IT'S NO JOKE! HELEN CUSHING AND THE SPOOKY ARM APPEARANCE PLUS DAVID PEEL AND LAST WEEKS TOUGHY ANSWER!

THIS WEEK'S TUESDAY TOUGHY! It sounds like a joke OR maybe there is a catch? Not so. Without giving too much away, all I can say is, this NOT about Cushing deciding he one day wanted a tattoo! I'll be giving you the answer NEXT TUESDAY. In the meantime, good luck!

THE ANSWER to last weeks TUESDAY TOUGHY is TOD SLAUGHTER, is the name of the  ominous face on the left. As JIM SHORTER commented on the FACEBOOK PCASUK FAN PAGE Tod had quite the reputation as an English actor, who was best known for playing over-the-top maniacs in macabre film adaptations of Victorian melodramas. Slaughter made the films, for the most part, exactly as he liked, with all the larger than life, melodramatic acting of a bygone age, just as he did in the stage adaptions, in which he also starred. Born in March 1885 as Norman Carter Slaughter, during in his early stage career, hit gold and blood, when he appeared in SWEENEY TODD : The Demon Barber of Fleet Street in 1936. He had started to pave the way to his thrills and spills reputation when he appeared in his first film, as a villain the previous year, in 'Maria Marten or Murder in the Red Barn'. He followed these with further OTT adventures in films like, 'The Crimes of Stephen Hawke' in also in 1936, 'It's Never To Late To Mend', 'The Ticket Of Leave Man' in 1937, 'The Face At The Window' and 'Crimes At The Dark House' in 39 and 1940. These quota-quickies, quickly made Slaughter into a British horror star, almost in some ways, as a precursor to the career of Peter Cushing's . .

ABOVE: PETER CUSHING PERSONAL THE GAY INVALID THEATRE PROGRAMME AND SIGNED NOTE-LET INCLUDING ALL CAST MEMBERS SIGNATURES!

THE PLAY in which both Slaughter and Cushing appeared in together was THE GAY INVALID by Sir Barry Jackson in 1951. Slaughter played Professor Purge and Cushing as a young soldier named Valentine. Opening for two months at the Garrick Theatre, London in September of 51, and called, 'Moliere without tears!', it ran until March 24th 1951.

 

THE FILM that in which Tod Slaughter starred , that was later adapted and starred Peter Cushing was called, 'The Greed Of William Hart and was released in 1948 and was based on the gory history of  body snatchers, Burke and Hare. Director and screen-writer John Gilling adapted the story and  Cushing went on to star as Dr Knox, in the remake and retitled, 'The Flesh And The Fiends'  in 1959. Congrats to ALEX WILSON who was the only one to nail all three questions, at the FACEBOOK PCASUK FAN PAGE . A thumbs up to Phillip Jones, who did name Mr Slaughter though . . .!

FIND OUT MORE ABOUT THE FLESH AND THE FIENDS WITH GALLERY HERE!

TODAY we remember actor DAVID PEEL who was born today 19th June 1920. There are few who have made such an impact as Peel. He only appeared in ONE film for Hammer films and I believe only appeared in one film with Peter Cushing.

ONLY ONE ROLE, one film and yet, enter VAMPIRE HAMMER into google images, and he will appear in most of the pages. Despite the success long after The Brides of Dracula was made...audiences felt a little cheated that it was a DRACULA film, without Dracula!....I suspect that Peel wasn't impressed with either the film or the subject matter either! You probably know, he left the industry early on and went into antiques and real estate, but life for Peel was certainly difficult. We remember him today though, for that one Hammer film and the impressive performance as Baron Meinster, the boy vampire who certainly pushed the boundaries of vampire film!

#MONSTERMONDAY: THE MAKING OF THE HOUSE OF LONG SHADOWS PART TWO

MICHAEL ARMSTRONG'S disappointment at the cuts in the final cut of The House Of The Long Shadows was matched by the reaction of the stars of the film. Vincent Price, in particular, was so upset that his role had been reduced by the cuts- especially in the music room scene- that he denounced the film openly and refused to aid in it's promotion or have anything more to do with the film. 

Michael Armstrong recalls: ' I got a call from Cannon just before the film was due to open in the UK, telling me about Vinnie's reaction and asking me if I could try and change his mind. Apparently, he had refused to speak to anyone at the Cannon offices. He was staying in London at the time, because his wife Coral Brown was at that time receiving specialist treatment for cancer here. I called him and tried to persuade him to talk to Cannon, but he was adamant. He was so angry and so very upset because he'd loved doing the film and thought it was some of his best comedy work and then to see so much of his performance cut...but what could I say?'

