VINCENT PRICE AND PETER CUSHING: 'MADHOUSE' VINTAGE MAGAZINE FEATURE

PETER CUSHING: 'THE CURSE OF FRANKENSTEIN' PETER BEHAVING BADLY!

Last night I watched The Curse of Frankenstein (1957) for the first time. Those of you who are Hammer enthusiasts might be surprised at that. But I am sure many of you agree, experiencing one performance on the part of the great Peter Cushing is enough to make one a fan. So even though I have been and enthusiastic fan of Cushing for many, many years I have only just in the last week begun to explore the Hammer Horror part of his career.

In addition to Curse, I have also seen Dracula A.D. 1972 (1972) and The Evil of Frankenstein (1964), all within the last few days. The Hammer films have always been described to me as low budget but I have really found them to be enjoyable. Cushing’s performances in these films are every bit as formidable as any. In every interview I have seen in which Cushing is asked about these films, the actor has been adamant that he considered Hammer films to be a serious endeavor.

This attitude is evident in each of the Hammer films I have seen and I would suggest might even be the reason for the enduring success of the films. Such a performance can raise the tone of a film, thus counteracting the effect that low budgets can sometimes have on a genre such as horror which relies on special effects. In Curse Cushing plays one of the sociopathic characters that he was so very good at creating. The performance is one of his best.

Notwithstanding his considerable talent as an actor, I marvel at his ability to create these deeply evil characters, such as Dr. Frankenstein when the man himself was, by all reports, so loving and caring, not capable of such cruelty. And yet his performance in Curse left me uncomfortable. I have seen Cushing play villains before, first his performance as Grand Moff Tarkin in Star Wars (1977) when I was just five years old, but the particular performance in Curse was so good it really unsettled me. Which is exactly what you want from a performance in a horror film.

This discomfort I felt, which made the film far more effective than any special effects could ever do, renewed my sense of wonder, as a film director, at how Cushing could create these evil men. I often assign the Star Wars performance to actors when I need them to understand how to play evil but until just a few days ago, I still had not fully realized why Cushing was so good at this.

One aspect I ask my actors to pay special attention to is that Cushing never over plays evil. He creates quite a bit of emotion and then covers it with his trademark ‘gentle man of horror’ demeanor. This disarms the observer and leaves us more vulnerable to the performance. He used more of this shield in his Star Wars performance, likely because the character was military but in The Curse of Frankenstein, though he used a very similar technique, more emotion came through. Just as much as was necessary to create the enthusiastic madman he was playing.

At times this character openly enjoyed his own evilness. For instance in a scene where a maid confronts Frankenstein and threatens to call authorities on him. Cushing leans in with a wicked smile showing the mad doctor to become almost aroused by the challenge of someone attempting to stand up to his controlling tactics, and one can see disappointment on his face as she backs down. This is cat and mouse at it’s best. Still one can hardly watch this without disbelieving that someone can be so evil and still disarm. I can’t ask Cushing how he achieved this but I do believe I have gotten and answer to this question from the man himself.

Just a few days ago, I stumbled on an interview of Cushing that took place in the 80‘s. It is of poor quality having been recorded on home video equipment but in it Cushing is his usual, unusually open and trusting self and among other things shares with the viewer that his favorite actor was Humphrey Bogart. He said that no matter how evil a character he played, that ‘Bogart could do no wrong.’ Cushing’s explanation of why he reacted to Bogart this way finally gave me insight into his own ability to disturb and disarm at the very same time.

Cushing explained that a little bit of the actor shows through in every performance. So there it is. The evil we see in Dr. Frankenstein, and Grand Moff Takrin is created by the professional, the charm came from the man. As a director I am at the same time thrilled and disappointed at this discovery. Thrilled that I finally understand a little bit of where the greatness comes from, and disappointed that only part of what goes into it can be taught.

There are many great actors capable of learning to, at least approach, if not reach the greatness of Cushing’s ability to create powerful characters, but I fear that it might be impossible to find someone who carries the same delightful characteristics that Peter Cushing possessed naturally, the very characteristics that complete the equation.

