Stop—Hammer Time [Spoilers Throughout]
- Thread starter Mighty_Emperor
- Start date
sherbetbizarre
Special Branch
- Joined
- Sep 4, 2004
- Messages
- 5,247
- Joined
- Aug 10, 2005
- Messages
- 11,990
Poltergeists, thoughtforms and dream machines. Looks suitably Fortean.sherbetbizarre said:
- Joined
- Oct 29, 2002
- Messages
- 36,488
- Location
- East of Suez
As discussed elsewhere, I've finally started viewing some of a Hammer Horror collection and I thought it worth starting a new thread to discuss the films themselves; there are mentions of the studio all over the board, but I can't turn up a dedicated thread nor any prolonged discussion of specifics.
I was tempted to begin with a re-watch of The Devil Rides Out, but opted instead for The Plague of Zombies (1966). The film I most want to see is Captain Clegg (U.S.: Night Creatures) [1962], but alas it is not included.
Anyway, the unlikely blend of Haitian voodoo and Victorian Cornwall (c.1860) sounds outlandish, but somehow it works. I'll post a few stills to give you the feel of the thing:
What follows is not a review (I don't have the time or inclination), but simply a series of brain-to-page notes:
I think one of the reasons that the film coheres well is that it's pretty taut. It's only ninety minutes long, no scene really outstays its welcome and things are generally shown, not told. We are hurried through the opening setup with a leanly depicted series of events that effectively establishes who, where, when, what and why in double-quick time. There are no post-modern blinds or twists present to deceive the audience, and the clues, when they appear to the characters, are reinforced bluntly (hammered home...) by visual and audible cues that leave no doubt in the mind. If this sounds simplistic, that's because it is, but somehow it didn't lessen my enjoyment of it--the viewer is along for the ride and not expected to participate beyond speculating who might 'get got' next. There are only about ten characters to care about and a couple of groups of interchangeables: yokels, background zombies.
The cast was rather good, too. Our hero, Sir James Forbes (played by André Morell from the BBC's Quatermass, Bridge On The River Kwai, and Hammer's Hound of the Baskervilles) is on the dynamic end of the medical profession and, Van Helsing-like, is not inclined to wait around to let the womenfolk get knocked off while he frets over the morality/legality of grave-robbing or breaking and entering. He gets some wry dialogue in the opening scenes that sets him up as cumugeonly-affable, and the viewer soon throws his support behind him. His protégé is a slightly wet doctor, out of his depth and into the bottle (yes, somewhat like Dracula), but he manages a glare of manly vengeance when the main antagonist finally gets his just deserts and is blessed with a decidedly yummy wife (until she becomes one of the eponymous) portrayed by a young (and did I mention yummy?) Jacqueline Pearce (Blake's 7). I've only ever seen here in 70s mode with the short hair (which, personally, I felt detracted from her admitted appeal) and it took a moment to place her, but despite slightly ropey dialogue in her introductory scene she does the stare and advance bit pretty well and was a pleasant addition. Supporting cast is all satisfactory, local bobby (Michael Ripper) completely as standard, yokels in the tavern, miscellaneous fox-hunting aristocrats who ride horses at a suspiciously high speed (did speeding up film ever look believable?). The priest rather has his thunder stolen by Sir James, but it was a fun little locale. I kept on thinking how, structurally, this was precisely the fare served up in countless Call of Cthulhu adventures: Set-up > Weird Encounter > Unsatisfactory Obfuscation > Discovery > Rising Action > Research > Resolution > Confrontation > Bruised and Bloodied But Victorious.
Random Notes:
Yith's Judgment: 8/10 - serve with red wine.
I was tempted to begin with a re-watch of The Devil Rides Out, but opted instead for The Plague of Zombies (1966). The film I most want to see is Captain Clegg (U.S.: Night Creatures) [1962], but alas it is not included.
