THE SUNDAY DOUBLE BILL: CALLUM MCKELVIE TAKES TWO!

THE 'DOUBLE BILL' is something of a tradition within the film industry. Simply put it meant- ‘two for the price of one’. Originally used pre-cinema in Opera houses, it came into prominence in the 1930’s after the Great Depression. With the film industry suffering heavy losses, a number of cinemas chose to offer the two-for-one scheme, as a hope of luring punters back into the seats. 

SUFFICE TO SAY it worked and since then double bills were something of staple. However by the end of the 20th century, as the number of low-budget films being given theatrical releases lessened they began to go out of fashion and are now exceedingly rare. None the less the appeal to ciniphiles is still there and they can often be found at festivals, usually featuring two themed or related films.

THE 'THEMED DOUBLE BILL' is the subject of today’s piece (and of two following pieces), namely what is the perfect Cushing double bill? I’ll be discussing three trios of films that in my mind complement each other. They can be directly related, as are today’s or can simply be of thematic interest. However, they must of course both star Peter Cushing in some capacity. 

STATING WITH a somewhat obvious one, today I’ll be discussing 1957’s The Curse of Frankenstein and 1958’s The Revenge of Frankenstein, but more specifically, how they complement each other. Curse and Revenge are the first two instalments in Hammer’s Frankenstein series, one of course being the granddaddy of Hammer’s gothic output. Whilst the first is a truncated retelling of the Frankenstein story, putting emphasis on the Baron as more of a villain, the sequel brings events full circle. Together, they show the rise and fall of Baron Frankenstein with his eventual fate as his own creation.

TO BEGIN WITH, this probably makes the most obvious pairing simply as Revenge picks up exactly where Curse left off, meaning that watched back to back it feels like one consistent epic.  Furthermore, unlike some of the later incarnations of the character (for example the more softer version seen in The Evil of Frankenstein or vicious incarnation that features in Frankenstein Must be Destroyed) these are clearly supposed to be the same man.

MUCH OF THE SETS are recycled and  virtually identical and Hammer even got the same actor (Alex Gallier) who played the priest in Curse to reprise his role at the start of this film. This means that unlike other Hammer sequels, Revenge often feels like a natural progression of Curse. Terrance Fisher returns and the only notable admission is James Bernard, who is replaced by Leonard Salzedo. I for one adore Salzedo’s score and it’s certainly up there with my favourite Hammer soundtrack, fitting the atmosphere of Revenge perfectly. The final end credits fanfare is chillingly powerful.

WHAT REALLY MAKES these two films complement each other however, is the rich thematic nature in which one story reflects the other. I discussed briefly some of the varying levels in Revenge’s script during my tribute to Jimmy Sangster. However when watched back to back these two films have elements which show a great intelligence in Sangster’s work. The progression to brain transplants comes across as incredibly natural and the bravery in having the revenge as not a physical one (a slice and dice would have been so easy) but more of a philosophical one (he has to prove himself right), shows an incredible understanding of the character. With the Baron somewhat younger in the first film, he is the pupil to Paul Krempe (Robert Urquhart) who through the course of the film becomes the more dominant figure. 


IN REVENGE that Baron seems to have aged tremendously due to his near death experience and this time it is he who has the pupil, in Francis Matthews’s Hanz. Throughout the course of this film we see Hanz grow and learn, until at the finale it is he who must perform the brain transplant upon the Baron. 

THE FACT THAT this then results in the only successful operation, the final shot being Hanz looking on proudly at the new Baron, presents a wonderful circularity to these films. We see the Baron first develop his concept of creating life and then further this into brain transplants. We see his two failed experiments but we also see him grow and develop as a character, from pupil to teacher.

OF COURSE MUCH of this is down to Cushing, who in the space of a year manages two performances of the same character but in entirely different mind-sets. Thanks to him, we believe that this is the same man and that he really has been through a horrific experience, which has just made him more determined to continue. Indeed the most horrifying thing in Revenge is Cushing’s uttering of the line ‘they will never be rid of me’. The determination is so powerful as to be utterly chilling.

