Peter Cushing entry in the actors directory 'THE SPOLIGHT' for the year 1958, the release of 'John Paul Jones', 'The Revenge of Frankenstein' 'Violent Playground' and of course Hammer film Productions, 'Dracula'.
Monday, 16 July 2012
Saturday, 14 July 2012
PETER CUSHING AND HELEN CUSHING: A MARRIAGE MADE IN HELEN. KENSINGTON, LONDON 1958.
A GREAT PHOTOGRAPHIC STUDY OF PETER CUSHING AND HIS WIFE HELEN. IT SEEMS TO HAVE CAPTURED THE ESSENCE OF THEIR RELATIONSHIP. MORE AT : https://www.facebook.com/petercushingblog. COME AND JOIN US!
PETER CUSHING: 'TENDRE DRACULA' : MONSTER MESS : REVIEW AND COLOUR STILLS GALLERY
"Tender Dracula or The Confessions of a Bloodsucker" (1974) was intended to be a comic fantasy with erotic, horror and musical undertones. The writers: Justin Lenoir (original screenplay), Pierre Gruenstein and Harold Brav (adaptation and dialogue) must have drawn inspiration from the British horror comedy stage musical, "The Rocky Horror Show" which made its London debut on June 19th, 1973. Although "Tender Dracula" went into production and was released a year before the film version of "Rocky Horror" hit the big screen, it's obvious the two share more than a passing similarity. For starters, writer Richard O'Brien's experimental "Rocky Horror Show" was itself intended to partly imitate the style of Hammer Horror; specifically "The Revenge of Frankenstein" (1958) starring Peter Cushing, who Gruenstein obviously intended for the role of "MacGregor" in "Tender Dracula". Not surprisingly, both conclude with a castle (or part of one) blasting off into space. The biggest difference between "Tender Dracula" and "Rocky Horror" would seem to be the latter's balance of homage and camp. In comparison, "Tender Dracula" comes off as a crude, discordant and meaningless mixture of silliness and derivative bedroom farce. The true tragedy of "Tender Dracula" might be that nobody seems to be having any fun in it.
It also seems to suffer from a strange mangling of sensibilities. Why is "MacGregor" the star of a horror television series, and not a full-fledged horror film star like the man who was carefully chosen to portray him? I think it's safe to say that these writers not only intend to play on the audience's own awareness of who Peter Cushing 'the horror star' is, but also to make the two synonymous. Peter Cushing certainly rose to popularity on British television in the 1950s but it was for playing lead roles like "Beau Brummell" and "Mr. Darcy"; not "TV's Arch Fiend" as he is described in Cushing's own shooting script for "Tender Dracula". It's also of interest to note that the Russian co-writer character "Boris" is actually referred to as "Tovarich" once in the script; Cushing starred in the BBC Sunday Night Theatre production of "Tovarich" in 1954. Furthermore, the script begins with a quote from Hamlet (Cushing appeared as "Osric" in Olivier's 1948 Oscar-winning film version):
"In dreadful secrecy they did impart,
And I with them the third night kept the watch."
- William Shakespeare
When given this curious nature of the script, it becomes possible that the pastiche they were aiming for was more directed at Cushing himself than at a particular genre. It becomes even more clear to me why Cushing may have been so eager to take part in something so totally beneath his talents. Perhaps there was more to it than just keeping morbidly busy following the crushing blow of his wife Helen's death a few years prior, or the thought of spending time filming in France. Maybe there were just too many fond references to Cushing's own career imbedded in the pages (and the lure of finally playing an actual 'monster' for a change). How virtually none of this fondness, or reverence if you will, for Cushing 'the man' manages to come through the finished product is frustrating to say the least. Equally as befuddling are the scenes of awkward dialogue and arduous humor that come across more like a child's attempt to mount an impromptu play in the family living room. Not to mention the infamous Cushing spanking scene.
There are some moments of genuine interest though. Discounting the perplexing experience of hearing Cushing bellow several of his lines (the purpose of which remains unknown) he does look expectably refined in his Lugosi-modeled vampire attire. There is also a justifiably memorable 'flashback' scene in which Cushing plays his own character's grandfather (complete with a few photos of Cushing from some of his more notable film roles). It's probably the high point of the entire film, in addition to watching Cushing dance the waltz a few scenes earlier. The jazzy score by Karl Heinz Schäfer provides a suitably moody groove and is of some interest to obscure soundtrack collectors. While unfortunately not an anomaly in Peter Cushing's long and celebrated career, "Tender Dracula" does maintain its righteous place as a generally painful to watch, truly confounding medley of ingredients; or perhaps just the poor man's "Rocky Horror."
More at our Facebook Fan Page. Come join us: CLICK HERE
Review: Carl Danter
Images: Marcus Brooks
More at our Facebook Fan Page. Come join us: CLICK HERE
Review: Carl Danter
Images: Marcus Brooks
Friday, 13 July 2012
PETER CUSHING: PAGES FROM PETER CUSHING'S ANNOTATED 'VAMPIRELLA' SCRIPT
ALL THE FOLLOWING PAGES ARE FROM PETER CUSHING'S
PERSONAL SCRIPT.
