Tetrady not as good as all the hype

Executscan Expected more

Robert Joyner The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Yash Wade Close shines in drama with strong language, adult themes.

kevin olzak 1961's "The Hellfire Club" is really nothing more than a typical swashbuckler that promises more than it delivers. Co-scripted by Hammer's Jimmy Sangster, Keith Michell stars as Jason Caldwell, rightful heir to the Earl of Netherden, which has been claimed by wicked cousin Thomas (Peter Arne) as his own in Jason's absence. The actual Hellfire Club barely figures in the plot, merely a device carefully avoided by the filmmakers, making Jason's father and cousin Thomas members to justify its inclusion (and the title). In deference to its subject matter, both leading ladies are seen in compromising bathing situations, with Adrienne Corri and Kai Fischer supplying equal parts pulchritude and love interest. It's certainly quite watchable, action aplenty, and bolstered by a good cast, Keith Michell acquitting himself well in his athleticism. Best of all, Peter Cushing guest stars as wily attorney Mr. Merryweather, who agrees to take on Jason's case yet behaves in a rather untrustworthy manner, allowing his client to be convicted of murder and sentenced to hang (he's introduced watching the execution of one of his 'less fortunate clients'). A hint of necessary corruption indeed manifests itself in that first scene, as a dismissive Merryweather suggests a way to obtain the document that would prove Jason's inheritance: "if one was dishonest, which of course one is not, one could steal the letter!" His masterful use of props involve spectacles, snuff, and handy handkerchief, a memorable five minute cameo worth the price of admission.

Venus-25 Those reasons are two actors and the production look.This early look at Keith Michell was a treat, to see him as he was prior to his true star turn as Henry VIII in that excellent BBC miniseries. He is a great historical chameleon who looks authentic in any period of history and can speak all versions of English. Peter Cushing is virtually unrecognizable as the lawyer whose beard is totally out of fashion in this era of both vice and enlightenment. Good performances by both.The 18-century costumes were spectacularly accurate and well-done and the actors wore and moved in them well. The sets were worth of Hammer's usual period setting work. However, the harem-girl stuff on the exploited females will always remind me of Hollywood drivel.The story is an Alexandre Dumas-style cliché which could have worked with a little more effort on the writers' part. In the hands of actors less capable than Keith Michell, Peter Cushing, and Peter Arne, this would have been an even bigger mess.

Jonathon Dabell Historically speaking, the Hellfire Club was the name given to a number of secret sects and societies in the 18th and 19th century. Often the members consisted of aristocrats and politicians. The most notorious Hellfire Club of all – and the one people think of immediately at mention of the name - was run by Francis Dashwood in the mid-18th century. This sect practised devil worshipping, animal sacrifices, sorcery, wife-swapping, orgies and other such infamies. This 1961 movie draws its inspiration from Dashwood's club, but the promise of sensationalism and titillation is quickly ditched in favour of a more wholesome approach. There's little that is gruesome or sexual here; this is a brisk, clean family swashbuckler, totally enjoyable whilst on and totally forgettable once finished.Young aristocratic cousins Jason and Thomas discover their parents are involved in a depraved secret society. Thomas is perversely thrilled by the discovery; Jason utterly horrified by it. Jason is spirited away by his mother and ends up on the continent working as part of a travelling circus troupe. Thomas stays behind in England, and seizes titles, estates and land that rightfully should have belonged to Jason. Many years later, adult Jason (Keith Michell) returns to England to claim his birthright. By now, adult Thomas (Peter Arne) has become a wicked and powerful senior figure who runs a depraved secret society of his own, safe from prosecution because half the lawmen and politicians in the land are already members of his clandestine sect. Jason is persuaded by wily lawyer Merryweather (Peter Cushing) that he will need evidence if he is to depose Thomas and claim back his title. He goes undercover as a stable boy, intending to find and steal documents which will prove his identity. But the quest is fraught with danger, and Jason knows that if Thomas ever learns his true identity he will be killed for sure....In his first leading role, Keith Michell makes a rather attractive hero – smooth, spirited and righteous. Arne as the villain wears his best villainous sneer and generates plenty of boos and hisses. The rest of the cast are essentially there for window dressing, although guest star Cushing creates a memorable characterisation as the cunning lawyer Merryweather (it would be nice if he had a little more screen time). Technically there's nothing wrong with the film – it is brightly shot, judiciously edited and solidly staged. Some of the dialogue is rather laughable, and the plot is littered with improbable coincidences and unlikelihoods. But overall, this is a fun and disposable swashbuckler that passes 90 minutes of time easily enough.

MartinHafer The idea behind this film is pretty good. In the 18th century, there was an organization called the "Hellfire Club" and it really is much the way it was portrayed in the film--a group of noblemen who were libertines who were involved in all sorts of immorality behind closed doors. Membership was secret and most of the club's activities are conjecture--but they undoubtedly involved a lot of sex. This film is about this club that thrived behind closed doors in Britain and how they club conspires to keep a young man from his rightful inheritance. Interesting.Unfortunately, while the idea is very good, the writing is at times very lame. For example, when the heir wants to ingratiate himself with the current Lord of the manor, it just so happens that a member of the household is being set upon by thieves and he comes to the rescue--earning the family's gratitude. When he looks for a letter proving his legitimacy as heir, he almost immediately finds it in the manor home--though no one else had found it before this time. And, when a lady recognizes the signs that he is the heir, naturally she's also the woman who would keep this secret! When he's captured, he spits out "I'll kill you" to his cousin, yet the cousin doesn't just have him killed there and then! Too convenient, too often--a sign of a less than stellar script.Aside from all the "fortunate coincidences", the film is a pretty decent adventure film, with lots of sword fights, busty ladies and near-death experiences. It certainly is never dull! However, it's rather sad that the film ended on a rather dull note--with the expected fight scene and showdown. Also, if you are watching the film for Peter Cushing, he's barely in the film at all.By the way, one of the many great history lessons I learned from this film was that women in the 18th century wore silver sparkly pasties. Who says history is dull?!