THE PERSONAL SCRAPBOOKS OF CHRISTOPHER LEE

THREE DAYS AGO it was announced that, Lady Lee, Sir Christopher Lee’s widow, had donated her husband's photographic archive, to the BFI National Archive. The collection, is presented in THREE scrapbooks. Lee would have been 97 years young on 27th May 2019'. The scrapbooks are made up of photographic prints compiled by Sir Christopher Lee himself.

ON DONATING THESE ALBUMS, Lady Gitte Lee in a press statement has said, “It was a great joy and an honour for my husband when he was awarded the BFI Fellowship in recognition for his lifelong contribution to the industry. I am therefore delighted that the BFI are helping to preserve the heritage of his legacy, by bringing Christopher’s photographic archive into the BFI National Archive. I am immensely proud of my husband’s achievements. One of Britain’s best-loved actors, he was a man who entertained audiences worldwide for more than 60 years. It gives me great pleasure that his photos will be seen and appreciated for generations to come.”

WELL, AS WE HOPED, the scrapbooks just about covers Lee's entire film career. It's a photographic archive which includes many previously unseen on-set photographs and contact sheets, plus photographic portraits from many of his roles including Hammer films 'Dracula / Horror of Dracula'  (1958) and its sequels, also The Wicker Man (1973) and The Lord of the Rings: The Fellowship of the Ring (2001). Some interesting choices are included, such as one of Lee's earliest film roles in the Ealing Studios classic, Scott of the Antarctic (1948), and ends, as one would expect, in the 2000s. It's an interesting Lee archive which manages to present a unique personal account of a prolific career, and also features  annotated musings, revealing his crisp, dry humour.

SO, WHAT DO WE HAVE HERE? Well, it's three scrapbooks put together it seems in the early 1970s and annotated by Lee himself, all spanning the years from 1948-1972. ALBUM ONE covers Lee’s first decade and a half, as a jobbing actor. Here we see some of his earliest roles including the World War II drama They Were Not Divided (1950) and Captain Horatio Hornblower (1950) in which Lee played supporting parts, his annotation to They Were Not Divided quips “back to camera, as usual”. It's interesting to see, over a ten year period how he spent the time in his choices and casting opportunities, to enable him to hone his craft in supporting roles, before his breakthrough performance, as The Creature in Hammer Studios’ The Curse of Frankenstein (1957). It's no secret that, Lee at one time held the 'Guinness World Record' for the most on-screen sword fights! This album records an early and memorable example, with  Lee’s infamous sword fight with Errol Flynn in The Dark Avenger (1955). It was at this time, Flynn accidentally cut through Lee’s little finger! A story Lee loved to share! The album also includes a striking pair of portraits of Lee, where he is almost unrecognisable, during his screen test for John Huston’s Moby Dick (1956), a part that was ultimately played by another actor.

ALBUM TWO spans through the 1960s, and includes much of the horror and fantasy genre classics, such as his sequel to the successful 1958 Dracula film, Dracula Price of Darkness in 1965 and The Devil Rides Out (1967). It's also interesting to see Lee alongside other fellow horror legends, including Peter Cushing in Amicus films, The Skull in 1965, Vincent Price The Oblong Box, 1959 and Boris Karloff in The Curse of the Crimson Altar produced in 1968. Good to see Lee chatting and working on set, with Hammer director Terence Fisher during the making of The Gorgon in 1965. Included too are his appearances in two separate series of popular UK TV programme, The Avengers in 1967 and 1969 ALBUM THREE covers a much shorter period, from his role in Julius Caesar in 1970 to the low budget cult film Death Line, with Donald Pleasence in 1972. This scrapbook also has space to showcase some of the special make-up and make up artists like Wally Schneiderman and Pearl Tipaldi who were deployed in films such as The Scars of Dracula (1970) and includes many make up prep images with make up artist Harry Frampton from Amicus films, I, Monster (1971), a role that which Lee often described as ‘one of the best things I’ve ever done’. There are also a number of behind-the-scenes stills from Billy Wilder’s late masterpiece, and one of Lee’s favourite films, The Private Life of Sherlock Holmes (1971).

