#CUSHING GIF WEDNESDAY! VINNIE PERTWEE AND MARSHA THE MAD!

IF YOU HAVE ANY COMMENT TO ADD TO THIS PAGE POST OR QUESTIONS, JUST EMAIL US AT PETERCUSHINGPCAS@GAMIL,COM AND I WILL ADD IT TO TO THIS POST!

WEDNESDAY'S would have returned to FREE GIF day over at our CLOSING FACEBOOK PAGE this week, instead of us giving away rare contact sheets and colour Cushing, Lee and Price photographs for you collectors out there. THOSE great gifts will resume here at the website soon. Lots to give you, I think you will like! In the meantime GIFS. They are back on Wednesday's! I always love posting images of Vincent and Christopher here. Good friends of Peter's and always fun to share here. Especially, in THIS film. Not everyone liked it. Personally, I LOVE it. Vincent, despite not being happy with the finished production . . .still performed so well and Lee, come the end, was truly terrifying!!! You KNOW this one... and  what did you think of it...and were they right to be cast together in this special one? This GIF was requested by Dylan T! Hope you like it Dylan, it IS just as you asked for!

JON PERTWEE ONLY APPEARED I think, in just ONE Amicus film. His role in 'THE HOUSE THAT DRIPPED BLOOD', has always been popular. Assisted by Ingrid Pitt playing Carla Lind, playing his, Paul Henderson's girlfriend in Segment 4 'THE CLOAK' Pertwee was great. Probably the ONLY actor to have delivered a line about Christopher Lee playing the role of DRACULA, in a mocking way...and got away with it! CUSHING's role as Philip Grayson in his story with Joss Ackland, 'WAXWORKS' I always find a little trying to enjoy. Cushing was at this time, nursing he very ill wife, Helen. 

HE TRIED to leave the commitment of the film, so he could be with her. Stubbornly, the producers said no. Cushing life Shepperton studios, every night, to travel to Whitstable, to be with his wife, to leave early the following early hours, for the next days shoot. This great GIF was requested by Paula Dean.  

IT'S COMMON KNOWLEDGE whatever role Milton Subotsky suggested to Peter Cushing in any of his AMICUS FILMS, with the exception of  a few starring roles, the script was always open, if there was a role Peter preferred to play. In TALES FROM THE CRYPT, Grimsdyke was NOT the role he was originally offered. Cushing was originally intended to play Ralph Jason, but after looking at the script he suggested to Subotsky that he would do more justice to the role of Mr. Grimsdyke. Subotsky never considered offering Grismdyke to Cushing, because of the connections with Cushing's own wife, Helen having passed, just months before. 

THE ROLE OF THIS chap though, so Milton told me, was something Peter very much liked. On receiving the script, Peter told Milton he could supply most of the costume, and would be very happy to play it. It's one of Cushing's most amusing and yet a little dark too. The perfect combination for Cushing. Something that would make us, uneasy about a man who himself was the kindest and so much loved. Terri Beale this is YOUR requested GIF! 

MARSHA A HUNT, is known to have had a good time when making Hammer films 'DRACULA AD 1972' and when the camera was off, she liked to have fun, and didn't take Christopher Lee's playing of the Count off camera and his authority, that seriously or respectfully at all. BUT when it came to shoot her scenes with his DRACULA, there was no shortage of, what appeared to be TRUE concern. HA!  This GIF is requested by Dawn Hughes . .

REMEMBER! 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

#MOMENTSOFTERROR MONDAYS! CAROL MARSH AS LUCY HOLMWOOD CAPTURED BY CUSHING'S POWERFUL PROF VAN HELSING!

TODAY'S #MOMENTOFTERROR clip, LINKS with a film and actress that is the title and person who is the subject matter of our #FEMMEFATALEFRIDAY! The ACTRESS CAROL MARSH and the film, Hammer film's 'DRACULA' from 1958.

