THE MONSTERS OF HAMMER: A SCREAMINGLY GOOD EXHIBITION! #TOOCOLTUESDAY!

#TOOCOOLTUESDAY: The Monsters of Hammer : A Screen Bestiary is an amazing exhibition housed at De Montfort University, Leicester within the University's Cinema and Television History research centre (CATH), which now holds some of Hammer films scripts archive. The exhibition was designed by a third-year DMU design student named Chelsea Walker. It's an pretty amazing accomplishment. I particularly like the text of DRACULA written in blood, that trickles off the glass screen around the exhibit, and on the FLOOR!  the exhibition contains the draft script, of an idea called 'DRACULA ON ICE: The Legend of the Arch Vampire' by Don Houghton, the writer behind Hammer / Cushing / Lee Dracula AD 1972, The Satanic Rites of Dracula, several tv dramas and some BBC Doctor Who episodes too . . . These images were sent to me a few weeks ago. I have no idea where they came from, or who took the pics . . maybe the person who sent them? If you are in Leicester, UK you may want to scout this exhibition out...it's very cool . . .

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#TOOCOOLTUESDAY: PAINTING INTO A CORNER?

THERE WERE MANY 'could have been's' in the long career of Peter Cushing. On both small and big screen, and scanning the long litter of tantalizing titles and scripts, are as exciting, as they are frustrating. Putting aside the Daddy of all these no-goes, John Carpenter's 'Halloween', two names that appear to come up frequently as culprits of numerous Cushing non starters are the BBC and, as you would expect, Hammer films. The later was a company where the fate of a go-green light was finely balanced on a thumbs up OR down, following the flashing of some titillating artwork on a poster, unveiled at a meeting of money types looking to make a profit. The long and sad cry of projects that never got beyond treatment stage, makes for an emotional read! With Hammer it was always the bottom line of finance, the BBC was often crippled by it's own business model of, creativity by committee.

DISPITE THIS, during the 1950's and 60's Aunty Beeb did a tremendous job of presenting much ground-breaking, and exciting drama. However, it was the same BBC though that in its urge to unwrap a tv Christmas schedule that would keep the viewers glued to their programmes , that was instrumental in causing Cushing's absence from what could have been another Peter Cushing / Christopher Lee Hammer film smash. Based on the Barry Lyndon's play, 'The Man in Half Moon Street', or as Hammer came to re-tittle it, 'The Man Who Could Cheat Death', would have been that film. As it turned out, only Lee would appear in a minor supporting role, with actor Anton Diffring starring as the 'Man', one Dr. Georges Bonnet.

AFTER A VERY busy year and completing Hammer films one and only dip into Conan Doyle's Sherlock Holmes library, with The Hound of the Baskervilles, by October 1958, Cushing was looking forward to spending some time on preparing an exhibition of his paintings in the new year. The BBC however, were keen to get him on-board in their line up of stars appearing in their programming during the Christmas scheduling of 58.  Michael Barry (1910 – 1988) producer, director and executive at the BBC was very busy preparing a production of George Du Maurier's 'Trilby' for the festive programming, and very much had his eye on Peter Cushing to play the role that had brought much critical acclaim to  John Barrymore on screen and Herbert Beerbohm- Tree on stage. On September 9th Michael Barry received some sobering correspondence from Cushing television agent, Angela Hepburn : 

'I have some more information from Hammer films as to their plans for Peter's next production  for them. which ..... is to be 'The Man in Half Moon Street. At present they plan to start shooting this picture on or about the 10th of November. It will be a six to seven week schedule- generally six. Hound of the Baskervilles, on which he has just commenced work this week - and the start of Half Moon Street gives an available period of October 20th - 9th November approximately'. 

BARRY, DESPITE his impressive and long production experience must have chewed a couple of pencils on that one! But despite the tight schedule and restrictions, he was still very keen to go ahead with Cushing. In his reply to Angela Hepburn, Barry noted, 'Svengali belongs to a period that requires breadth and colour which I believe Peter would join me in appreciating' Barry had in 1952, he succeeded Val Gielgud to become the Head of Drama at BBC Television, a position he was to occupy for the next decade. He was responsible for commissioning several important productions, including the Quatermass science-fiction serials, and in 1954 suggested Peter Cushing to play Winston Smith in the famous adaptation of George Orwell's Nineteen Eighty-Four. This latter production caused much controversy due to its supposed horrific scenes and subversive content.

