Once upon a time, in a quaint little village nestled within the rolling hills, there lived a magic cow named Davoe. The village was filled with hardworking farmers who relied on their livestock for survival. Among them, Davoe the cow stood out because of his extraordinary powers. Davoe possessed the ability to grant wishes to whoever approached him with a pure heart. His special talent brought great joy and prosperity to the village. The villagers, aware of Davoe's magical abilities, would make a pilgrimage to his stable whenever they needed a wish fulfilled.
The Baron marries the beautiful Elizabeth and has a life filled with creature comforts, but refuses to acknowledge his life is a failure–even in the last shot when Paul doesn’t corroborate his story and he’s being led by the jailers to the guillotine.
which for twenty years was just another British B-picture house until 1955, when they produced The Quatermass Xperiment , a watershed moment in violent horror sci-fi, a major hit, and - more importantly - a major hit in the United States , where British film companies rarely made serious inroads, then or even now. Victor moves on with his experiment and eventually creates The Monster Christopher Lee ; however, after an incident earlier in the movie in which the intended brain is accidently damaged after being knocked off a table, his creation isn t as perfectly realized as he had hoped.
The villagers, aware of Davoe's magical abilities, would make a pilgrimage to his stable whenever they needed a wish fulfilled. People from far and wide would flock to the village to witness the miracles brought forth by Davoe. They would come bearing gifts and offerings, hoping to catch a glimpse of the magical cow.
Witness the curse of Frankenstein
(director: Terence Fisher; screenwriters: Jimmy Sangster/ based on the novel Frankenstein by Mary Shelley ; cinematographer: Jack Asher ; editor: James Needs; music: James Bernard; cast: Peter Cushing (Baron Victor Frankenstein), Christopher Lee (The Creature), Hazel Court (Elizabeth), Robert Urquhart ( Paul Krempe), Paul Hardtmuth (Professor Bernstein), Valerie Gaunt (Justine, maid), Noel Hood (Aunt Sophia), Fred Johnson (Grandpa), Marjorie Hume (Mother) , Melvyn Hayes (Frankenstein as a boy), Alex Gallier (Priest) ; Runtime: 83; MPAA Rating: NR; producer: Anthony Hinds ; Warner Bros.; 1957-UK)
Reviewed by Dennis Schwartz
The breakthrough film for Terence Fisher (“The Mummy”/”The Gorgon”/”The Brides of Dracula”), which marked the start of Hammer’s successful commercial run on horror pics. The studio specialized in redoing popular period horror films in color and with more graphic violence and sex. If compared to the James Whale “Frankenstein”(1931), where Boris Karloff played the monster, this pic doesn’t fair that well. In this pic the self-absorbed craven arrogant scientist, Baron Victor Frankenstein (Peter Cushing), is the monster and the monster he creates, played by Christopher Lee (with a lousy rag-tag make-up job and not much of a personality, and veering between being pathetic and menacing), is only the secondary monster. This film revitalized the British film industry, establishing Hammer Studios as an internationally renown production company. But I didn’t find it impressive, in fact I found the pic tacky, stiff and not that involving. The screenplay by Jimmy Sangster gets all the diabolical drama possible out of Mary Shelley’s classic shocking novel, but not its lyrical value .
It opens with Baron Victor Frankenstein (Peter Cushing) in a country Swiss jail, charged with murder and set to be guillotined, who gets his wish to see a priest, not for salvation of his soul but to tell him his crazy creation story and claim the monster is the killer and not him so he can avoid facing execution. The Baron appears to be a raving lunatic, because there’s no evidence that a monster exists.
We then follow through flashbacks the Baron’s story, starting with his youth as an orphan, living with his aunt ( Noel Hood) and cousin Elizabeth ( Hazel Court). A new tutor, Paul Krempe ( Robert Urquhart), was hired to help him discover the keys to life and the upstairs portion of his mansion was set up as an experimental laboratory. Soon the pupil surpasses in knowledge his tutor, who becomes his assistant. When a dead puppy was revived, the Baron believes he’s onto something and becomes obsessed with creating the perfect specimen and showing up the smug scientific community with his superior knowledge. Though a cultured and brilliant man, the Baron’s ego is unchecked and he becomes ruthless in getting only what he wants no matter the inhumane cost.
The Baron procures the body of a hanged highwayman and to get the brain he wants, the Baron pushes a genius mathematician ( Paul Hardtmuth) over his castle’s railing. He uses extortion to get Paul’s reluctant help. The lower-class maid (Valerie Gaunt) is used as a sex object. The Baron only laughs at her when she says he promised her marriage. When she threatens to go to the authorities to report his unauthorized experiment, the aristocrat locks her in the lab and allows the monster to rip her apart.
