TIGON'S TALE OF TERROR: THE CREEPING FLESH PHOTOGRAPH GALLERY AND FEATURE

Scientist Emmanuel Hildern (Peter Cushing) unearths what appears to be a missing link while on an expedition in New Guinea.  His attempts at unlocking the skeleton’s secrets are compromised by the precarious mental condition of his daughter Penelope (Lorna Heilbron) and the interference of his bitter half-brother James (Christopher Lee)

In the 1950s and 60s, Freddie Francis established himself as one of the premiere lighting cameramen in Europe, snagging an Oscar for his work on Sons and Lovers (1960) and winning much acclaim for his work on The Innocents (1961).  Like so many directors of photography, Francis had a yen to direct.  He made his first film as a director in 1962 with the obscure romantic comedy Two and Two Make Six (1962), but the German-financed The Brain and the Hammer Films psychological thriller Paranoiac (both also 1962) pointed to where his career would evolve.

Francis, being a pragmatist at heart, initially accepted his pigeonholing as a “horror” director, and would take great pride in imbuing his films with sufficient visual gloss as a means of patching up the often inadequate screenplays he was handed to work with.  As time wore on, however, his dissatisfaction became quite evident – and indeed he would approach most of his directorial assignments of the 1970s with a mixture of contempt and indifference.

There’s really very little to recommend in such films as The Vampire Happening (1970), Trog (1970), Craze (1973) and The Legend of the Werewolf (1974), but signs of his former flair are happily on display in The Creeping Flesh.  Francis responded well to the screenplay by Peter Spenceley and Jonathan Rumbold, with its heady mixture of Victorian sci-fi and Lovecraft-flavored chills.  The end result is his last great hurrah as a filmmaker; he would direct only sporadically from that point on, and in 1980, he made a triumphant return to the station of lighting cameraman when producer Mel Brooks and director David Lynch drafted him to lens The Elephant Man.  He would go on to work with some of the most exciting and dynamic filmmakers of the new generation, including Martin Scorsese (for whom he shot a super stylish redux of Cape Fear, 1991), and would win another Academy Award for his work on Glory (1989).  Francis died in 2007, at the age of 89.

THE CREEPING FLESH

The story is certainly an eventful one, and it affords both of its iconic lead performers an opportunity to shine.  Cushing is cast in the flashier role, while Lee is seemingly relegated to yet another humorless authority figure.  Cushing imbues his character with ample humanity, but it is the character’s single minded obsessiveness which links him most closely with his most famous genre characterizations: Baron Frankenstein and Dr. Van Helsing.  Emmanuel is very much the absent father.  He dotes on Penelope whenever he returns from his trip, and there’s no question that he genuinely adores her, but his work always comes first; ultimately, he fails to realize her gradual slide into madness until it is too late.  True to form, he attempts to over compensate for this by using his discovery in an attempt to “cure” her madness on a biological level – the experiment is doomed to failure, of course, and one is left wondering just how sane he was from the get go.

Lee’s role as the embittered half-brother doesn’t allow him so much screen time (though he was given top billing in deference to his popularity at the box office), but he delivers a wonderfully detailed characterization, just the same. James can barely contain his contempt and jealousy towards his brother, which prompts him to take a certain sadistic glee in getting the upper hand on him. One gets the sense of James’ lifetime of struggle and unhappiness as he was pushed aside in favor of his more “privileged,” upper crust older brother, and as such his actions become almost understandable. It’s a marvelous performance that seldom gets the attention it deserves.

Lee and Cushing are supported by an excellent gallery of character actors. Lorna Heilbron is superb in the difficult role of Penelope, which requires her to run the gamut from doe-eyed, doting daughter to wild-eyed, crazed harlot – and she never hits a false note.  George Benson, who formerly mugged his way through a comic cameo in Terence Fisher’s Dracula (1958), is excellent as Cushing’s devoted lab assistant. Duncan Lamont is properly authoritative as the suspicious police inspector investigating the ensuing carnage, while real-life couple Michael Ripper and Catherine Finn show up in small roles – he as a blustery deliveryman, she as Heilbron’s caring housekeeper.

