#SILENTBUTDEADLYWEDNESDAY: SIX GREAT GIFS REQUESTED BY YOU!

#SILENTBUTDEADLY: Breaking into the first of our SIX REQUESTED GIFS is Kharis (Christopher Lee) dispatching Mehemet Bey (George Pastell) as the speechless Isoblel Banning (Yvonne Furneaux) looks on in horror in Hammer filmsThe Mummy (1959). This is one of those occasions where the soundtrack is as good as the visuals. A sickening crack and crunch, comes courtesy of the Hammer special effects dept, making this one of those golden but gut turning classic Hammer clips. Thanks to Colin Bond who requested this and our NEXT GIF today...   #hammerfilms #petercushing #christopherlee #themummy

YOU CAN REQUEST ANY GIF FROM A PETER CUSHING FILM FOR NEXT WEEK'S GALLERY, BY SIMPLY EMAIL US AT THE EMAIL BELOW OR COMING INTO OUR FACEBOOK Peter Cushing APPRECIATION Society Fan Page AND SEND US A MESSAGE USING THE 'MESSAGE / CONTACT US BUTTON!

#SILENTBUTDEADLYWEDNESDAY: Paul Beresford (Peter Cushing) looking very pleased with himself, as a Cybernaut delivers one of the scientists that will help him avenge his brothers death, from The Avengers episode "Return of the Cybernauts" . . . #petercushing #carolinemunro #dougmcclure

#SILENTBUTDEADLYWEDNESDAY: For Jenny Price. Dr. Abner Perry (Peter Cushing) getting 'mesmerized despite him being British!' from At The Earths Core (1976). A truly fun film, with all the cast, on top form and the rubber monsters just add to its charm! #petercushing #dougmcclure #carolinemunro #amicusfilms #attheearthscore

#SILENTBUTDEADLY: Silent, but just as effective, with the audio track. Peter Cushing as Osric from Laurence Olivier's 'HAMLET'. Cushing's foppish dandy makes an exit that's hard to forget! Thanks to Karl 'The Mangle' Broadshaw for this one!. 

#SILENTBUTDEADLY: This classic moment from ITC'S 'THE MUPPET SHOW' and Vincent Price's guest appearance. Much to Vinnie's horror, Kermit goes for the jugular. Many thanks to Ebony Hamilton, for reminding us about this moment. It's a great shame that neither Peter OR Christopher Lee go an invite to appear on the show, but Vincent Price, was a natural choice and a real hoot! 
#vincentprice #themuppets

#SILENTBUTDEADLYWEDNESDAY: AND FINALLY.. Mary Nichols from New York as requested the above GIF, explaining she had an idea that we had posted this GIF previously, but thought that it would have been long deleted. Well, here's the good news, here is the GIF you mentioned Mary, reposted for you. BUT, the original post WILL BE STILL UP here at this website. We NEVER delete past posts, photographs or features. You'll see we have a SEARCH BOX at the top right of this site, and all you have to do is enter in the KEY WORDS 'Peter Cushing From Beyond The Grave'..and this and many other posts will be loaded up onto your screen. So, easy to find, and you truly will never miss a thing we have posted over the last SEVEN YEARS! Thanks Mary! MORE REQUESTED GIFS, NEXT WEDNESDAY! #petercushing #frombeyondthegrave #amicusfilms

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ON THE RECORD: THE THEATRE : CUSHING AND HAMLET

Cushing was to play OSRIC in Laurence OLIVIER'S 'HAMLET' in the 1948 production.

 

NEW YORK TIMES REVIEW : BOSELY CROWTHER: 

SEPTEMBER 30TH 1948 

 

 

It may come as something of a rude shock to the theatre's traditionalists to discover that the tragedies of Shakespeare can be eloquently presented on the screen. So bound have these poetic dramas long been to the culture of our stage that the very thought of their transference may have staggered a few profound die-hards. But now the matter is settled; the filmed "Hamlet" of Laurence Olivier gives absolute proof that these classics are magnificiently suited to the screen.

 

Indeed, this fine British-made picture, which opened at the Park Avenue last night under the Theatre Guild's elegant aegis, is probably as vivid and as clear an exposition of the doleful Dane's dilemma as modern-day playgoers have seen. And just as Olivier's ingenious and spectacular "Henry V" set out new visual limits for Shakespear's historical plays, his "Hamlet" envisions new vistas in the great tragedies of the Bard.