WELL THAT'S IT for this weeks double bill, but join me again next Sunday as I’ll be discussing another perfect pair…
 

REMEMBER! IF YOU LIKE what you see here at our website, you'll  love our daily themed posts at our PCAS FACEBOOK FAN PAGE.  Just click that blue LINK and click LIKE when you get there, and help us . . Keep The Memory Alive!. The Peter Cushing Appreciation Society website, facebook fan page and youtube channel are managed, edited and written by Marcus Brooks, PCAS coordinator since 1979. PCAS is based in the UK and USA 

TELLY LEE AND GOLF : ROBERT STEPHENS AND CHRISTOPHER LEE PLUS A FACEBOOK GROUP THAT SCORES A TEN!

#CHRISTOPHERLEESATURDAY! Here are some highlights from a show that appeared on BBC TV back in the 80's and 90's. Various celebs were invited to play a few rounds of Gold in a Celebrity Tournament . . .Lee was matched with his 'Horror Express' co-star Telly Savalas. ' Tee Splitting Shots and Swipes' were par for the day . . . and Telly was quite the player!

HOUSE-KEEPING I just want to make you aware of a SUPERB facebook group, that's sitting there waiting for you to knock it's door and join them. The Robert Stephens Appreciation Society is curated by Joanna. She produces quite superb visuals to accompany her enormously informative and entertaining posts. Having my account set to when she makes posts, I sitting here daily, chin on carpet, at the rare archive material she shares.

 

STEPHEN'S was a one off, an actor like no other really, with a fascinating off screen life to match. I think Christopher Lee must have felt blessed the day, he received the call from Billy Wilder, to join him and Stephens in making 'The Private Life of Sherlock Holmes'. Lee was VERY proud of his work in the film, and I believe one of the reasons, was Stephens ability to share on screen with him.... HERE is the link: Go visit this group, you wont be disappointed... and JOIN HERE!

YESTERDAY WE POSTED our TRIBUTE to actress and Dancer, PRUDENCE HYMAN in our CUSHING FEMME FATALES FRIDAYS! feature. The feature is broken down into three sections her ballet career, her film work and the later years appearing at gala's and comedy revues. There is rare footage of Prudence dancing in what was called The Dance Club in 1931, which laid the ground work for Ballet Rambert in the UK. 

RARE FOOTAGE from her appearance in BLUE SCAR, plus Pathe footage... all pretty cool stuff, that celebrates Prudence's life and reminds us, of what a genuinely super talented lady! You can see catch up and see it : BY CLICKING HERE! 

 

REMEMBER! IF YOU LIKE what you see here at our website, you'll  love our daily themed posts at our PCAS FACEBOOK FAN PAGE.  Just click that blue LINK and click LIKE when you get there, and help us . . Keep The Memory Alive!. The Peter Cushing Appreciation Society website, facebook fan page and youtube channel are managed, edited and written by Marcus Brooks, PCAS coordinator since 1979. PCAS is based in the UK and USA  

DEAR PRUDENCE PART TWO : THE LIFE AND TIMES OF PRUDENCE HYMAN

IT'S ONLY NATURAL that when we think of the ladies of the classic Hammer Horror films, we think of the countless, beautiful women that will forever be as associated with the studio's name as that of Christopher Lee or Peter Cushing. We think of names such as Ingrid Pitt or, First Lady of Hammer: Hazel Court. However, the first woman to become anything but beautiful for the studio, was the unknown, Prudence Hyman. Subsequently, it was after the release of 'THE GORGON' (1965),  that Hammer would begin a long legacy of these dangerous females. And all of it began with an ex-ballerina and ENSA performer named, Prudence Hyman.