Francis handles the material with energy and conviction, but the film loses points for its introduction of a pointless subplot involving hulking character actor Kenneth J. Warren as an escapee on the loose from Lee’s insane asylum. Warren is fine in the role, but the subplot goes nowhere and was clearly crammed into an already busy narrative to pad the running time a bit.

The Creeping Flesh also has excellent production values – the sets and costuming are on a par with the best of Hammer, and the creepy music score by Paul Ferris helps to set the right mood. The cinematography by longtime Francis collaborator Norman Warwick is also lovely without being unduly fussy.  Special note must also be made of Roy Ashton’s makeup work.

The title is explained by the fact that the skeleton “grows” flesh when it comes into contact with water – which Cushing discovers when trying to clean it up a bit… The decidedly phallic looking finger that results from this is truly horrific, as is the final reveal of the regenerated skeleton, which becomes exposed to a rain storm when Lee engineers a break in to steal the specimen.  Francis even reuses his “skull point of view” gag from The Skull (1965) to maximize the effect of this gruesome makeup.

Fans of Cushing and Lee would do well to check out The Creeping Flesh if they haven’t done so already.  And even if you already have, it may well be time to go back and reacquaint yourself with it again; it’s a good one.

Feature: Troy Howarth
Gallery: Marcus Brooks

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CLASSIC PETER CUSHING LINES : AT THE EARTH'S CORE (1975)

CAST:

Doug McClure (David Innes), Peter Cushing (Dr Abner Perry), Caroline Munro (Princess Dia), Cy Grant (Ra), Sean Lynch (Hoojah), Godfrey James (Ghak)

PRODUCTION:

Director – Kevin Connor, Screenplay – Milton Subotsky, Based on the Novel by Edgar Rice Burroughs, Producer – John Dark, Photography – Alan Hume, Music – Mike Vickers, Process Photography – Charles Staffell, Special Effects Supervisor – Ian Wingrove, Production Design – Maurice Carter. Production Company – Amicus/Lion International.

SYNOPSIS:
England around the turn of the 20th Century. Dr Abner Perry unveils his invention – The Iron Mole, a giant vehicle designed for exploring the centre of the Earth by drilling through the ground. He and engineer David Innes take the Mole on its maiden voyage but it goes out of control and they lose consciousness. When they come around, they find that the Mole has ended up in a strange prehistoric land at the Earth’s core, which they later learn is called Pellucidar. They are captured by The Mahars, intelligent, telepathic flying reptiles that keep primitive humans as their slaves via mind control. David falls for the beautiful slave girl Dia. When Dia is chosen as a sacrificial victim in the Mahar city, David must inspire the humans to rebellion in order to save her.

FEAR OLD SCHOOL: 'FEAR IN THE NIGHT' WITH FULL REVIEW AND PCASUK GALLEY

In the 1960s, screenwriter Jimmy Sangster made a jump from Gothic horror to the realm of sting-in-the-tail suspense.  It was a move the writer craved, as the Gothic was never a milieu that much appealed to him.  He drew inspiration, instead, from the classic French thriller Les Diaboliques (1955), directed by Henri Georges Clouzot.  Clouzot’s reputation rivaled that of Alfred Hitchcock in his native France , though his name never became quite as prominent on an international level.

Hitchcock had reportedly attempted to buy the rights to the novel upon which the film was based himself, and when Clouzot beat him to the punch, he persuaded the authors, Pierre Boileau and Thomas Narcejac, to write him a fresh piece of material; he would use this material as the backbone for his masterpiece Vertigo (1958).  Les Diaboliques may not seem as fresh and vital today, but this is easily explained by the fact that it was ripped off many times – and nobody drew more inspiration from it than Sangster himself.

Indeed, while many critics would label the thrillers Sangster wrote for Hammer as “mini Hitchcocks,” the screenwriter was always quick to point out that they were truly “mini Clouzots.”  The series got off to a winning start with Taste of Fear (1960), which was directed by the gifted Seth Holt.  The film adopts the Diaboliques formula: an innocent woman is driven to the brink of madness by callous conspirators.

