Heavy-handed cut-and-shunt celluloid: ‘Curse of the Stone Hand’ (1965)

Curse of the Stone Hand

“Curse of the Stone Hand” (1965) concerns an A-frame Kentish mansion with a curse spanning two successive families of inhabitants. Yes, there is a stone hand involved — technically a concrete hand (technically multiple concrete hands). But what matters most is the film’s atmosphere, hammy acting and decent plotting.

How does a curse of hands affect two generations of victims?

“Curse of the Stone Hand” was originally double-billed with another Jerry Warren film, “Face of the Screaming Werewolf” (1965).

Although the film was only half of a double feature, it can seem like “Curse of the Stone Hand” is two movies rather than one — because it is. It’s a mash-up (or “cut-and-shunt”) of footage extracted from two Chilean films set in England, both directed by Argentinians named Carlos. The films are intercut with the late great John Carradine’s hokey prophecies of doom. Carradine is credited as “the old drunk.”


Frightening Friday Movie Review

“Curse of the Stone Hand” (1965)

Directors: Carlos Christensen, Carlos Hugo Schlieper, Jerry Warren

Writers: Jorge Janise, Marie Laurent, F. Amos Powell, César Tiempo, Jerry Warren

Stars: John Carradine, Carlos Cores, Ernesto Vilches


If “Curse of the Stone Hand” seems like something filmed in the 1940s rather than the mid-’60s, it’s because it was. The first of the two culled films is “La dama de la muete” (“The Lady of Death,” 1946), based on the Robert Louis Stevenson compilation of three detective tales, “The Suicide Club” (1878), and directed by Carlos Christensen. The second is “La casa está vacía” (“The House is Empty,” 1945), directed by Carlos Schlieper.

Schlock-king Warren gets co-directing credit on “Curse of the Stone Hand” for his dubbing, editing and cannibalization. Some details were invariably overlooked in the process, including giving one actor, Ernesto Vilches (“Ernesto Walch,” for some reason), top billing in the credits and also ninth billing.

Backhanded compliments

Despite the rough edges, Warren ties it together by framing the two tales in the same house, triggered by the same curse. The curse is manifested as a series of silly-looking cement hands placed strategically around the estate by an architect intent on implanting deviousness into the soil. Why? Who knows.

The majority of critics describe “Curse of the Stone Hand” as “inept,” “inert,” “incoherent” and “pitiful.” I respectfully dissent. The first segment in particular benefits from an interesting premise wherein the protagonist tries to gamble his way back from a series of failed investments. He unwittingly joins a club funded with the life insurance policies it takes out on its members. The members draws lots to see who has to murder whom to keep the enterprise solvent.

Its foggy, dismal London streets are atmospherically effective. Its protagonist is convincing. There’s a decent amount of tension embedded in the dealing of the cards of fate and the cat-and-mouse sequence that follows. It’s really not all that bad. It’s almost good.

Is it worth watching?

Yes. “Curse of the Stone Hand” is a handsome, handy film from Warren – though, on the other hand, it represents a joint effort (since nothing here was produced single-handed) – and it raked in profits hand over fist. Put your hands together; you really have to hand it to Warren. He’s a unique director, hands down.

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My rating:

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