THE PERSONAL SCRAPBOOKS OF CHRISTOPHER LEE

THREE DAYS AGO it was announced that, Lady Lee, Sir Christopher Lee’s widow, had donated her husband's photographic archive, to the BFI National Archive. The collection, is presented in THREE scrapbooks. Lee would have been 97 years young on 27th May 2019'. The scrapbooks are made up of photographic prints compiled by Sir Christopher Lee himself.

ON DONATING THESE ALBUMS, Lady Gitte Lee in a press statement has said, “It was a great joy and an honour for my husband when he was awarded the BFI Fellowship in recognition for his lifelong contribution to the industry. I am therefore delighted that the BFI are helping to preserve the heritage of his legacy, by bringing Christopher’s photographic archive into the BFI National Archive. I am immensely proud of my husband’s achievements. One of Britain’s best-loved actors, he was a man who entertained audiences worldwide for more than 60 years. It gives me great pleasure that his photos will be seen and appreciated for generations to come.”

WELL, AS WE HOPED, the scrapbooks just about covers Lee's entire film career. It's a photographic archive which includes many previously unseen on-set photographs and contact sheets, plus photographic portraits from many of his roles including Hammer films 'Dracula / Horror of Dracula'  (1958) and its sequels, also The Wicker Man (1973) and The Lord of the Rings: The Fellowship of the Ring (2001). Some interesting choices are included, such as one of Lee's earliest film roles in the Ealing Studios classic, Scott of the Antarctic (1948), and ends, as one would expect, in the 2000s. It's an interesting Lee archive which manages to present a unique personal account of a prolific career, and also features  annotated musings, revealing his crisp, dry humour.

SO, WHAT DO WE HAVE HERE? Well, it's three scrapbooks put together it seems in the early 1970s and annotated by Lee himself, all spanning the years from 1948-1972. ALBUM ONE covers Lee’s first decade and a half, as a jobbing actor. Here we see some of his earliest roles including the World War II drama They Were Not Divided (1950) and Captain Horatio Hornblower (1950) in which Lee played supporting parts, his annotation to They Were Not Divided quips “back to camera, as usual”. It's interesting to see, over a ten year period how he spent the time in his choices and casting opportunities, to enable him to hone his craft in supporting roles, before his breakthrough performance, as The Creature in Hammer Studios’ The Curse of Frankenstein (1957). It's no secret that, Lee at one time held the 'Guinness World Record' for the most on-screen sword fights! This album records an early and memorable example, with  Lee’s infamous sword fight with Errol Flynn in The Dark Avenger (1955). It was at this time, Flynn accidentally cut through Lee’s little finger! A story Lee loved to share! The album also includes a striking pair of portraits of Lee, where he is almost unrecognisable, during his screen test for John Huston’s Moby Dick (1956), a part that was ultimately played by another actor.

ALBUM TWO spans through the 1960s, and includes much of the horror and fantasy genre classics, such as his sequel to the successful 1958 Dracula film, Dracula Price of Darkness in 1965 and The Devil Rides Out (1967). It's also interesting to see Lee alongside other fellow horror legends, including Peter Cushing in Amicus films, The Skull in 1965, Vincent Price The Oblong Box, 1959 and Boris Karloff in The Curse of the Crimson Altar produced in 1968. Good to see Lee chatting and working on set, with Hammer director Terence Fisher during the making of The Gorgon in 1965. Included too are his appearances in two separate series of popular UK TV programme, The Avengers in 1967 and 1969 ALBUM THREE covers a much shorter period, from his role in Julius Caesar in 1970 to the low budget cult film Death Line, with Donald Pleasence in 1972. This scrapbook also has space to showcase some of the special make-up and make up artists like Wally Schneiderman and Pearl Tipaldi who were deployed in films such as The Scars of Dracula (1970) and includes many make up prep images with make up artist Harry Frampton from Amicus films, I, Monster (1971), a role that which Lee often described as ‘one of the best things I’ve ever done’. There are also a number of behind-the-scenes stills from Billy Wilder’s late masterpiece, and one of Lee’s favourite films, The Private Life of Sherlock Holmes (1971).