As an example of this multidimensional aspect of Cushing’s Dr. Frankenstein, I refer the viewer to a scene in The Curse of Frankenstein (1957) where Frankenstein is interrupted whilst preparing food for his monster. In the quantitatively small portion of the scene before his attention is taken by a knock at the door, Frankenstein carefully tastes the monster’s food and not satisfied, adds salt to the food. Here we have a man that is pure evil and yet he cares to properly season the food of the creature he has been toying with and using for the duration of the film.

That is pure Peter. I am convinced of it. Cushing was known for involving himself in many aspects of the films he participated in and without clear evidence to the contrary, I have to believe that Frankenstein’s loving food preparation for the monster he abused was the actor’s idea. Once I understood this, I began to see more clearly just where the gentleness of the man leaked into his formidable characters. There is a further example in Curse where he attempts to protect the monster from a gun shot and the now iconic dialogue in Star Wars where Tarkin emphasizes how hard it was to order the death of Princess Lea.

Yes, I could feel sorry for myself that I am too young to have ever worked with Peter Cushing but I have to count myself lucky that I at least came after him and that he was a film actor thus leaving countless hours of recorded greatness. Luckier still that I am able to share my thoughts with others who love his work.

REVIEW: Anne LaBarbera
IMAGES: Marcus Brooks

PETER CUSHING: FRANKENSTEIN AND THE MONSTER FROM HELL' VINTAGE MAG FEATURE

A 70's magazine feature promoting what was to be the last of the Hammer Frankenstein series,FRANK ENSTEIN AND THE MONSTER FROM HELL

PETER CUSHING AND THOSE BIRDS OF PARADISE! 'TWINS OF EVIL' HAMMER FILMS 1971

As the second of Hammer's Karnstein trilogy (preceded by 'The Vampire Lovers' and followed by 'Lust for a Vampire') 'Twins of Evil' has an integral part to play in the legacy of Hammer Films, and as the midpoint of the trilogy is, for most peoples' money, the best of the three. The Studio that Dripped Blood had an affinity with the vampire for almost 20 years, and while not all quite met the mark, 'Twins of Evil' is deservedly famed as one of its true highlights.

The story revolves around orphaned twins Maria and Frieda (Mary and Madeleine Collinson), their puritanical guardian Gustav Weil (Peter Cushing) and the dashing Count Karnstein (Damien Thomas), who is made a vampire after blood from a Satanic ritual murder rouses Mircalla, Karnstein's vampiric ancestress. As Frieda joins the legions of the undead, her innocent sister Maria takes the blame for her twin's wickedness, almost being burned at the stake by witch-slaying Uncle Gustav in the process, until hero Anton (David Warbeck) steps in with a bit of common sense and a crucifix to save the day. Frieda is finally trapped and beheaded, Count Karnstein is impaled and rots dramatically away, and the dubiously-motived Gustav is similarly impaled on a thrown axe and plunges to his death. Good apparently triumphs over evil, though the image we are left with is not the most positive one we could have been given. Instead of Maria and Anton safely received back into society, the film's final moments focus our attention on Karnstein's rotting head.

'Twins of Evil' is a morality play in the grand old medieval fashion.

The stark figures of good and evil are frustrated in their efforts by ambiguous characters who commit personal evils in the process of protecting the greater good (Gustav). The contradictions of a split personality are also emphasised in the use of twins – one purely good, the other willfully mischievous and quickly seduced to pure evil. It is a morality play because it deals with the private morality of individuals – the bored aristocrat corrupted by Satanism who gets his come-uppance, the rebellious young woman exploiting her sexual power for the first time who is condemned and destroyed as the most evil of beings, the religious fanatic who seeks to purify the countryside from an imaginary menace of witches – and the wider public morality – religion without excess as typified by Gustav's wife Anna, and education for social improvement in the characters of Anton and his schoolmistress sister. That the plot hinges upon the battle between God and the Devil, the living and the (un)dead, the light and the darkness, is the final seal on the mediaeval morality play angle this film – perhaps unconsciously – adopts.Vampires are often portrayed in films – especially by Hammer – as ambiguous characters.

 We know, as the viewer, that they should be regarded as manifestations of pure evil, and yet their promise of tabooed sexuality and experience tempt us away from the morality in which we spend most of our lives. It is this seductive evil that is encapsulated in Damien Thomas' Count Karnstein. Although not as sexually predatory a vampire as Christopher Lee's Dracula was to become, Karnstein is undoubtedly a sexy, seductive and highly persuasive vampire. And yet it is not he who seeks out the twins as objects of possible corruption – it is Frieda who seeks out the thrills of meeting him. The inference is always present that it is she who is in control of her destiny and her choices – she wants what she gets, and gets what she obviously wants.

