ROGUE ONE LIMITED EDITION SLEEVE ARTWORK RELEASED

#TOOCOOLTUESDAY: Here is the LIMITED EDITION SLEEVE ARTWORK for the BLU RAY release of ROGUE ONE, ready for pre order now and in the stores April 20th 2017! As well as the outstanding feature film, the blu ray is packed with extras...PLUS some pretty cool details about the creation of the CGI of Peter Cushing's Grand Moff Tarkin and Carrie Fisher's Princess Leia. What do we think about the artwork?

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MONSTERMONDAY RETURNS

REQUESTED! We are never short of requests, photographs and features to post, sometimes it gets a little busy with competitions to schedule and features, so we drop a regular feature for a while. But following quite a few enquiries about  '#Monster Monday'... by your request, I am sure you'll be pleased to hear, today, we are bringing it back! So, please send us your requests for images and photographs of your favourite monsters, creations and stuffs from the bowels of hell! It's great if it's is a monster from a Cushing film, but this time around, we are extending it to ANY monster...from ANY film. Let's expand our knowledge of nasties!

Remember, this is your website. I am very grateful for any suggestions for features, requests or photographs...anything you think would make our page extra special. So, your MONSTERS please! We'll pick the best for today and the following Monday's.

 

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HAMMER FILM CUSHING AND LEE GIFS WITH SUPPORTING FEATURES AND GALLERIES

CHRISTOPHER LEE'S DRACULA IN DRACULA AD 1972 SNARLS AT PETER CUSHING'S VAN HELSING ONLY REVENGE ON HIS MIND

FIND OUT MORE ABOUT THE HAMMER FILMS DRACULA / VAN HELSING

SAGA IN 'THE TRIALS OF VAN HELSING' PART ONE AND TWO : HERE 

 

PETER CUSHING'S BARON FRANKENSTEIN PLEADS WITH HIS FRIEND, PAUL KREMP TO SAVE HIS LIFE IN HAMMER FILMS 'THE CURSE OF FRANKENSTEIN' (1957)

 FIND OUT MORE ABOUT THE FIRST IN THE HAMMER FILMS 'CUSHING FRANKENSTEIN SERIES' , THE FILM THAT LAUNCHED CHRISTOPHER LEE'S CAREER , WITH A BARON THAT SHOCKED THE WORLD: THE CURSE OF FRANKENSTEIN WITH VINTAGE PHOTO  GALLERY AND MORE HERE

ARMED WITH A SILVER BULLET CUSHING'S VAN HELSING HAS THE COUNT CORNERED  IN 'THE SATANIC RITES OF DRACULA'

READ ALL ABOUT THE LAST STAND OFF BETWEEN CUSHING'S VAN HELSING AND LEE'S DRACULA IN 'THE SATANIC RITES OF DRACULA' FEATURE WITH GREAT PHOTO GALLERY AND BEHIND THE SCENES STILLS  HERE 

THE DEAD ARE AWAKE AND WALKING AND BENT ON REVENGE : CHRISTOPHER LEE AS KHARIS PAYS CUSHING'S JOHN BANNING A VISIT IN HAMMER FILMS 'THE MUMMY' FROM 1959

READ ALL ABOUT THE HISTORY OF 'MUMMY CINEMA' AND THE HAMMER FILMS 1959 RELEASE, IN OUR EXTENSIVE VINTAGE GALLEY AND FEATURE HERE

 DRACULA'S GRIP OF TERROR  REACHES ACROSS A HUNDRED YEARS TO 1972 AND NOW BRINGS HIS REVENGE ON VAN HELSING HIMSELF IN HAMMER FILMS, 'DRACULA AD 1972'

CHRISTOPHER LEE AND FAMILY WITH PETER CUSHING ON THE SET OF  DRACULA AD 1972. MORE BEHIND THE SCENES RARE PICS IN OUR FEATURE HERE 

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VERONICA CARLSON : WOMEN IN GOTHIC : THE HAMMER FRANKENSTEIN SERIES : PART FIVE

After his somewhat more mellow mood in both The Evil of Frankenstein and Frankenstein Created Woman, the Baron's personality darkened considerably in Fisher's Frankenstein Must Be Destroyed (1969). Perhaps frustrated by his continued failed experiments, Frankenstein has never been more ruthless than in this film. Another fine cast was assembled, including Peter Cushing, Freddie Jones, George Pravda and Simon Ward, but who would be the mistresses of Frankenstein in this episode?