LONG BEFORE she would become Hammer's Gorgon, 'Megaera,' Prudence Hythe was born in London, England on February 2, 1914. She was a classically trained ballerina who studied in England and  Paris and made her dancing debut at the age of seventeen in 'Twelfth Night.'  Between 1934-1935, she toured with various ballet companies, and during the second World War, she was a member of  ENSA; a traveling group of artists whose purpose was to entertain the troops. It was while she was a member of the ENSA group, that Prudence and her fellow members were once flown to safety during a harrowing adventure through a horrible storm. The group's hero was a young, Royal Air Force Lieutenant that, interestingly, she would manage to meet-up with many years later: None other than Christopher Lee.

IN 1960, Prudence played a small, uncredited role alongside the once brave pilot in Hammer's, House of Fright / The Two Faces of Dr Jekyll. She played the part of a tavern woman, while Paul Massie took on the dual role of the mad scientist. However, it would be four years later that Prudence Hyman would make horror history: She would be the first female monster in Hammer's long, Gothic-style film legacy. 

#CUSHINGFEMMEFATALESFRIDAY! Blue Scar is a little seen 1949 British drama film, directed by documentary filmmaker Jill Craigie, set in a Welsh village where the coal mine has recently been nationalised. It focuses on the relationship between Olwen Williams, a miner's daughter who leaves the village to live in London, and Tom Thomas, (Emrys Jones) who dedicates his life to working in the mine. Prudence Hyman plays a small role as Moira Thalberg , who shares a dorm with Tom's girlfriend, Gwynneth Vaughan played by Olwen Williams, when Gwynneth wins a scholarship to attend singing school....

THE GORGON was one of the last films to have been produced by Hammer during their six-year distribution deal with Columbia Pictures. Seeing as their last two films had been shelved by the distributor, the studio needed something new and exciting that would bring audiences back to the theater. To do so, they went straight to the public itself. An advertisement was placed in 'The Daily Cinema' magazine, in which the film company was soliciting stories from anyone with a good idea.The last line of the advertisement read as follows: "Because good, compulsive selling ideas with the right titles are what Hammer are looking for right now." Of the many submissions, a story by J. Llewellyn Divine was selected. It was a rather involved and lengthy story. But, after a bit of re-writing and initially naming the script, "Supernatural", the script was rewritten a second time and given the name, The Gorgon.

#CUSHINGFEMMEFATALESFRIDAY! Prudence Hyman's appearance as 'Megaera,' in Hammer films 'THE GORGON' is just two years away, as Prudence appears in three episodes of 'Richard The Lionheart' as Queen Eleanor in 1962. In the mid 1950's soon to be mega money producer, Lew Grade kick started a whole trend of Sword, Sandals and Jousting copy cats tv series when he sank all his capital into 'Robin Hood' with actor Richard Greene, filling the Lincoln Green tights. It was a mega success. So a whole raft of other medieval style tv romps followed : Roger Moore as Ivanhoe, The Saint was just around the corner. William Russell as Sir Lancelot. Conrad Phillips as William Tell . . and all at sea with Terence Morgan, playing Sir Francis Drake. And so, who would have thought, Richard The Lionheart would be next? Taking more than a nod from Robin and his Merry chaps, this show even had its own rousing theme song . . "Richard, the Lionheart, wrote a page in England's book of fame. History shall long recall his name." . . . . hmm.

SHOOTING BEGAN in December of 1963 at Bray Studios,where The Evil of Frankenstein had just wrapped production. Due to budget and time constraints,as well as to give the set the look and feel of 1910, many of the same interior sets from The Evil of Frankenstein were redressed and used for The Gorgon. The film starred Christopher Lee, Peter Cushing and Hammer's most famous female star of the time.The "First Leading Lady of British Horror," Barbara Shelley. On board as director was, in my humble opinion, the man who made Hammer Horror what it is: The legendary Terence Fisher (February 23, 1904-June 18, 1980). 