Anyway, the unlikely blend of Haitian voodoo and Victorian Cornwall (c.1860) sounds outlandish, but somehow it works. I'll post a few stills to give you the feel of the thing:
What follows is not a review (I don't have the time or inclination), but simply a series of brain-to-page notes:
I think one of the reasons that the film coheres well is that it's pretty taut. It's only ninety minutes long, no scene really outstays its welcome and things are generally shown, not told. We are hurried through the opening setup with a leanly depicted series of events that effectively establishes who, where, when, what and why in double-quick time. There are no post-modern blinds or twists present to deceive the audience, and the clues, when they appear to the characters, are reinforced bluntly (hammered home...) by visual and audible cues that leave no doubt in the mind. If this sounds simplistic, that's because it is, but somehow it didn't lessen my enjoyment of it--the viewer is along for the ride and not expected to participate beyond speculating who might 'get got' next. There are only about ten characters to care about and a couple of groups of interchangeables: yokels, background zombies.
The cast was rather good, too. Our hero, Sir James Forbes (played by André Morell from the BBC's Quatermass, Bridge On The River Kwai, and Hammer's Hound of the Baskervilles) is on the dynamic end of the medical profession and, Van Helsing-like, is not inclined to wait around to let the womenfolk get knocked off while he frets over the morality/legality of grave-robbing or breaking and entering. He gets some wry dialogue in the opening scenes that sets him up as cumugeonly-affable, and the viewer soon throws his support behind him. His protégé is a slightly wet doctor, out of his depth and into the bottle (yes, somewhat like Dracula), but he manages a glare of manly vengeance when the main antagonist finally gets his just deserts and is blessed with a decidedly yummy wife (until she becomes one of the eponymous) portrayed by a young (and did I mention yummy?) Jacqueline Pearce (Blake's 7). I've only ever seen here in 70s mode with the short hair (which, personally, I felt detracted from her admitted appeal) and it took a moment to place her, but despite slightly ropey dialogue in her introductory scene she does the stare and advance bit pretty well and was a pleasant addition. Supporting cast is all satisfactory, local bobby (Michael Ripper) completely as standard, yokels in the tavern, miscellaneous fox-hunting aristocrats who ride horses at a suspiciously high speed (did speeding up film ever look believable?). The priest rather has his thunder stolen by Sir James, but it was a fun little locale. I kept on thinking how, structurally, this was precisely the fare served up in countless Call of Cthulhu adventures: Set-up > Weird Encounter > Unsatisfactory Obfuscation > Discovery > Rising Action > Research > Resolution > Confrontation > Bruised and Bloodied But Victorious.
Random Notes:
- Cleary some of those ethnic drummers cannot actually drum.
- The villain didn't look massively villainous when out of (effectively freakish) villain garb, but by God did he sound like James Mason. If James Mason had played this character, the film would have scored 11/10.
- Those zombies did not seem to be effective miners.
- The nightmare sequence of the Dr Tompson (slightly wet protégé) was eerie and well-done.
- The scene in which Sylvia Forbes (Sir James's daughter) first meets Squire Hamilton (the baddie) seemed to have been re-dubbed entirely--and badly. Lip-synch not achieved at all satisfactorily.
- One wonders whether the only speaking-yokel was cast solely for the gap between his front teeth.
Yith's Judgment: 8/10 - serve with red wine.
David Plankton
I AM HIM.
- Joined
- Jul 31, 2005
- Messages
- 6,077
- Joined
- Oct 29, 2002
- Messages
- 36,488
- Location
- East of Suez
Erratum: Serve with red wine whilst wearing a morning suit and flanked by bucktoothed yokels messily quaffing flagons of cider and munching on turnips.
Which film do you think I should watch next? I fancied trying the one where an ancient tribe of brunettes have enslaved all the blondes, but perhaps I'll save it (Valentine's Day?)
Think I'll plumb for Quatermas And The Pit.
Last edited:
ramonmercado
CyberPunk
- Joined
- Aug 19, 2003
- Messages
- 58,327
- Location
- Eblana
- Joined
- Oct 29, 2002
- Messages
- 36,488
- Location
- East of Suez
Quatermass and the Pit (AKA: Five Million Years To Earth) [1967]
Just finished it and it was a lot of fun, better than I expected if I'm honest. It's a very Fortean film that is heavily redolent of H.G. Wells's scientific fantasies. The acting is solid, notably from Andrew Keir (who plays Prof. Quatermass as a more affable Prof. Challenger) and James Donald (whom you will recognise from various war films). That said, the supporting cast throws up lots of briefly important characters who are all credible (the bobbie, the minister, the priest and the cockneys etc).
