Film Set
Because it adjoins Bray Studios, the exterior of Oakley Court was used in the filming of a number of films including several Hammer horror films, such as The Reptile (1966), The Brides of Dracula (1962), The Plague of the Zombies (1966), and And Now the Screaming Starts! (1973). It is perhaps best remembered as Dr. Frank N Furter's castle (called The Frankenstein Place) in The Rocky Horror Picture Show (1975).
The only film to be filmed both inside and outside of Oakley Court is regular Hammer director Freddie Francis' independent project Mumsy, Nanny, Sonny and Girly. Francis and screenwriter Brian Comport specifically tailored the movie around the building after Francis became enamored with it during his work on various Hammer projects and decided to take full advantage of the entire house and its grounds rather than just use it for establishing shots.
It was also used for a cult independent horror film called Vampyres (1974). In 1995, it featured as the 'Laxton Grange Hotel' in the British television series, Pie in the Sky.
The classic 1976 mystery farce "Murder by Death" also used this house for its setting.
The house may also be seen in the William Castle Horror comedy The Old Dark House (1963), which was a remake of the original The Old Dark House, directed by James Whale and starring Boris Karloff.
On many web resources it is erroneously credited as being St Trinian's School in the original St Trinian's film series, but a comparison between the films and the actual building show a quite different architecture and overall design. Historical notes available from the hotel, however, indicate that some parts of the St Trinian films were filmed in the grounds.
Read more about this topic: Oakley Court
Famous quotes containing the words film and/or set:
“[Film noir] experiences periodic rebirth and rediscovery. Whenever we have any moment of deep societal rift or disruption in America, one of the ways we can express it is through the ideas and behavior in film noir.”
—John Briley (b. 1925)
“The ladies understood each other, in the careful way that ladies do once they understand each other. They were rather a pair than a couple, supporting each other from day to day, rather a set of utile, if ill-matched, bookends between which stood the opinion and idea in the metaphorical volumes that both connected them and kept them apart.”
—Alexander Theroux (b. 1940)