THE OLD ACID BATH TRICK! VINCENT PRICE TAKES A DIP!

#GETTHECUSHIONITSCUSHING: Scream and Scream Again (1970) has the honor of being the first film to star Vincent Price, Christopher Lee and Peter Cushing, though Price and Lee only share screen time in the film's climax, and Cushing, in his brief scene, shares no screen time with either Price or Lee.

A somewhat confusing film, in fact Price said he never understood the script at all. It was based on the novel "The Disoriented Man" by Peter Saxon. The film was a co-production between Amcius and AIP with Milton Subotsky getting the rites to the novel and financing from AIP.

If anyone out there has read the book, would be curious to know how closely the film follows it? Here is the weird scene in which Vincent Price as Dr. Browning is fighting with Konratz played by Marshall Jones.

IF YOU LIKE what you see here at our website, you'll  love our daily themed posts at our PCAS FACEBOOK FAN PAGE.  Just click that blue LINK and click LIKE when you get there, and help us . . Keep The Memory Alive!. The Peter Cushing Appreciation Society website, facebook fan page and youtube channel are managed, edited and written by Marcus Brooks, PCAS coordinator since 1979. PCAS is based in the UK and USA   

#FRANKENSTEINFRIDAY: BEHIND THE SCENES SPECIAL ARCHIVE FEATURE AND GIFS

#FRANKENSTEINFRIDAY: OVER THE PAST TWO DAYS we've really given THIS FILM a good chewing over! It's been great sharing, posting, commenting and reading your thoughts on #SCREAMANDSCREAMAGAIN. We also had a lively debate on Peter Cushing #INCENSEFOR THEDAMNED too. And, despite all their floors, plot holes and wobbliness, it shines through, we still enjoy and appreciate them. After sharing a few behind the scenes stills on the thread at the PCAS FACEBOOK FAN PAGE someone messaged me and asked if the film had much in the way of behind the scenes photographs, and if it did, do I have any, that I would post?

#SCREAMANDSCREAMAGAIN DOES HAVE some great publicity stills and behind the scenes photographs, and we have quite a nice selection of them, which following that request, I will be posting in a special feature, as part of our usual posts for our Peter Cushing THRILLS-FILLED themed Sunday: #GETTHECUSHIONITSCUSHING. LOTS of Vincent Price shots, along with Christopher Lee and Peter Cushing to be seen. In fact the Peter Cushing behind the scenes photographs, will be posted as a separate supplement post too. No doubt, it will probably trigger some more debate about this curious film, that continues to tease and fascinate viewers over forty years after it's release . . . So, See Ya SUNDAY! - Marcus

YOU CAN ORDER YOUR COPY OF THE SCREAM AND SCREAM AGAIN BLU RAY FROM TWILIGHT TIME : RIGHT HERE!

IF YOU LIKE what you see here at our website, you'll  love our daily themed posts at our PCAS FACEBOOK FAN PAGE.  Just click that blue LINK and click LIKE when you get there, and help us . . Keep The Memory Alive!

The Peter Cushing Appreciation Society website, facebook fan page and youtube channel are managed, edited and written by Marcus Brooks, PCAS coordinator since 1979. PCAS is based in the UK and USA. 

WHO IS THAT AND WHERE ARE THEY?

Over at our PCAS FACEBOOK FAN PAGE it's #whoisthat?wednesday / whereisthat?wednesday and we're having some fun with this mystery pic. Feel free to come on over if you know the answer...and if you don't I'll be posting the identity of the lady on the right and where her and Vincent Price are located in a few hours. The answer will be added to this post shortly after the reveal on the facebook book fan page.

From the PCAS FACEBOOK FAN PAGE:

‪#‎whoisthat‬?wednesday ‪#‎whereisthat‬?wednesday Here's Vincent Price, being charming with a flower...! What a cad! The question is, who is that with him? AND are they standing at a Garden Centre?? This is a fun photograph, when we reveal the location...you'll never believe it! Answer in a few hours,unless, you crack it before!

THE ANSWER!

EARLIER today we asked you who is that girl posing with VINCENT PRICE and WHERE are they??? Most of you identified the girl as actress UTA LEVKA, she played the nurse in Amicus films, Scream and Scream Again (1970) She also turned up in some pics we shared with you two weeks ago, of Vincent and Christopher Lee at Madame Tussauds in London, doing some Halloween publicity for the same film!

