WHY I WORE CARPET SLIPPERS WHEN I PLAYED TARKIN IN STAR WARS: IN HIS OWN WORDS: PETER CUSHING CLIP

WATCH PETER CUSHING EXPLAIN HIS

DIALIMA HERE

 

Now that Star Wars: The Force Awakens, is out and about...the features and news updates on the net have multiplied many fold...and many mention Peter Cushing...and if they mention Cushing, you can be sure, they'll churn-out the Tarkn Slippers story.

The first time I ever knew about, what is now the legendary tale of Peter wearing carpet slippers on the set of Star Wars when filming, was back in 1979, when I first met Dave Prowse, and he told me about Cushing having to wear those slippers...and why. I thought we had a bit of an exclusive and typed up the story in the Ten Fun Facts On Star Wars section in the revamped Peter Cushing Fan Club Journal for November 1979.

As usual sent I a copy to Peter Cushing and his secretary Joyce Brougton. After a few days, I received the customary letter from Joyce Brougton, thanking me for the latest journal, but pointing out that...' Sir, does not have a problem with his feet, and the fact that he wore carpet slippers during filming, I am sure it will be of little interest to your readers...' Well, Joyce it was and still is. And now, here from 1989 is Peter Cushing, for the first time, explaining the slipper saga himself...... I still have the letter by the way.

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ON THE RECORD: THE THEATRE : CUSHING AND HAMLET

Cushing was to play OSRIC in Laurence OLIVIER'S 'HAMLET' in the 1948 production.

 

NEW YORK TIMES REVIEW : BOSELY CROWTHER: 

SEPTEMBER 30TH 1948 

 

 

It may come as something of a rude shock to the theatre's traditionalists to discover that the tragedies of Shakespeare can be eloquently presented on the screen. So bound have these poetic dramas long been to the culture of our stage that the very thought of their transference may have staggered a few profound die-hards. But now the matter is settled; the filmed "Hamlet" of Laurence Olivier gives absolute proof that these classics are magnificiently suited to the screen.

 

Indeed, this fine British-made picture, which opened at the Park Avenue last night under the Theatre Guild's elegant aegis, is probably as vivid and as clear an exposition of the doleful Dane's dilemma as modern-day playgoers have seen. And just as Olivier's ingenious and spectacular "Henry V" set out new visual limits for Shakespear's historical plays, his "Hamlet" envisions new vistas in the great tragedies of the Bard.

It is not too brash or insensitive to say that these eloquent plays, in their uncounted stage presentations, have been more often heard than seen. The physical nature of the theatre, from the time of the Globe until now, has compelled that the audiences of Shakespeare listen more closely than they look. And, indeed, the physical distance of the audience from the stage has denied it the privilege of partaking in some of the most intimate moments of the plays.

 

But just as Olivier's great "Henry" took the play further away by taking it out into the open—and thereby revealed it visually—his "Hamlet" makes the play more evident by bringing it closer to you. The subtle reactions of the characters, the movements of their faces and forms, which can be so dramatically expressive and which are more or less remote on the stage, are here made emotionally incisive by their normal proximity. Coupled with beautiful acting and inspired interpretations all the way, this visual closeness to the drama offers insights that are brilliant and rare.

 Further, a quietly-moving camera which wanders intently around the vast and gloomy palace of Elsinore, now on the misty battlements, now in the great council chamber, now in the bedroom of the Queen, always looking and listening, from this and from that vantage point, gives the exciting impression of a silent observer of great events, aware that big things are impending and anxious not to miss any of them.

 

Actually, a lot of material which is in the conventional "Hamlet" text is missing from the picture—a lot of lines and some minor characters, notably those two fickle windbags, Rosencrantz and Guildenstern. And it is natural that some fond Shakespearians are going to be distressed at the suddenly discovered omission of this or that memorable speech. But some highly judicious editing has not done damage to the fullness of the drama nor to any of its most familiar scenes. In fact, it has greatly speeded the unfolding of the plot and has given much greater clarity to its noted complexities.