Taste of Fear proved successful with critics and audiences alike, and Sangster would follow up with Paranoiac (1962), Nightmare and Maniac (both 1963), Hysteria (1964), and Crescendo (1969).  The Nanny (1965) and the Richard Matheson-penned Die Die My Darling! (1964) are also often lumped into this series, but the former isn’t really much of a twist-laden shocker, while the latter was done without Sangster’s involvement.

One script that Sangster wrote during this time frame was titled The Claw, and it dealt with a woman being terrorized by a man with a prosthetic arm.  For whatever reason, it never saw the light of day in the 60s, though it would later be dusted off in 1972, when it would emerge as Fear in the Night.

The story is a simple one: psychologically fragile Peggy (Judy Geeson) goes to live with her husband Robert (Ralph Bates) at the boys boarding school where he as just been hired to teach.  While there, she begins seeing and hearing many strange things.  Could the one-armed, reclusive school master, Michael (Peter Cushing), be responsible?

As a thriller, Fear in the Night is pretty much lacking in thrills.  And as a suspense film, it’s also very much lacking in suspense.  The issue is in the casting, though not in the acting.  Everybody is cast much too much to type, thus making it easy to figure out who is trying to get one over on whom.  If Geeson and Joan Collins (cast, something unbelievably, as Cushing’s wife) had swapped roles, for example, the twists and turns of the scenario would have been a little less glaringly obvious.  As it stands, though, Geeson is very much in victim mode throughout, while Collins is her usual bitchy self.  Cushing’s role is very much of the red herring variety, and while it worked well enough with Christopher Lee in Taste of Fear, there’s never very much doubt that the character of Michael is pretty much harmless.  That’s not to say that the actors do a poor job – it’s not exactly a tour de force for anybody involved, of course, but the four principal players (especially Geeson) are in good form.

Much of the blame can be leveled at Sangster, who in addition to writing (with some polish by Michael Dyson), also made another crack at directing with this picture.  The film followed on the heels of Lust for a Vampire and The Horror of Frankenstein (both 1970), neither of which had gone over very well.  To his credit, Sangster displays  a little more flair behind the camera this time around – there are a few nicely staged sequences, and a memorable credits sequence with the camera prowling about the deserted school grounds before settling on the unexpected intrusion of a pair of feet dangling from the air, indicating that something has gone awry.  Indeed, there is enough here to make one wonder if maybe he didn’t have a much better film in him down the road.  As it stands, however, this would mark Sangster’s last outing as a director; he would spend the remainder of his career as a “jobbing” writer and a mercifully pragmatic interview subject.

Fear in the Night failed to ignite much interest, and it would later be released to VHS under the title Dynasty of Fear in an obvious bid to capitalize on Collins’ renewed popularity as Queen Bitch on the popular American soap opera, Dynasty.  It would mark the end of Hammer’s run of psychological thrillers, with the company limping through the next few years attempting to trade on their most popular franchises of yore, principally Dracula and Frankenstein

Written by Troy Howarth
Images and design: Marcus Brooks

REVIEW AND GALLERY: 'FRANKENSTEIN AND THE MONSTER FROM HELL' THE BARON IN BEDLAM

Simon Helder (Shane Briant) is arrested on charges of sorcery when it is discovered that he is following in the foosteps of the infamous Baron Frankenstein.  Upon being confined to a lunatic asylum, Helder is shocked to find that the doctor in charge is none other than Frankenstein (Peter Cushing) himself…

Although The Curse of Frankenstein was the film that put Hammer Studios and actors Peter Cushing and Christopher Lee “on the map,” as it were, as a series it never quite matched their Dracula franchise in terms of popularity.  Hindsight has demonstrated, however, that the Frankenstein series was far more consistent in quality.  Even so, while Warner Brothers reportedly balked at backing a Christopher Lee-less Dracula (Taste the Blood of Dracula, 1969, had been designed to showcase Ralph Bates as a possible replacement for the vocally dissatisfied veteran), Hammer faced no such opposition when they decided to reboot the Frankenstein series with a younger Baron.  As such, Peter Cushing sat out on Horror of Frankenstein (1970), with none other than Bates taking over the role. The film was was a flop, and Hammer decided to go back to basics with their next entry. The film was a flop, and Hammer decided to go back to basics with their entry.

