THE MAN WHO MADE A MONSTER : WHO MOST HAVE MISSED!

#CHRISTOPHERLEE Saturday! Lee as Mr Blake in Amicus films, 'I Monster' . . . a Amicus Stephen Weeks film that has been sadly MISSED by most! A film you would purchase if it was remastered and on blu ray?? Peter Cushing and Christopher Lee's stuntman Eddie Powell pull off quite the fight, in the climax of the film!

 

 

PART ONE OF THIS EXTENDED AND EXCLUSIVE FEATURE AND

GALLERY can be found HERE! 

 

THERE IS A WHOLE TWO PART feature and PCAS gallery of RARE images from AMICUS FILMS 'I MONSTER' elsewhere on thius website. MANY of the photographs have never been seen before and along with the on set snaps, it gives a interesting peek on the making of the film and Peter Cushing and Christopher Lee working together...and enjoying it too! It is a great pity that director Stephen Weeks did not get the opportunity to work with them again together. THOUGH it wasn't for the lack of trying! Read about Stephen in our interview and GALLERY right HERE!

 

 

ABOVE? JUST CLICK HERE! 

 

PART TWO is a gallery of ON SET and BEHIND THE SCENES look during the making of Christopher Lee's and Peter Cushing's 'I MONSTER' HERE!

 

 

 

 

 

IS 'I MONSTER' ONE OF YOUR FAVORITE CUSHING FILMS OR MAYBE YOU HAVE NEVER SEEN IT? COME SHARE YOUR OPINION AND THOUGHTS ON ONE THE LESSER TALKED ABOUT AMICUS FILMS AT THE FACEBOOK PCASUK FAN PAGE! COME AND JOIN A FOLLOWING OF OVER 33 THOUSAND FANS OF THE PAGE! JUST CLICK : HERE!!

 

CALLUM MCKELVIE: GOES RUMMAGING ON PLANET AARU FOR CUSHING WHO GOODIES!

SO FIRST THING FIRST- I’ve been away a little while, but now I’m back! So as before every Sunday I’ll be stealing the lime light to ramble a little about a differing aspect of Cushing and his work. It seemed best to return with a bang and following on from my two-part review of the ‘Dr. Who’ movies, we’re presenting another two-part piece on the films, though this time it’ll be more along the lines of a ‘behind the scenes feature’. Primarily there’s two reasons for this. A) I am of course a massive Doctor Who fan. B) There’s a lot of neat images and footage we have yet to share.

ONE OF THE MAIN REASON FOR this article was to showcase some footage available on the BBC DVD of the Jon Pertwee story Death to the Daleks. (see above) Recently discovered at the time of that stories release, the footage is a rare behind the scenes look at the making of the 1965 film. The BBC’s presentation of the footage is admirable as they’ve gone to the trouble of interviewing some of the original crew along with Hammer Historian Marcus Hearne, for what is an admittedly small amount of film. 

THE FOOTAGE has some interesting Cushing moments, showcasing him exploiting the slapstick comic potential of his character as he jumps around wildly in a doorway when their escaping the Dalek trap. The real delight however is a tiny moment in which Cushing and fellow star Roy Castle are seen partaking in a small song and dance number of what we can presume is some kind of Broadway theme. Unfortunately as the footage has no sound we’ll never know what this sounded like! Though I’m sure someone with excellent lip-reading skills could tell us the name of the song.

ONE OF THE MORE INTERESTING facts in terms of the films promotion centres around its sets. Designed by Scott Slimon (who worked on many contemporary horror pictures including Scream and Scream Again and The Skull amongst others) they are easily one of the most striking aspects of the production. Indeed so striking were they deemed by Milton Subotsky that not only did sections of them appear alongside the Daleks at the Cannes Film festival in the 1965, but they then went on a country-wide tour across the UK promoting the film. 

SEVERAL OF THE DALEKS from the film would be loaned out the BBC and appear as ‘Dalek guards’ in The Chase, which due to the shows tight turn-around would actually be broadcast before the film’s release. Their noticeable by the fact they are missing their large bases.

OF COURSE THE FILM was released during the height of so-called ‘Dalekmania’ within Britain, when the titular killer pepper-pots from the planet Skaro were taking over the toy stores. Indeed it’s often easy to forget that during this period it wasn’t really the ‘Doctor’ that was the draw of ‘Doctor Who’. The year the film was released the Daleks appeared in a massive 19 television episodes and that’s excluding cameo appearances, indeed one of the episodes didn’t even feature the Doctor (Mission to the Unknown). 

BY THE TIME the film hit cinema screens then a slew of Dalek related merchandise was available for the avid collector. Some was explicitly related to the Cushing film (The ‘Paint and Draw the Film of Dr. Who and the Daleks’ book) whereas a majority was simply ‘Dalek’ merchandise (Dalek soap, Inflatable Daleks). Most famous….or perhaps that should be infamous was the ‘Dalek Playsuit’. A red plastic dome would fit upon the head of the wearer, with a plastic sucker and gun arm, whilst there body would be draped in a plastic sheet, designed to look like a Dalek.