IT'S A SCENE that most fans of the film appreciate, not only because of Cushing's VAN HELSING fighting off the evil of LUCY HOLMWOOD's vampire but also actresses Carol Marsh and a very young Janina Faye, presenting such horrible pathos and trauma  . . . a niece who truly wants to help and love her, DEAD AUNT!

CAROL MARSH, would have found this role another of many, that asked  for a certain ability. Ability that many had no idea about, what it meant to her as an actress or where the  ability came from . . . what that means, will be revealed in OUR PCAS #FEMMEFATAL FEATURE on CAROL MARSH . .

REMEMBER! 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

FREE HI RES HAMMER FILMS CONTACT SHEET : COLLECTORS WEDNESDAY!

#PETERCUSHING #COLLECTORS Wednesday! OK This week I am sharing a rare black and white CONTACT SHEET from Hammer films 1973, The Satanic Rites of Dracula. As usual, this is our FREE weekly full hi res upload, as seen on our our PCAS FACEBOOK FAN PAGE  available for you today, for you to download. These NINETEEN exposures from the  Hammer films on set stills cameraman, feature shots taken during the shooting of two scenes from the film, the Vampire's in the Cellar scene, with Joanna Lumley and Valerie Van Ost and Van Helsing visiting Professor Julian Keeley played by Peter Cushing and Freddie Jones.

 HI RES CONTACT SHEET ABOVE: RIGHT CLICK AND COPY!

WHAT IS A CONTACT SHEET? A contact sheet is a positive print of all the negative images from one film, made by a contact printing process so that all the images are the same size as the negative. A contact sheet is a useful way of seeing which are the best images on a film so you can decide which ones to make enlargements from. During the production the unit photographer was responsible for capturing thousands of still shots while the movie cameras were running. Some of the photos would offer a different angle to the motion picture camera. In other cases, the photographer would stand next to a movie camera operator. And some of the shots would be behind the scenes with actors and directors. After the final production still shots were taken each day, the roles of film negatives were placed on contact sheets (created by laying the negatives on a piece of printing paper and exposing them to light to create a set of mini prints the same as the film frames) (IMAGE) The contact sheets were then forwarded to the publicity department. The Publicity Department could then view the full roll of 36 images at one time with a “ring” or magnifying glass. Publicity Department –The Publicity Department was, among other things, responsible for generating early publicity about a film, including providing information to magazines and publications. In addition, they were responsible for providing the Advertising Department with information necessary to create the film’s promotional materials. The publicity department would review the contact sheets and select images for specific purposes, such as creating a key set, keeping track and providing exclusive images to magazines and publications, and sending the advertising department information necessary to begin preparation of promotional materials.

Key Set Creation - After a review by the publicity department, the better images were picked to become part of a key set. The selected images are numbered by placing an assigned number by the studio for that particular film, called the production number, and then a dash and the assigned individual still number. THIS is called the Production Code number.

ABOVE: Our Collectors Wednesday post from TWO weeks ago,  posted here and at our  PCAS FACEBOOK FAN PAGE.. It was a pretty cool concept, but was ultimately ruined by Facebbok  quashing the post...thanks facebook!

The selected stills were then printed and placed into the key set binder. The rejects are skipped over and left unnumbered. The negatives and contact sheets were then filed. These may be pulled at a later date when someone wants something different. By the end of the shooting, this 'key set' would normally be hundreds of the better still shots to be used in a variety of ways by the publicity department. The stills used in this 'key set' would have numbers put on the still to help the publicity department identify and keep up with the different stills. They were kept in large bound books that could be used at any time for reference.

