JOHN CARPENTER ON HAMMER CURSE AND REMEMBERING SIR JOHN MILLS AS DR JOHN WATSON

#TBT #THROWBACKTHURSDAY! Here's a clip we edited for Callum McKelvie's first Weekend Double feature, on Hammer films, The Curse of Frankenstein and Revenge of Frankenstein, with 'Halloween' director, John Carpenter sharing his thoughts on one of his all time favorite Hammer films... 🙂 It's great when established directors give credit to work that influenced them . . .Tim Burton and Martin Scorsese have all stepped up and doffed their caps...

TODAY WE MARK THE BIRTH of one, Lewis Ernest Watts Mills... or as we knew and loved him... Sir John Mills. He was without doubt, one of our most popular and beloved English actors and born today February 22nd 1908. In a career that stretched over eight decades, Mills appeared in over 120 films, debuting in 1932 in 'Midshipmaid Gob' right up until 2009 in 'The Snow Prince'. Many of his roles like Pip in 'Great Expectations' in 1946, Shorty Blake 'In Which We Serve' in 42, Captain Scott in 'Scott of the Antarctic' in 48 and the alcohol troubled Captain Anson in 'Ice Cold in Alex' in 58 would make him an internationally renowned star.

MILL APPEARED IN TWO FILMS with Peter Cushing, the first in 1976 entitled 'Trial by Combat' aka 'A Dirty Knight's Work' as Sir Edward Gifford. It was no more than a guest appearance, slotted in when another project on Cushing's slate fell through. The second though, was a much grander enterprise with Tyburn films and marked Cushing's return to the character of Sherlock Holmes...and Mills as Watson! They made a terrific team as a much older duo, so impressive was the chemistry that another Cushing /Mills / Sherlock film from Tyburn was planned entitled 'The Abbot's Cry', but was scuppered owing to Cushing's fragile health.

LIKE CUSHING, Mills was in his private life a sensitive romantic, in January 2001 at the age of 92, he and wife Mary, age 89, renewed their marriage vows at St. Mary's Church, next to their home, Hills House, in Denham, England. When they had wed 60 years earlier, he was denied a church service because he was serving in the Army during World War II. Happy Birthday, Sir John!

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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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DONALD PLEASENCE : REMEMBERED TODAY

REMEMBERING: Actor Donald Pleasence who was born today in 1919... Pleasence appeared alongside Peter Cushing in a surprising amount of titles. From the quite early on brilliant BBC production of '1984' to the not so brilliant 'The Devil's Men', 'Flesh and the Fiends', 'Trial By Combat' and 'From Beyond The Grave' In a very lengthy career, with many highlights, Pleasence was always entertaining, especially with nervous, evil obsessive characters. Pleasence is probably best know for his role of Dr. Sam Loomis in the 'Halloween' films...a role interestingly enough that Peter Cushing was originally approached to play....

More on Donald Pleasence and the film Beyond The Grave in The Amicus Films of Peter Cushing Part Six : CLICK HERE

'THE COUNT'S LAST STAND, AND THE GANGS HERE TOO!' A TALENT TO TERRIFY : STEP OUT!

After the disappointment of seeing his maiden voyage as a production executive run away from him, Lee reluctantly signed on the dotted line for yet another Hammer Dracula film.  Like Dracula AD 1972, The Satanic Rites of Dracula would update the Count’s (mis)adventures to modern day London.  Like every Dracula film he had done since 1968 (with the exception of a jaunt to Spain to make El Conde Dracula for maverick filmmaker Jess Franco), Lee was openly disdainful of the material and swore up and down that he would never do it again.  This time he meant it – this would prove to be his last “real” Dracula film, though the delightful French-made parody Dracula and Son (1978) would allow him to revisit the character (or a variation on it; Lee has insisted that he’s not playing the Count in the film and indeed, his makeup and costuming is quite different) in a script which actually allowed him plenty of screen time and dialogue.

The Satanic Rites of Dracula reunited Lee and Cushing with director Alan Gibson and screenwriter Don Houghton in a tale of a suicidal Dracula, doing his damnedest to spread the bubonic plague as a means of taking down the rest of civilization with him.  It was a darker and altogether more serious entry than AD 1972, but it’s also not quite as much fun.  Even so, Gibson and company give the film production gloss and it’s fun to see (or rather hear) Lee disguising his identity by speaking in one scene with a pronounced Bela Lugosi accent!

Cushing is relegated to the sidelines for much of the film, allowing Michael Coles’ Inspector Murray (another holdover from AD 1972, here sporting a much less Scotland Yard-appropriate hair cut) and William Franklyn’s sardonic MI5 agent to do much of the heavy lifting.  Fan reaction would be less than enthused, but seen today it’s possible to appreciate The Satanic Rites of Dracula as an interesting, offbeat finale to the series that made Hammer the bulk of its profits.

 

After this final foray into Stoker territory, Lee continued to do his best to establish himself in more “mainstream” assignments, netting a plum role in the James Bond thriller The Man With the Golden Gun (1974) and enlivening the starry casts of such films as The Three Musketeers (1973) and Airplane ’77 (1977).  He would be lured back to Amicus one last time for Arabian Adventure (1979), largely because his role as the evil wizard would enable him to pay homage to one of his acting idol Conrad Veidt’s most iconic roles, as the villain of The Thief of Bagdad (1940).  This slice of hokum from director Kevin Connor was aimed square at juvenile audiences, and Lee’s villain was very much of the obvious, pantomime school – at least in theory; in terms of performance, he does not play down to the audience, making the character a credible menace.  The film also included a cameo appearance for Cushing as a deposed noble man who aids the hero (Oliver Tobias) in his quest.

