1966's "The Projected Man" obviously suffers from an unoriginal script eventually picked up for production in Britain by Richard Gordon, shot soon after its superior co-feature "Island of Terror." Elements of "The Fly," in its use of a matter transference machine, and "4D Man," in its sabotage and revenge plot line, make for a prosaic viewing unlikely to get a rise out of any but the most die-hard sci-fi fans. Not so much a bad film as subpar, Gordon regular Bryant Haliday, a genuine horror buff who co-founded Janus Films, takes the title role of Dr. Paul Stanton, dedicated researcher, so close to success that he enlists the assistance of his novice secretary in the lab, resulting in his being transported to the wrong location, one hand and half his face destroyed, a walking power station whose electrical touch proves lethal. Things only pick up following a gabby first half, aided by decent effects and suitably gruesome makeup design for Haliday's monstrosity. His performance lacks the proper zip, but easily stands out due to the lackluster actors around him. Top billed Mary Peach still cringes at the mention of this film, later the widow of Hammer screenwriter Jimmy Sangster, confining most of her efforts to television afterwards. Most viewers will recall newcomer Tracey Crisp, whose scantily clad appearance in her underwear couldn't help but be noticed! Alas, everyone else, particularly the bland villains, leave virtually no impression, save for one cast member retained from "Island of Terror," Sam Kydd (the constable), here sadly reduced to one scene as a thief who becomes one of Haliday's first victims.

Start with a knockoff of "The Fly" with the setting changed from Montreal to London (England, not Ontario) with added elements of "Darkman" (though that movie was still more than 20 years in the future). Add liberal amounts of nondescript English actors, add an officious bureaucrat who looks like G.I. Joe (the one with the fuzzy hair and beard) and a cute young blonde who spends much of the movie in her underwear. Fold in lots and lots and lots of talking and top off with Bryant Halliday in some pretty cool monster makeup, and you have this movie.

Was it any good? Well, it was OK, but a movie like this seems like it should have been much more interesting. David Cronenberg could have done this much better. Heck, Freddie Francis could have done this movie better....

Bryant Haliday plays a research scientist named Paul Steiner, who's hard at work on a "projection" experiment: he hopes to be able to transmit matter from one place to another. His process works on inanimate objects, but not on living things. Despondent when it looks like the plug will be pulled on his entire operation, he uses himself as the first human guinea pig. As you can expect, this has disastrous consequences. When he regains human form, he's horribly disfigured, and has gained the "touch of death". (When he lays his mutilated hand on someone, they are electrocuted.) And, of course, he's now insane.

This British sci-fi / horror effort does owe a fair bit to "The Fly", putting just enough of a spin on the premise to not come off as a carbon copy. It's not a great story, but it does entertain quite capably nevertheless. It's paced reasonably well by directors Ian Curteis and John Croydon, clocking in at a painless 78 minutes. A great deal of what effectiveness it possesses comes from the performances of an excellent cast. Haliday is an earnest, sympathetic lead turned deliciously crazed antagonist, and ultimately tragic character. Ronald Allen and Mary Peach, as his worried colleagues, figure into a romantic subplot that doesn't waste too much of the running time. Norman Wooland and Derrick De Marney are superb at playing sneaky, nefarious types trying to discredit / ruin the experiment. Gorgeous Tracey Crisp is appealing as the helpful secretary, and Derek Farr has a solid, reliable presence as the obligatory inspector who picks up Steiners' trail. Legendary stuntman Alf Joint plays the security guard. The makeup by Eric Carter is pretty good for the time this was made, Kenneth V. Jones' music is good, and the widescreen photography helps to keep things visually interesting.

While the tale it's spinning is definitely on the routine side, this still makes for an enjoyable movie watching evening for fans of the science-fiction and horror genres.

Seven out of 10.