Exclusive Use – Major magazines and publications would quite often want exclusive photos to do an article on the upcoming film. This was a tremendous way for the film to get FREE publicity. To accommodate them, the publicity department would put a hold on numerous stills and send over a group for the editor to choose from. Once the exclusives were picked, the tags would be removed from those images not selected so they could be used for other purposes

I BELIEVE, Tom Edwards was the stills photographer on Satanic Rites. He had a very good eye for a great shot, and worked on other Cushing Hammer films like, 'Frankenstein and the Monster from Hell'. As I have mentioned before, each cell, photograph here would make a great pic for your collection, printed off would look great in a frame, the high res would also make a great poster too. The majority of the shots on this contact sheet, have rarely been officially published, as often just one or two from this studio contact sheet would have been chosen for press packs and promotion. I hope you like what I have shared so far? Have fun 🙂 Marcus

REMEMBER! 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

FRIDAY FEMME FATLES: THE HAMMER FILM ACTRESS WHO MARRIED A VICAR, MOVED TO AN ISLAND AND WAS FRIENDS WITH LIZA MINNELLI : IT'S ALL VERY VALERIE!

"THE WOMAN WHO WILL BE REMEMBERED as the first Hammer horror vampire to bare her fangs on screen, Valerie Sheila Reddington, died at St Mary’s Hospital, Newport, on November 27, aged 84 . . . . ' These were the first three lines, that appeared in actress Valerie Gaunt's obituary, printed in the County Press Newspaper in 2016, the daily news of the Isle of Wight, Gaunt's place of residence for almost the last twenty years of her life. 



ABOVE AND BELOW: OF THE TWO TELEVISION DRAMAS, that GAUNT appeared in, Only The Father In Law, survives, as her earliest work. Sadly, the ITV Playhouse drama ' A Chance Meeting' from 1956, which was the play, in which Fisher heard, that scream . .  is thought lost.


IT'S INTERESTING THAT Valerie Gaunt’s film career actually amounted to just two supporting roles in two Hammer films, and two small roles in a pair of TV dramas! And yet, she exerted an enduring fascination for horror fans who mourned her early retirement in 1958.  Just like that. Not unlike the poorly credited 'Vampire Woman', a role without a name, in Hammer films, 1958 'Dracula' she vanished into the night . . .

FOR GAUNT, her association with Hammer films began when she caught the attention of, a soon to be Hammer films, go to director Terry Fisher. While watching the tv one night, Fisher had the chance in a million of hearing Valerie deliver her spine-tingling scream, in the unfolding drama. He immediately sent her a telegram, pleading with her to get in touch, with him, as soon as possible. Right there, Hammer history was hatched and Gaunt was to be forever associated with her two roles for the company.

AS FATE WOULD HAVE IT,  those two roles were key in two of Hammer Films most iconic productions. In 1957 she played Justine, the naughty maid to — and secret lover of — one #PeterCushing Baron Frankenstein, in 'The Curse of Frankenstein'. Cushing was fresh from the broadcast of several major BBC TV drama productions. He had been award a BAFTA just sixteen months before, the camera turned on 'The Curse of Frankenstein', in November 1956. Given the few scenes where Gaunt appears in the film, she managed to deliver a full-blooded and nuanced character. Thanks to her jealousy, Justine falls foul of her paramour and ends up suffering an unseen, but implied grisly fate at the hands of his monstrous creation . . .an unknown actor at the time, called Christopher Lee.

BEFORE THIS FIRST screen appearance, Gaunt studied theatre at RADA, London. From 1951, she busily appeared in.... 'this week we perform play 'A', while learning and rehearsing next week's play 'B'...repertory theatre. Another life changing event happened in 1957, the same year that 'The Curse of Frankenstein' was released. Gaunt met her husband to be Gerald, a stockbroker and non-stipendiary priest, later to become a vicar! The happy couple, tied the knot at All Saints’ Church, Margaret Street, West London, on May 17 the following year.

