Quatermass And The Pit Film full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

Workers building an extension to the London Underground at Hobbs End dig up skeletal remains. Palaeontologist Dr Matthew Roney (James Donald) is called in and deduces that they are the remnants of a group of five-million-year-old apemen, more ancient than any previous finds. One of Roney's assistants uncovers part of a metallic object. Believing it to be an unexploded bomb, they call in an army bomb disposal team.

Meanwhile, Professor Bernard Quatermass (Andrew Keir) is dismayed to learn that his plans for the colonisation of the Moon are to be taken over by the military. He gives a cold reception to Colonel Breen (Julian Glover), who has been assigned to join Quatermass's British Experimental Rocket Group. When the bomb disposal team call for Breen's assistance, Quatermass accompanies him to the site. Breen concludes it is a V-weapon, but Quatermass disagrees. When another skeleton is found in an inner chamber, Quatermass and Roney realise that the object must also be five million years old. Quatermass suspects it is of alien origin, but Roney is certain the apemen are terrestrial.

Quatermass becomes intrigued by the name of the area. Barbara Judd (Barbara Shelley), Roney’s assistant, recalls that "Hob" is an old name for the Devil. Working with Barbara, Quatermass finds historical accounts of hauntings and other spectral appearances going back many centuries. They deduce that these events coincided with disturbances of the ground around Hobbs End.

An attempt to open a sealed chamber using a Borazon drill fails to make progress. However, a few moments after the drill is stopped, a small hole is seen, though the drill operator, Sladden (Duncan Lamont), is certain it was not created by his machine. The hole widens to reveal the corpses of three-legged, insectoid creatures with horned heads. Roney and Judd work to preserve the bodies before they decay. An examination of the creatures' physiology suggests they came from the planet Mars. Quatermass and Roney note the similarity between the appearance of the creatures and images of the Devil.

Sladden is overcome by a powerful telekinetic force emanating from the alien craft and flees to the sanctuary of a church. Sladden tells Quatermass he saw a vision of hordes of the alien creatures. Quatermass believes this is a race memory. Seeking proof, he returns to Hobbs End, bringing a machine Roney has been working on which taps into the primeval psyche. While trying to replicate the circumstances under which Sladden was affected, he notices that Judd has fallen under its influence. Using Roney's machine, he is able to record her thoughts.

Quatermass presents his theory to a government minister (Edwin Richfield) and other officials. The occupants of the spacecraft came from the dying Mars. Unable to survive on Earth, they chose to preserve some part of their race by creating a colony by proxy by significantly enhancing the intelligence of the primitive homo sapiens. The descendants of these apemen evolved into modern humans, but retain the vestiges of the Martian influence buried in their subconscious. He plays the recording of Judd's mind as evidence: it shows hordes of Martians engaged in what he interprets as a racial purge, cleansing the Martian hives of genetic mutations within their race. A disbelieving Breen offers an alternative theory: the 'alien craft' is a Nazi propaganda exercise designed to sow fear of an alien invasion among the populace. The minister rejects Quatermass's theory in favour of Breen's and decides to unveil the missile to the press.

Disaster strikes at the press event. The craft apparently draws power from the broadcasting equipment, and its influence is magnified. The streets of London erupt into violence as those affected go on a rampage. Breen becomes drawn towards the craft and is killed. Quatermass falls under the alien control as well, but is snapped out of it by Roney, who is unaffected. The two men realise that a small portion of the population are immune. The psychic energy becomes stronger and begins to manifest into psychokinesis, ripping up streets and buildings, and the spectral image of a Martian towers above the city, centred on Hobbs End. Recalling stories about how the Devil could be defeated with iron and water, Roney theorises the Martian energy could be discharged into the earth. Roney climbs to the top of a building crane and swings it into the spectre. The crane bursts into flames as it discharges the energy, killing Roney, but the image disappears.