SIGNED PHOTOGRAPH OF THE ACTRESSES WHO MAY HAVE PLAYED
VAMPIRELLA : BARBARA LEIGH
THE BACK COVER TO THE FAMOUS MONSTERS NYC CONVENTION OF
1975.
PETER CUSHING 'THE BLOOD BEAST TERROR' VINTAGE FLYER AND REVIEW
CAST:
Peter Cushing (Detective-Inspector Quennell), Robert Flemyng (Professor Karl Mallinger), Wanda Ventham (Clare Mallinger), Vanessa Howard (Meg Quennell), Glynn Edwards (Sergeant Allan), David Griffin (William Warrender), Kevin Stoney (Granger), William Wilde (Frederick Britewell)
PRODUCTION:
Director – Vernon Sewell, Screenplay – Peter Bryan, Producer – Arnold L. Miller, Photography – Stanley A. Long, Music – Paul Ferris, Special Effects – Roger Dicken, Makeup – Rosemarie Peattie, Art Direction – Wilfred Woods. Production Company – Tigon British. 1968 UK.
SYNOPSIS:
Police inspector Quennell investigates a series of murders where the victims have been found drained of blood and with strange claw marks all over their bodies. His good friend, entomologist Karl Mallinger, knows of no creature that would leave such markings. As Quennell investigates, he discovers that Mallinger has been conducting experiments that have caused his daughter Clare to turn into a giant Deathshead moth who preys on and kills the men who are attracted to her.
COMMENTARY:
This entry from Hammer wannabes Tigon British – is there for the record any Tigon American, or any other country for that matter, to justify the national exclusivity? – is one of the dreariest films to emerge out of the Anglo-horror cycle of the 1950s-70s.
One would have thought the premise – a mad scientist’s daughter who is revealed to be periodically turning into a giant vampiric deathshead moth to suck dry the local youth – would have tipped somebody off that the film could well end up in the laughability stakes. The entire exercise is shot through with a touch of surreal lunacy – although nobody involved sees fit to play up the potential bizarreness. The script never offers any real explanation as to why Wanda Ventham keeps turning into a moth – which is probably wise anyway as anything would have sounded ridiculous.
The Blood Beast Terror is slow moving and statically directed. The barely glimpsed title creature looks disappointingly flat. Peter Cushing at least turns in his usual professional job, which is admirable considering the silliness of the material he has to work with. The most ridiculous scene is the ending, which looks to have been conceived because nobody could find any other way to wrap the show up, wherein Peter Cushing comes up with the ingenious scheme of lighting a fire, which the moth is naturally drawn to and burnt up in.
The Blood Beast Terror was one of the films made by Vernon Sewell, a minor director in the heyday of English horror cinema. Sewell also made:- The Medium (1934), Latin Quarter (1945), The Ghosts of Berkeley Square (1947), Ghost Ship (1952), House of Mystery (1960) and Curse of the Crimson Altar (1969).
Review: Richard Scheib
PETER CUSHING CHRISTOPHER LEE SAMMY DAVIS: ONE MORE TIME: GUEST APPEARANCES
THEY'RE QUICK. BUT FUN WHEN THEY ARRIVE!
Thursday, 12 July 2012
PETER CUSHING BY NUMB3RS: 'MORECAMBE AND WISE' : 367 PLUS TEN SHILLINGS!
Peter Cushing as King Arthur in his very first appearance with Eric Morecambe and Ernie Wise in 1967. Peter Cushing was the very first straight actor to guest on the show. Cushing's notoriety in the Morecambe and Wise story was his ongoing appearances, over the next ten years, when he made repeated appearances to complain that he was never paid for his initial appearance.
Saturday, 7 July 2012
SUSAN DENBERG PETER CUSHING THORLEY WALTERS: 'FRANKENSTEIN CREATED WOMAN'
PETER CUSHING THORLEY WALTERS AND SUSAN DENBERG : FRANKENSTEIN CREATED WOMAN (1967) HAMMER FILMS (1967)
Friday, 6 July 2012
PETER CUSHING: GRIMSDYKE IN A BOX. STEVE THOMPSON DOES IT AGAIN!
Great new figure available from DISTINCTIVE DUMMIES of PETER CUSHING as ARTHUR GRIMSDYKE from the Amicus Film 'TALES FROM THE CRYPT' (1972). More details here: http://www.distinctivedummies.net/the_roy_ashton_collection.html
Friday, 29 June 2012
PETER CUSHING: 'KEEP CALM!' 'THE VAMPIRE LOVERS' HAMMER FILMS (1970)
Peter Cushing and Ingrid Pitt. 'The Vampire Lovers' (1970) Hammer Films Productions. keep Calm!
PETER CUSHING PORTRAIT: 'THE VAMPIRE LOVERS' HAMMER FILMS (1970)
Not one you see that often of Peter Cushing during the making of 'THE VAMPIRE LOVERS' for Hammer Films in 1970. There are some excellent photographs in our PETER CUSHING AND GALS VAMPIRE LOVERS Behind The Scenes Gallery! HERE
Thursday, 28 June 2012
Subscribe to:
Posts (Atom)