NOW MRS REDDINGTON, she kept the embers of her first role on film glowing, until  almost a year to the day, when she wrapped on Frankenstein, she began work on the film, that would change the fortunes of one Christopher Lee, and sadly snuff out any desires she may have had to continue as an actress. This second role was no less significant. Clad in a just demure nightgown, she pleads with a naive Jonathan Harker, to save her from the evil clutches of the Count, before sinking her fangs into his neck

HUSBAND GERALD, was also a friend of Christopher Lee. On invitation to the set, he watched his wife, shooting her iconic scenes for 'Dracula' at Hammer Studios, Bray. What he made of all the demonic hissing and horror, to say nothing of the feral  fanged fight between his friend Lee and his new bride, we shall never know. But aficionados of  English Gothic cinema, exemplified by the two films in which Gaunt appeared now argue that, Gaunt provided the template, for what would later became known as “Hammer glamour”. 

ALTHOUGH GAUNT enjoyed her stint as a scream queen, Gaunt’s husband, Gerald Reddington, recalled that after the premier of Dracula she came home, kicked her shoes off, sat on the bed and said: “Well thank goodness that is over, I’m never working again!” And really, who could blame her? Gaunt was clearly a woman of character, she knew what she wanted from life. It seems she always did . . .

AND SO, although Gaunt, Mrs Reddington never acted professionally again, she was a dynamic behind-the-scenes force, directing two plays at the prep school attended by her oldest son, Marcus, and later spent five years bringing her talents to teaching drama students, at the Bush Davies School of Theatre Arts, East Grinstead, West Sussex, she also read books for the blind for the Calibre Audio Library. . . . . .

VALERIE GAUNT was born on June 26, 1932, in West Bromwich, the only daughter of a Birmingham industrialist. At the age of 26, having been to the Royal Academy of Dramatic Art and worked in repertory theatre in Birmingham for four years, she relocated to London. Gaunt moved into a house bought from the stepmother of the man who would become her husband. Having met Valerie, she phoned Reddington and said: “I’ve just sold Queen Anne Street to a very rich man with an only daughter, and you must meet her.” By coincidence, Gaunt’s mother had met Reddington at the same time and invited him for a drink — to meet her daughter.

ALTHOUGH BROUGHT together initially by the gentle meddling of family members, the couple were united by their shared faith. According to Victoria Jol, the couple’s youngest daughter: “The young couple were invited to stay at his family’s country house. However, he was on duty as a server at All Saints church, Margaret Street, so instead my mother went to church with my father — and they never really left.” The church became an integral part of the lives and faith of Valerie and Gerald, who, after a career as a stockbroker, became an ordained minister. They married at All Saints; their four children were baptised in the church; their daughter Benedicta was married there and the memorial for their son Adam, who died when he was just nine years of age, was held there.

AT THE TIME OF HER sad passing on November 27th, 2016 Gaunt was survived by her husband and three of her children. Marcus Reddington, who, like his father, started out as a stockbroker, eventually found his way into the theatre, and is a showman and puppeteer working on the West End production of Wicked. Benedicta Green is a psychotherapeutic counsellor. Victoria Jol worked at the Wiley academic publisher in Australia and the UK and until her Mother's passing, was a full-time carer for her parents.

VALERIE'S TIME IN THE GLOW of the studio ark light was brief, but she certainly made an impression. She decided being an actress was not for her. Maybe also, Hammer studios way of retaining an almost repertory band of crew and actors, could have become a clash of personal sensibilities. She had already appeared in a pair of box office smashers. What if they were to call on her again? Understandably, the church and the glamorous, materialistic and shallow world of entertainment and . . .  horror films, could never be the best of friends. BUT, Valerie was a friend of Judy Garland who moved in such glamorous circles. Gaunt was an unlikely vicar’s wife. Although she once crisply informed a church volunteer that buttering scones was not part of her purview — “Oh no, I’m not into catering” — she flung herself into other duties with gusto: writing stories, painting watercolour portraits of children, putting on musicals and editing the parish newspaper. . . which was very much part of her purview, and Very Much Valerie . . .. 

Valerie Reddington's funeral was held at St Peter’s Church, Isle of Wight on December 2nd 2016. Mrs Reddington, is survived by her husband Gerald, son Marcus, daughters Benedicta Green and Victoria Jol, and three grandchildren. 

REMEMBER! 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

#petercushing