While Lee’s career was thriving at this time, Cushing’s was not.  The actor had won some good notices for his role in George Lucas’ blockbuster hit Star Wars (1977), but this did not translate to many stellar acting assignments; he would spend the latter half of the 70s lending class and name value to one indifferent film after another, even spreading his wings a bit by going to Greece to film The Devil’s Men (1976) and to Florida for Shock Waves (1977).

PCASUK review and gallery: The Devil's Men

Also around this time, both Lee and Cushing were approached by young writer/director John Carpenter, who was anxious to cast one of them for the role of Dr. Loomis in his film Halloween (1978).  Cushing’s agent would snootily reject the script without even showing it to the actor, while Lee would later regret passing on it, correctly noting that it gave Donald Pleasence (who finally took the part after some initial trepidation) a whole new career.  Even so, becoming identified with a new horror franchise was surely the last thing on Lee’s mind, and both actors would go on record as being disdainful of the trend towards more and more graphic depictions of sex and violence in genre fare (though it must be noted that Carpenter’s classy shocker was not guilty of this, even if the films it helped to spawn most definitely were).

While Lee continued to explore the potential of Hollywood into the 1980s, Cushing’s career began to slow down.  Advancing age and increasing health woes would begin to limit his opportunities.  The spirit was willing, but the flesh was weak, as it were.  Fortunately for fans, his health remained intact long enough for Canon Films to assemble a dream cast for a tongue-in-cheek horror comedy.  The House of the Long Shadows (1983) would unite Lee, Cushing, Vincent Price and John Carradine for the first and only time.  Though directed by veteran shock specialist Pete Walker, the film was an old-fashioned pastiche, a tribute to the old-school “old dark house” thrillers of the 1920s and 30s.  The veteran actors approached their roles with style and conviction, with Lee and Cushing probably coming off the best: Lee puts his aloof persona to good use, while Cushing impresses with his portrayal of the cowardly brother with a pronounced speech impediment, a la Elmer Fudd.  Their efforts are hampered by the charisma free young actors who dominate the proceedings, namely Desi Arnaz Jr. (miscast as the smart ass best-selling novelist who believes he can write a Gothic melodrama in one night, provided the setting is right) and Julie Peasgood.  The two actors have zero chemistry with each other and fail to make much of an impression on the viewer, but once the genre icons begin to take center stage the film has more than its fair share of pleasures, not the least of which is hearing a typically theatrical Vincent Price calling Christopher Lee a “bitch.”

Sadly, the combined power of the veteran actors did little to help the film’s chances at the box office, and the film would for all intents and purposes be dumped to VHS and cable not long after a perfunctory theatrical release.  Price would call the film a missed opportunity, whereas Lee later singled it out as a favorite precisely because it allowed the four actors an opportunity to have fun.  Cushing would contract bronchitis while filming at the drafty manor house, however, and his health would continue to deteriorate.

In 1986, many news outlets reported that Cushing had died. The fact of the matter is, he was still very much alive and would remain so for another 8 years but he was diagnosed with prostate cancer around this time, and the prognosis was not good. Cushing would find it impossible to continue acting, not because he didn’t want to, but because the insurance companies regarded him as a liability.  Lee would undergo open heart surgery to correct a recurring issue and would bounce back, continuing to work without taking much time off, even if most of the films he was doing failed to ignite much interest at the box office.  Towards the end of the decade, however, Lee would find himself being cast by long-time fans turned successful directors, including Joe Dante and John Landis.





In 1994, filmmaker Ted Newsome hit upon the idea of hiring Lee and Cushing to narrate his documentary on Hammer Films, titled Flesh and Blood.  It would prove a tricky deal to negotiate, especially with Cushing’s frail health going downhill rapidly and scheduling conflicts to overcome.  The film would provide Lee and Cushing one last chance to spend an afternoon in each other’s company, however, and Lee did his best to keep his old friend in stitches throughout the recording of the narration.  When Cushing was chauffeured away at the end of the day, Lee knew he would never see him again; sadly, it would to be true.

Cushing would pass away on August 11th 1994; he was 81 years old.  For Cushing, it was an end devoutly to be wished.  In his mind and heart he believed he would be reunited with his beloved Helen.  For his many fans, it was a loss which was felt very deeply indeed.
 

At the time of writing, Lee is now 91 years old.  He has begun looking more and more frail over the past few years, though he certainly aged very gracefully well into his 80s.  An accident on the set of Hammer’s The Resident (2011) resulted in a broken vertebrae – a serious injury at any stage of life, let alone for a man in his late 80s.  Lee didn’t let the accident stop him from working, however.  He remains in demand, doing cameos for directors who have long admired his talents.  A collaboration with Martin Scorsese on Hugo (2010) was regarded as a major career highlight by the actor, who has since said that he has now worked with just about every major name actor and director he has aspired to work with… except for Clint Eastwood.  The odds of that particular collaboration coming to pass seems slim in light of Lee’s inability to undertake large roles and difficulty with traveling (he was well enough to fly to New Zealand to do the Lord of the Rings trilogy, but director Peter Jackson had to accommodate him by shooting his scenes for the new Hobbit trilogy in England), but even so… his presence in films is a reassuring reminder of the class of actor we used to take for granted.  And to go back and revisit his many films with his beloved friend and costar, Peter Cushing, is to be transported to a time when it really was possible to see top class acting in even the lowest budgeted and most preposterous of genre films.

'A Talent To Terrify:
The Twenty Two Films Of Peter Cushing and Christopher Lee',
was written by Troy Howarth with images and artwork
by Marcus Brooks.

 

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