LEE FELT TYPECAST for much of the period of time covered by these albums, but they nevertheless show his great versatility as an actor across a variety of characters, films and genres. So, it's interesting that alongside the iconic images showcased, he has chosen to include some quite surprising, often funny and interesting choices. Many of the photographs have never been published, so they are all the more special for being selected, arranged and annotated by Lee himself.

NATHALIE MORRIS, Senior Curator – Special Collections, BFI said, “We’re delighted to have been entrusted with this marvellous group of photographs which were collected and kept by Christopher Lee, one of the all-time cinema greats. These images wonderfully demonstrate Lee’s versatility and charisma as an actor, taking us on a journey from his early small parts through to his starring roles and then beyond, as directors sought him out for high profile supporting roles and cameos. The albums are fascinating for being assembled by Lee himself, especially as they also include his occasional, wryly-observed, comments. The BFI National Archive is incredibly grateful to Lady Lee for this generous donation.”

CHRISTOPHER LEE'S SCRAPBOOK collection will join other significant personal archive collections including those of Alfred Hitchcock, Alan Parker, David Lean, Ken Loach and Dirk Bogarde at the BFI National Archive John Paul Getty Jnr Conservation Centre in Berkhamsted, stored in optimal archival conditions. Once catalogued, the collection will be available to view by appointment, with selected material made accessible digitally through the BFI Reuben Library.

REVIEW : TWILIGHT TIMES THE SWORD OF SHERWOOD FOREST BLU RAY

THE CHARACTER of ROBIN HOOD as far as film production is concerned, seems to have revived and arrived as frequently as the BLOKE in the Cloak, Count Dracula. Since 1938, when actor Errol Flynn donned the tights and bow in 'The Adventures of Robin Hood', which hit loads of lolly for the rich and entertainment for the thrill hungry public, Robin and his Merry Men have nearly always been a winner. There have been many remakes and story direction retakes  that not only revived the tale, but such was the power of the story of Mr Hood, you can spot it like a well aimed arrow, providing themes, influences in everything from extended ideas for spin offs, Mel Brooks epics and even down to a Tom and Jerry or Bugs Bunny cartoon! The world of Robin Hood is one of Olde Worlde very rich, but usless kings, lords and ladies, fat monks and pious priest, where every town has men with swords and maidens who are lit and presented in soft focus, having been crafted by a Westmore brother, who  struggle with the caddish-fiend advances of tash tweaking, baddie barons. But I LOVE it!  

HAMMER FILMS 'SWORD OF SHERWOOD FOREST'  couldn't be and isn't the DISNEY or Errol version. This Hammer film budget, but BUT it is enormously entertaining. Hammer set design guru, Bernard Robinson was and had been tied up with The Mummy, The Brides of Dracula and the Two Faces of Doctor Jekyll, so John Stoll, did the duties. The reason WHY SWORD does so well is because of its excellent cas. which headlines with Peter Cushing as the Sheriff of Nottingham.. in THREE splendid costume changes. Knowing PC he probably pooted along to Berman's and chose them, as he would say 'Mu-self!'...  and Richard Greene as the lead, and for many THE Robin! Others include Hammer's Richard Pascoe, almost 'out stepping' Cushing as a beauty of a bounder and baddie! Oliver Reed gets the better of Cushing's Sheriff, Niall McGinnis makes a very good Friar Tuck and Richard Greene IS Little John! For a tale, almost exclusively set in woodlands and forest, that also has the FOREST word in its title, one wonders if actress Sarah BRANCH was cast and chosen, only for the potentially endless publicity and press office premier inches that could be pushed and published using her surname as an endless pun? BRANCH is very good in the feature, but held a held a carear that only lasted just over four years!? Did Hammer and Chairman Sir James only spot the BRANCH potential as the main and valid reason to another money spinner and quickly slapped together another fim poster to collect the backers cash? Nope. Truth is, the business  and Hollywood has been churning out  Robin Hood films for actually MORE than a century. And Sword of Sherwood Forest, is certainly one of my personal favorites!

SWORD OF SHERWOOD FOREST is a film from an era, where movies where 'crafted' for the family. No gallons of gore or huge and cavernous miles deep cleavage, to fall into here! You would think, the attraction of such a film of such qualities, would be well passed. BUT just two weeks ago, PCAS offered up SEVEN copies of the Twilight Time remastered blu ray as sponsored prizes in a VERY well supported competition. This gives a fair indication, that Robin and his Merry Men are still very popular. And in THIS EXCELLENT transfer of the feature film, which is typical of the standard of quality we have come to expect from Twilight Time and Sony, the release looks very good indeed! 