The location, believe it or not, was the headquarters of Amicus films at Shepperton studios. Amicus never actually owned a studio, they just rented out studio space, when they were in production with a new film. So, everything..meetings, writing, plotting..happened at Shepperton, but in the sheds!! 

Weird when you look at the offices of Hammer films, at HAMMER HOUSE in the heart of the industry on Wardour Street, London. Hammer did eventually move out . but Milton remained in his shed-offices from the beginning of the inception of Amicus in the early 60's until it all wrapped in the late 70's. To be fair, Milton did work a lot from his office at home, and we were lucky enough to interview him there, but when Milton said, he could cut costs, and put the money on the screen... we now know how he did that!! wink emoticon Well done all who got this one correct
 

LIMITED EDITION COPIES OF TWILIGHT TIME SCREAM AND SCREAM AGAIN BLU RAY IN QUICKY COMPETITION!

It's time for another Win and Win Again...with Scream and Scream Again! TWO copies are up for grabs in this quicky competition, but the comp is only open for FIVE HOURS!! It's 4pm gmt NOW.. you have until 9pm gmt to count those severed HANDS! GOOD LUCK!

COMPETITION NOW CLOSED! HERE ARE THE WINNERS! CONGRATULATIONS TO PENNY AND DEAN!

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WIN AND WIN AGAIN! QUICKY COMPETITION SCREAM AND SCREAM AGAIN BLU RAYS!

COMPETITION NOW CLOSED!!

Here's ANOTHER chance to win yourself a copy of the TWILIGHT TIME LIMITED EDITION BLU RAY of SCREAM AND SCREAM AGAIN!

It's another of our QUICKY COMPETITIONS where you can WIN AND WIN AGAIN, But you have JUST FIVE HOURS, starting from NOW  gmt to send it your answer!

GOOD LUCK!!

COMPETITION NOW CLOSED AND HERE ARE OUR LUCKY WINNERS!

You can purchase YOUR copy of this REGION FREE BLU RAY from HERE  OR HERE!

DETAILS: Kind of a horror movie, kind of an espionage film, and in some sense a piece of science fiction, Scream and Scream Again (1970) features turns by three icons of the horror genre: Vincent Price, Christopher Lee, and Peter Cushing.  All are involved in a wild “plot” connecting Great Britain to some unnamed totalitarian state where torture, murder, and out-of-control “experiments” are the order of the day. Directed by Gordon Hessler from a screenplay by Christopher Wicking, with cinematography by the worthy John Coquillon.

Starring: Vincent Price, Christopher Lee, Peter Cushing, Judy Huxtable, Alfred Marks, Michael Gothard. Directed By: Gordon Hessler. Written By: Christopher Wicking. Score By: David Whitaker. Language: English.Video: 1080p High Definition / 1.85:1 / Color. Audio: English 1.0 DTS-HD MA.  Subtitles: English SDH. Theatrical Release: 1970. Runtime: 94 Minutes. Rating: R (Some Violence and Brief Nudity) Region Code: Region Free (A/B/C)

Special Features: Isolated Score Track / Audio Commentary with Film Historians David Del Valle and Tim Sullivan / Gentleman Gothic: Gordon Hessler at AIP / An Interview with Uta Levka / Still Gallery / Radio Spot / Original Theatrical Trailer

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WIN TWILIGHT TIME BLU RAY : SCREAM AND SCREAM AGAIN : QUICKY COMPETITIONS NEXT WEEK!

EVERYDAY NEXT WEEK : DON'T MISS OUT

Kind of a horror movie, kind of an espionage film, and in some sense a piece of science fiction, Scream and Scream Again (1970) features turns by three icons of the horror genre: Vincent Price, Christopher Lee, and Peter Cushing.  All are involved in a wild “plot” connecting Great Britain to some unnamed totalitarian state where torture, murder, and out-of-control “experiments” are the order of the day. Directed by Gordon Hessler from a screenplay by Christopher Wicking, with cinematography by the worthy John Coquillon.

Starring: Vincent Price, Christopher Lee, Peter Cushing, Judy Huxtable, Alfred Marks, Michael Gothard. Directed By: Gordon Hessler.Written By: Christopher Wicking. Score By: David Whitaker.