Hamlet is nobody's glass-man, and the dark and troubled workings of his mind are difficult, even for Freudians. But the openness with which he is played by Mr. Olivier in this picture makes him reasonably comprehensible. His is no cold and sexless Hamlet. He is a solid and virile young man, plainly tormented by the anguish and the horror of a double shock. However, in this elucidation, it is more his wretched dismay at the treachery of his mother than at the death of his father that sparks  woe. And it is this disillusion in women that shapes his uncertain attitude toward the young and misguided Ophelia, a victim herself of a parent's deceit.

In the vibrant performance of Eileen Herlie as the Queen is this concept evidenced, too, for plainly she shows the strain and heartache of a ruptured attachment to her son. So genuine is her disturbance that the uncommon evidence she gives that she knows the final cup is poisoned before she drinks it makes for heightened poignancy. And the luminous performance of Jean Simmons as the truly fair Ophelia brings honest tears for a shattered romance which is usually a so-what affair.

No more than passing mention can be made at this point of the fine work done by Norman Wooland as Horatio and by Basil Sydney as the King, by Felix Aylmer as Polonius, Terence Morgan as Laertes and all the rest. Perfect articulation is only one thing for which they can be blessed. A word, too, of commendation for the intriguing musical score of William Walton and for the rich designing of Roger Furse must suffice. In the straight black-and-white photography which Mr. Olivier has wisely used—wisely, we say, because the study is largely in somber mood—the palace conceived for this "Hamlet" is a dark and haunted palace. It is the grim and majestic setting for an uncommonly galvanic film.

BORN TODAY: WE REMEMBER RAY MILLAND

Today we remember the very talented actor Ray Milland, whose screen career lasted from the 30's all the way into the 80's… and covered multiple genres with his most notable films being The Lost Weekend (1945) (for which he won an oscar) , Dial M For Murder (1954) and the horror classic's The Premature Burial (1962) X The Man with the X-ray eyes (1963) both for Roger Corman. He starred with Peter Cushing in The Uncanny (1977) and The Masks Of Death (1985) ….. Do you have a favourite Milland film?

BREAKING HEARTS BEFORE HE STOPPED THEM: CUSHING AND THE END OF THE AFFAIR

"Oh God, don't let him be dead. Give him that chance. I'll love him, I'll do anything, only just let him be alive. I'll never quarrel with him again or make him unhappy. I'll be sweet and kind and good. I... I will be good. I'll live as you would want me to live. I'll give Maurice up forever. Only just let him be alive! Just let him be alive!"

Cushing really does give a superb performance.

Check out this emotion packed short clip 

The film 'THE END OF THE AFFAIR' (1954) is based on Graham Greene's complex novel and directed by Edward Dmytryk, who made several highly regarded film noir thrillers, including Murder My Sweet and Crossfire and came to England because of the anti -Communist blacklisting in America.

The film was produced by David Lewis, the long time lover of James Whale. Whether Lewis remembered the handsome stand-in for Louis Hayward in Whale's 1939 'Man In The Iron Mask' or not, this was certainly an important part for Cushing to land, oppersite Hollywood star Van Johnson and Deborah Kerr.

Greene's book was an examination of his own faith and, although it was not known at the time, was a roman-a-clef for the novelist's own adulterous affair with Catharine Walston. The film is shot through with a tone of pessimism and disappointment, and in the end all but collapses under a cartload of Catholic guilt.

There's a rather flamboyant piano score too, much given to melodramatic bashing on the keyboard at particularly emotional moments. Johnson is woefully miscast - he does his usual flat turn and seems not to understand the material. Greene, who vetoed Gregory Peck for the lead was appalled at the choice of Johnson and noted that the actor chewed gum during the love scenes, when not in shot. Cushing however, achieves a kind of brilliance with bhis portrayal of the wronged husband, a man with 'a mind as neatly creased as his trousers' and it is sobering to think that but for 'Nineteen Eighty Four' (BBC 1954) he might have carried on playing this kind of repressed individual for as long as it was needed.

