PAUL MCNAMEE'S PETER CUSHING MARATHON: LAP TWO: A SNOWMAN. SNAKES. HOUNDS AND MORE!

Welcome back pals. Let's waste not a second longer in cracking onwards with another lap of my marathon to view all 91 films featuring the late, great Peter Cushing!

NINETEEN EIGHTY-FOUR (1954)

Definitely one of the harder Cushing outings to track down (the DVD is unavailable on these English shores), Nineteen Eighty-Four is Nigel Kneale’s adaptation of George Orwell’s ludicrously influential novel/ sermon and serves as a solid launchpad for Cushing’s megastardom alongside Donald “annihilation” Pleasance (I’ve yet to popularise this nickname but am working on it), Andre Morell and Yvonne Mitchell. As a work of fiction it’s astounding still, in spite of the foundation anachronism of a potential (possible, even) future so steeped in past technology it almost renders it rather silly.

At its best it’s outright terrifying (as in the near totality of Big Brother’s scope and the level of control what his abilities MIGHT include exudes over his populace) and at its worst merely circumstantial (the film’s dystopia is never explained and as such feels less rooted in the present than even the worst of today’s myriad imitators). Cushing is offered ample opportunity to impress in Winston Smith’s growth from wimp (let’s be fair) to a hero whose heroics are without effect and swept aside. Of those trends I’ve noticed in most other Cushing films, none appear here: his gentlemanry (expect plenty of fabricated verbiage, friends) could sooner be termed total repression, and not once does he get embroiled in a great bloody Cushing Ruckuss, though by the end of the film he’s missing a tooth and his poor shirt is in tatters.

To be honest I’d not watch the film again, though. Its status as a primitive recording of a live play from the 1950s does it no favours and at times the dialogue was barely audible. Sure, it’s nice to have seen after years of failure to find a copy but it wasn’t an auspicious start to the evening. On the Rambleast Ratings-O-Meter, I’d rank it somewhere between a must-see (for considerable historical significance) and an avoid (for its actual merit as a good thing).

Somewhat wiped out after its relentless grimmery, it was with open arms (and eyes and ears and brain) that I welcomed:

THE ABOMINABLE SNOWMAN (1957)

Now, The Abominable Snowman is a Hammer film, as were the rest for this initial session, but perhaps a Hammer in name only. Made in 1957 (the same year a single gush of garishly coloured vein claret in The Curse Of Frankenstein would change horror forevermore), the film rarely feels like an offering from The Studio That Dripped Blood thanks to a cast of unregulars and its staunch refusal to tick any box marked ‘horror film’. It is, essentially, a great big boy’s adventure film.

Cushing opens the picture in a Himalayan village, making plans to embark on an expedition to find the fabled Yeti against the wishes of the village elder, his typically passive and subservient wife (named Helen after Cushing’s own and on his insistence) before a gaggle of big, smoking Americans show up and the jolly lot of them set off across some very convincingly shot snowy wastes. This is helped tremendously by Val Guest’s direction (in black and white), and no doubt by a handsome budget which facilitates the abundance of aerial shots and an absolutely gorgeous set for the village (later reused for Christopher Lee’s Fu Manchu films).

Cushing makes mention of sacrificing his climbing career after a stupid accident (unexplained, but given his reference-quality civility it probably involved tea-making) which explains why the expedition is so poorly received by his lady love (and his companion Foxy, played by The Bookworm from Batman and possibly by an actual actor also).

Nigel Kneale returns to script the film and provides a typically thoughtful work in which the nature of monstrosity is questioned. Indeed, Kneale is clever not to paint the Yeti (who is not glimpsed in full and only appears significantly in the final five minutes of the film) as a monster: those deaths they are responsible for can be attributed to fear and insanity (not unrealistic reactions to humongous snowbeasts from hell, one should think). The film moves along at a brisk pace and the tensions between the Englishmen and the great big Americans (led by Forrest Tucker who receives top billing to placate Hammer’s US backers and wind the rest of us up, frankly) provide much of the entertainment, so much so in fact that when the beast’s disembodied hand first appears it damn near derails the picture, not unlike the first time Dave Prowse is glimpse in Hammer’s largely unloved Horror Of Frankenstein.

