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

The British Rocket Group, headed by the taciturn Professor Bernard Quatermass, launches its first manned rocket into space. Shortly thereafter, all contact is lost with the rocket and its three person crew: Carroon, Reichenheim, and Green. The large rocket later returns to Earth, crashing into an English country field. Quatermass and his assistant Marsh arrive at the scene, along with the local emergency services, Carroon's wife Judith, Rocket Group physician Dr. Briscoe, and Blake, a Ministry official who chides him repeatedly for launching the rocket on impulse and without official permission. The rocket's hatch is finally opened, and the space-suited Carroon stumbles out; inside, there is no sign of the other two crew members. Carroon is in shock, only able to say the words "Help me". Inside the rocket, Quatermass and Marsh can find only the completely-fastened spacesuits of the other two crewmen.

Carroon is taken to Briscoe's office for care, on the grounds that conventional hospitals and doctors would have no idea how to evaluate or treat the world's first returned astronaut suffering from some sort of adverse event while in space. But even with Briscoe's care, Carroon remains mute, generally immobile, but alert with his eyes which now have a feral and cunning aspect. Briscoe also discovers a strangely disfigured place on his shoulder, and notices changes in his face which suggest some sort of mutation of the underlying bone structure. Meanwhile, Scotland Yard Inspector Lomax has undertaken investigation of the other two men's disappearance and, having surreptitiously fingerprinted Carroon as a suspect, alerts Quatermass that the prints are nothing like a human's.

At Judith's insistence that Briscoe is not helping her husband, Quatermass agrees to have Carroon transferred to a regular hospital, under guard. Meanwhile, Marsh has developed film from a camera that was aboard the rocket, and Quatermass, Lomax and Briscoe watch it. The crew are seen for a time pleasantly at their duties; then suddenly, something seems to jar the ship. After that, there is a nightmarish wavering in the air inside the rocket, and the men react as if something frightening, yet not manifestly visible, is there in the cabin with them. One by one they fall, Carroon the last to go.

Quatermass and Briscoe determine from the evidence at hand that something living in outer space has entered the ship, dissolved Reichenheim and Green in their sealed spacesuits, and evidently entered Carroon's body, which is now in the process of being changed by this unknown entity. Not knowing any of this, Carroon's wife, Judith, hires a private investigator, Christie, to break her husband out of the secured hospital. The escape is successful, but not before Carroon smashes a potted cactus in his hospital room, fuses it into his flesh, then kills the private investigator and absorbs all the forces of life in his body, leaving just a shrivelled husk. It does not take long for Judith to discover what is happening to her husband; Carroon flees and disappears into the London night, leaving her screaming outside the hospital, alive, unharmed, but entirely mad from fright.

Inspector Lomax then initiates a manhunt for the missing Carroon, who goes to a nearby pharmacy and kills the chemist, using his now-swollen, crusty, cactus-thorn-riddled hand and arm as a cudgel and leaving a twisted empty husk of the man to be found by police. Quatermass theorizes that Carroon has used select chemicals taken from the shelves to "speed up a change going on inside of him." After hiding out on a river barge, Carroon encounters a little girl the next morning, leaving her also unharmed through sheer force of willpower. That night finds Carroon at a zoo, barely visible amongst some shadowed bushes with far less of his human form remaining. In the morning, twisted corpses of zoo animals are found, their life forces having all been absorbed, and a trail of slime leading back out into the community. Among the bushes, Quatermass and Briscoe also find a small but living remnant of what was once Victor Carroon, and take it back to their laboratory. From his examination of this remnant, Quatermass concludes that some kind of alien life has completely taken over and will eventually release reproduction spores, endangering the entire planet.

The remnant eventually dies of starvation, locked in a glass cage. On a tip to police from Rosie Wrigley, a vagrant tippler, Lomax and his men track the main mutation to Westminster Abbey, where it has crawled high up on a metal work scaffolding inside. It now is a gigantic shapeless mass of combined animal and plant tissue with eyes, distended nodules, and tentacle-like fronds filled with spores. Quatermass arrives, arranges for electric cables being used by a BBC company broadcasting from within the Abbey, to be attached to the scaffolding. By having all the power in London diverted through the cables and into the scaffolding, Quatermass succeeds in cremating the Carroon-creature by electrocution, just as it has entered the final phase before release of its spores.