The hurdle that I suspect some potential fans might fall at is a double one: that the explanation for the mystery is only reached via intuitive leap, and that the 'science' employed in its discovery and confirmation is (to put it politely) utter bobbins (just as unsatisfactory then as now if the review quotes I saw are typical); nevertheless, if you are able to get over those hurdles, there's a lot to enjoy.
We get a lot of the standard tropes of sci-fi and horror here, only in miniature: a myopic military keen to exploit idealistic science, a government afraid of the public's reaction to 'The Big Truth' and the fear of the mob--the modern Swinging London mob, with bright fashions, slim ties and hidden butterfly knives, no doubt. All these themes are briefly done, but as I say, in miniature. Indeed, the film is physically rather claustrophobic (not that it suffers for it) and I dare say could be staged as an ambitious play with a little re-writing here and there. The special effects are understated but not laughable, although the director was rather too reliant on distorted faces to portray the inner trauma the characters having visions were enduring. More than once we are shown something 'unpleasant' at one step removed, which is an effective device: via a TV-broadcast that cuts out (cf. Aliens!) and the reception of an ancient memory of racial holocaust, which I confess looked a little funny with these locust-like miniatures bobbing around in lines, but most of the 'horror' would probably be better classified as 'eerie drama' with the exception of the fate of the stubborn Colonel (Julian Glover). The true horror, I suppose, is that of the unseen enemy striking at us through our very nature--a metaphor that doesn't take too much decoding.
Illustrative Samples:
Random notes:
- Good work with the priest translating Latin and having to turn the page back to find the subject of the sentence (you tend to look for the verb and the noun in the accusative first).
- I've never seen the BBC version--any good?
- Those model arthropods looked rather light despite all the faffing to move them about.
- The woman was the most 'susceptible' to the psychic signal--who would have guessed?
- Overacting award to the civilian engineer with the cutting equipment striving to relate all he has seen.
- Climax was just daft, but the non-frozen film for the credits, featuring Quatermass and Barbara Judd trying to regain their breath with the undertaker's shop behind them, was a great touch.
- Apparently the director wanted Kenneth More for Quatermass and was unpleasant to Keir throughout filming. I can see exactly why he'd think More could have done this, with his 'You must listen to me' energy, but Keir did a good job if you ask me.
Might watch She next.
Last edited:
I always thought the faffing was because they were light, delicate, husk-like remains.
- Joined
- Oct 29, 2002
- Messages
- 36,488
- Location
- East of Suez
You are probably right.
They mentioned more than once that they were decaying extremely quickly and were growing increasingly fragile.
Analogue Boy
Bar 6
- Joined
- Aug 10, 2005
- Messages
- 13,606
Quatermass and the Pit is one of my favourite Hammer films. I’ve mentioned here before that I picked out the Penguin screenplay at the school library over a choice of Secret Seven or Famous Five and started my Fortean interest there.
If you’re questioning the science, I’d take another look at Prometheus if I were you. The scene where they plug in the head is pure comedy gold.
If you’re questioning the science, I’d take another look at Prometheus if I were you. The scene where they plug in the head is pure comedy gold.
- Joined
- Oct 29, 2002
- Messages
- 36,488
- Location
- East of Suez
I stepped beyond the boxed-set last night and watched Captain Clegg (U.S.: Night Creatures) [1962]--and what a good little film it is. Samples for flavour:
It's important to say at the outset that this is not a horror film in the supernatural sense; it certainly has macabre moments and even a shock or two, but it would be best classified as a suspense or thriller. What these screenshots fail to illustrate is the marvelous sense of place the director has managed to convey. Although it was not filmed around Romney Marsh and Dymchurch, the camera work and editing takes pains to emphasise the desolation and remoteness of the land beyond the town, and the viewer is instinctively aware that as soon as the characters venture out into it there is the lurking threat of death. It is based on the Doctor Syn novels of Thorndike and does very well in evoking the sense of mystery that accompanies smuggling under cloudy nights. Perhaps this is a personal thing, but I am immediately well-disposed towards any film which offers wide-angle shots of moody nightscapes and the silhouettes of bare branches.
This film also benefits from a supporting cast that--if not 'stellar' as the taglines have it--is very competent. A young Oliver Reed smoulders at a sultry Yvonne Romain (nice cleavage, not sure about her accent); Patrick Allen offers us a jaw-line of granite and a voice with which to forge empires; Michael Ripper (again) presents a fully-rounded sidekick to Cushing's dual-life-living protagonist. And one has to say that Cushing himself is in fantastic form, delivering, perhaps, an uncharacteristically physical performance. When the spectacles come off, we have him vaulting over tables, turning horses on a sixpence and wrestling a murderous Mulatto with zeal. Is there a Hammer film in which no curtains catch fire?
