Halloween Special: Scary London Scenes (Part One)
Warning, this post contains clips which some readers may find disturbing.
Over the years there have been many eerie, unsettling and downright scary film and television sequences shot in London. Here is a small selection- complete with clips- to get you in the mood for Halloween…
Nineteen Eighty-Four (1954)
Television was still in its infancy when this adaptation of George Orwell’s totalitarian novel was shown. Staring Peter Cushing, the play was acted and broadcast live from BBC’s Alexandra Palace on the night of the 16th December 1954.
At the time, this adaptation was the most expensive television drama to date- and also the most controversial, with the film’s subversive and disturbing tone leading to questions being raised in the Houses of Parliament.
The following clip is taken from the film’s climax in which Winston Smith is hauled to the petrifying ‘Room 101’ and threatened with a ghastly form of rat torture. In real life Peter Cushing really did have a phobia of rodents which makes his turn all the more disturbing.
*
The Day the Earth Caught Fire (1961)
In The Day the Earth Caught Fire, nuclear bomb tests conducted by the USA and USSR have caused a catastrophic shift in the Earth’s orbit, pushing it on a deadly path towards the sun.
The story focuses on Peter Stenning, a journalist from the Daily Express who covers the crisis from his Fleet Street office. Although made in black and white, the final section of the film is tinted yellow to emulate Earth’s soaring temperatures. So intense is the heat that the Thames completely dries up.
As society collapses and the planet faces destruction, scientists detonate more nuclear bombs in Siberia in the desperate hope that the earth will be pushed back on course. In the final, eerie moments, the camera focuses on an almost deserted Fleet Street print room where two alternative headlines have been prepared: ‘World Saved’ and ‘World Doomed.’ The audience are left guessing as to which story goes to press…
*
Dr Who: The Invasion (1968)
Despite the obvious budget limitations, I’ve always found the Cybermen from the 1960s to be particularly chilling with their soulless eyes and uncanny electronic voices.
In this clip an army of Cybermen emerge from London’s sewers and begin their march on the capital, including an iconic shot of them stomping before St Paul’s Cathedral.
*
Death Line (1972)
Death Line (known as ‘Raw Meat’ in the USA) is a rather daft film in which a pack of cannibals lurk on the London Underground, snacking on hapless commuters. Much of it was filmed at the now disused Aldwych station (a site still popular with film and television crews today).
The original American trailer for the film can be viewed below.
*
The Omen (1976)
This modern classic about ‘Damien’- the young incarnation of the devil himself- was shot on location across London, including scenes at Lambeth, Hampstead Heath and Grosvenor Square.
In the film, Catholic priest, Father Brennan (played by Patrick Troughton) is aware of Damien’s true identity and attempts to warn Robert Thorn (Gregory Peck) who is the US ambassador to Britain and Damien’s adoptive father. The shocking scene in which Father Brennan meets his grisly fate was filmed beside the Thames in Bishop’s Park, Fulham (look out for Putney Bridge which can be spotted in the background).
Later in the film, Damien deliberately knocks his mother, Katherine (Lee Remick) off of a balcony, landing her in hospital. Unfortunately Katherine is still not safe and ends up being hurled from a hospital window by Damien’s psychotic nanny and protector, Mrs Baylock (Billie Whitelaw). This scene was filmed at Northwick Park Hospital, Harrow (which also happens to be where I was born!)
The Omen’s final scene in which Damien gives the camera a sinister (and unscripted) smile was shot just outside the capital at Brookwood Cemetery in Surrey. For many years, Brookwood was linked to Waterloo station by a special funeral train (click here to learn more).
*
An American Werewolf in London (1981)
Like The Omen, this cult favourite features many London locations.
After a vicious werewolf attack on the Yorkshire Dales which leaves his friend dead, American backpacker, David Kessler (played by David Naughton) ends up in a London hospital where he falls for nurse, Alex Price (Jenny Agutter). As David has nowhere to stay, Alex invites him to her flat at Redcliffe Square, Earls Court (sadly, I’m not quite sure how a nurse would be able to afford to live here nowadays).
It is here, as a full moon looms, that David succumbs to his werewolf bite…and transforms into a beast in a celebrated, but highly disturbing special effects sequence made long before the days of CGI. Shortly afterwards, we see David’s werewolf form commit its first attack on a young couple outside The Pryors, East Heath Road, Hampstead.
The werewolf then goes onto pursue a hapless late-night commuter at Tottenham Court Road tube station.
Finally, in the film’s famous climatic scene, the werewolf goes on a shocking, bloody rampage across Piccadilly Circus before meeting its fate at the hands of police marksmen on Clink Street, Southwark.
***
Please stay tuned for part two, coming soon…
The man who made Soho glow
For much of the 20th century the streets of Soho were awash with dazzling neon displays advertising the many clubs, adult shops and saucy cinemas which characterised the area in its seedy heyday.
One of the greatest neon sign makers was Chris Bracey, a born and bred Walthamstow lad who sadly died of cancer in November 2014 aged just 59.
Chris was born into the neon business on Christmas day 1954. Two years earlier, his father, Dick (a former Welsh coal miner) had established the company Electro Signs, which specialised in creating displays for fairgrounds, circuses and arcades.
At first, Chris was reluctant to follow in his father’s footsteps, preferring instead to concentrate on a career in graphic design. His mind quickly changed however in 1969 after being inspired by an exhibition of the American artist, Bruce Nauman.
Chris’s first commission was from none other than the ‘King of Soho’ himself, Paul Raymond for whom he created a ‘Girls, Girls, Girls’ sign advertising the infamous Raymond Revue Bar.
By the 1970s, Chris was responsible for making just about every sign in Soho. Despite the sleazy nature of his clients’ businesses, he viewed his work as a truly creative art-form and was greatly motivated by the city in which he worked. “London is and always will be the greatest inspiration to me,” he once said. “It gives me everything, love, hate, hell and heaven.”
Nicknamed both the ‘Neon Man’ and the ‘Master of Glow’, Chris’s skills were soon spotted by the film industry and from the 1980s onwards he was tasked with creating displays for a host of movies, one of the earliest being Blade Runner (please click below for a clip).
Chris’s work can also be seen in Mona Lisa, Superman III, Eyes Wide Shut, Charlie & the Chocolate Factory and a number of films in the Batman and James Bond franchises.
Renowned fashion designers such as Vivienne Westwood, Stella McCartney and the late Alexander McQueen also approached Chris for his expertise, and one of his more unusual designs was a large Ziggy Stardust lightning bolt, commissioned for 2013’s David Bowie exhibition at the V&A.
As Chris once said, “Neon is in my blood, it is my life force. I live and breath neon”. It is perhaps not surprising therefore that he was a keen collector of these ‘liquid fire’ signs and eventually amassed the largest selection outside the USA.
Known as God’s Own Junkyard and based in Chris’s old Walthamstow studio, this dazzling collection is open to the public and is a true treat for the eyes. The gallery is also home a beer garden and the punningly named Rolling Scones Cafe.
Please scroll down to view items from the collection:
God’s Own Junkyard is run by Chris’s wife and co-worker, Linda and is open on Friday and Saturday from 11am to 9pm and on Sundays from 11am to 6pm.
A page in Chris’s memory for donations to Prostate Cancer UK can be found here.
*

