Victorian morality still manifests itself today in Western society, particularly in England. Western society's fear of the sexuality of children and adolescents is the driving force of what makes us interpret Frieda's behaviour as evil. She seems the very match of her pure sister – upon meeting the twins for the first time both their aunt and the schoolmistress remark "I shall never be able to tell you apart" – and yet she is shown to be Hyde to Maria's Jekyll. And, horror of horrors, she actually seeks out sexual experience herself instead of having it thrust upon her by the burdensome demands of a boorish husband (the acceptable face of Victorian female sexuality). The perversity of her quest for sexual experience – the fact that she turns to a vampire who dabbles in Satanism for her deflowering – simply adds to the conceptualisation of her evil. Thus Frieda's true evil has more to do with the notion of her sexual nature than the surrender of her humanity by becoming a vampire!

The dichotomy of the split personality is here given two identical faces, a neat twist on the more common Jekyll and Hyde variety, where the two personalities look and act differently, and the confusion never exists as to which one is which, except of course in the mind of the split personality's better half himself. With twins the situation is visually confused, and the plot of the film makes clever use of their physical similarity to baffle the key plays for good and evil. And since there are two people there can be no blurring of guilt as there is with Jekyll and Hyde. Whilst Hyde commits evil deeds and Jekyll (since he is Hyde) has to take the guilt and ultimately the punishment for these deeds, Maria is ultimately blameless of her sister's crimes. They may look similar, but they are very distinct individuals, a fact that only really becomes obvious when one chooses so dramatic a path away from her sister. They are not alter egos of the same tortured mind, but both sane and reasoning people: the only difference is that one chooses to be good and the other chooses to be bad.

Film-makers can have great fun with twins, utilising all the familiar stories and myths about them – their shared experiences for example. This is the closest this film comes to laying some of the culpability for Frieda's sins at Maria's door. When Frieda is bitten by Karnstein, Maria awakes clutching her throat, seeming to know on a subconscious level that something has happened to her twin. Similarly when Frieda is beheaded, it is Maria who feels the pain of it and knows the moment of her sister's death. Additionally, the ruse of Karnstein's henchmen to transport Frieda out of jail by substituting Maria provides a visual reminder of how similar the girls look, and how easy it would be for a casual observer to miss the difference. Even when Maria is tied to the stake preparing to be burnt to death for his sister's sake, mad Uncle Gustav confuses her silent passivity to her fate with a confession of guilt. It is left to Anton to produce the all too familiar crucifix to attest to Maria's innocence, and finally the witch-hunting party turn their efforts to the destruction of some real villains for a change!

 

With its overtones of Puritan excess and religious mania, 'Twins of Evil' is a marvellous vehicle for Peter Cushing as Gustav, and the closest he ever came to playing Matthew Hopkins, England's celebratedly notorious Witchfinder General. The conflict of trying to do good by evil means, of trying to see justice done by taking unjust measures, has rarely been so finely explored as here. As arguably the most controversial and ambiguous character in the film – even more so than Karnstein – Gustav is in many ways the more villainous of the two, in that he dresses up his mania and excesses in religious piety and ultimately hypocrisy. Karnstein never makes any pretence at being a saint or even good – we first see him cavorting with a woman who is subsequently carted off by Gustav and his cronies and burned as a witch. Whilst Karnstein is the most obviously evil character, Gustav is insidiously the more evil because of his attempts to justify his acts, something which Karnstein never does, except to declare that it is his nature to do what he does. Part of this film's magick lies in its proof that Cushing – best remembered for his heroic role as Van Helsing to Christopher Lee's Dracula – could play the full range of good and evil characters. He was truly one of the greatest British film stars of all time, and this films stands as a great testament to his ability as a character actor.

In between the polarities of good and evil, in between the light and the darkness, lie all the worst psychological traits that mankind is heir to. The conflict between what we are expected to do and what we want to do are never more clearly exemplified than by the behaviour of the two girls, and this struggle spills over into the rest of the film's main characters. Human life is a constant struggle, a constant battle between doing what society wants you to do and the individual drives that compel you into sometimes contradictory stances. The only ones in 'Twins of Evil' who do not suffer remorse or regret, who are not plagued by fears and petty grievances, are the vampires.