MORE EXPLICITLY movie related merchandise including a Dell comic adaptation, that like all Dell comic adaptations of the time told the story of the film with some rather unimpressive artwork. Meanwhile child star Roberta Tovey released the album ‘Who’s Who’ with a B-side featuring Jack Dorsey’s Dance of the Daleks. Listen to it at your peril…

PLEASE JOIN ME HERE AGAIN, next week! Where I’ll be discussing tid-bits concerning the second Dalek movie…DALEK INVASION EARTH 2150 AD!.

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  . . 

THE LITTLE BIRD OF CINEMA PT 1 : YVONNE MONLAUR RARE STILLS GALLERY

CUSHING FEMME FATALE FOUR: YVONNE THERESE MARIE CAMILLE BEDAT DE MONLAUR was born in France, the daughter of a French poet and a Russian ballerina and pianist. As a youngster she was trained for ballet and in her late teens worked as a model for Elle fashion magazine. By the mid-1950's, she also began appearing in French and Italian films. Her good looks and some positive reviews paved the way to bigger roles towards the end of the decade. With this came increased publicity. In June 1959, she was featured on the cover of the weekly Milanese news publication Tempo. Another Italian paper heralded her as the year's 'most promising actress'.

IN 1959 YVONNE MONLAUR suddenly became THE FACE and was a hot property across Europe. The flash point, of all the excitement was an Italian magazine, that voted her, the year's sexiest screen newcomer. Her face was featured on the cover of a June issue of Tempo magazine that called her 'the year's most promising actress'. 

ABOVE : YVONNE MONLAUR DANCES AT THE PARTY IN 'AVVENTURA A CAPRI'

DURING THE SHOOTING of the comedy 'Avventura a Capri/Adventure on Capri' (Giuseppe Lipartiti, 1959) she had a serious accident. She suffered bad facial burns in a speedboat accident, which resulted in months of recovery in hospital. But, just as things seemed to be at their worst, Hammer films producer contacted Yvonne having seen her in 'Avventura a Capri'. Hinds invited her invited her to England where she was cast in a little-seen television drama, 'Women in Love' (1958). A writer for the Daily Mail described this -- her first credited part in an English language production -- "as bubbly as a glass of champagne".

IN 1959 YVONNE MONLAUR traveled, accompanied by her mother, to England for a series of films. First she co-starred in the comedy 'Inn for Trouble' (C.M. Pennington-Richards, 1960). Yvonne's introduction to the horror genre came via 'CIRCUS OF HORRORS' (1960), made by Anglo-Amalgamated. She still had some difficulties with English, but recalled receiving some benevolent mentoring from her co-star Anton Diffring.

AT HER BLOG I recalled in 2008, ' I always loved the circus world. I did not hesitate for one second before accepting this opportunity to share the life of travelling artists by playing the part of Nicole, adoptive daughter to the fiendish Dr Rossiter, played by Anton Diffring.The film crew was staying within the circus grounds. As for me, I slept in a caravan, close to an Italian trapeze girl artist and Russian clowns.'

'The make-up cabin had been set up near the menagerie, which led to funny situations. For my circus acts, I wore a splendid set of feathers, that the monkeys always tried to catch when I had to pass along their cages on my way out. When I was not shooting, I was rehearsing my horse riding act, like any other artist of the Billy Smart Circus. Generally speaking, I have very good memories of my fellow actors. I particularly remember Diffring and Conrad Phillips'. 

'Sometimes, professional acting relationships mimic those of the characters they play. Such was the case with Diffring, as charming and protective to me as Dr Rossiter was in the movie. It also happened with Erika Remberg, but this time I regretted it, because she was playing the circus artist who could not stand feminine rivalry… in the ring or real life !' 

SOON PART TWO OF YVONNE MONLAUR : LITTLE BIRD OF CINEMA

WITH THE EXPOSURE from appearing in 'Women in Love' and 'Circus of Horrors', the direction of Yvonne's career would soon be taking a sharp turn, into the land of 'dark forests and whispers'. NEXT she would be sharing company with one of the most charming of fellows, the most evil of sons and a whole nest of trouble and horrors. The year 1961, would see her walk down the aisle, but first she would become, a BRIDE of DRACULA . . .

YVONNE MONLAUR: THE LITTLE BIRD OF CINEMA:

PART TWO COMING SOON!