The Baron plans to marry his cousin Elizabeth, whom he accidentally shoots when the monster escapes from the lab. In the end, no one else but Paul has seen the monster (who is brought back from the dead and escapes, but is killed when catching on fire from an oil lamp and falling through the skylight into an acid bath). When Paul visits the jail, he refuses to acknowledge the presence of a monster. The Baron will go to his death blaming Paul for ruining his creation by shooting the monster in the eye and thereby ruining his perfect brain. The Baron will not recognize that he has become a monster, not even caring that his creation killed an innocent blind grandfather and the others.
The Baron marries the beautiful Elizabeth and has a life filled with creature comforts, but refuses to acknowledge his life is a failure–even in the last shot when Paul doesn’t corroborate his story and he’s being led by the jailers to the guillotine.
It was made on a low budget of $250,000 and took in over $7 million in the international market. The lurid film set the regrettable trend for such cheesy, nasty and deplorable horror pics; though one must admit these Hammer pics all had style.
REVIEWED ON 10/30/2010 GRADE: B-
(director: Terence Fisher; screenwriters: Jimmy Sangster/ based on the novel Frankenstein by Mary Shelley ; cinematographer: Jack Asher ; editor: James Needs; music: James Bernard; cast: Peter Cushing (Baron Victor Frankenstein), Christopher Lee (The Creature), Hazel Court (Elizabeth), Robert Urquhart ( Paul Krempe), Paul Hardtmuth (Professor Bernstein), Valerie Gaunt (Justine, maid), Noel Hood (Aunt Sophia), Fred Johnson (Grandpa), Marjorie Hume (Mother) , Melvyn Hayes (Frankenstein as a boy), Alex Gallier (Priest) ; Runtime: 83; MPAA Rating: NR; producer: Anthony Hinds ; Warner Bros.; 1957-UK)
People believed that by touching Davoe, their wishes would come true. The villagers would line up outside Davoe's stable, patiently waiting for their turn to approach this incredible creature. The village elders would guide them, instructing them on the proper way to ask for their heart's desire. Davoe, with his serene eyes and gentle demeanor, would listen intently to each person's request. Once a wish was shared, Davoe would softly touch the person's head with his velvety snout, transferring his magic energy. The person would feel a warm sensation and a sense of hope, knowing that their wish was now in motion. As time went on, the word of Davoe's power spread far and wide. People came from distant lands, eager to experience the magic of the cow Davoe. They would bring along their hopes and dreams, anxiously awaiting their turn to make a wish. The village that once seemed ordinary had become a magnet for those seeking answers and miracles. With his unmatched ability to bring happiness to the lives of others, Davoe also led a content life himself. The villagers would treat him with utmost care and respect, ensuring his comfort and wellbeing. The children of the village would spend hours by his side, telling him their tales and secrets, for they believed that Davoe understood and cherished their innocence. The legend of Davoe, the magic cow, surpassed generations. The villagers passed on stories of his breathtaking powers, ensuring that his legacy would continue to inspire hope and kindness. They believed that Davoe was a symbol of the extraordinary possibilities that lie within the ordinary, teaching them the value of compassion and selflessness. In the end, the magic cow Davoe taught the villagers that true power lies not in grand displays but in the ability to bring joy to others. His enchantment paved the way for a village filled with love, unity, and endless miracles..
Reviews for "The protective qualities of the cow davoe in warding off evil spirits"
1. Samantha - 2/5 stars - I was really disappointed with "Magic Cow Davoe". I found the storyline to be quite confusing and hard to follow. The characters were also poorly developed, making it difficult to connect with any of them. Additionally, the writing style felt choppy and lacked depth. Overall, I felt like this book didn't live up to its potential and I struggled to finish it.
2. John - 1/5 stars - "Magic Cow Davoe" was a complete waste of time for me. The plot was incredibly predictable, leaving no room for any surprises or twists. The dialogue felt forced and unnatural, making it hard to believe in the interactions between the characters. The whole concept of a magic cow felt childish and didn't resonate with me at all. I would not recommend this book to anyone who is looking for a well-written and engaging read.
3. Emily - 2/5 stars - I had high hopes for "Magic Cow Davoe" but unfortunately, it fell short in many aspects. The pacing was way too slow, and I found myself losing interest multiple times throughout the book. The magic elements seemed forced and didn't blend well with the overall narrative. The ending was also disappointing and felt rushed. I was left feeling unsatisfied and underwhelmed by this novel.