It is easy to see why Frieda is so easily seduced by their promises. As the picture of nervous angst she rebels against everything required or expected of her: she openly flirts with Anton; she dresses provocatively; she stands up verbally to her uncle and aunt on occasion; she goes out at night when expressly forbidden to do so; and the assumption is there to be drawn that it was Frieda's decision for her sister and herself to come out of mourning clothes so shockingly soon (according to Gustav's standards). She flaunts convention in any way she can, and openly confesses her sins to her shocked and terrified sister.

But, like all good morality plays, evil is always conquered by the powers of goodness. Although in most conventional vampire films religion is seen as the conquering good, in this film the emphasis is pushed more onto education and learning, onto intelligence rather than faith. Faith, as typified by Gustav Weil, can be corrupted, but the intellect cannot. Anton suffers before finding the strength and wit to battle against the vampires – his sister died at the hands of Karnstein and his gang of nasties – but when he does decide what to do he follows his course through steadfastly, seeking redemption not only for his dead sister, but for the woman he loves (Maria), for himself and the rest of the village. He takes the role of Everyman, put upon the Earth to conquer the evil in humanity for the sake of all others. In mediaeval morality plays this figure acted almost as a Christ figure, waging a personal war against the sins he sees around him, and acting as final redeemer and Saviour for the rest of humanity. Played with obvious believability by the late David Warbeck (in one of his earliest film roles), Anton is a sympathetic figure, intelligent but still innocent of the evils of the world, on a crusade to educate all for the benefit of all. He is the ideal spirit of a new age which will stamp out the curse of vampires once and for all.

David Warbeck was one of the great British character actors, specialising mainly in low-budget horror roles, and 'Twins of Evil' was probably the most high profile film he ever made. How strange it should be that his first major role and his last should have been in British-made vampire films. From his days as Anton for Hammer to his enjoyable cameo in 'Razor Blade Smile', horror and vampires seem to have had a special place in Warbeck's heart. His rare talent for finding humour in the most horrific of scenes, his powerful and sardonic voice, his entire Britishness – all these things set him apart from the majority of character actors in his genre. Much respected on the convention circuit, he is also sadly missed by many.

 

For twins Mary and Madeleine Collinson, the opportunity to star in a Hammer film was a rare and special one, and one which they both remember with fondness. "Working for Hammer Productions was a wonderful experience. The atmosphere on the set was friendly and everybody was helpful and very professional," enthuses Madeleine. "I think the story about identical twins, one good and the other bad, was original as a concept and obviously was a great success. There was never any doubt as to who should play who: although we are similar we are different enough in some respects. I could never have played the goody goody Maria was. I photograph harder than my sister Mary. I loved playing the evil twin and Mary played herself!"

The twins were found by Hammer following their centrefold shoot for Playboy magazine (the first 'twins' feature ever to appear in that publication), and after the film they moved to Milan to continue their modelling careers. After a brief stay in the US, they returned to Europe. Madeleine now lives in Malta, Mary in London.

On the subject of vampires they are enthusiastic. "The idea of living forever by sucking blood sounds inviting. We all would love to live forever. Vampires have always proven to be mysterious, frightening, and fear is one of the most exciting sensations that we all like to feel. Whether vampires are real I couldn't begin to answer. But why not? Dracula still has lots of thrills to bestow upon his adoring public. The new generation of youngsters find vampires fascinating. Dracula is the aristocracy of horror films. May he live forever."

In conclusion, it is fair to say that 'Twins of Evil' is one of Hammer's most complex and in-depth films, and also one of its most entertaining. All the central characters are well-moulded and obviously cast to perfection, the script is well thought out and has a lot to say about social conditions and the nature of religion, education and sexuality, above and beyond the vampire story which is familiar to all. It is a challenging film, pushing boundaries and daring to be controversial at times. It has a grim sub-plot about the witch hunts of Puritan Europe, but balances this with plenty of gentle humour and occasional moments of tasteful nudity. If you want a vampire film with substance, character and imagination then this is the one.

review: Louisianax for more of Louisianax review please visit her site click here
images: Marcus Brooks