Origins

Professor Bernard Quatermass was first introduced to audiences in two BBC television serials, The Quatermass Experiment (1953) and Quatermass II (1955), written by Nigel Kneale. The rights to both these serials were acquired by Hammer Film Productions, and the film adaptations – The Quatermass Xperiment and Quatermass 2, both directed by Val Guest and starring Brian Donlevy as Quatermass – were released in 1955 and 1957 respectively. Kneale went on to write a third Quatermass serial – Quatermass and the Pit – for the BBC, which was broadcast in December 1958 and January 1959. Hammer were once again interested in making a film adaptation, and Kneale, who had by then left the BBC and was working as a freelance screenwriter, completed a script in 1961. It was intended that Val Guest would once again direct and Brian Donlevy would reprise the role of Quatermass, with production to commence in 1963. Securing finance for the new Quatermass film proved difficult. In 1957 Hammer had struck a deal with Columbia Pictures to distribute their pictures and the companies collaborated on thirty films between 1957 and 1964. Columbia, who were not interested in Quatermass, passed on the script and production went into limbo for several years. In 1964 Kneale and Anthony Hinds submitted a revised, lower-budget script to Columbia but the relationship between Hammer and Columbia had begun to sour and the script was again rejected. In 1966, Hammer entered into a new distribution deal with Seven Arts, ABPC and Twentieth Century Fox; Quatermass and the Pit finally entered production.

Writing

The script of Quatermass and the Pit is largely faithful to the television original. The plot was condensed to fit the shorter running time of the film, with the main casualty being the removal of a subplot involving the journalist James Fullalove. The climax was altered slightly to make it more cinematic, with Roney using a crane to short out the Martian influence, whereas in the television version he throws a metal chain into the pit. The setting for the pit was changed from a building site to the London Underground. The closing scene of the television version, in which Quatermass pleads with humanity to prevent Earth becoming the "second dead planet", was also dropped, in favour of a shot of Quatermass and Judd sitting alone amid the devastation wrought by the Martian spacecraft. The script was sent to John Trevelyan of the British Board of Film Censors in December 1966. Trevelyan replied that the film would require an X-Certificate and complained about the sound of the vibrations from the alien ship, the scenes of the Martian massacre, scenes of destruction and panic as the Martian influence takes hold and the image of the Devil.

Casting

• James Donald as Doctor Roney: Donald first came to prominence playing Theo van Gogh in Lust for Life (1956) before going on to play a string of roles in the World War II prisoner of war films The Bridge on the River Kwai (1957), The Great Escape (1963) and King Rat (1965). Although not playing the title role, Donald was accorded top-billing status.
• Andrew Keir as Professor Bernard Quatermass: Nigel Kneale had long been highly critical of Brian Donlevy's interpretation of Quatermass and lobbied for the role to be recast, arguing that enough time had passed that audiences would not resist a change of actor. A number of actors were considered for the part including André Morell who had played Quatermass in the television version of Quatermass and the Pit. However, Morell was not interested in revisiting a role he had already played. The producers eventually settled on Scottish actor Andrew Keir who had appeared in supporting roles in a number of Hammer productions including The Pirates of Blood River (1962), The Devil-Ship Pirates (1964) and Dracula: Prince of Darkness (1966). Keir found the shoot an unhappy experience: he later recalled, “The director – Roy Ward Baker – didn't want me for the role. He wanted Kenneth More... and it was a very unhappy shoot. Normally I enjoy going to work every day. But for seven and a half weeks it was sheer hell.” Roy Ward Baker denied he had wanted Kenneth More, who he felt would be "too nice" for the role, saying, “I had no idea he was unhappy while we were shooting. His performance was absolutely right in every detail and I was presenting him as the star of the picture. Perhaps I should have interfered more.” Keir went on to appear for Hammer in The Viking Queen (1967) and Blood from the Mummy's Tomb (1971). He reprised the role of Quatermass for BBC Radio 3 in The Quatermass Memoirs (1996), making him the only actor other than Donlevy to play the role more than once.
• Barbara Shelley as Barbara Judd: Shelley was a regular leading lady for Hammer, having appeared in The Camp on Blood Island (1958), Shadow of the Cat (1961), The Gorgon (1964), The Secret of Blood Island (1964), Dracula: Prince of Darkness and Rasputin, the Mad Monk (1966) for them. Quatermass and the Pit was her last film for the company and she subsequently worked in television and the theatre. Roy Ward Baker was particularly taken with his leading lady, telling Bizarre Magazine in 1974 he was “mad about her in the sense of love. We used to waltz about the set together, a great love affair.”
• Julian Glover as (Lieutenant) Colonel Breen: Roy Ward Baker first met Glover when he directed him in an episode of The Av