IN THE ROLE of 'Carla Hoffman', Barbara Shelley had wanted to simultaneously play the role of the title character. As the film's possessed, amnesiac heroine, she felt that the dual role would make the storyline more sensible and fluid; that it should be she who "gorgonized" the film's victims. She also had a few ideas for producer Anthony Nelson Keys on how to make Megaera more frightening and realistic as well. Her idea consisted of using real garden snakes, and to find a way to humanely weave them into a special wig. However, due to the film's budget and short production schedule, Nelson rejected her idea, and chose instead to use another actress to play the part: Prudence Hyman.

NELSON KEYS ALSO FELT that with a different actress playing the part, it would help to conceal the Gorgon's alternate, "human" identity. Although, after seeing The Gorgon herself on screen, the producer had regretted his decision about Shelley's wig idea. It's difficult to say if it was Hyman herself, or the costume which disappointed Nelson. Nonetheless, Christopher Lee's opinion of Megaera was also less-than-flattering: "The only thing wrong with The Gorgon, is The Gorgon!" Fortunately, fans today are less unforgiving.

TO CREATE THE APPEARANCE of The Gorgon and her snakes, makeup man Roy Ashton applied the hideous skin and makeup to Hyman, while special effects engineer, Syd Pearson, had a bit more of a challenge by creating the snakes themselves. Pearson had twelve plaster moulds made, and from each mould he cast latex rubber snakes.

CABLES WERE THEN PLACED through each of the snakes' bodies for movement, and were then woven through the actress' wig. Each snake was then individually attached to cables which ran down Hyman's back. The cables trailed approximately twenty-five feet behind her where they were controlled by a large contraption which contained pegs. As the pegs were turned, the tension gave the effect of each snake moving individually.

THE GORGON FINISHED PRODUCTION in January, 1964, and was double-billed with Curse Of The Mummy's Tomb. Although we only see The Gorgon herself for less than twenty minutes throughout the entire film, each shot of Prudence Hyman's 'Megaera' is a treat, to say the least. The cinematography of Michael Reed is simply superb and, in true Hammer form, the sets are gorgeous. Hyman herself moves with a grace and elegance that one would expect from a former ballerina. Incredibly, she went back to playing uncredited roles for the studio. She was given small parts in Rasputin: The Mad Monk, and The Witches, which were both were released in 1966. 

IT IS TRULY INTERESTING to know that an unknown actress with no starring roles, or major parts, made horror film history as one of it's first female monsters; and the first for Hammer. Sadly, the name Prudence Hyman remains rather unknown, and The Gorgon has only recently become appreciated as one of Hammer's lesser known and hidden gems. Very little has been written about Prudence Hyman, or her incredible contribution to the horror genre. As is normally the case with so many important people throughout history, it is not in their lifetimes that they are appreciated, or even understand what they have accomplished while they're alive: such was the case with Prudence Hyman. She died at the age of 81 on June 1, 1995 and was put to rest in her birthplace of London, England. 

Prudence Hyman was a bright young dancer when English ballet was emerging. She was lithe and slim, possessing a clean technique, quite notable for those days. Nurtured by the redoubtable Marie Rambert, she created a variety of roles in early ballets by such budding choreographers as Susan Salaman, Frank Staff, Frederick Ashton, Wendy Toye, Andree Howard and Anthony Tudor. She danced Maria in Cross Gartered, Tudor's first ballet, in 1931, based on the Malvolio episode from Twelfth Night. She also created the part of Eve in Tudor's Adam and Eve to Constant Lambert's music for the Camargo Society at the Delphi Theatre, in 1932.

She danced Vamp de Luxe in Susan Salaman's Le Boxing to music by Lord Berners, and was also in Andree Howard's Death and the Maiden (to music by Schubert) and Ashton's dances for Purcell's Fairy Queen. She danced classical roles in Swan Lake, Les Sylphides, Carnaval and Spectre de la Rose and her Bluebird in Aurora's Wedding was exceptionally brilliant. Arnold Haskell was in raptures about it!