PETER CUSHING: 'CALL HIM, MR SHATTER!' HAMMER FILMS VINTAGE MAGAZINE FEATURE

ONE OF HAMMER FILMS LEAST SUCCESSFUL VENTURES. MADE AS PART OF A TWO PICTURE DEAL WITH 'THE LEGEND OF THE SEVEN GOLDEN VAMPIRES AND THE RUN RUN SHAW STUDIOS IN 1973- 1974. PETER CUSHING PLAYED RATTWOOD WITH STUART WHITMAN IN THE LEAD. SUPPORTING CAST FEATURED HAMMER 'THE MAN WHO COULD CHEAT DEATH' ANTON DIFFRING. THE RESULT WAS A MESS. MANY THOUGHT CUSHING WAS MISCAST AND WASTED. ''SHATTER' AKA 'CALL HIM, MR SHATTER' WAS DIRECTED BY THEN HAMMER HEAD MICHAEL CARRERAS, WITH UNCREDITED DIRECTOR MONTE HELLMAN LENDING A HAND!

PETER CUSHING VINTAGE BBC RADIO TIME COVER 'TOVARICH' 1954

Peter Cushing as Prince Mikhail Alexandrovitch Ouratieff in 'TOVARICH'.

PETER CUSHING MELISSA STRIBLING MICHAEL GOUGH: DRACULA HAMMER FILMS 1958

TWO HI RES STILLS FROM HAMMER FILMS 1958 'DRACULA'...A TREAT FOR MID WEEK!

PETER CUSHING: BIGGLES 1985 PETER CUSHING LAST MOVIE...

PETER CUSHING AS AIR COMMODORE WILLIAM RAYMOND IN THE COMPACT/YELLOWBILL/TAMBARIE PRODUCTION OF 'BIGGLES'
DIRECTED BY JOHN HOUGH FILMED AT PINEWOOD STUDIOS 21ST JANUARY / MARCH 1985.

THIS WOULD BE PETER CUSHING'S LAST CINEMA APPEARANCE

PETER CUSHING: 'FIEND IMAGE STICKS'

PETER CUSHING / ARTHUR GRIMSDYKE 'TALES FROM THE CRYPT' AMICUS 1972

Arthur Grimsdyke..who can forget that name and his sad story in Amicus Films 'Tales from the Crypt'. But can you remember the name of his dog??!

PETER CUSHING: 'THE VAMPIRE LOVERS' MGM MIDNITE MOVIES DVD / LOBBY STILLS

"Think me not cruel because I obey the irresistible law of my strength and weakness; if your dear heart is wounded, my wild heart bleeds with yours. In the rapture of my enormous humiliation I live in your warm life, and you shall die – die, sweetly die – into mine. I cannot help it." Sheridan Le Fanu, Carmilla (1872)

By the early 1970s, England's Hammer Films needed to rejuvenate their gothic horror cycle and were ready to supplement their successful Christopher Lee Draculas with a new series of vampire stories. Outside producers Harry Fine and Michael Style brought Irish writer Sheridan Le Fanu's novelette Carmilla to Hammer's attention, and the rather erotic subject matter made a perfect vehicle for Polish-born beauty Ingrid Pitt, who was being molded as their latest femme fatale. THE VAMPIRE LOVERS was a big success, and shortly thereafter, Pitt was offered the even more challenging role of COUNTESS DRACULA.

In THE VAMPIRE LOVERS, Pitt plays Carmilla (also using the name Mircalla and Marcilla), a centuries-old vampire who has retained her youth and beauty. Governed by Countess Karnstein (Dawn Addams) and a mysterious Dracula-like fellow known as the Man in Black (John Forbes-Robertson), Carmilla becomes a houseguest of General Spielsdorf (Peter Cushing) and his young niece, Laura (Pippa Steele). Laura grows increasingly ill and eventually dies, while a local doctor (Ferdy Mayne) discovers bite marks on her bosom. Carmilla then seems to vanish into thin air.