As I discovered later (again and again), for all the studio’s qualities they had a real weakness for underwhelming monster makeup. Anyway, there’s not much more to say about it other than that Michael Brill (whose name is self-descriptive) plays a character that seems very much like the male equivalent of those unfortunate ladies whose sultry charms fell victim to The Count’s incisors in the studio’s Dracula films, and that the whole thing is hardly memorable but a really effective way to pass an hour and a half. Recommended.

THE HOUND OF THE BASKERVILLES (1959)

And now, the confession: BBC’s Sherlock has been to date my only experience with Mr. Holmes outside of this Hammer offering from 1959. Given how much I enjoyed both (and the opportunity to compare versions of a story so vastly different as those from each version) I imagine I’ll make up for it in the future. For now, though, it is only fit to wax verbal on that moor-bound mutt, his misdeeds, and Cushing’s debut as the deerstalker-bedecked ‘tec who was reportedly first done justice regarding his general jerkery in this adaptation of Conan Doyle’s famous (seriously, it’s like rilly rilly famous guys) novel.

What I love about Peter Cushing is the extent to which I’ll compare his performances when watching him, which is TO ZERO EXTENT. I can readily accept him as two generations of Van Helsing, Moff Tarkin and Sherlock Holmes without ever thinking of another of his often iconic roles. To see an established actor slip so easily into an already occupied role and both play it on his own terms and not let it define his career is a treat, a small joy. If I’ve not made it clear already, I LOVE Peter Cushing. When he says “I’ve hurt my leg, I’m cold and I’m hungry” after appearing perched atop a carriage near the end of this film I actually whooped. I made a sound not unlike that of a wild animal in appreciation of his gentle talent. He’s a winner at everything.

So, gush dealt, how fared the film? Well, for a story so famous (as we’ve covered) I was surprised to see how Hammerised it was. I mean, this film has one of the most brazenly Hammer openings possible: big brass music, an unconvincing backdrop and a roll call of the usual suspects (Asher, Keys, Hinds, Bernard, Lee, Morell and Sir Peter, of course). The first scene presents Sir Hugo Baskerville (or ‘of the Baskervilles’, as I always want to type) and he’s a real scumbag, a truly delicious screen villain courtesy of David Oxley. Indeed, he’s such a royal prick that I was sorry to see him go (but not before delivering one of the most dramatic stabbings in film history, unleashing his own pack of cute little Beaglehounds and responding to a twice-dubbed scream that nearly steals the film- it’s THAT good) though his death is fairly pivotal to the story so I can scarcely complain.

Still, for all its Hammer fluster it quickly becomes a rather fusty, talky picture where old, nice men devote a LOT of screen time to saying clever things, being civil and getting murdered. Cushing, who was reportedly fond of props (or ‘prop-fond’, as I’ll be saying from here on out) is well served in 221b Baker Street and just about every other new location he visits, fiddling with pictures and his oft’ present pipe. One wonders just what he was off fondling for the majority of the middle third of the film during which he is absent as Watson (Morell again, this time praising Cushing rather than subjecting him to torture) traipses about Dartmoor, and his Holmes is such a commanding screen jerk (an endearing jerk but a jerk unquestionably) that the film nearly stalls without him.

When he reappears though it only heightened my appreciation, and before long he’s embroiled in some action (I’m telling you, Cushing just loves wrecking about the place), shooting at the world’s biggest dog with the world’s tiniest gun (but such a gentlemanly weapon). The dog’s mask is a bit of a stumbling block, as is Lee’s performance which is oddly stiff, despite his all-commanding presence, and forgive the apparent blasphemy of that statement as I’m sure his decision to play Henry (Of The Baskervilles) was entirely justified.

Anywhat, if it’s a Cushing Ruckuss, an engaging lead role and a film which boasts the phrase “a two-pipe problem”, Baskerhounds is for you.

THE GORGON (1964)

Right, let’s be explosive: The Gorgon is AWESOME. Juvenile as that may sound, it truly is an awesome film, and I enjoyed every moment of it. Joining Mr. Cushing is the atypical Hammer Girl Barbara Shelley, arguably my favourite actress and a sure-fire presence to ground a film in a sense of decency.

As always, Sir Pete is introduced with little fanfare but sports the greatest facial hair of his career. He’s involved in local shenanigans and a good few Hammer Staples crop up – there’s a Paul AND a Bruno, as well as typically jerky locals and a pervading communal fear. The Gorgon herself lives in a matte painting of a castle and spends her nights turning the locals into stone in action lifted straight from Greek mythology, something that fits surprisingly well within Hammer’s Eurocentric literary canon.

