“Asylum” is one of the more successful horror anthologies to come from Amicus, a company that specialized in the omnibus format. “Dr. Terror’s House of Horrors,” “Torture Garden” and several E. C. horror comic adaptations were just a few of their popular releases. These films were characterized by high production values and well known (mainly British) actors who brought an air of sophistication to the proceedings. As is the case with most anthologies, the Amicus films were hit and miss depending on the stories involved. Most of the vignettes were creepy morality plays dealing with revenge – usually with an ironic twist at the end. The more involving titles had a solid foundation for the horror shorts – some intriguing reason for the disparate tales to be joined together. Written by the late Robert Bloch, “Asylum’s” clever wrap-around story revolves around the Dunmoor Asylum for the Incurably Insane and its various incurable residents. Dr. Martin (Robert Powell) arrives at the ominous facility for a job interview with Dr. Starr. He is met instead by Dr. Rutherford (Patrick Magee) who relates a bizarre story about Dr. Starr going mad. Starr has been locked up in the asylum; disturbed and suffering from an identity crises. Dr. Martin is given the task of meeting with the various patients, one of whom is Starr. If the young doctor can correctly identify the former head of the hospital, the job is his. It’s an intriguing premise and perfectly lays the groundwork for potential ironic mayhem.

Dr. Martin first meets up with Bonnie (hypnotic Barbara Parkins) who relates a tale of madness entitled “Frozen Fear.” Bonnie is dating a married man named Walter (Richard Todd) whose rich wife is involved in voodoo practices. The two conspire to get rid of the wife in a plan that involves a basement freezer, a hatchet and butcher paper. Walter carries out the murder, literally chopping his wife to pieces and carefully wrapping up each part. Unfortunately for Walter, his wife was involved in some powerful magic and her limbs take on a life of their own. Fun, low-tech special effects make this episode particularly memorable. Dr Martin next visits a man by the name of Bruno (Barry Morse) who was once a successful tailor before falling in hard times. In “The Weird Tailor” Bruno is threatened with eviction if he doesn’t pay his already late rent within a week. Ironically, he is soon visited by a morose man named Smith (Peter Cushing) who brings in some strange material. Smith promises him a considerable amount of money if he can make a suit out of the odd fabric with the mandate of working only at night. When Bruno shows up at Smith’s residence with the suit, he finds that the man hasn’t the money to pay him upfront – and that a supernatural event will have to take place before the account can be settled. This doesn’t sit well with the put-upon tailor, whose frustration leads to murder. The somewhat intriguing premise doesn’t pay off in a very satisfying way, but it does have a genuinely creepy atmosphere. It’s also interesting to watch Cushing play a somewhat sympathetic character for a change.

Next Dr. Martin is introduced to Barbara (the amazing Charlotte Rampling) who shares a story of woe entitled “Lucy Comes to Stay.” When Barabara is released from an extended stay at a sanitarium, she goes to live at her family home with her brother and a prickly female nurse. Barbara suffered from schizophrenia and began to behave badly with a sexy personality named Lucy (played by Britt Ekland). Now with medication and live-in medical help, Barbara’s brother hopes she can start a new life. But Lucy has other plans. The sexy blond other half talks Barbara into not taking her medicine and eventually takes over; wreaking havoc with her nurse and brother. Rampling is an amazing actress and always manages to turn in striking performances (even in underwhelming vehicles like “Orca”). Here she makes a rather rote piece much more engaging than it would have been otherwise. The last “story” is woven rather smartly into the wrap-around narrative. In “Mannikins of Horror” Herbert Lom plays Byron, a former doctor who believes that he can transfer his consciousness into creepy handmade dolls. He decides to take out revenge on Dr. Rutherford and sends out a doll with a familiar face to finish him off. The doll stalking scene manages to both ridiculous and disturbing. Lom was always great at playing disturbed individuals, the later “Pink Panther” films got their edge from his inspired insanity. This last piece effectively showcases his manic talents and nicely ties the stories together.

Though not as consistently engaging as “Tale From the Crypt” (released the same year) or as campy as “The House that Dripped Blood,” “Asylum” is still great fun. Director Roy Ward Baker was the Amicus go-to man for several of their famous films. He directed everything from “Scars of Dracula” to the cult favorite “The Legend of the 7 Golden Vampires.” Here he is in fine form here with a solid cast and an inventive script by “Psycho” author Bloch. The cinematography by Denys Coop is a bit pedestrian; a few of the scenes contain some visual panache but the film as a whole is unremarkable. Especially when compared to the work of cinematographer Norman Warwick who shot “Tales from the Crypt” and several other Amicus works. Regardless of the “look,” “Asylum” manages to entertain and surprise some 30 years after its original release.

This Dark Sky Films package includes a crisp anamorphic widescreen print of the film. Though some scenes appear a bit dark, it’s a relatively sharp print with few blemishes. The Dolby Digital mix is superior and give the experience an added excitement. The extras meet the usual high standards for Dark Sky. Most every commentary that they provide lends some interesting insight into the film. Here director Baker is joined by camera operator Neil Binney for an interesting look into their process. They not only reminisce on the behind-the-scenes of “Asylum,” but give a very interesting view of working at Amicus and Sheperton Studios in the early ‘70’s. A well-made featurette entitled “Inside the Fear Factory” also touches upon the Amicus cannon and features some candid interviews with Baker, director Freddie Francis and legendary producer Max J. Rosenberg among others. Also included are trailers for “Asylum” and other Amicus classics (including the memorable trailer for “And Now the Screaming Starts”), a still gallery and liner notes that provide a brief overview of the film. It’s another solid release from the folks at Dark Sky Films who clearly love the horror genre and the people behind the productions.