PLEASE VISIT Yvonne Monlaur's wonderful OFFICIAL BLOG. Since her sad passing earlier this year, her son and her editor have decided that it should remain in the public area, for her fans and friends to visit, in her memory. You can find it by clicking :HERE 

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 co-ordinator since 1979. PCAS is based in the UK and USA 

THE CAPTAIN, THE MARQUIS, THE COUNT AND THE LAST DANCE GIFS AND STILLS

#SILENTBUTDEADLYWEDNESDAY! The  weekly requested selection: 'SILENT GIFS BUT VISUALLY SCREAMING!' 

Here's #VINCENTPRICE as Vampire Eramus, boogieing-on-down in 'hit-miss-that-hit-miss' 1980 fun flick, 'THE MONSTER CLUB' produced by Milton Subosky, one half of the, by then defunked Amicus films. Amicus the one time, only serious contender to the Hammer films crown. It's a little sad to see how far Milton had strayed from the track with this one, although no one..myself included , would have ever told him that. Sitting in on the set, I remember seeing the 'costumed' dancers and clientele of 'The Club' in their fancy dress costumes and joke shop rubber masks, and thinking..'Maybe it will look ok, when the film is edited?' It didn't. 

THE ONE THING the film did achieve was give the crew, many of whom had worked with Amicus, some of the cast, Vincent Price and co, a last chance to have some fun. In this shot, the sound was added later in post production. The music was playing for the dancers, the band, Price, Carradine and Frau Viking-Helmet to have that last dance before for the camera, as the credits role ...but what you didn't get to hear, was the crew and extras laughing and supporting Vincent Price and his strut! It was fun, it was the last train out, that would have even made Dr Terror smile . ..  (requested Gif for J Mahon-Potter )  

#SILENTBUTDEADLYWEDNESDAY: AS BUDGETING FOR MONSTERS GO, it's pretty neat deal and very cheap too! There was a problem that beset most of the Hammer films, though not so much at the Amicus HQ, because they didn't really do 'Monsters of the Gothic kind'. The flicks that were the money earners at Hammer, had a 'Thing', a 'Grotesque', a Frankenstein Creation, an 'Ancient and dusty Mummy'. . . .or a 'Very Hairy Oliver Reed as Leon the Werewolf'... that something took time to make, usually make up artists built it onto the actor, HOURS before sun-up, when the majority of the studio crew still hadn't turned up for work. 

ROBERT BLOCH'S CONCEPT for Amicus films, 'THE SKULL' was just what Rosenberg and Subotsky's balance sheet ordered, a Monster, a focal point of terror, that wouldn't cost a fortune to assemble or have a make up man maintain every five minutes on the studio floor, where time was money. Once the Marquis de Sade was dead, and only his Head / Skull remained to stalk and terrorise Peter Cushing's Christopher Maitland, it was a 'no brainer'. In the morning, just a little powder to the cheek-bones. No tantrums, no agents, no trouble and pop him into the box, at the end of the day. It floated on command, and every performance was good to the bone, no strings attached!! Oh no. Wait a minute  . . . . .  

#SILENTBUTDEADLYWEDNESDAY!: Peter Cushing and Milton Reid as pirate Clegg and the traitor he left for dead, tongue-less and stranded on a desert island . . . 'We Meet Again' has never been more unwelcome. Captain Clegg / Night Creatures is a joy to watch, chiefly because we are in the make believe land of pirates, excise men, yo-ho-ho-taverns and lots of swash with the buckle, the kind that Peter Cushing loved. It's plain to see he is having a ball here. It's all high drama living and dying by the sword. Milton Reid is great too as the mute heavy with a grudge. Reid despite his frame, and heavy reputation on screen, actually had a soft high pitch to his own voice! He played many small roles in Brit films, when the industry had many for the picking. There is a fascinating features all about Milton Reid elsewhere on this website, and here is a quick link to find it: HERE! 

 

#SILENTBUTDEADLYWEDNESDAY!: DESPITE ALL THE fouls deeds and murders that Peter Cushing's GUSTAV WEIL carried out in the name of a greater cause, no matter how much I hated him, his comeuppance, more than slightly cheats me of a private moment of pay back. It's a nasty death, where COUNT KARNSTEIN gets to silence nagging Gustav for good and Damien Thomas, makes it all work like clock-work.  But it doesn't sit right with me. I'll explain. Had Weil just been toppled over that balcony, fallen through the air and then had we cut away to the shocked face of long suffering wife, Kathleen Byron, that would have been fine. BUT no. 

DIRECTOR JOHNNY HOUGH, knew exactly what he was doing, when Cushing himself volunteered for that, impact fall on the top step, and the limp, lifeless slide down the remaining eight........! There is something terribly unsettling and moving about Cushing's shattered and frail frame rattling down those steps, the axe clattering before him, as his head gently lolls in that, familiar loose neck, very effective Cushing style. It wasn't a technique as such, because he came at it differently every time... it's just THIS time it looks all the more final and tragic. Cushing did a very good job as Gustav, right up to the final few feet of the last reel  . . . and that fall, of a different kind of Vampire Hunter.  

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