Frankenstein and the Monster from Hell would mark Hammer’s last true Gothic of the era, their last Frankenstein film to date, and Terence Fisher’s swansong as a director.  It is, in many respects, the end of an era.

The screenplay by Anthony Hinds (written under his usual nom de plume of John Elder) would also mark his final feature length script produced by the company, and it has been remarked upon that it bears some similarities to Jimmy Sangster’s screenplay for The Revenge of Frankenstein (1958).  A definite air of déjà vu does hang over the proceedings, but the film never seems stale or half hearted; if anything, it’s something of an elegy for a period of filmmaking that was inevitably drawing to a close.  Hinds and Fisher bring the film up to date by indulging in a number of memorably gory set pieces, but in every other respect it’s very much apiece with the classical style of Hammer horror.  The film doesn’t aim for the experimental, elliptical style of storytelling one will find in the films Christopher Wicking was writing for Hammer during this period, for example (including Demons of the Mind and Blood from the Mummy’s Tomb, 1971), not does it seek to amp up the “sleaze” quotient by tossing in some gratuitous nudity or lesbian lovemaking.

Some critics have attempted to argue that there is a specific continuity from entry to entry in the series, but close examination of the films doesn’t lend much credence to this.  Despite my admitted belief in the auteur theory, which places tremendous emphasis on the role of the director in the filmmaking process, the auteur of this particular series is not so much Terence Fisher as it is the various screenwriters.  Jimmy Sangster wrote both Curse and Revenge, and the two films link together clearly and coherently.  When Anthony Hinds took over screenwriting duties with Evil of Frankenstein and Frankenstein Created Woman, he essentially ignored everything that had come before and offered a kinder, gentler slant to the character.  Frankenstein Must Be Destroyed, written by Bert Batt, most certainly was not consistent with Hinds’ conception – but it did link into the ruthless character devised by Sangster.

With Monster from Hell, Hinds resumed screenwriting chores – and sure enough, the story links into his earlier efforts far more comfortably than it does to the film that immediately preceded it.  (I am divorcing Horror of Frankenstein from this equation, as it was ultimately a tongue in cheek retread of Curse, and it remains an anomaly in the franchise.)  Thus, Evil of Frankenstein ends with the Baron fighting for his life in a fiery conflagration.  Created Woman establishes that his hands are burned.  And Monster from Hell refers back to the character having burned his hands in a fire, thus rendering him useless when it comes to performing intricate surgery.  The Baron’s disposition is also far more mellow and cheerful than the black hearted sadist and black mailer of Must Be Destroyed, though by this stage in the saga it’s quite apparent that Frankenstein is as insane as the patients he is treating at the asylum.

It's unlikely that anybody associated with the film knew that it represented "the end of the line," so to speak.  Chances are, if the film had been a big hit at the box office, Hammer would have put more Frankenstein films in the pipeline.  Indeed, around this time, Italian writer/director Dario Argento even approached the studio with a pre-packaged Frankenstein film of his own - albeit one quite disconnected from their saga, detailing the Baron's attempts to create a super human being in Nazi Germany, with Timothy Dalton attached to play the lead.  This failed to come to fruition, however, as Monster from Hell demonstrated yet again that what Hammer was offering the public simply wasn't in step with the times.  The film's attempts to appease current audience trends towards more graphic violence and gore put off some of the more traditional (ie., genteel) fans, while simultaneously failing to reel in new converts.  Even so, there is a definite sense of finality and melancholy that runs throughout the film.  Whether this was evident when the film was first released, or if it merely seems to be the case in hindsight is open to speculation.  Regardless, if Frankenstein Must Be Destroyed is the "angry" nihilistic entry in the franchise, then Monster from Hell is very much its elegy.