There's an awful lot crammed into the plot. We have a prologue which I wish could have been fleshed out more fully (monetary concerns) and a plot that unravels in stages like a mystery novel as we learn of the denizens' individual back stories.
For all that, the plot is too condensed and a lot more could have been done with the wonderful ingredients. I personally would have like to have seen a non-debunked supernatural element, perhaps one that could have been mined to exploit the audience's expectations--are these the real phantoms or the smugglers? And the ending: Clegg's/Bless's death is too neat. Perhaps if we saw him rise again (a third time) and become one of the phantoms, perhaps one to continue his task of defending the local people from oppressive taxation.
Overall and criticism notwithstanding: 8/10 - a satisfyingly creepy romp.
It's important to say at the outset that this is not a horror film in the supernatural sense; it certainly has macabre moments and even a shock or two, but it would be best classified as a suspense or thriller. What these screenshots fail to illustrate is the marvelous sense of place the director has managed to convey. Although it was not filmed around Romney Marsh and Dymchurch, the camera work and editing takes pains to emphasise the desolation and remoteness of the land beyond the town, and the viewer is instinctively aware that as soon as the characters venture out into it there is the lurking threat of death. It is based on the Doctor Syn novels of Thorndike and does very well in evoking the sense of mystery that accompanies smuggling under cloudy nights. Perhaps this is a personal thing, but I am immediately well-disposed towards any film which offers wide-angle shots of moody nightscapes and the silhouettes of bare branches.
This film also benefits from a supporting cast that--if not 'stellar' as the taglines have it--is very competent. A young Oliver Reed smoulders at a sultry Yvonne Romain (nice cleavage, not sure about her accent); Patrick Allen offers us a jaw-line of granite and a voice with which to forge empires; Michael Ripper (again) presents a fully-rounded sidekick to Cushing's dual-life-living protagonist. And one has to say that Cushing himself is in fantastic form, delivering, perhaps, an uncharacteristically physical performance. When the spectacles come off, we have him vaulting over tables, turning horses on a sixpence and wrestling a murderous Mulatto with zeal. Is there a Hammer film in which no curtains catch fire?
There's an awful lot crammed into the plot. We have a prologue which I wish could have been fleshed out more fully (monetary concerns) and a plot that unravels in stages like a mystery novel as we learn of the denizens' individual back stories.
For all that, the plot is too condensed and a lot more could have been done with the wonderful ingredients. I personally would have like to have seen a non-debunked supernatural element, perhaps one that could have been mined to exploit the audience's expectations--are these the real phantoms or the smugglers? And the ending: Clegg's/Bless's death is too neat. Perhaps if we saw him rise again (a third time) and become one of the phantoms, perhaps one to continue his task of defending the local people from oppressive taxation.
Overall and criticism notwithstanding: 8/10 - a satisfyingly creepy romp.
Anome
Bibliomancer
- Joined
- May 23, 2002
- Messages
- 5,528
- Location
- Left, and to the Back
Just for those who might be interested, author Paul Cornell (of Doctor Who and some other stuff) and Liz Myles (of the Verity! Podcast) have started a Hammer Horror podcast, where they're going through all of the Hammer Horror films, from The Quatermass Experiment to To the Devil the Daughter. Also, if you support them on Patreon, they're doing commentaries on the Amicus Portmanteau films.
GNC
King-Sized Canary
- Joined
- Aug 25, 2001
- Messages
- 33,633
I can't believe they're missing out The Mystery of the Mary Celeste.
GNC
King-Sized Canary
- Joined
- Aug 25, 2001
- Messages
- 33,633
I was only joking, but OK. Once they're finished they can give the Hammer House of Horror TV series a go - looks splendid on Blu-ray.
- Joined
- Oct 29, 2002
- Messages
- 36,488
- Location
- East of Suez
Jacqueline Pearce and Michael Ripper again--and in the Cornish countrside again!
Reviews look good--will also watch.
Zeke Newbold
Carbon based biped.