Cushing gets involved in a love triangle and adds jealousy and loathing to his bow, but as soon as mustachioed Christopher Lee shows up it’s hard to take your eyes off him in one of his most scenery-wolfing performances. Terence Fisher directs with style, dropping his usual tricks throughout the picture as well as often subtly forecasting events for the benefit of the eagle-eyed. The Gorgon was released on DVD in 2010 and is available for next to nothing- you have no excuse. Own it.

THE LEGEND OF THE SEVEN GOLDEN VAMPIRES (1974)

What does it say about this movie that in describing it to friends I’ve called it all manner of things from Legend Of The Seven Jumping Vampires to Legend Of The Seven Dancing Vampires, bringing with it as it does such a state of confusion because, frankly, it. Is. Bonkers.

It messed with me so much that that opening sentence began as a question and ended as a paragraph. I can’t even write coherently about a movie in which common sense and a respect for the human mind are banished to sunny China so’s some terribly designed vampires (dancing, jumping, golden) can feast on them. That’s right, Cushettes (that’s your new nickname, readers – you’re the Cushettes) – the vampires in this brain-drain feed on CONCEPTS. This is one wacky film, a collaboration between Hammer and the Shaw Brothers in which Sir Pete, lecturing IN ENGLISH in China is recruited by one of seven brothers (though not the same seven brothers for whom the courting of seven wives was, oh, you see where I’m going with that...) to hunt down the aforementioned crap, high-kicking kung-fu fangbangers thanks to the promise that good old Count D is involved and he can give him a jolly good wooden stabbing, as he is so very happy to do picture after picture (and indeed, upon continent after continent).

“Dracula” in this film is played with zero credibility for a couple minutes by John-Forbes Robinson, whose take on the famous bloodsucker is so unbearably (but not out-of-place-ingly) hammy that it is no small relief when, for no reason, he infuses his spirit into that of the Asian vamps’ leader, though he does reappear in the last reel to get his just desserts and a smiting from our Van Helsing. Forbes-Robinson’s brevity of screentime is a blessing because his very presence feels out of place, even in this film starring a 61-year old monster hunter in turn of the century China.

Cushing cannot be faulted. I know I’m writing for a Peter Cushing fan site but such comments need never go unstated. Even here, his exposition is easy to swallow, and as ever he makes that extra effort to best serve the local pronunciation whenever he can. He’s fighting not just vampires but disbelief, as he often does, but metaphysical commentary aside and in spite of his age, the Cushing Ruckuss is present and accounted for, and he can be spotted duelling and dealing death when he’s not DIVING INTO FIRE amidst nigh-on endless scenes of gushing blood, scrapping swordsmen and some of the very best dubbing of screams I’ve ever heard. You’ll also get to see a vampire melt like at the end of 1958’s Dracula, but it’s nowhere as effective and as special effects go, laughably transparent.

Roy Ward Baker (of Quatermass And The Pit) handles his portion of the direction capably (though James Bernard’s use of his Dracula score during Forbes-Robinson’s scenes is wholly unforgivable), but to be honest this is not a film that deserves (or invites) such stoic criticism. It’s great fun, and in that, it deserves viewing....

I’m not sure what I’ll be watching for next Friday, but I’ll be limiting myself to three films as like any partwork magazine you only get twice as much for the first two instalments. I’ve no idea how that applies to this, but it seems a decent enough reason not to burn myself out on Cushing pics. If you missed last week's piece, you can find it  HERE!   'Til next time , Cushettes.

REVIEWS: PAUL MCNAMEE
PAUL'S BLOG: CLICK HERE!
IMAGES: MARCUS BROOKS

PETER AND HELEN CUSHING'S SECRET GARDEN: A FEATURE FOR VALENTINES DAY!

      John Harman, British Columbia

                                     Canada remembers Peter and Helen Cushing'sWalled Garden

                           "All through the '30s, my Dad had a large allotment garden down the

     Lower Island (Island Wall). This was located between Island Wall

         and the back of the cottages at the far end of Wave Crest..

        He had a tool shed on it and various things to scare the birds....

      but they did more to frighten me as I was young in the late 1930s.