It is not too brash or insensitive to say that these eloquent plays, in their uncounted stage presentations, have been more often heard than seen. The physical nature of the theatre, from the time of the Globe until now, has compelled that the audiences of Shakespeare listen more closely than they look. And, indeed, the physical distance of the audience from the stage has denied it the privilege of partaking in some of the most intimate moments of the plays.

 

But just as Olivier's great "Henry" took the play further away by taking it out into the open—and thereby revealed it visually—his "Hamlet" makes the play more evident by bringing it closer to you. The subtle reactions of the characters, the movements of their faces and forms, which can be so dramatically expressive and which are more or less remote on the stage, are here made emotionally incisive by their normal proximity. Coupled with beautiful acting and inspired interpretations all the way, this visual closeness to the drama offers insights that are brilliant and rare.

 Further, a quietly-moving camera which wanders intently around the vast and gloomy palace of Elsinore, now on the misty battlements, now in the great council chamber, now in the bedroom of the Queen, always looking and listening, from this and from that vantage point, gives the exciting impression of a silent observer of great events, aware that big things are impending and anxious not to miss any of them.

 

Actually, a lot of material which is in the conventional "Hamlet" text is missing from the picture—a lot of lines and some minor characters, notably those two fickle windbags, Rosencrantz and Guildenstern. And it is natural that some fond Shakespearians are going to be distressed at the suddenly discovered omission of this or that memorable speech. But some highly judicious editing has not done damage to the fullness of the drama nor to any of its most familiar scenes. In fact, it has greatly speeded the unfolding of the plot and has given much greater clarity to its noted complexities.

Hamlet is nobody's glass-man, and the dark and troubled workings of his mind are difficult, even for Freudians. But the openness with which he is played by Mr. Olivier in this picture makes him reasonably comprehensible. His is no cold and sexless Hamlet. He is a solid and virile young man, plainly tormented by the anguish and the horror of a double shock. However, in this elucidation, it is more his wretched dismay at the treachery of his mother than at the death of his father that sparks  woe. And it is this disillusion in women that shapes his uncertain attitude toward the young and misguided Ophelia, a victim herself of a parent's deceit.

In the vibrant performance of Eileen Herlie as the Queen is this concept evidenced, too, for plainly she shows the strain and heartache of a ruptured attachment to her son. So genuine is her disturbance that the uncommon evidence she gives that she knows the final cup is poisoned before she drinks it makes for heightened poignancy. And the luminous performance of Jean Simmons as the truly fair Ophelia brings honest tears for a shattered romance which is usually a so-what affair.

No more than passing mention can be made at this point of the fine work done by Norman Wooland as Horatio and by Basil Sydney as the King, by Felix Aylmer as Polonius, Terence Morgan as Laertes and all the rest. Perfect articulation is only one thing for which they can be blessed. A word, too, of commendation for the intriguing musical score of William Walton and for the rich designing of Roger Furse must suffice. In the straight black-and-white photography which Mr. Olivier has wisely used—wisely, we say, because the study is largely in somber mood—the palace conceived for this "Hamlet" is a dark and haunted palace. It is the grim and majestic setting for an uncommonly galvanic film.

PETER CUSHING: HAMLET : (1948)

Peter Cushing as the sinister Beau Brummell of the Danish Court 'Osric' with Terence Morgan as 'Laertes' in HAMLET (1948) directed by Laurence Olivier. Peter's brother-in-law Reginald Beck (who had edited Olivier's HENRY V) was associate producer.

Cushing said of Olivier: 'When the production started, Larry was a kind, considerate, patient director...but as time went by he became more and more autocratic...towards the end it was 'do it this way, do it that way, and don't argue, goddamit!' '. The film is beautifully shot in B&W and takes obvious visual cues from Orson Welles as well as Universal horror. Cushing also said: 'If Hamlet had been a Hammer film...they'd say 'This is disgusting! Dreadful! All these deaths. Think of the bodies littering the floor!' ' The film also features great genre actors Patrick Troughton and Niall MacGinnis, and uncredited extra work by Doreen Lawrence (Peter's first love and one-time fiancé), Desmond Llewelyn, Patrick Macnee and Christopher Lee (making this the first film Cushing and Lee ever appeared in together).