THROUGHOUT the 50's Peter Cushing was Mr Television. Hardly a week went by without him appearing in the BBC's listings. He was the BBC's Mr. Darcy in their flagship 1952 production of 'Pride and Prejudice', he had won several television awards, a BAFTA and the BEEB still saw him as one of their stars. Also, since the launch of the 'Other-side', Independent Television the loss of their monopoly on the little screen, was starting to make Aunty wobble. ITV were starting to nibble away at the BBC's hold, and the Independent Television regional stations had started to broadcast around the UK. Whispers of competition, ratings and stars jumping ship, were staring to be heard along the hallowed corridors of Alexandra Palace and the Riverside studios. Which is why, when Barry was faced with the timing problem, he offed to reschedule and postpone the transmission of Trilby to Boxing Day, rather than loose Cushing.

Despite this, the casting of Cushing in Trilby, was not to be. The whole idea was shot down in a letter to producer Christopher McMaster from Angela Hepburn on November 27th 1958.

'It is with the greatest regret I have to tell you that Peter Cushing will not be available to play Svengali for you on the postponed filming date. As you may or may not know, Peter is under contract to Hammer films to do five films for them within the period of 18 months. This means virtually that he has approximately ten days to a fortnight off between each film and therefore his periods of availability are not only limited but also spaced far apart. In actual fact the film he is about to do (on a 12 week schedule) is not for Hammer but for another company - and therefore it follows that as soon as it is completed he has to return immediately to Hammer to start work on his next film for them. I explain this to you so that you can see how very little point there appears to be in postponing your production with the idea of Peter being available at a later date. I have just talked with Peter on the telephone and he liked the script very much indeed, and he is extremely sorry that he will not be able to play it.'

WITH CUSHING'S decision to not engage with the BBC festive drama roll out, a chill descended on their relationship. A reluctance to invite Cushing into new productions on reflection, is quite evident, though there were several inquiries from his agent, and the idea to explore to reboot interest in a production of 'Cyano de Bergerac', Cushing would not appear in any major BBC production for at least another five years in 1963.

THERE SEEMS TO be no defiant answer to the question, 'Why didn't Peter Cushing appear in Hammer films, 'The Man Who Could Cheat Death' ..other than, if there were a reason, it probably had more to do with Peter feeling, after an intensive period of work, and production companies pulling him this way and that, he was due some me time...and a focus on his passion for painting. Just weeks after all the fuss calmed down with the BBC, on December 3rd 1958, Cushing unveiled 'Here and There: An Exhibition of Water-Colours by Peter Cushing, at the Fine Arts Society in Bond Street, London. The 'non Hammer film' that Angela Hepburn mentioned in her correspondence, that would have made Cushing's BBC appearance impossible, never happened...and there is no paper trail or evidence of what it could have been. Cushing did not start work at Bray with Hammer, until later than predicted, on February 25th 1959 when THE MUMMY started to roll. By this time, having spent time needed, the exhibition was launched and open to visitors.
 

IT'S DIFFICULT to prove now, years on, but maybe it wasn't just about Peter making time for his exhibition, maybe there was something about that TRILBY script, politics or health matters, that lead Cushing to opt-out. The invitation to play Svengali for Cushing, would have been a terrific opportunity. Did Cushing really do the right thing, and pass on this chance, for his love of painting? Whatever it was, I can't help feeling that Cushing did feel a loyalty to the BBC, and when he had time to think about it, knowing his exhibition had to take priority, both  projects 'The Man Who Could Cheat Death' AND 'Trilby' had to go. Maybe in dropping out of the unknown film and 'Cheat Death' Cushing hoped it would be seen as a 'walking on glass' gesture to appease Michael Barry, Christopher McMaster at the BBC. Maybe Cushing hoped it would sooth what would turn out to be a definite sting, and ultimately sour their working relationship.

A FULL COLOUR DOUBLE PAGE SPREAD IN THE KINEMATOGRAPH WEEKLY APPEARED ON APRIL 30TH 1959 ANNOUNCING THE RELEASE OF THE MAN WHO COULD CHEAT DEATH WITH LEE BUT MINUS CUSHING.