LEE FELT TYPECAST for much of the period of time covered by these albums, but they nevertheless show his great versatility as an actor across a variety of characters, films and genres. So, it's interesting that alongside the iconic images showcased, he has chosen to include some quite surprising, often funny and interesting choices. Many of the photographs have never been published, so they are all the more special for being selected, arranged and annotated by Lee himself.

NATHALIE MORRIS, Senior Curator – Special Collections, BFI said, “We’re delighted to have been entrusted with this marvellous group of photographs which were collected and kept by Christopher Lee, one of the all-time cinema greats. These images wonderfully demonstrate Lee’s versatility and charisma as an actor, taking us on a journey from his early small parts through to his starring roles and then beyond, as directors sought him out for high profile supporting roles and cameos. The albums are fascinating for being assembled by Lee himself, especially as they also include his occasional, wryly-observed, comments. The BFI National Archive is incredibly grateful to Lady Lee for this generous donation.”

CHRISTOPHER LEE'S SCRAPBOOK collection will join other significant personal archive collections including those of Alfred Hitchcock, Alan Parker, David Lean, Ken Loach and Dirk Bogarde at the BFI National Archive John Paul Getty Jnr Conservation Centre in Berkhamsted, stored in optimal archival conditions. Once catalogued, the collection will be available to view by appointment, with selected material made accessible digitally through the BFI Reuben Library.

#GETTHECUSHIONSUNDAY! COMPETITION WINNERS AND NOTHING BUT THE NIGHT!

#GETTHECUSHIONSUNDAY! Here's a treat for a Sunday evening . . . Director Joe Dante has gone on record saying, Nothing But The Night is a Peter Cushing and Christopher Lee film, where the magic doesn't work. Personally, I disagree. It's not because i think EVERYTHING that Lee and Cushing did together is wonderful...far from it! The dynamics of their character relationship here is different from what we have seen before, and it's interesting. The script is at time a little slack, but the ending? Yup, that's what is worth waiting for...but you need to go on the journey, follow the story, the experience, of this different dynamic to appreciate the pay off.

MANY CONGRATULATIONS to MARK JAY and RON CANATELLA who have each won a copy of Michael Armstrong's Screenplay Book of 'House Of The Long Shadows'! Thanks to EVERYONE who entered the competition and to Kevin and the Team at Paper Dragon Productions, where you can purchase your own copy too!  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    

CHRISTOPHER LEE REMEMBERED TODAY

CHRISTOPHER LEE remembered today. Two years on . . .

MORE 'THE LAST MEETING' CLIPS AT THE PCASUK YOUTUBE CHANNEL : HERE

 

 Please visit us at our daily themed posts at our PCAS FACEBOOK FAN PAGE and help 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.

TREADING THE BOARDS OF BOREHAMWOOD AND ELSTREE

HERE IN THE UK, we don't have a 'Hollywood Walk of Fame'... and until quite recently we only had the Blue Plaques acknowledging, buildings or places of connections to the entertainment industry, though not exclusively. But in the Elstree / Borehamwood area, these great interpretation boards have sprung up, commemorating people and places connected with Elstree studios! Here are THREE which might interest you, Peter Cushing, Christopher Lee and Hammer films... I think they are quite special and help remind us of people and places now gone...in the places 'they once were'!

MORE post, photographs and features at our

 Peter Cushing Appreciation Society Facebook Fan Page

INGRID PITT 'THE LADY WITH THE ZING' GALLERY PART ONE

ZING: energy, enthusiasm, or liveliness.

"She could always be expected to add some zing"

synonyms:

enthusiasm, zest, zestfulness, appetite, relish, gusto, eagerness, keenness, avidity, zeal, fervour, ardour, passion, love, enjoyment, joy, delight, pleasure, excitement

 

Our Facebook Page : HERE

Ingrid Pitt The Lady With The Zing! 