- Joined
- Apr 18, 2015
- Messages
- 1,249
Hammer alwys worked best when they turned down the grand guignol a bit. Accordingly one of my favourite Hammer's is Fear in the Night (1972) with Ralph Bates and Peter Cushing. This is a `female-hysteria -or is it?` scenario set in a contemporary (as was) semi-rural seventies Britain. It is pleasingly theatrical without being camp. It was a suspenser (one of a few by Jimmy Sangster), without supernatural elements, but Fortean enough in its psychology.
Hey, why has nobody mentioned the new(ish) Hammer Books imprint intiative? They are reprinting a whole load of Horror classics by the likes of Graham Masterton, as well as encouraging worthies like Jeanetter Winterson to pen withcraft finder tales for them. They have also got some writers to novelise - and update -old Hammer film classics: Guy Adams has done `Hands of the Ripper` and Shaun hutson a credible reworking of `X-The Unknown` - both set in a more present day Britain. This needs your support guys!
I keep stumbling on rumours that Hammer films are to attempt a retreatment of `Doctor Jekyll and Mr Hyde`. I really hope that this rumour has some foundation. An era that doesn't produce its own version of this evergreen fable is lost indeed - and that recent British TV version sounds to have been an utter travesty.
Hey, why has nobody mentioned the new(ish) Hammer Books imprint intiative? They are reprinting a whole load of Horror classics by the likes of Graham Masterton, as well as encouraging worthies like Jeanetter Winterson to pen withcraft finder tales for them. They have also got some writers to novelise - and update -old Hammer film classics: Guy Adams has done `Hands of the Ripper` and Shaun hutson a credible reworking of `X-The Unknown` - both set in a more present day Britain. This needs your support guys!
I keep stumbling on rumours that Hammer films are to attempt a retreatment of `Doctor Jekyll and Mr Hyde`. I really hope that this rumour has some foundation. An era that doesn't produce its own version of this evergreen fable is lost indeed - and that recent British TV version sounds to have been an utter travesty.
There's always Universal Studios' Dark Universe, with Russell Crowe's restrained take on the good doctor and his alter ego.
- Joined
- Oct 29, 2002
- Messages
- 36,488
- Location
- East of Suez
I didn't. Instead I went for She (1965)--a mistake.
Sample Images:
I'll start by saying that if there is a target audience for this kind of colonial fantasy, I'm it, but save for the deceptively promising start I found this terribly tedious. It's an pre-Indiana Jones romp with the primitives without nearly enough romping. No horror (billed as fantasy adventure), but a solid enough plot on paper...
We've got some good players here: Peter Cushing (a rather worldly soldier-cum-academic), Christopher Lee (latest in a line of exiled high priests with comical taste in headwear), Bernard Cribbins (Cushing's cheeky batman), two alluring beauties Ursula Andress (as the eponymous immortal) and Rosenda Monteros (Latin totty, slinky yet loyal)--André Morell even turns up, although he's a bit low-key. I could't really make up my mind about the male lead (John Richardson). I basically didn't like him, but I can't figure out whether it was his portrayal (of a not convincingly tormented reincarnation of an ancient bigwig) or because his dialogue was so dull and his character so simplistic. He has to choose immortality to win the object of his lust--oh, how agonising! And he kisses as if he's been told that you have to push and twist hard.
Which brings me to the problem: Lee, Cushing and Cribbins get good lines, everybody else bores on and on and on in portentous terms about how important everything is and endlessly pads out the simple legend and recapitulates its consequences for them personally. And the monotony doesn't end there! This picture clearly had a halfway decent budget. The sets are interesting and replete with props and fairly cool decoration, the costumes (though probably recycled) are pretty good, too, but, perhaps as a result, we get lots and lots of plodding about in these rooms with blaring music to accompany us (THAT repeated fanfare can just **** off), as if the spectacle itself will be entertaining enough that we don't need action or dialogue--this, alas, is not true. These set pieces (spare me the tribal drumming) just drag--loudly. The opening one in the bar in Palestine was tolerable as it introduced the heroes well, but after that I had my finger hovering over the fast-forward button. I'm afraid that I couldn't have given a stuff for the oompa-loompas and the yoke under which they laboured, and seeing them cast into a pit of lava was actually quite pleasant. Perversely, I was quite enjoying the film until the Europeans arrived at the Lost City of Wotchcamacallit, but the subsequent discovery of what goes on there wasn't much fun at all.