Armstrong, continued 'I was totally in agreement with him and, as I pointed out- the cuts to his dialogue were equally the cuts to my dialogue. We were on the phone over an hour and a half. By the end, we were commiserating with each other. He never did speak to anyone at Cannon, although he and I continued to stay in touch right up to his death.'

ABOVE: PETER CUSHING PROMOTES THE HOUSE OF THE LONG SHADOWS ON THE UK BBC BREAKFAST TIME PROGRAMME 1983. CLIP QUALITY FLUCTUATES BUT IT'S WORTH IT!

HOUSE OF THE LONG SHADOWS opened in London in 1983 at the Carlton Cinema in the Haymarket to mixed reviews and a disastrous box office. Cannon's decision to sell the film as a straightforward horror film had only resulted in confusing both the critics and the audiences who, without having the benefit of knowing beforehand that it was meant to be a tongue-in-cheek lampoon of Gothic melodrama, mistook all the wit and pastiche jokes as an attempt at the real thing. Those critics, however, who did realise the films intent, raved- in particular over the screenplay and the stars. Similarly the film went on to win prizes for best film, best screenplay and best actors (jointly for the four stars) at Avoriaz, Sitges, Paris and other genre festivals around the world.

DISMAYED AT THE London box office results, Armstrong persuaded Cannon to let him experiment with a different approach for the regions in the UK and sell the film as the comedy it was, rather than the horror film that it wasn't. To test this the East Anglia release was launched with a specially organised gala night audience in Stowmarket being issued with souvenir programmes quoting those reviews recognising the film as a comedy. The result was a packed house loving the film, laughing and applauding throughout. As Armstrong points out, 'It was exactly the same audience reaction we'd seen at Avoriaz and in Paris where it had won the audience prize for Best Film at the Paris Film Festival'.

 THE BRITISH QUAD CINEMA POSTER FOR 'HOUSE 

OF THE LONG SHADOWS' WAS SCALED DOWN FOR THE

CANNON VIDEO RELEASE

DESPITE THIS EVIDENCE of the audience reaction, it was too late to change anything. Cannon's original marketing plan remained and the film continued to fail at the UK box office. With a far more tongue-in-cheek marketing campaign the film fared better upon it's American and international release, once more mainly garnering good reviews. Its excellent entry into the video market, however, was cut short by the collapse of Cannon. as part of the company's product sell off, the film was included in a package required by MGM and along with so much of the Cannon product was lost in the archives.

ARMSTRONG SAW THE PROBLEM, 'The problem with parody is that unless you know what is being parodied, you miss the joke and I think that's where certain people missed out on the film. It's a pity because The House Of The Long Shadows is so full of jokes for the movie buff- almost every single line of the dialogue has a reference point to some movie or another - I defy anyone to get them all in a single screening. Apart from the movie references, though, The House Of The Long Shadows exits on several levels, which is why it really needs more than one viewing to appreciate it fully. It was also made with a great love for the film it so affectionately lampoons and as a swan song to the horror careers of the four. Just take a look at their dialogue to see what I mean. I firmly believe when it does finally emerge on DVD, it will finally be recognised, not only as one of Pete Walker's best and most complex films, but as a fitting tribute and elegy to a bygone era'

BUT IT DIDN'T STOP THERE . . 'The House Of The Long Shadows' until 2013 was still in limbo, regarding a legitimate release. Maybe Peter Cushing Centenary was an opportunity too good to miss? Whatever it was, the powers that be, finally gave us what we had been waiting for. 'The House of the Long Shadows' arrived in not only ONE blu ray package, but quite a few! The region FREE blu ray was followed by a German blu ray, then Spanish...and many more there after. The news is good, seems someone turned on the lights at the home of the Grisbanes, and now, the once foggy, under-lit scenes are presented, just as they should have been, when we spent our hard earned cash for groggy dvd copies. The picture quality is great, audio too! The Horror Channel has screened the movie several times over the past five years too! Seems, just like Roderick in the story, if WAIT long enough...you'll get what you want!

HOW WE REPORTED ON THE US REGION BLU RAY RELEASE

PART ONE

PART ONE OF THE MAKING OF THE HOUSE OF LONG SHADOWS 
CAN BE FOUND :  HERE!