The plot of 'The End of the Affair' is fragmented, and told in a series of flashbacks. During the Second World War, American Miles Bendrix (Johnson) is writing a book on the British civil service when he meets Henry Miles (Cushing), who works in service pensions. Miles presents  Bendrix to his devoted wife, Sarah (Deborah Kerr)  - and soon Bendrix and Sarah are having an affair. (Although what they actually do is left terribly vague) After an air-raid, Sarah suddenly becomes cold to Bendrix and returns to Miles. The rest of the film reveals her reasons for her sudden change of heart.

Though stuffy and pompous, Miles is genuinely in love with Sarah. As time passes and her behaviour remains erratic, he considers employing a private detective to investigate her, but ultimately cannot.

'They always say, don't they, that the husband is the last to know...'

Miles is equally unable to answer to his wife's questions about her faith. When she asks her husband if he prays, he is at a loss. 'I was taught to. In church, whenever I go . . . Really, this isn't the sort of thing to go into over a cup of tea!'

Towards the end of the film, Miles is a man on the point of despair and Cushing's performance is deeply affecting. 'I know I'm dull for you, Sarah.... frightfully dull. . .' he sobs. 'But I couldn't start again. It's too late, do you see?' As Sarah succumbs to a fatal fever, Cushing descends the stairs with a blank expression, unable to comprehend. It is another meticulous and disciplined performance, and Deborah Kerr is a graceful and generous co-star.

This review was taken from Peter Cushing: A Life In Film by David Miller. Available for purchase by clicking this link 
Miller's book a a triple thumbs up from PCAS  upon it's release in 2013 and is highly recommended.

Edit Graphics and Images here: Marcus Brooks

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TWO PERSPECTIVES ON ACTING: TEETH, TOOTHBRUSHES, TYPECASTING, LEADING MEN AND WEARING THE BLACK HAT!

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NEWS: MORE CUSHING PERSONAL EFFECTS GO UNDER THE HAMMER AT AUCTION!

NEWS: MORE Peter Cushing Personal Effects went under the hammer at John Nicholson’s of Fernhurst Auction House on December 12th 2015. Listed as '...two multiple lots relating to Hammer film star Peter Cushing. Cushing’s green canvas and leather-trimmed suitcase and travelite patent suitcase are offered together as a single lot, as are one of his three-piece suits, a blue check jacket, blue trousers and two cardigans. Also consigned, but not yet processed are Cushing’s paints – a talented artist, he was taught by his friend Edward Seago – his theatre make-up and a selection of games and puzzles.....' The auctioneers at the time estimated that each of these could cost as little as £100-£150. As yet, no details have been released as to their final hammer price...

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A NEW YEARS EVE SNAP SHOT OF 2015 WITH THE PETER CUSHING APPRECIATION SOCIETY

Well, 2015 has been quite an exciting year, but not without it's ups and downs. It's been a year of meeting more friends, more than any other during our time on facebook. We've had more competitions this year, I haven't counted how many blu rays and dvd's and prizes we've given away this year, but skipping through the banners, I can see many have had a parcel of goodies through their letter box this year. It's been a year of making friends and links with Warner Brothers, Eureka, Screen Bound, Twilight Time and many others, all who have been extremely generous to us with sponsorship of our competitions, and I would like again to thank them for their friendship and generosity.

PETER CUSHING'S COAT BRINGS IN THE CASH

FOR PILGRIM'S HOSPICE CHARITY: HERE 

Cushing's Tales from the Crypt 'Grimsdyke', look-a-likey popping up in 'The Walking Dead', Talk of Cushing re-appearing as Tarkin in Star Wars: Rogue One. It's surprising how often Cushing still pops up in the news. And the releases of a truck load of remastered blu rays of some of Cushing's best work, has kept our news posts very busy. November brought us the release of Donald Fearney's 'Milton Subotsky's and Max J. Rosenberg's AMICUS VAULT OF HORRORS' mammoth documentary. A labour of love and what has to be the definitive history of Amicus films. Cushing's over coat and cardigan, auctioned on ebay to provide some much needed funds for the Canterbury Pilgrim's Hospice, has brought the year to a satisfying end.