Next stop for Carmilla is the home of Mr. Morton (George Cole), and his innocent daughter Emma (Madeline Smith). Carmilla becomes obsessed with Emma, wanting her to love only her, and when Mr. Morton leaves town for a while, the seductive vampiress turns the whole house upside down. Not only does Emma fall victim to Carmilla's prolonged bloodletting and seduction, but so does the governess (Kate O'Mara) and the butler (Harvey Hall). When Mr. Morton returns, he is convinced that the ailing Emma is suffering from vampirism, but General Spielsdorf has coincidentally brought back Barton Hartog (Douglas Wilmer), who had hunted down the bloodthirsty Karnsteins years ago. With the help of young heroic Carl Ebhardt (Jon Finch), the men set out to uncover Carmilla's crypt and destroy her once and for all.

THE VAMPIRE LOVERS carried Hammer into the 70s with a gothic, poetic masterpiece of erotic horror and doomed love. The stunning Ingrid Pitt is one of the screen's finest vamps, and her portrayal of Carmilla is sympathetic and passionate, while cold and calculated at the same time. Her strong performance is supported by a wonderful cast and the atmospheric direction by veteran Roy Ward Baker, delivering his first full-fledged horror film. Peter Cushing's role is small but momentous, as his familiar vampire-slaying antics play a key role here. Cushing's involvement was reportedly demanded by American International Pictures (AIP) who co-produced the film, and released it in the U.S. with an "R" rating, and it's one of the first, if not the first, horror film to land such a label. Two sequels were produced (LUST FOR A VAMPIRE, TWINS OF EVIL), and although Pitt did not return in either one, she did come back as COUNTESS DRACULA for Hammer.

MGM's new DVD transfer of THE VAMPIRE LOVERS comes off as a great success. For once, the title is shown in its original 1.85:1 theatrical aspect ratio (with anamorphic enhancement), finally giving the film the composition it clearly lacked in past video transfers. The picture is virtually flawless, as the pristine source material manifests rich, distinct colors, strong clarity and nice detail. Darker scenes are never too dark and always clear, while day-for-night shots look like nighttime without having their images obscured. The mono sound is clean, with dialog, music and sound effects all emerging clearly. This DVD of THE VAMPIRE LOVERS also restores an often censored frontal shot of a fully nude Ingrid Pitt getting out of a tub, and this is the first time this has been witnessed on home video. MGM's DVD also restores several graphic and essential decapitations and stakings that were cut from the U.S. theatrical print, which ran only 89 minutes. The DVD presents the film at its full 91 minutes.

With the excellent transfer at hand, MGM has also opted to give us a commentary with director Baker, star Pitt and writer Tudor Gates. Moderated by Jonathan Sothcott, this is a wonderful treat for Hammerheads and horror historians alike. Although Pitt was very ill when the commentary was recorded, she is still very passionate about her role and what this film meant to her career, while the ever-spry Baker and Gates provide a lot of info on Hammer head Jimmy Carreas, the producers of the film, as well as sequence which was eliminated against their wishes. Sothcott keeps things interesting by asking about specific cast members and other topics concerning the film. Features for the VAMPIRE LOVERS are rounded out by the original AIP theatrical trailer, as well as passages from Carmilla (12 minutes) read by Ingrid Pitt herself, accompanied by a video montage of rare color photos from the film. A great idea, and nicely executed.

MGM is the first studio outside Anchor Bay to release Hammer films with audio commentaries, so this disc marks a landmark release of sorts. A lot of care an preparation obviously when into restoring the films and producing the extras, so kudos to MGM for giving us one of their best horror DVD releases yet.

review: GEORGE R. REIS.

You can read more of George's reviews here: CLICK HERE

Images: MARCUS BROOKS

PETER CUSHING: THE VAMPIRE LOVERS REVIEW AND VINTAGE IMAGES LATER TODAY!

WE'RE KICKING OFF THE NEW YEAR WITH A HAMMER FILMS/PETER CUSHING CLASSIC 'THE VAMPIRE LOVERS' REVIEW AND SOME RATHER SPANKING LOBBY STILLS. LATER TODAY. PLEASE JOIN US. SUBSCRIBE OR LINK TO OUR LIVE FEEDS AND UP DATES.

Marcus Brooks.

PETER CUSHING: A HAPPY NEW YEAR TO YOU!

 A BIG THANK YOU AND  A HAPPY NEW YEAR TO ALL OUR SUBSCRIBERS, CONTRIBUTORS, REVIEWS...AND TO YOU.  IT'S ALL FOR THE MEMORY OF THE GREAT MAN HIMSELF!