First and foremost was Veronica Carlson, who had just been bitten by Christopher Lee in Dracula Has Risen From the Grave (1968) and was being touted as 'Hammer's new star discovery.' Aged twenty-four at the time, Carlson had been 'discovered' by Sir James Carreras after a revealing photo shoot for the Sun newspaper.

The statuesque blonde actress had been born in Yorkshire as Veronica Mary Glazer and had spent part of her childhood in Germany, where her father was stationed with the British Army. She later attended Thetford Girls' School  and High Wycome College of Technology and Design, where she studied art and acted in several theatrical productions.

Prior to being spotted by Carreras, Carlson had appeared in the Morecombe and Wise comedy The Magnificent Two (1967) and a movie ironically titled Hammerhead (1968). An episode of The Saint' with Roger Moore in 68 also 'Crossplot' a film, again with Roger Moore also produced in 1969.

As Anna, the keeper of a boarding house where Frankenstein decides to hide out and perform his experiments, Carlson has never been better. One of the best scenes in the film - indeed, in any Frankenstein film - features Anna having to haul a body out of a makeshift grave in a flower garden after a water main has burst. Under Fisher's masterful direction, the scene is as tense as anything in a Hitchcock film, and Anna ends up completely drenched, but successful in transferring the corpse to another hiding place so the police can't find it. It's an extraordinary scene and Carlson is exceptional in it.

The most controversial element of Frankenstein Must Be Destroyed is the inclusion of the infamous rape scene, in which the Baron, overcome by lust, attacks Anna in her bedroom. Included as an afterthought three days before the end of production and apparently demanded by James Carreras by way of Warner Bros, the scene was ultimately cut in the US - by Warner Bros, who had ordered it in the first place!

In her foreword to my book The Hammer Frankenstein, Carlson recalled the incident thusly: 'We were setting the scenes for the morning shoot on Frankenstein Must Be Destroyed when James Carreras made a sudden, dramatic, noisy appearance. High above his head he was brandishing sheets of paper. He snapped angrily, 'I've just been told there's not enough sex in this picture - so here's the new scene that's just been written!' He thrust the papers at Terry, who said simply, 'But we've set the scene of the film - the mood - we've nearly finished shooting!' To no avail. Terry looked through the sheets of paper whilst James Carreras made as sudden and loud a departure as his entrance had been.

'Terry glanced round at us all, looking straight at Peter and myself, then threw the papers into the air and abruptly walked away, leaving the offending scene fluttering, then settling in disarray upon the floor.

'We resolved to shoot that scene, as fans of Hammer know. But I've always felt that it undermined the essence of just what defined "Frankenstein." He was by definition the essence of a truly asexual man, driven single-mindedly in his torment to form an animate creature - especially Man.'

With all due respect to Veronica, whom I've been fortunate enough to call a friend for over 25 years, there was certainly nothing asexual about Frankenstein in The Curse of Frankenstein. He may have ignored his beautiful fiancee, but he had impregnated his maid. The rape scene in Frankenstein Must Be Destroyed is not really out of character. Hammer's Baron had been a murderer (and something of a lecher) from the very first film. Now he was a rapist as well. It really wasn't that much of a leap.

The Baron has never been more of a misogynist than he is in Frankenstein Must Be Destroyed. From the time he first meets her, he treats Anna like chattel. When her boyfriend Karl (Ward) pleads to Frankenstein, 'You don't need Anna,' the Baron sniffs, 'I need her to make coffee!' 

In that context, the rape scene can be seen to make sense as the logical outcome of a master/slave relationship. During the history of the series, Frankenstein has had only one 'normal' relationship with a woman - the one with Justine. But with the maid murdered by his Creature - and by proxy, by Frankenstein himself - the Baron's sex drive has been suppressed in favour of his experiments, making him not only increasingly deranged, but more dangerous and unpredictable as well.

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