OUR COMPETITION WITH COPIES TO WIN OF DONALD FEARNEY'S 

DOCUMENTARY: READ OUR REVIEW WITH GALLERY AND WHERE TO ORDER YOUR COPY : HERE

THE TRAILER FOR DONALD FEARNEY'S 'AMICUS : VAULT OF HORRORS'

DOCUMENTARY.  PRESS HD FOR HI RES VERSION

READ ALL ABOUT! HERE

 

For many Peter Cushing, is more than an actor, celebrity and gentleman.. he kept many hearts a flutter, and not just through fear in his fantasy films.. he was a heart throb..and never more so than during the 1950's, when he was hardly off the tv screen... what has been one of the very interesting things about this year, has been watching our female following stats growing every week, and a regular flow of comments from followers, expressing the kind of platitudes reserved usually, for the likes of actors like Benedict Cumberbatch and his like... so for you, here's our New Year's Eve Peter Cushing tribute video... Peter would have been thrilled that even up to the end and..after, he could still make hearts skip a beat, in more ways than one!

A VERY WELL PUT TOGETHER ROMANTIC TRIBUTE TO PETER CUSHING

EDITED BY SRHFTW AND SUNG BY GIRL IN A COMA

We have also sadly lost quite a few friends and associates of Peter's this year, many have left a sad space, never to be filled ...and none more greater than Sir Christopher Lee. We all knew one day it would happen, but it was, I am sure for all, a great shock when it happened. He, like Peter will always be missed and remembered, and we will continue to keep his memory alive too.

THE ONLY WAY IT COULD BE DONE! CHRISTOPHER LEE TRIBUTE VIDEO POSTED AT PCAS ON THE DAY HIS PASSING WAS ANNOUNCED
.... HIS WAY! 

So, we look to the next 365 and what it will bring. We have a few surprises up our sleeve, I'll endeavour to keep the posts coming. Your support as ever is greatly appreciated. It's YOUR page and the website too. It's been a year that would not have been any fun, if you'd not all been around to help share it!

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I would like to thank all our visitors, friends and followers for your interest, enthusiasm and support in keeping the memory of Peter Cushing very much alive! Thank you. A Very Happy New Year to EVERY, ONE, OF, YOU!

Marcus Brooks (admin / editor )

TRAILER: THE HISTORY OF AMICUS FILMS: DONALD FEARNEY'S DEFINITIVE DOCUMENTARY DVD

ABOVE LOW RES TRAILER

Amicus Vault Of Horrors The definitive documentary on Amicus films… Packed with UNSEEN footage and production photographs. Includes interviews that tell the behind scenes story on the production of such Amicus classics as Tales From The Crypt, Dr Terrors House Of Horrors… in fact EVERY film that Amicus ever produced! Duration: 146 minutes. Region Free. Available from pay-pal account: PEVANS113@BTINTERNET.COM
£20.00 includes P&P anywhere worldwide

OUR FULL REVIEW WITH GALLERY CAN BE FOUND  HERE

 

FIND OUT MORE ABOUT 'AMICUS: VAULT OF HORRORS' FROM OUR FULL REVIEW AND GALLERY OF SCREEN CAPTURES: HERE

JOIN US AT THE OFFICIAL FACEBOOK FAN PAGE OF THE PETER CUSHING APPRECIATION SOCIETY  HERE UPDATED SEVERAL TIMES EVERY DAY. RARE PHOTOGRAPHS, NEWS, FEATURES, PRIZE COMPETITIONS. NOW WIT OVER 20,000 FOLLOWERS!