
Ilford FP4+ (200)
HC-110 (Dil.H – 1:63 @ 12:30 min)
Plustek 7600i & Vuescan