For his final directorial outing, Fisher was blessed with a superb ensemble.  Cushing is immaculate as usual as the Baron, tossing off lines in a distracted manner befitting the character's descent into madness.  Shane Briant is a fine addition to the franchise, evolving from wide eyed pupil to appalled antagonist.  Madeline Smith isn't given much to do as the mute assistant, Sarah, but she brings a delicate, doll like quality to the role.  David Prowse, previously cast as the monster in Horror of Frankenstein, does a nice job under the circumstances - he evokes ample sympathy, but the overdone makeup design is much too over the top to be taken seriously (I understand that the unwitting "donor" of the body was something of a "Neolithic throwback," but really?).

John Stratton steals many scenes as the lecherous director of the asylum, and familiar character faces like Patrick Troughton, Peter Madden and Bernard Lee (who must have really needed the cash - he has but one scene, with no dialogue) add flavor throughout.  Fisher handles the film with his customary economy and skill, adopting an almost detached, documentary-like quality to the various surgery setpieces.  James Bernard is also on hand to contribute a good score, one of his last ever for the studio.

Ultimately, Frankenstein and the Monster from Hell deserves much more respect than it typically receives.  Many a film franchise has been known to go out on a sour note (Castle of Fu Manchu, anyone?), but Monster from Hell proves to be a happy exception.  It is in many respects one of the best films in the series; if you haven't seen it lately, do yourself a favor and take another look.  It's worth it.

HAMMER FILMS 'DRACULA' BLU RAY COMBO NOW JUST £9.25

The blu ray / dvd combo release of Hammer Films classic 1958 'DRACULA' is now reduced in price to just £9.25. The jewel in Hammer Films restoration project. Includes the lost footage and bumper package of extras. Starring Peter Cushing as Van Helsing and Christopher Lee as Dracula, it never got better than this. Highly recommended!

http://www.amazon.co.uk/exec/obidos/ASIN/B00ADSR962

 

GRAND MOFF TARKIN: PETER CUSHING

Peter Cushing as Grand Moff Tarkin as seen in 'Star Wars' Directed by George Lucas (1977)

PETER CUSHING NEWS : DOREEN HAWKINS DIES AT 94

NEWS: DOREEN HAWKINS DIES AT 94. (Telegraph Newspaper 17.06.2013)
Doreen Hawkins, the widow of the late actor Jack Hawkins, surprised her friends late in her life when she disclosed how she had very nearly married Peter Cushing. Mandrake is sorry to hear of the death of Doreen Hawkins, the widow of the late actor Jack Hawkins, by whom she had three children. She was 94.

Late in her life, the former actress startled her friends by disclosing how she had nearly married Peter Cushing. She broke off the engagement to the future horror film star because she didn’t care for the way he kept bursting into tears and arriving for dates accompanied by his parents.

Mrs Hawkins, who lived until the end of her life in a grand apartment in Pont Street, Knightsbridge, married Jack Hawkins in 1947. They were together until his death in 1973.

Sir Donald Sinden, a friend since he appeared in The Cruel Sea with her husband, said he would miss her. “She had a wonderfully dry sense of humour," Sir Donald recalled. "She and Jack had a famously ugly villa on Cap Ferrat, opposite where David Niven had a place, and we had magical family holidays with them.”

NEWS : AUCTIONED PETER CUSHING ITEMS BRING IN TEN TIMES ESTIMATED VALUE FOR HOSPICE CHARITY

NEWS: Personal items belonging to Peter Cushing sold for more than TEN TIMES their estimated value when they went under the hammer at Canterbury Auction Sales on Wednesday 12th June. Offered as a single lot they were sold to a local private collector for £1,700 and the money is being donated to the Pilgrim's Hospices by co-executor of Peter Cushing's estate, Bernard Broughton. Canterbury Auctions also waived it's commission fee for the sale of the items. They had been cataloged with an estimated value of £150. 

Mr Broughton helped care for Peter Cushing in his latter years, before he died at Pilgrims Hospice, Canterbury in August 1994. Mr Broughton has been generous in his support of the Pilgrims Hospices. Mr Broughton who attended the auction, said afterwards, 'I am pleased with the result and I know Peter would have been too. He was extremely well looked after by the hospice at the end of his life' Pictured Bernard Broughton with the sale items with his wife, Joy (right) and Pilgrims regional Fund Raiser, Deborah Kellond.