WHATEVER HAPPENED, 'The Man Who Could Cheat Death' did middling business, even though it didn't lack drama and had very good production values, with it's  beautiful sets from the previous Hammer hits, Dracula / Horror of Dracula, Hound of the Baskervilles and the Revenge of Frankenstein. Diffring did a great job under Terence Fisher's direction. Hazel Court shines. But for all of this, I don't think that the inclusion of Cushing and Lee together in this film, would have made it a better film... Their casting would have certainly made it a, different film.  Another classic maybe? Another opportunity to mine that rich seam of chemistry, that both Cushing and Lee demonstrated with wonderful results in twenty two other films, together. You may think, well, twenty two is a good number. I would have to answer, any opportunity to cast, the two greatest exponents of British Fantasy cinema, that was lost.... should make us all feel, quite, CHEATED.

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NEWS: STAR WARS TOYS AND TARKINS SLIPPERS: MAY THE TOYS BE WITH YOU EXHIBITION

NEWS: PETER CUSHING 'TARKIN SLIPPERS' AND STAR WAR TOYS: MAY THE TOYS BE WITH YOU!

A collection of Star Wars memorabilia and toys has gone on show at a museum in Kent. The exhibition, called 'May The Toys Be With You', opened earlier at The Beaney art museum and library, in Canterbury. It is the first time the toys and posters, owned by collector Matt Fox, has been put on public display. It has been timed to coincide with the release of the new Star Wars film, Episode VII - The Force Awakens.

Back when Star Wars began in 1977 no one could have predicted that the merchandising of Star Wars would actually earn more than the film itself. The toys of Star Wars took the world by storm and became the must have playthings for an entire generation. From 1977 - 1985 an estimated 300 million action figures were sold, allowing children to re-enact the adventures of Luke Skywalker, Princess Leia and Han Solo.

May The Toys Be With You is both a celebration of the now highly collectable vintage toy line and also of the iconic design work and art of the Star Wars movies. From X-Wing Fighters to lightsabers, these fantastical designs have fired our imaginations and stamped their place on our cultural landscape.

As well as the exhibition, there are also associated activities taking place at the exhibition will be at The Beaney until 6th March 2016.

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NEWS: THE LARGEST SHERLOCK HOLMES EXHIBITION IN THE UK EVER!

NEWS: If you are a Sherlock fan in the UK, here's can exhibition you can not afford to miss!

The exhibition opens at a time when It is this endurance that is an underlying theme of the exhibition, and is explicit in the title, “The Man Who Never Lived and Will Never Die”, based on a similar observation made by Orson Welles in 1938. Thus there is a strong filmic element in the exhibition, featuring different actors who have assumed the role over the years – from Peter Cushing and Jeremy Brett to Robert Downey Jr and Benedict Cumberbatch, as well as a soundscape of radio plays, including the voice of William Gillette, and an assortment of original film posters from across the globe.

Sherlock Holmes: The Man Who Never Lived and Will Never Die which opened at the Museum of London on Friday 17 October 2014 can be visited until Sunday 12 April 2015. The exhibition is sponsored by Shepherd and Wedderburn and the technology partner is NEC. More information can be found at www.museumoflondon.org.uk/sherlock.

Adult tickets are £12 (£10.90 without donation), concession tickets (ages 12-15, students, over 60, unwaged and registered disabled) £10 (£9 without donation) and flexible family tickets for 3-6 people (must include at least one child and one adult) are £9.50 per person (£8.50 per person without donation). It is FREE, fast-track entry for Friends of the museum and FREE for children under 12.

For MORE info click this link: HERE 

GRAND MOFF TARKIN SLIPPERS REVEALED AT LAST: PETER CUSHING STAR WARS

Peter Cushing's Tarkin Slippers can be seen at the Peter Cushing @ 100 Exhibition at Whitstable Museum until JUNE 23rd 2013

ALL THE WORLD'S A STAGE: PETER CUSHING AND HIS MODEL THEATRES

Peter with one of the many working model theatre's he made during the 50's and 60's. Examples of Peter's model work can been seen at Peter Cushing at 100 exhibition at Whitstable Museum and Gallery. The exhibition is open 10 am - 4pm every day until June 23rd. Admission £3 for adults.

NEWS: PETER CUSHING AT 100: WHITSTABLE CELEBRATES IT'S MOST FAMOUS RESIDENT AT MUSEUM AND GALLERY

A celebration of the 100th birthday of Whitstable's most famous resident in images and objects from collectors across the UK and beyond, with linked special events in the town.

Included in museum entry charge.
Adults £3.00
Discounts £2.00
Children free to a maximum of 2 children per paying adult.
Free to Canterbury district Residents' Card holders and their children