FOSSILS, FINGERS AND THE COUNT IS BACK: A TALENT TO TERRIFY : PART FIVE

The year 1971 got off to a horrible start for Cushing: Helen finally succumbed after years of ever-worsening health.  For Cushing, the loss would prove unbearable.  Helen was everything to him: his most valued critic, his biggest fan, his best friend, his doting mother, his wife… It was not a loss that Cushing would rebound from easily; indeed, it would cast a pall over his remaining years.  The crestfallen actor considered suicide, but religious principles compelled him to tough it out.  His therapy would be work – non-stop, if at all possible.

One of Cushing’s first films following his tragic loss was Hammer’s first crack at updating the Dracula myth to the modern milieu.  Dracula AD 1972 would be Cushing’s first appearance as Van Helsing since The Brides of Dracula (1960), and the passage of time would be all the more obvious due to the actor’s precarious mental condition at the time of filming.

Cushing had always been a thin man, but after the loss of Helen he would become gaunt – he would also attain something of a haunted aura about him… The original screenplay by Don Houghton initially had Van Helsing as a modern-day father, trying to keep his flower child Jessica (Stephanie Beacham) in line, but Cushing had aged noticeably and a decision was made to make him into Jessica’s grandfather. Cushing’s frail appearance stands in stark contrast to the utter commitment and energy he brings to the role.  It is certainly my favorite of his several attempts at the character, and he has real chemistry with Beacham in their scenes together.

As for Lee, the actor had long vocalized a dissatisfaction with how Hammer had been treating his most iconic role.  He came to AD 1972 out of sheer desperation, as several projects he had signed on to had fallen through at the last minute.  It would seem that the presence of Cushing re-energized him, however, as he approaches the role of Dracula with a gusto that had been notably absent in Taste the Blood of Dracula (1969) and Scars of Dracula (1970).

The two stars cross path on screen at the beginning (in a wonderful, nineteenth century-set prologue) and again at the end, and their chemistry remains as palpable as ever. Fans would react with mixed emotions at the updated setting, however, and for some the film remains the nadir of the series. Even so, the Lee/Cushing dynamic remained untarnished, and more collaborations were ahead, in short order…

Late in 1971, Lee and Cushing flew to Madrid to make Horror Express.  For Lee, working in the Spanish film scene was nothing new – he had already done several films for Jess Franco, after all.  But for Cushing, leaving the confines of England was a different matter.  He had filmed in Spain and other locales in the 50s – but always with Helen tagging along for support.  Things were different now and with the Christmas holiday looming, he had a change of heart. Fortunately, Lee’s friendship and encouragement would prompt Cushing to stick with it – and thank goodness for it.  Horror Express (1972) would emerge as one of the most purely enjoyable films of either actor  career – and in many respects, it may remain the definitive Lee/Cushing movie.

The two actors are cast to type – Lee stuffy and imperious, Cushing impish and charming – but the characters allow them to grow in interesting ways.  Lee is particularly good as the pompous archaeologist who does an about-face when he realizes that his indifference towards the mayhem is monstrous in itself. He ends up as a swashbuckling hero, rescuing the damsel-in-distress (Silvia Tortosa) in the process.  Cushing is also in fine form as Lee’s scientific rival, and the two actors have some marvelous dialogue.  Cushing’s “Monsters?  We’re British, you know!” is rightly famous, but I always get a chuckle out of Lee’s impatient “What’s he raving about?!,” directed at guest star Telly Savalas, who shows up long enough to liven things up in the final act.

Director Eugenio Martin keeps the action moving at a terrific clip and for once, Lee and Cushing are afforded more-or-less equal screen time.  The supporting cast is marvelous as well, notably Alberto De Mendoza as the Rasputin-like Pujardov, a religious fanatic who crosses swords with Lee (who, of course, played Rasputin himself, for Hammer) and the afore-mentioned Savalas, who makes for an unlikely Cossack but is thoroughly delightful, just the same.