     My brothers George and Ray, who are quite a bit older than me,

     well remember playing on the mountains of sawdust at the adjacent

 yard of the Whitstable Shipping Co."

                                  

 "In 1963, when I took my wife, Anne, home to Whitstable to meet

my family, we stayed with mom and dad. Dad told me that a film star,

Peter Cushing, now lived at the Lower Island and had acquired

the allotment. By now, Peter and dad had become quite well

 acquainted and dad suggested that I should take Anne to

see what his allotment had become. I understand that Helen Cushing

was ailing at that time and the actor had arranged for the land to be turned

 into a beautiful 'walled garden' for her and other local seniors to share!"

"This garden of tranquility was enclosed by a lovely masonry wall.

On seeing it, it was truly beautiful and we took a couple of photographs.

Within the wall were grass lawns, rosebeds and what really

caught my eye...a 'Dovecot'!"

"When I made a further visit to Whitstable in the '70s,
I took a walk past the garden with my brother Ray
and his son, Geoff. The photo below shows them outside
 the wall and the 'dovecote' can be clearly seen above the wall."

"When last home in 2005, I was so sad to see that the

 garden no longer existed and that it had been replaced

 by infill - with a house in its place. What a shame

 that this tranquil garden that he created could not have

 been preserved in his honour for all to enjoy."

John Harman, British Columbia
Canada

This is a cutting from The Garden News Section of the UK

Daily Express Newspaper, dated Friday 30th September 1966 featuring

Peter and Helen Cushing's walled garden. It was this cutting amongst others

that Linda king too with her when PCASUK met Peter Cushing for the

last time an caused peter to whisper 'My Dear, how terribly kind

of you...to keep this and show it to me today!' Such a sweet gesture

from a very sweet and kind man.... with the greenest of fingers!      

                               

Mary Thomas from Whitstable remembers:

"Over the decades and even the centuries, Whitstable has

been home to a number of famous people. But I doubt

that any earned the affection of local people quite as much

as the actor Peter Cushing. After visiting the town in the

early 1950's, Peter and his actress wife Helen Beck,

became local residents when they purchased a seafront house

in Wave Crest during 1959.

"News swept town and it wasn't long before we could all identify

the attractive but perhaps unremarkable property that edhged the West

Beach shingle and backed onto the Lower Island Wall roadway at

the rear. Within in a few years, the Island Wall aspect had changed

quite dramatically as Peter expanded the rear garden and surrounded

it with a high stone wall. Behind the privacy of that wall, he

created a small oasis - one that we kids could only dream about!'

From the outside on the Island Wall, the stone work was very

tastefull done, with rhe wall rounded into the entrance of the garage.

This is the house that sits in the space where Peter Cushing's

 Walled Garden once stood. The wall is still standing, though

 a little lower. The back entrance to Peter's home, faces this view.

This is the rear of the house that now stands on the area.

 Left side of the house. The rear of

Peter and Helen's home can be seen in the middle background.

Fortunately, not everything disappeared. In furnishing the garden,

 Peter commissioned a garden seat that reflected

both his romantic nature and deep love for wife Helen.

The seat was designed to accommodate two people

 and the carved "back" represented the entwined arms

of two lovers. This complemented the dovecote which

also provided a symbol of love and peace.

Sadly, Helen died in 1971. In 1990, Peter donated the

seat to the people of Whitstable when the town opened

 a new viewing platform overlooking the sea at

 Keams Yard (Horsebridge). The platform (or, perhaps

 more accurately, the scene that it afforded users)

was named "Cushing's View" in his honour and

 the seat has occupied pride of place on the structure ever since.

The message on the plaque is simple and poignant.....
Peter died just four years later and, for his funeral,

 the town centre came to halt in tribute.

Peter and Helen's "View", of course, lives on.

HAMMER FILM PRODUCTIONS: 'THE HOUND OF THE BASKERVILLES' MORE FANTASTIC ARTWORK FROM THE FLICKER CLUB 'HAMMER AT THE VAULT' SEASON

ANOTHER GREAT EXAMPLE OF THE FABULOUS PROMOTION ARTWORK FOR THE FLICKER CLUB 'HAMMER AT THE VAULT' SEASON AT THE OLD VIC, LONDON

PETER CUSHING: IT'S ALL WORK AND PLAY!

