Career Highlights: The Devil Rides Out, Frankenstein Created Woman, The Hound of the Baskervilles
First Major Screen Credit: Nine Days a Queen (1934)
Biography
Born in London and educated in Sussex, Terence Fisher served an apprenticeship in the merchant marine and as a junior officer for the P & O Lines. He worked briefly as a department-store window dresser, then joined Shepherd's Bush Studios as a clapper boy in 1930. Within six years, he graduated to film editor; 12 years later, he directed his first feature for the Rank Organisation, A Song for Tomorrow (1948). Fisher concentrated on romantic dramas until he joined Hammer Films in 1952, where he forged his reputation as a prime purveyor of low-budget, high-grossing horror pictures. Not all of Fisher's scare flicks were masterpieces, to be sure, but even non-fans of the genre have raised their hats to such stylish efforts as Horror of Dracula (1958), The Curse of Frankenstein (1957), The Mummy (1959), The Hound of the Baskervilles (1959), The Two Faces of Dr. Jekyll (1960) and The Devil Rides Out (1960). Before he began keeping regular company with the likes of Peter Cushing and Christopher Lee, Terence Fisher was a prolific TV director, turning out several episodes of the internationally successful Robin Hood series of the 1950s. ~ Hal Erickson, All Movie Guide
Terence Fisher (23 February 1904 – 18 June 1980) was a film director who worked for Hammer Films. He was born in Maida Vale, a district of London, England.
Fisher was one of the most prominent horror directors of the second half of the 20th century. He was the first to bring gothic horror alive in full colour, and the gore, sexual overtones and explicit horror in his films, while mild by modern standards, were unprecedented in his day. His first major gothic horror film was The Curse of Frankenstein (1957), which launched Hammer's long association with the genre and made British actors Peter Cushing and Christopher Lee leading horror stars of the era. He went on to film a number of adaptations of classic horror subjects, including Dracula (1958), The Hound of the Baskervilles (1959) and The Mummy (1959).
Given their subject matter and lurid approach, Fisher's films, though commercially successful, were largely dismissed by critics during his career. It is only in recent years that Fisher has become recognised as an auteur in his own right. His films are characterised by a blend of fairy-tale, myth and sexuality. They draw heavily on Christian themes, and there is usually a hero who defeats the powers of darkness by a combination of faith in God and reason, in contrast to other characters, who are either blindly superstitious or bound by a cold, godless rationalism (as noted by critic Paul Leggett in Terence Fisher: Horror, Myth and Religion, 2001). For a detailed discussion of Fisher's works, see The Charm of Evil: The Films of Terence Fisher by Wheeler Winston Dixon (Metuchen N.J. and London: Scarecrow Press, 1991).