Video: 1080p High Definition / 1.85:1 / Color

Audio: English 1.0 DTS-HD MA

Subtitles: English SDH

Theatrical Release: 1970

Runtime: 94 Minutes

Rating: R (USA) X (UK) (Some Violence and Brief Nudity)

Region Code: Region Free (A/B/C)
Special Features: Isolated Score Track / Audio Commentary with Film Historians David Del Valle and Tim Sullivan / Gentleman Gothic: Gordon Hessler at AIP / An Interview with Uta Levka / Still Gallery / Radio Spot / Original Theatrical Trailer.

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NEWS: TWILIGHT TIME RELEASES SCREAM AND SCREAM AGAIN BLU RAY IN U.S.

NEWS: TWILIGHT TIME RELEASES SCREAM AND SCREAM AGAIN ON BLU RAY IN U.S : Amicus' only film to feature Peter Cushing, Vincent Price and Christopher Lee gets a Pre-order date of Wednesday, September 30th at 4 pm EST. Release Date: October 13th, 2015. REGION FREE.

Some very nice Special Features include: Isolated Score Track / Audio Commentary with Film Historians David Del Valle and Tim Sullivan / Gentleman Gothic: Gordon Hessler at AIP / An Interview with Uta Levka / Still Gallery / Radio Spot / Original Theatrical Trailer.

SYNOPSIS AND QUICK CRITIQUE: A killer is stalking women in London nightclubs and drinking their blood; a jogger wakes up in a hospital bed to find his limbs amputated one by one; and a ruthless psychopath seizes power in a totalitarian Eastern European state. Bewildering and exhilarating by turns, Hessler's adaptation of Peter Saxon's novel The Disorientated Man is an ambitious attempt to drag classic horror stars (Price, Lee, Cushing) and themes (Frankenstein, vampires) into a modern Swinging London of grooving dolly-birds, mauve silk shirts and political paranoia.

It's not entirely successful: the film's obsession with human partition, seen in the limb-lopped jogger, the vampiric Keith's torn-off hand and a freezer full of body parts, has its parallels in a narrative that is so fragmented as to be a near-incoherent patchwork of scenes that fail to make the most of their horror stars (Cushing's role is a cameo, and Lee and Price only meet for a brief confrontation at the climax) or the collision of styles ranging from generation-gap movie through mad science to '60s super-sleuth - as though John le Carré, his mind buzzing with topical events (Gary Powers's spy plane) and ambient fears (organ transplants, cyborg technology), had rewritten Frankenstein as a tribute to Bava's Diabolik (1968). 

Our Full review and Full COLOUR STILLS Gallery : HERE 

But, as Hessler avoids static camera set-ups in favour of hand-held cameras and rapid edits, even if the film is finally little more than a collection of dissociated set pieces, they're so bizarre and Adrenalin-charged that Scream remains enormously entertaining, trading on such extraordinary sequences as cyborg vampire Keith (Michael Gothard in a wonderful Austin Powers turn - "lovely mover", one of the habitués of the Busted Pot observes as Gothard shimmies to the sound of the Amen Corner) being chased around south London by police and tearing off his hand to escape, all fueled by a jazz score that kicks into high gear at the slightest provocation.

Part Two of our The Amicus Films Of Peter Cushing

features an in depth look at SCREAM AND SCREAM AGAIN

Click : HERE 

CLICK : HERE 

A TALENT TO TERRIFY: PART THREE: FLAMES, TRAINS AND AUTOMATONS BY TROY HOWARTH

The year 1964, would see Hammer Films spread their wings by going for a mini-“epic.”  She, adapted from the novel by H. Rider Haggard, told of a hidden city presided over by the beautiful and ageless She Who Must Be Obeyed, aka Ayesha, here played by former Bond girl Ursula Andress.  Producer Michael Carreras had long grown bored with Hammer’s stage bound Gothics and pushed his collaborators into going for something bigger and more ambitious.  As was usually the case with Hammer, however, they tended to fall down a bit when they strove for more than their tight budgets could adequately supply. 'She' was an ambitious production by Hammer’s standards but even the increased budget and schedule could only accommodate so much.  Hammer’s veteran FX wizard Les Bowie worked hard to provide the illusion of depth and splendor, but it simply came off as a lot of matte work.

