This chapter assesses whether The Damned (1963) is first a Hammer film or a Joseph Losey film. It argues that, although the auteur theory is so riddled with problems and contradictions that it cannot really be called a theory at all, certain directors, by dint of personality, distinctive traits, and sheer involvement in the countless elements of the process of film-making, can be considered the guiding creative force behind a film, and therefore an auteur. Losey, by all accounts, fits the bill. Whether The Damned is indeed a Losey film first is debatable; but it is as a Losey film that the chapter considers it first. And since Losey's status as an auteur is of relevance to how The Damned has been seen, the chapter also briefly looks at the auteur question.
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