SWORD OF SHERWOOD FOREST was directed by Hammer film icon Terence Fisher, who was well prepared and knew exactly how best to present all the 'key Hood' moments, having also directed many of the television series episode, that also starred Richrad Greene as Robin. It looks delicious, having been shot in Technicolor and makes the most of the luscious green forests, fern, flora and fauna of the Irish location, having been shot in beautiful Enniskery, County Wicklow. 

VISION

FOR ALL THOSE who mull of the technical pickings of screen size and frames, this 2.35:1 Megascope production is bang on, properly framed. The visuals in that frame, well meet the standards we have come to expect from Twilight Time, who in the past have brought us other Peter Cushing classics like Hammer films 'The Hound Of The Baskervilles' (1959)  and Amicus films 'THE SKULL' (1965) this transfer is immaculate! The colours are VIBRANT and do justice to the magnificent scenery, that both Fisher and cinematographer Ken Hodges were working to capture on the big screen. Hodges also worked with Fisher on the TV series. 

ABOVE: SEVEN LUCKY WINNERS of our TWILIGHT TIME PCAS competition last month!

SOUND

THE SOUNDTRACK on the disc comes as a  DTS HD-MA mono track, which presents dialogue clearly, with no drop out, hiss or bassey muffle. Even though in mono, the music composed by Alun Hoddinott, as in ALL Hood films and particulary the UK tv series, sounds terific. is as good as it could be, with clear dialogue throughout, supporting the clanking and thrashing of duels and sword fights very well. All of this drama, sometimes takes a break and presents Alan-a-Dale played by Denis Lotis singing and yodeling, medieval melodies with harp, flute and his mandolin! Charming! English SDH subtitles are available. 

EXTRAS

IN THE PAST, Twilight Time extras have included, documentaries, galleries, trailers and posters. This release offers a very nice isolated music and effects track. Which personally, would always get my vote, over endless talking heads of types who weren't even breathing when the film was released, let alone a twinkle in some daddy's eye! Also included is the theatrical for the film and the very nice thought of a short but appreciative glossy brochure / booklet on the film.

FOLLOWERS who are interested in purchasing it can skip along to the Twilight Time website or the Screen Archives website to order their copy. A GREAT watch for the family at Christmas.

 

A TALENT TO TERRIFY: PART ONE: TO START AT THE BEGINNING: BY TROY HOWARTH

For many viewers, the names Peter Cushing and Christopher Lee are inextricably linked.  They would become one of the screen’s great duos – not quite in the same way as Laurel and Hardy or Abbott and Costello, perhaps, but definitely akin to Boris Karloff and Bela Lugosi for the Technicolor generation.  Their styles would offer a strong contrast, both in acting technique and in public perception.  If Cushing was perceived as the heroic, kindly, avuncular type, then Lee was icy villainy embodied: cool (if not downright cold), detached and imposing.  Stories of Cushing’s generosity and warmth are many and varied; tales of Lee vary from the admiring to the damning.  You'll find hardly anybody who has a bad word to say about Cushing, either as a person or as an actor, but the same isn’t true of Lee: some critics have dismissed him as wooden and boring on screen, while some fans have found him arrogant and aloof in person.  Both actors would struggle before finally finding success – Cushing would find his initial acclaim on television, while Lee would rise to prominence essaying various monstrous and villainous character for Hammer Films.

Cushing would embrace his role as a genre icon, though he approached this with some reluctance and trepidation in the beginning; Lee would relish the opportunity to establish a name for himself, only to spend much of his later years trying to put some distance between himself and his initial successes.  Truth be told, it’s easy to appreciate the rationale behind both mentalities.  Cushing had established himself as actor of range and sensitivity, adept at the classics and in more contemporary subjects – to burden himself with the “baggage” of being a horror star would surely tarnish his reputation somewhat, but, as he rightly reasoned, it would provide stability and a cash flow which would enable him to support his ailing wife in the style he felt she deserved.