BORN PRUDENCE Hythe, in London in 1914, she was trained by English teachers and in Paris by Russian teachers, Lubov Egorova and Olga Preobrajenska. She built her career with Rambert, and blossomed into ballerinadom on the tiny Mercury Theatre stage, where Ashley Dukes and his wife Marie Rambert, had established their centre for dance and drama : The Ballet Club

IT CAUGHT THE FANCY of the intelligentsia, and became fashionable, eventually famous. The audience capacity was 99 persons; everything was done on a shoestring. Dukes, a translator of plays, presented his international play seasons during the weekdays with such masterpieces as The Man with the Load of Mischief and Mandragola, and on Sunday evenings "Mim" had the theatre for her Ballet Club. It was said that in those days of Sunday-night performances at the club, dancers, whatever their status, received a shilling a performance. Madame Rambert continually lost her stars; they had to earn a living.

PRUDENCE DANCED BRIEFLY with de Basil's Ballets Russes (1934-35) and then toured with the Markova-Dolin ballet. During the Second World War she made some appearances with the London Ballet at the Arts Theatre in lunchtime concerts and toured abroad with Ensa. Back in England, she turned to commercial theatre, making notable appearances with Walter Crisham, Hermione Gingold and Hermione Baddeley in intimate revues, a form of entertainment then extremely popular.

ALL MUSICALS needed dancers and PRUDENCE worked in BOTH record breaking productions of PAINT YOUR WAGON in 1951 and 1953 in the WEST END London.

ABOVE: WHILE APPEARING IN the ballet 'BETTER LATE' in 1946. Prudence took this opportunity to appear in a PATHE NEW ITEM to give a little plug to the show! Thus proving the old adage, ANY publicity is GOOD publicity. Floral Dog Collars, indeed!

A SHORT TIME, after the Second World War, Prudence married Lt R. L Beckley from the USA and disappeared from the ballet scene. . . . but ballet's loss would be for a short time, theatre, film and televisions gain . . 

DEAR PRUDENCE PART TWO
was edited and compiled by Marcus Brooks. Sections of this feature previously appeared in Part One of Dear Prudence written by KB Zorka. Sections of the Independent newspaper Prudence Hyman obituary June 25th 1995, was used as reference and source material.

REMEMBER! IF YOU LIKE what you see here at our website, you'll  love our daily themed posts at our PCAS FACEBOOK FAN PAGE.  Just click that blue LINK and click LIKE when you get there, and help us . . Keep The Memory Alive!. The Peter Cushing Appreciation Society website, facebook fan page and youtube channel are managed, edited and written by Marcus Brooks, PCAS coordinator since 1979. PCAS is based in the UK and USA  

#TBT THE ANNIVERSARY OF THE TIGON CREEPER

#TBT THE CREEPING FLESH started production with Peter Cushing and Christopher Lee 45 years, 9 months, I week and 5 days ago . . .today, in 1972 at Shepperton studios. Tigon films the company behind the film were a pretty small production company, and released 17 films in the years 1967 and 1970. some were misses, but mostly hits, Witch-finder General, Blood on Satan's Claw, The Sorcerers, Doomwatch, The Blood Beast Terror, The Creeping Flesh and western Hannie Caulder, with Christopher Lee...all made money! The Creeping Flesh stands maybe in a class of it's own. Well cast, a frightening and puzzling script, very good production values..and yet it's the one film that probably gets mistaken for a Hammer film production, more than any other here. I would take that as a compliment! Do you have a fav TIGON film??

REMEMBER! IF YOU LIKE what you see here at our website, you'll  love our daily themed posts at our PCAS FACEBOOK FAN PAGE.  Just click that blue LINK and click LIKE when you get there, and help us . . Keep The Memory Alive!. The Peter Cushing Appreciation Society website, facebook fan page and youtube channel are managed, edited and written by Marcus Brooks, PCAS coordinator since 1979. PCAS is based in the UK and USA