“Can you guess who it is when we stop for the werewolf break? See it, solve it, but don’t tell!”
The memorable ad campaign for “The Beast Must Die!”

This Amicus title was a break of sorts from their successful anthology format. “The Beast Must Die” is probably more famous for its memorable ad campaign. One that tantalized viewers with a “werewolf break,” a William Castle-like gimmick that surely sold a few more tickets back in the day. Its intriguing premise is a variation on Agatha Christie’s “Ten Little Indians,” except the killer in question is a werewolf. Millionaire Tom Newcliffe (Calvin Lockhart) and his beautiful wife Caroline (Marlene Clark) have gathered five guests to spend a weekend at their estate. The guests are a rather disparate group, but they share one trait in common; all of them have been linked to suspicious deaths that appear werewolf related. Clearly one of them is a werewolf – and must die! The thrill seeking millionaire intends to hunt down the guilty party and kill them for sport. To insure he gets his wolf, he has meticulously prepared by setting up a series of high tech cameras and motion sensors in and around the grounds. He has also made it impossible for anyone to leave; surrounding the estate with an electric fence. Could the unlucky lycanthrope be: the prickly Dr Lundgren (Peter Cushing), the suspicious Jan Jarmokowski (Michael Gambon), the exotic Davina (Ciaran Madden), stuffy Arthur Bennington (Charles Gray) or playboy Paul Foote (Tom Chadbon)? A blind guess might serve one better than any attempt at solving the “mystery.” Written by Michael Winder from a story by James Blish, the convoluted script goes out of its way to explain werewolf lore – but has little interest in things like coherency.

“Beast” is set up to be this cunning mystery, going so far as to request that the audience attempt to guess who the werewolf might be. The promised “werewolf break” hints that the unfolding story will offer several clues along with the ubiquitous red herrings. However, “Beast” is less a compelling mystery than it is a “who will die next?” old dark house thriller. The entire mystery angle was merely an afterthought by the producers who deemed the final cut not involving enough. On its own merits, it’s a somewhat engaging b-movie with some inspired moments and solid performances. The energetic opening of the film (set to a groovy ‘70’s funk score), with Tom sprinting through the wooded estate while monitors follow his every move suggests an unexpected action angle. And while “Beast” is basically structured like the typical British drawing room thriller, there are several nice action set pieces. Director Paul Annett orchestrates several spirited scenes; almost making up for the fact that the werewolf in merely a poorly costumed dog. A helicopter chase at night, culminating in a shootout at an elaborate greenhouse, is nicely done. And several of the werewolf attack sequences manage to create some genuine suspense. But these sequences do little to mask the inadequacies of the script.

As is the case with most Amicus productions, the cast is superior. Lockhart as the determined hunter plays it a bit over the top, but is nonetheless a charismatic presence. The casting of the African American actor is perhaps the most intriguing aspect of the production. Though an admittedly calculated call by the producers (exploiting the popularity of the black exploitation films), his inclusion adds a shot of adrenalin to the Amicus formula. Lockhart mixing it up with the seasoned British cast, including Cushing and Gray, also gives the film a more contemporary feel missing from the anthology productions. Clark, the only other African American in the cast, gives the most convincing performance as the harried wife. Exploitation fans might remember her as Duane Jones’ co-star in the underrated “Ganja and Hess.” Cushing is always a solid presence in these films, but is almost wasted here as a doctor who just happens to be an expert on lycanthropy. Gray (the criminologist from “Rocky Horror”) is also given an undistinguished part, but he manages to add some nuance to his limited screen time. The rest of the cast is made up of solid British actors; all adding weight to the light drama.

Annett was taken aback after the producers added the werewolf break, but it does actually add a bit of intrigue. The narration at the beginning (trumpeting the “break” at the climax), prompts an anticipation level that the film might not have had otherwise. Kids enjoying a Saturday matinee at the time must have surely enjoyed the interactive nature – even if it is ultimately a whole lot of nothing.

This Dark Sky release is another solid entry in their Amicus collection. The film is presented in all of its widescreen glory in a new anamorphic print that is near-pristine. The Dolby Digital sound mix is also very clear with little distortion. The extras are plentiful and include a great commentary by Annett and two interesting featurettes; “Directing the Beast” and a Peter Cushing tribute. It’s fascinating to listen to the director talk about the last days of Amicus. Legends like Cushing and Vincent Price were making their last great genre appearances just as the market was delving into the more exploitative fare. His behind-the-scenes stories are worth the price of the DVD alone. There are also three Amicus trailers, including the fun “Beast” ad with the tantalizing “werewolf break,” a still gallery, bios for Annett and the cast and liner notes. It’s another stellar presentation by Dark Sky Films. Though the film is merely average, the extras make the DVD a most welcome addition to the Amicus library.