PETER CUSHING AND THE GALS! THE VAMPIRE LOVERS: ON SET OFF GUARD

PETER CUSHING AND DAWN ADDAMS MAKE

 THEIR ENTRANCE AT THE BALL

PRODUCER AND WRITER HARRY FINE CHECKS

IN ON SOME LOCATION SHOOTING

NEIL BINNEY SHOOTS INGRID IN VAMPIRE

ACTION WITH FERDY MAYNE

INGRID PITT REHEARSING HER MOVES FOR THE

BALLROOM SCENE

MADELINE SMITH SQUEEZES INTO HER CORSET

THE HUNT FOR CARMILLA IS ON. BUT PETER IS WAITING

FOR THE CALL FOR ACTION!

INGRID PITT RELAXING BETWEEN TAKES

PETER CHATS AND INGRID PITT

DOES SOME LAST TOUCHES!

A CHEEKY SHOT OF INGRID PITT BETWEEN TAKES

MADDIE SMITH IN A POSE THAT MAYBE DIDN'T MAKE

THE PUBLICITY PACK.

INGRID PITT IN BATH, ON SET!

MADELINE SMITH PREPARES TO BE RAVISHED

BY INGRID PITT'S CARMILLA

PETER CUSHING AS GENERAL VON SPIELDORF

PETER POSES FOR PUBLICITY PHOTOGRAPHS IN

FULL GENERAL UNIFORM

IT'S BEEN A LONG DAY OF SHOOTING FOR

PIPA STEEL!

KIRSTEN BETTS SEEMS TO HAVE RUN OUT OF

INSPIRATION AND POSES FOR THE PUBLICITY CAMERA.

PIPA STEEL STRIKES A POSE WITH HER TONGUE

FIRMLY IN HER CHEEK!

INGRID CAUGHT BETWEEN TAKES.

PETER, INGRID PITT AND DAWN ADDAMS

MEET THE PRESS!



FEATURE: Marcus Brooks
IMAGES: Horror Unlimited
click here

PETER CUSHING : 'NOTHING BUT THE NIGHT' DVD REVIEW AND IMAGES

Directed by Peter Sasday and starring Christopher Lee and Peter Cushing, Nothing But The Night doesn’t get the recognition it deserves within the pantheons of British horror films, which is surprising considering the ties to Hammer Studios. Regardless, Scorpion Releasing have stepped up to the plate and brought this one to DVD for North American audiences, a treat for those of us who have wanted to see it for some time. So how does it hold up?

THE PLOT

Strange things are afoot at the Van Traylen Trust, an orphanage in rural Scotland lorded over by wealthy trustees who seem to be committing suicide at an alarming rate. Of course, these aren’t suicides at all but murders made to look like suicides by whoever is behind them. When a busload of orphans from the trust crashes and burns under some rather strange circumstances, a cop named Colonel Bingham (Christopher Lee) is tasked with solving the case. Not wanting to go it alone, he enlists the aid of his friend, a pathologist at a nearby hospital named Sir Mark Ashley (Peter Cushing). The sole survivor of the incident is a young girl named Mary (Gwyneth Strong) who is understandably put under watch in the hospital where she frequently suffers from vivid nightmares, though those in charge are unsure what’s causing them.

Meanwhile, Anna Harb (Diana Dors), a low rent hooker and convicted criminal with ties to the occult, shows up at the hospital claiming to be Mary’s mother. She wants the girl released into her custody immediately and when the hospital denies her request, begins to cause problems for all involved. Mary, however, would rather go back to the orphanage than deal with Anna, the latter of whom seems to have strange ties to the orphanage in question where all of the murders are taking place.

COMMENTARY:

Nothing But The Night is well acted from all involved, with Lee and Cushing proving as reliable here a always and Dors turning in a pretty impressive turn as the unstable antagonist. The film lacks style, however, and Sasdy, best known for Taste The Blood Of Dracula, doesn’t seem all that interested in creating much in the way of atmosphere until the end of the movie where the film turns out to owe more to The Wicker Man than to any traditional murder mystery you’d care to name. Though the picture does suffer from some pacing issues during its middle part, the ends justify the means and if it takes Sasdy and company a while to get where they’re going, at least once they do the film provides a pretty solid pay off.