The threat eliminated, Quatermass quickly walks out of the Abbey, preoccupied by his thoughts. He ignores all who ask questions. Marsh, his assistant, approaches and asks "What are we going to do?" Never breaking stride, Quatermass offhandedly replies, "We're going to start again." He leaves Marsh behind, walking into the London night, and sometime later a second manned rocket roars into space.

The screenplay, written by the American B-film scenarist, Richard Landau, and heavily revised by Val Guest, presents a reworked version of the events of the original television serial. Among the plot changes are the elimination of the gangster episode. The most significant plot change, however, occurs at the climax of the film. In the television version, Quatermass appeals to the last vestiges of the creature's humanity and convinces it to commit suicide to save the world. In the film, Quatermass kills the creature by massive electrocution. Nigel Kneale was critical of the changes made for the film adaptation, and also of the casting of Brian Donlevy, whose brusque interpretation of Quatermass was not to his liking. To make the film's plot convincing to audiences, Guest employed a high degree of realism, directing the film in a style akin to a newsreel. The film was shot on location in London, Windsor and Bray and at Hammer's Bray Studios. Carroon's transformation was effected by makeup artist Phil Leakey, who worked in conjunction with cinematographer Walter J. Harvey to accentuate Wordsworth's naturally gaunt features to give him an increasingly menacing, yet tragically in-pain, appearance. Special effects, including a model of the fully mutated creature seen at the climax, were provided by Les Bowie. The music was composed by James Bernard, the first of many scores he wrote for Hammer.

Hammer marketed the film in the United Kingdom by dropping the "E" from "Experiment" in the title to emphasise the adults-only 'X' Certificate given to the film by the British Board of Film Censors. Upon general release in 1955, the film formed one half of the highest grossing double bill in the UK. It was the first Hammer production to attract the attention of a major distributor in the US, in this case United Artists, who distributed the film under the title The Creeping Unknown. Its success led to Hammer producing an increasing number of horror films, including two sequels Quatermass 2 (1957) and Quatermass and the Pit (1967), making them synonymous with the genre. The Quatermass Xperiment is regarded as the first of these "Hammer Horrors".

Development

The Quatermass Experiment was originally a six-part TV serial broadcast by BBC Television in 1953. Written by Nigel Kneale, it was an enormous success with critics and audiences alike, later described by film historian Robert Simpson as "event television, emptying the streets and pubs". Among its viewers was Hammer Films producer Anthony Hinds, who was immediately keen to buy the rights for a film version. Incorporated in 1934, Hammer had developed a niche for itself making second features, many of which were adaptations of successful BBC Radio productions. Hammer contacted the BBC on 24 August 1953, two days after the transmission of the final episode, to enquire about the film rights. Nigel Kneale also saw the potential for a film adaptation and, at his urging, the BBC touted the scripts around a number of producers, including the Boulting Brothers and Frank Launder and Sidney Gilliat. Kneale met with Sidney Gilliat to discuss the scripts but Gilliat was reluctant to buy the rights as he felt any film adaptation would inevitably receive an ‘X’ Certificate from the British Board of Film Censors (BBFC), restricting admission to persons over the age of sixteen. Hammer were not so reticent, deciding from the outset that they would deliberately pursue an ‘X’ Certificate. Hammer's offer met some resistance within the BBC, with one executive expressing reservations that The Quatermass Experiment was not suitable material for the company, but the rights were nevertheless sold for an advance of £500.

Nigel Kneale was a BBC employee at the time, which meant that his scripts were owned entirely by the BBC and he received no extra payment for the sale of the film rights. This became a matter of some resentment on Kneale's part, and when his BBC contract came up for renewal he demanded and secured control over any future film rights for his work. Despite this Kneale remained bitter over the affair until the BBC made an ex-gratia payment of £3,000 to him in 1967, in recognition of his creation of Quatermass.

The film was co-produced by Robert L. Lippert, an American movie producer and distributor. Hammer had entered into an arrangement with Lippert in 1951 under which Lippert provided finance and supplied American stars for Hammer's films and distributed them in the United States. In return, Hammer's distribution arm, Exclusive Films, distributed Lippert's films in the United Kingdom. Quota laws in the UK meant that US films had to have a British supporting feature, so it was in the American studios' interests to fund these features to recover a greater pro