For Lee, finding success in this venue at a comparatively youthful age meant being eternally limited – it was easy enough to say “yes” to yet another Dracula picture, but as he rightly recognized, the part didn’t stretch his abilities and, worse still, would prevent him from achieving the types of roles in the types of films he openly craved.  Even so, the two men would cross paths at different points in their careers before finally becoming known as something of a “double act.”  Once they became linked, they would remain so for the remainder of their lives – fortunately, the two men were genuinely fond of each other and could make each other laugh in ways that would have seemed foreign to Karloff and Lugosi.



The first of their many collaborations would occur in 1948, courtesy of Laurence Olivier’s film of Hamlet.  Cushing had already impressed Olivier by a display of professional honesty: while undergoing a lean period of no work and grim prospects, Cushing had the chance to play a role in one of Olivier’s stage productions; sadly, the role required an actor capable of performing a convincing American accent.  Cushing told Olivier that he would let the play down rather badly on that front, and Olivier responded by telling the struggling actor that he would remember this display of honesty.  Cushing figured it was a nice way of saying “don’t call us, we’ll call you,” but lo and behold, Olivier remained true to his word.  In addition to giving Cushing a number of plum roles in his theatrical ventures, the actor-director also awarded Cushing with the supporting role of Osric in Hamlet.

The part would require Cushing to play it fey and broad and he responds with a larger than life performance; one can virtually smell the perfume emanating from the screen whenever he appears. Truth be told, this sort of broad comedy was never the actor’s strong suit and Hamlet is no exception. It’s interesting to see him in this context, but it’s not one of his more persuasive pieces of acting.

And what of Lee?  What, indeed… Lee, who was at the very start of his acting career, has long maintained that he snuck on set, donned a uniform for one of the heavily armored spear carriers and soaked in all he could of Olivier at work.  Mind you, this is the same Lee who also claims to have refused to speak the lines in Dracula Prince of Darkness (there never were any). That said, in a few long shots involving this characters lingering in the background, there is an admittedly tall extra in evidence.  Is it Lee or is it just wishful thinking?  Hard to say, but his contribution – if legitimate – would of course go unnoticed and unbilled.  The film itself would become a major box office hit, netting Olivier Academy Awards for Best Picture and Best Actor.  Cushing’s performance attracted some good notices and would help him in pursuing more theatrical and film work into the 1950s, before the burgeoning medium of television claimed him for its own – for a time.  For Lee, it was nothing more than anecdote to be told and retold, and he would spend the better part of a decade losing out on various acting jobs because he was “too tall” or “too foreign looking.”

In 1952, Cushing and Lee would find themselves in the same vehicle once again, when producer/director/all-around-maverick John Huston relocated to the UK to make Moulin Rouge.  This colorful and melodramatic account of the artist Henri de Toulouse-Lautrec (played by José Ferrer, in an Oscar-nominated performance) would also find favor at the box office and with critics.  It marked a change of pace for the normally action-oriented Huston and demonstrated that his abilities could extend to costume fare, as well.  Cushing, by virtue of his rising star power, would claim billing in the finished film despite having a minor role that is rather indifferently covered by Huston – indifferently in the sense that it doesn’t even grant him a close up, not that the role really called for one, anyway.

Lee, still unknown at this stage, would go without billing – but he gets the better part, playing the painter Georges Seurat, discussing life and art with Lautrec in a Paris café.  Lee would be awestruck by Huston, while Cushing never made much mention of the experience.  For the former, it was a feather in the cap – a film for one of the great Hollywood filmmakers, allowing him to share screen time with an Oscar winning actor – while for the latter it was a minor paycheck gig at a time when he was getting more and more accustomed to playing larger leading roles.  Little did either man realize just how dramatically things would change in a mere five years…


Part Two: A Partnership In Deadly Deeds! Look out for updates!

A Talent To Terrify: is written by Troy Howarth
with images and artwork by Marcus Brooks

Please come join us at our Facebook Fan Page: https://www.facebook.com/petercushingblog 

PETER CUSHING: THE FAIRBANK'S OF FRANKENSTEIN'S! 'THE EVIL OF FRANKENSTEIN' (1964) PART ONE

Peter Cushing getting into the swing of things on Hammer Films 'The Evil of Frankenstein' (1964) He was never shy of performing a stunt that he thought he could perform himself, rather than trouble a stuntman! More at the facebook group The UK Peter Cushing Appreciation Society: https://www.facebook.com/petercushingblog