Reflections on the twilight years of any great artist or company tend to be tinged with sadness and regret, lamenting on how the mighty had fallen, how their latter-day work could only serve as a pale reminder of how great things had once been. Conventional wisdom would seem to dictate that this is how we should look upon Hammer Films post-1970. With the loss of financial backing from long-standing supporters Warner Bros, and a cinematic climate which was rapidly growing ever further beyond the now-somewhat quaint conventions of the British production house, the post-60s outlook seemed bleak for the stalwarts of Gothic horror; and, almost 50 years later, the critical consensus on the films they made in their final decade tends to be less than glowing…. source >
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