  

PCASUK Review and Gallery 'Horror Express' HERE 

After this, it was back to England – but The Creeping Flesh wouldn’t be produced by Hammer or Amicus.  Instead, the “other” major UK genre studio, Tigon, was responsible for this – their only Lee/Cushing vehicle.  In what could only be seen as an amazing coincidence, the story bore a strong resemblance to that of Horror Express: in both films, an ancient fossil is unearthed which contains a clue to the origin of Evil.

 

Horror Express had been a fast paced romp, while The Creeping Flesh was darker, slower and altogether more somber.  The film would mark a return to form for director Freddie Francis, who had spent much of the 70s hacking out one poor film after another – Tales from the Crypt (1972) to one side.  The literate and intriguing script for The Creeping Flesh inspired him to make a more committed job of it, and he responds with one of his most carefully crafted films.  Only a gratuitous subplot involving Kenneth J. Warren’s escaped convict drags the film down; it’s not that these scenes are bad, they’re simply pointless and scream “filler”.

Top-billed Lee isn’t in it as much as all that, but he’s in great form as the embittered half-brother to Cushing’s pampered scientist.  Lee conveys the hurt, resentment and burning anger that is quietly bubbling under the surface and manages to steal every scene he is in.  Cushing has the larger role, and the showier one, and he impresses as the slightly addle-brained researcher.  In what was becoming an obsessive trope, the actor plays a lonely widower who is assailed by memories of his late wife.  Cushing brings tremendous pathos to the role, making him instantly sympathetic, and the ambiguous fade-out makes it unclear whether the story really did happen or if it was just a paranoid delusion.  Lorna Heilbron steals the film from her stars as Cushing’s naïve daughter, who succumbs to the taint of evil.  Duncan Lamont, Michael Ripper and other stalwarts help to boost up the faux Hammer flavor, and Paul Ferris contributes a good, creepy soundtrack.

 PCASUK Review and Gallery of 'The Creeping Flesh' Here

The same year, Christopher Lee would launch his own production company, Charlemagne Productions; the name derived from his illustrious ancestor, the Emperor Charlemagne, and the intent was to create a company that could give Hammer and Amicus a run for their money by producing mature, “up market” horror films for the discerning viewer.  Sadly, Lee would lose control of the project early on and Nothing but the Night would become a problematic film on many levels.

 

The script was based on the novel of the same name by John Blackburn,.  There was a good story to be told there, and in a sense its tale of “possessed” children anticipated a certain Hollywood blockbuster by a year… but the film would be a rather listless and dreary affair, and Rank’s inability to do much with the film in the UK coupled with distribution woes in the US put an end to Lee’s dream of running his own company.

 

 

None of this should suggest that the film is a total loss, however.  Director Peter Sasdy had just directed three fine films for Hammer (one of which, Taste the Blood of Dracula, was among the better of Hammer’s Dracula series) but his stylistic verve is only evident in spurts here.  Too much of the narrative is given over to an unappealing love story between Keith Barron and Georgia Brown, while Lee and Cushing linger on the sidelines as a sort of modern-day Holmes and Watson team.  Lee comes into his own in the second half and gives a commanding performance, while Cushing struggles with a rather unusually bitchy characterization which requires him to snap a lot and shoot plenty of dark glances.

PCASUK Review and Gallery of Nothing but The Night Here

The film builds to a memorable, fiery finale which can’t help but remind viewers of another, much better Lee vehicle from the same period: The Wicker Man (1973).  Speaking of which, it has been rumored that Cushing was considered for the pivotal role of Sergeant Howie in that film – which would likely have made The Wicker Man the most artistically rewarding of their many films together… but the reality is, Cushing was much too old for the part and the man who eventually got the job, Edward Woodward, did a brilliant job with it. If Cushing ever had any particular feelings on nearly being a part of The Wicker Man, he never said so. In any event, his career would continue to move full steam ahead...

The final part of 'Talent To Terrify' will be posted this weekend: 'The Count's Last Stand..And The Gang 's Here Too!'

'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.

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