Director Robert Day failed to capture the mystery, the magic and the romanticism; perhaps Terence Fisher might have proved a better fit.  The film was very much a showcase for Andress and she is certainly beautiful, but she doesn’t convey the character’s dignity or fearsome power very convincingly.  The film is further hamstrung by a weak performance by John Richardson as her reincarnated lover.  Richardson rose to prominence in Italian films, including Mario Bava’s splendid Black Sunday, but he was never more than a pretty face and his stiff emoting hurt many a film, including this one.  On the upside, the film allowed a reunion of sorts for Cushing and Lee.  Cushing is terrific as the intrepid adventurer, Major Holly, while Lee adds tremendous dignity and gravitas to the role of Ayesha’s jilted high priest, Bilali.  One of the film’s best moments is a quiet one, wherein Major Holly interrupts Bilali’s devotions and engages in a conversation on the nature of faith.  Both actors are at the top of their game here, as Holly slyly goads Bilali into self-righteous indignation.  If only the rest of the film measured up to this sequence.

 

 

From this point on, a subtle shift in power would begin to occur.  Cushing’s star, so prominent in the UK, never really translated across the globe; he was a well-known and admired actor, but his association with genre films would gradually impair his ability to get roles in other types of pictures.  Lee’s name, however, would continue to grow – his star on the assent, he would gradually begin to attract the attention of producers for “higher prestige” pictures, and his name would overcome that as the genre’s major superstar….

 

In 1964, the two would unite for their first film together at Amicus – the production company established by New Yorkers Max Rosenberg and Milton Subotsky to act as a competitor to Hammer Films.  Subotsky was the company’s main creative force and it was his passion for the genre that prompted them to go into the horror business.  He also felt compelled to settle an old score regarding Hammer, as he had submitted a proposed remake of Frankenstein to Hammer in the mid-50s.  When the studio hit pay dirt with The Curse of Frankenstein, they did so via a brand new screenplay by Jimmy Sangster and didn’t make use of Subotsky’s script, which, according to producer Anthony Hinds, was a “tired rehash” of the 1931 James Whale classic.  In any event, Subotsky felt a bit slighted and would often vocalize his opinion that Hammer’s films were too gory and exploitative for his tastes.  Thus, Dr. Terror’s House of Horrors would harken back to the classic Ealing Studios’ chiller Dead of Night (1945), which had made a profound impression on the writer/producer at a young age.  Hammer had never explored the anthology format and had made their name in period-set Gothic fare; Amicus would therefore corner the market in anthologies and would typically set their films in the current day.

 

The screenplay for Dr. Terror, written by Subotsky, is weak and heavy on cliché, but in the hands of director Freddie Francis and cinematographer Alan Hume (who had just photographed the elegant Kiss of the Vampire for Hammer) it would overcome this hurdle to become a brisk and stylish picture.  The casting was crucial to the film’s success; Subotsky may have frowned upon Hammer’s style, but he recognized that Lee and Cushing were actors of talent and was only too happy to borrow them to give his film added name value.  For the first time, Lee would claim top billing – though Cushing’s special “with Peter Cushing as Dr. Terror” credit may be seen as a way of suggesting that he was still the star attraction; Cushing would be billed first on posters in the UK, while Lee would get preferential treatment in the US – in time, the scales would tip completely in Lee’s favor.  Both actors are in great form here.  Cushing is memorably seedy and spooky as the German-accented fortuneteller, replete with bushy eyebrows and a beard, while Lee gets one of the best roles of his career as the unbearably pompous art critic who is reduced to a hysterical wreck when the severed hand of the artist (a marvelous, low key Michael Gough – world’s away from his mannered performance in Dracula) he compelled into committing suicide comes to exact vengeance.  The cast also includes an early role for Canadian actor Donald Sutherland, who would become a major star in the 70s thanks to such hits as M*A*S*H (1970), Klute (1971) and Don’t Look Now (1973).  The stories range from the engaging to the ridiculous, establishing the uneven tone which would dog so many horror anthologies in later years.  It would also prove to be a big hit for Amicus, who would waste little time in reuniting Cushing and Lee for another film.