Random Notes:
- She Who Must Be Obeyed has a cool eagle costume.
- They obviously had only two 'muscular negros' and recycled them twice.
- Would have liked to have shaved Cushing; surely a recently demobbed Major woud be cleanly shaven and moustached anyway?
- The ageing special effect near the end was fairly decent.
- Ursula Andress was dubbed most/all of the time, I think.
- Is there a decent adaptation of Buchan's Greenmantle? That's what I was reminded of in the first part.
- No curtains to burn in a stone city; they just had flames rolling up the rock walls.
3/10 -- any rewatch would have to take place on a very rainy Sunday with a TV stuck on one channel--and my being tied to the sofa.
Last edited:
JamesWhitehead
Piffle Prospector
- Joined
- Aug 2, 2001
- Messages
- 14,219
I am nostalgic about this one, because it was one my Grannie took us to see at the ABC, Southport, way back. It was a long afternoon's entertainment, because it shared a double-bill with One Million Years BC! The DVDs run 101'04" for She and 96'05" for OMYBC!
What inspired her to take us to this entertainment, I cannot imagine. It's not as if she was a fan of prehistoric monsters or scantily-clad acclaimed sex-goddesses*. She never took us to any other cinema show.
It reminds me that the U-Certificate trailers for X-Certificate Hammer double-bills were routinely played at the ABC's Saturday-morning Minors' Matinées. We were supposed to tell our older brothers and sisters, I suppose, though it did create a an appetite for the forbidden fruit on offer. You had to be twelve or thirteen to sneak into an X-film in Southport! By the time I reached that age, things have moved on and I could feast my little eyes on Straw Dogs and suchlike! :buck:
*Edit. Spelling note. Goddesses get the double-d because they might otherwise be pronounced go-dessers. If, simply, we applied the same rule as we do to actors, the problem would be resolved: they could just be Gods!
Last edited:
Jim
Justified & Ancient
- Joined
- Jan 19, 2016
- Messages
- 1,225
- Location
- NYS, USA
Hammer made many of the late 50's -60's great gothic horror films. Films such as "The Horror of Dracula" and "The Revenge of Frankenstein" with Peter Cushing and Christopher Lee led the pack. However many more atmospheric thrillers followed. They presented a welcome break from the older Universal classics which by the 50's were getting a bit worn. The thing is that Hammer presented (at the time) a completely new type of horror film with sensuality and tongue and cheek humor thrown in. They also used the older themes but with a new twist on the old story lines. In addition Hammer managed to pull these films off on a low budget. Often when Hammer got away from it's main theme "horror" the results were flops, I.E.: She and it's even worse follow-up "The Revenge of She". However there were exceptions such as "1 million BC". Hammer is-has been trying to make a comeback. I personally haven't had a chance to review any of the newer films.
Indeed, by the same woman who dubbed her (and many others) in Dr No:
https://en.wikipedia.org/wiki/Nikki_van_der_Zyl
- Joined
- Oct 29, 2002
- Messages
- 36,488
- Location
- East of Suez
Ah, you're right--I'm trying to read reviews and background information only after watching. The exception is I kind of use the cast list to determine which I fancy next.
I started on The Reptile last night and it was very promising, but it had been a long day and I couldn't keep my eyes open, so I stopped at about halfway and will do a complete re-watch on Friday or Saturday.
First impressions:
- Heavily inspired by The Hound of the Baskervilles.
- Massive similarities with Hammer's own Plague of Zombies--clearly they shared sets.
- That said, this is more traditionally paced with at least one 'blind'.
- Michael Ripper and Jacqueline Pearce are excellent.
- John Laurie is simply playing a more off-the-wall Pte Frazer!
GNC
King-Sized Canary
- Joined
- Aug 25, 2001
- Messages
- 33,633
Wait till you see The Gorgon!
JamesWhitehead
Piffle Prospector
- Joined
- Aug 2, 2001
- Messages
- 14,219
- Joined
- Oct 29, 2002
- Messages
- 36,488
- Location
- East of Suez
Might have to search it out when I'm through the current batch.
Frideswide
Fortea Morgana :) PeteByrdie certificated Princess
- Joined
- Jul 14, 2014
- Messages
- 16,363
- Location
- An Eochair
she is in my "always watchable" category.