Nothing But The Night probably should have been a better film than it is when you consider the talent involved but prolific Doctor Who screenwriter Brian Hayles’ screenplay (adapted from John Blackburn’s novel) doesn’t click as well as it could have to really rank this one up there with the classics that some of these guys were known for churning out. Regardless, fans of British horror will want to check it out as it does bring things to a satisfying conclusion – just be prepared for it to take a while to get there.

TEC SPEC:

Nothing But The Night looks good in this 1.78.1 anamorhpic widescreen transfer. The image is frequently grainy but in a natural looking way and only minor print damage is noticeable. Some of the darker scenes don’t show the greatest shadow detail you’re ever going to see but this looks to be how it was shot and not a transfer problem. There are no issues to note with compression artifacts or edge enhancement and both skin tones and color reproduction look nice and natural. Audio chores are handled by an English language Dolby Digital Mono track. No alternate language options or subtitles are provided. This isn’t a particularly fancy track but for an older film fast approaching its fortieth birthday it sounds just fine. Dialogue is clean, clear and audible and the levels are well balanced.

As this release is part of the Katarina's Nightmare Theater line from Scorpion, you can play this DVD with or without the optional intro/outro from wrestler turned horror hostess, Katarina Leigh Waters. Aside from that, there’s also a trailer for the film, trailers for a few other titles in the Katarina’s Nightmare Theater line, menus and chapter stops. The disc is packaged with reversible cover art so that you can display the case with or without the Katarina’s Nightmare Theater banner showing through.

The Final Word:

Yes, this one is definitely a slow burn, but Nothing But The Night rewards the patient viewer with a great twist ending that actually manages to provide some legitimately unsettling vibes. Scorpion’s DVD release is short on extras but it looks and sounds good making this one that fans of Lee and Cushing will want to look into.

TO BUY: CLICK HERE
REVIEW: IAN JANE

http://www.rockshockpop.com/

IMAGES:MARCUS BROOKS

VINTAGE PETER CUSHING ILLUSTRATIONS BY SHERRIFFS

PETER CUSHING AND HAMMER FILMS 1958 'THE REVENGE OF FRANKENSTEIN', 'THE CURSE OF FRANKENSTEIN' AND LOVE TRIANGLE 'THE END OF THE AFFAIR' AND THE SKILLFUL HAND AND ILLUSTRATIONS OF SHERRIFFS.

HAMMER FILM PRODUCTIONS: CAN YOU NAME THE FILM PREMIER? TERENCE FISHER AND PETER CUSHING RARE IMAGE

TWO VERY DAPPER GENTLEMEN SHARE A JOKE AT A HAMMER FILM PRODUCTIONS FILM PREMIER. BUT CAN YOU NAME THE FILM HAVING IT'S OPENING NIGHT?

PETERCUSHING.ORG HORRORUNLIMITED.COM HAMMER FRANKENSTEIN FRIDAYS COMPETITION!

WELCOME TO THE FIRST OF A WHOLE RANGE OF COMPETITIONS OVER THE NEXT THREE MONTHS DURING OUR HAMMER FRANKENSTEIN FRIDAYS! IT'S YOUR CHANCE TO WIN A SUPERB AMAZING QUALITY PHOTOGRAPH FROM THE ARCHIVES OF HORRORUNLIMITED.COM.

HORROR UNLIMITED TELLS US: "AS WITH ALL HORRORUNLIMITED.COM PHOTOGRAPHS THIS PRIZE IS A 10 X 8 LUSTER GLOSS PHOTOGRAPH AND WAS DEVELOPED IN A  PROFESSIONAL PHOTOGRAPHIC LAB METICULOUSLY RESTORED AND COLOUR CORRECTED FROM VINTAGE ORIGINAL STUDIO PRODUCTION TRANSPARENCIES. THE PHOTOGRAPH HAS BEEN DEVELOPED ONTO PROFESSIONAL ENDURA METALLIC PHOTOGRAPHIC PAPER AND THE RESULTS ARE REALLY QUITE AMAZING!"

IT'S A GREAT PRIZE AND THE FIRST OF MANY!

OUR THANKS TO HORRORUNLIMITED AND GOOD LUCK IN THE COMPETITION!

'FRANKENSTEIN AND THE MONSTER FROM HELL' BANNER FOR SCREEN SAVER!

HAMMER FRANKENSTEIN FRIDAYS