Jack Asher began his cinematic career as a camera operator in 1936, His first credit was for a film called “Hyde Park Corner”(1936) and in 1946 he became the cinematographer on
“The Magic Bow” (1946) directed by Bernard Knowles.
Asher is best remembered for his work with Hammer films, beginning with
“The Curse of Frankenstein” (1957) directed by Terence Fisher.
He went on to shoot a further 6 Hammer Horror films.
“Dracula” (1958), “The Revenge of Frankenstein” (1958), “The Hound of the Baskervilles” (1959), “The Man Who Could Cheat Death” (1959), “The Mummy” (1959), “The Brides of Dracula” (1960), “The Two Faces of Dr. Jekyll” (1960) all of these films he worked in collaboration with the director Terence Fisher.
Even though Hammer went on to make over 30 more horror films,
“The Curse of Frankenstein” (1957), “The Revenge of Frankenstein” (1958), “Dracula” (1958) “The Mummy” (1959) were the productions that set the template for the look and feel of Hammer Horror and those four titles remain among the most popular amongst horror fans.
His style was characterised by using a theatrical lighting colour palette, utilising “non-realistic” purples and greens giving a vivid fantastical look to his productions.
This use of non-traditional lighting went on to leave an indelible mark on horror cinema being seen in Italian Giallo films and the horror of directors such as Mario Bava and Dario Argento.
These early Hammer Horror films and their look were also a significant influence on James Ivory and Ismail Merchant who formed Merchant Ivory Productions who made films like “A Room with a View” (1985), “Howards End” (1992) and “The Remains of the Day” (1993)
So Jack Asher is an important figure in the history of not only Hammer Horror but Horror and British filmmaking as a whole.
Jack Asher Passed away in April 1991 in London, England. (aged 75)