The Skull (1965) was adapted by Subotsky from a short story by Robert Bloch.  It deals with an occult scholar (Cushing) who becomes fascinated by the skull of the Marquis De Sade.  The skull exerts an evil influence, compelling Cushing to commit murder.  This was every inch the star vehicle for Cushing, who is in virtually every scene, and who would claim top billing over Lee (here given “guest star” billing for his small supporting role) for the final time.  Cushing is marvelous in the film; indeed, he pretty much carries the slim story on his shoulders.

Director Freddie Francis was inspired to ad lib many stylish scenes of “pure cinema,” even inventing a “skull point of view” gimmick which proved to be uncommonly effective; he would reuse the gag later in The Creeping Flesh.  Some critics complained that the film was long on style and slim on story – which is valid as far as it goes -- but the film also offers up plenty of atmosphere and some excellent performances, to say nothing of an absolutely brilliant soundtrack by Elisabeth Lutyens.  It’s Cushing’s show all the way, but Lee impresses as the tight-lipped but nervous fellow collector who warns Cushing off of meddling with the skull.  Nigel Green, Patrick Wymark, Patrick Magee, Jill Bennett and other fine actors add a sense of class to the production, which is arguably the best thing Francis ever directed.

Unless we count a reprise of the finale of Dracula, which Hammer grafted to the beginning of Dracula Prince of Darkness (1965) to bring the film up to its contractually obliged running time, “the boys” would not have another go-around until 1967, when they were brought in to add some much needed conviction to the sci-fi thriller Night of the Big Heat.  Terence Fisher was finding work a little scarce at Hammer, who were exploring the talents of other directors like Francis and John Gilling, and was obliged to undertake some sci-fi films around this time – a genre with which he had zero enthusiasm.  Fisher’s indifference was writ large over Island of Terror (1966), but the character interactions and suspense afforded by the screenplay of Night of the Big Heat appear to have whetted his appetite.  It therefore emerges as an above-average offering which only collapses at the very end, when the monsters from outer space are finally unveiled.  Lee would later recall that they looked like fried eggs, which is a fair analysis; no doubt the title Night of the Fried Eggs was bandied about on set, but the film itself is played straight, without any trace of camp.

 

Lee top-lines the cast as the mysterious scientist who lurks about trying to avert the alien invasion, while “guest star” Cushing does what he can with his scenes as a well-meaning GP who sweats a ton as the heat rises – yet never sees fit to remove his stained jacket!  Stiff upper lip and all that… Fisher manages a few nice set pieces and the performances help to elevate the material, but the final reveal and general boredom which accompanies the sci-fi angle help to keep it in the “minor” category.

In 1969, Amicus joined forces with American International Picture to produce Scream and Scream Again, a paranoid sci-fi thriller with horror overtones.  It was an uneasy alliance, with Subotsky running afoul of director Gordon Hessler, who had the support of AIP all the way.  Subotsky’s original screenplay was deemed unusable and Hessler brought in his friend, screenwriter Christopher Wicking, to write a completely new adaptation of Peter Saxon’s book The Disoriented Man. Subotsky felt slighted and tried making his presence felt on set by objecting to Hessler’s decision to include some then-graphic touches of sex and violence – but he would soon find himself barred from the set and the editing room.  The film made a ton of money at the box office, but Subotsky said he had no idea why – he thought it was a terrible film; doubtless, his complicated role on the film colored his feelings just a hair. The film’s success was largely attributable, however, to the decision to unite the “big three” genre stars of the day on the same playbill: Vincent Price, Christopher Lee and Peter Cushing.  Price and Lee would get the title billing, while Cushing would earn another “guest star” credit.  Arguably, only Price would get a role really deserving of his talents, though Lee does a fine job as the shifty government official who may or may not play a major role in the plot.

The deliberately fragmented storytelling and energetic direction help to make the film an enjoyable one, with John Coquillon’s stylish cinematography and David Whitaker’s pulsing jazz score adding to the fun.  Even so, many fans felt a bit cheated that the three stars didn’t even get a scene together – and Cushing was relegated to a role that any day player could have managed quite well; he couldn’t have filmed for more than a day… and a short day at that.  Regardless, the star power, eye-catching title and lurid ad campaign made it a winner at the box office, even if it remains a controversial entry among fans to this day.

 

Next Time: Part Four: 'Bloch, Stevenson and a little help from Sammy...'  

'A Talent To Terrify: The Twenty Two Films

of Peter Cushing and Christopher Lee' is written by Troy Howarth

with Images and artwork by Marcus Brooks.