#THROWBACKTHURSDAY: REMEMEBERED TODAY: ANTON DIFFRING

REMEMBERING: ANTON DIFFRING. Born today in 1918, Anton Diffring came from a family that boasted generations of actors. Cool and noble with a German accent, he was first in line when the casting call went out for German officers with a nasty streak. He quickly slipped into the role of Baron Frankenstein for the pilot episode of Hammer films and Columbia Pictures, 'Tales of Frankenstein' in 1958 and even quicker filled the role of Dr. Georges Bonnet in Hammer's 'The Man Who Could Cheat Death' in 1959, when the studio found themselves without Peter Cushing for the role.

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Diffring is probably best remembered for his roles in 'The Blue Max' in 1966, 'Where Eagles Dare' in 1968 and François Truffaut's Fahrenheit 451 (1966) He was also cast in several film alongside Peter Cushing, 'Shatter' for Hammer in 1974, 'The Beast Must Die' for Amicus also 74 and Tyburn's 'The Masks of Death' with Peter Cushing as an elderly Sherlock Holmes in 1984. Anton Diffring died in 1989 aged 70.

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#GIMMETHEGIFWEDNESDAY: DE SADE, WANDERING HANDS AND ALTER EGOS

#GIMMETHEGIFWEDNESDAY: Here's are this week's selection of requested GIFS, sent in by you the followers and friends of the PCAS FACEBOOK FAN PAGE

THERE IS ALWAYS a good reaction to any posts we make that centre around the theme of Peter Cushing's 1965 Amicus film, THE SKULL. A tight and suspenseful drama, that poses a different kind of threat, namely the 200 year old skull of the Marquis de Sade, a French aristocrat, philosopher and writer of explicit sexual works, who was born in Paris in 1740! But, for Amicus films purposes, the naughty works and business is left for another day!   Again, producer Milton Subotsky came up with another excellent cast with which to furnish his latest horror on a budget flick. Lead Peter Cushing is supported not only by Christopher Lee, but also Patrick Wymark, Nigel Green, Michael Gough, Patrick Magee, Peter Woodthorpe and Jill Bennett. Actors who had been tried out by Amicus in previous outings, and had passed mustard in some Hammer films too. The film uses quick, basic and workable effects, via some strings, wires and some clever editing. Director Freddie Francis using his 'through-the eye sockets pov for the first time here.  A good example is the shot in the GIF above. Peter Cushing would have to be a tad-dab-hand with a dagger, to hit that eye socket the first, second ..even maybe fourth take, if he was lucky. However, placing the hand on the dagger handle, the blade in the eye socket, then pulling the dagger OUT, and cranking the motion BACKWARDS in post, would get you a hit every time! And, just like the movie itself, a HIT . . no matter how many times I have watched it! KEY MOMENTS: Cushing possessed by The Skull tries to commit murder. The nightmare abduction of Cushing and his on-the-edge-of-your-seat trial!

REQUESTED BY A. RANDELL

 

 

'AND NOW, THE SCREAMING STARTS' was Amicus films one and only step into the territory usually inhabited by Hammer films. Spooky castles, creepy graveyards, frilly cuffs and cloaks. Gothic ghost stories, was maybe something they tried, as a scene in a short story in their familiar portmanteau films, but as a full length movie, 'AND NOW, THE SCREAMING STARTS (1973)' was the only full length feature, and the result was patchy. Shot under the production title of 'Fengriffen', the name of the novel by David Case, Roger Marshall wrote a screenplay that at times manages to be, predictable, yet confusing and contrived. However, the cast are entertaining as, Cushing, Ian Ogilvy, Herbert Lom, Patrick Magee and Stephanie Beacham all go through the 'ghost story-by numbers' for what feels like forever. 'And Now . . ' also marks the debut of Peter Cushing's  wavey full head wig! In interviews Cushing compared his 'full mopped' appearance to that of actress Helen Hayes!. However, research has shown, it was Cushing himself who requested the wig and would go on to wear it in Hammer films, 'Frankenstein And The Monster from Hell' and as Count Gerard De Merret in LA GRANDE BRETECHE, an episode of Anglia Television's popular series 'Orson Welles Great Mysteries' in 1973. Fans hated the mop then, as they do now!

Probably the best scene in 'And Now . . . ' can be seen here, in our requested GIF. Desecrated tombs, smashed skeletal remains, a raving madman and face off with an axe, all played out in a lashing storm in a family cemetery, makes for high drama, as Cushing's Dr Pope tries to reason with a not too happy Ian Ogilvy. It's certainly worth a watch, for Cushing's Dr Pope. Although he doesn't get a whole lot to do, the film noticeably lifts, when he arrives and gives the story a high five...and no, I am not referring to the wandering severed hand, that pops up and clumps around either. Yes, the Amicus's clock-work, five fingered fiend makes an other appearance! Having already built up a following after it's debut in ''DR TERROR'S HOUSE OF HORRORS' IN 1965, it turns up in Amicus future features  'SCREAM AND SCREAM AGAIN' and 'ASYLUM'

GIF REQUESTED BY K.BARNES

 

#GIMMETHEGIFWEDENESDAY: It's interesting that of all the requests we've received for GIFS since last week, and have shared over the last seven days on the PCAS FACEBOOK FAN PAGE  , just under half were from the films that Peter Cushing made for Amicus films. Evidence that maybe Subotsky's and Rosenberg's efforts are getting their fair share of the recognition and a slice of the appreciation pie at last? However, no matter how that tide may turn, like Hammer films, Amicus also had their fair share of misfires. 'I.MONSTER' is not a failure by any standards. The short fall that can be seen and felt in the film, is the product of 'management mangling'. It's a film that frustratingly sits, through no fault of it's director and cast, somewhere between classic and clunky. Destructive meddling and tampering on a fools errand, with the laughable idea, of what was considered by it's producer, to be a cheap way of making a film, in 3D, caused much damage. The film that was ultimately released contained several scenes and shots that were filmed to accommodate that notion. Tracking camera shots from behind plants, obstructing test-tubes and pillars, to say nothing of 'objects being thrust' at the camera, that makes I, MONSTER at times, a very odd watch.

Stylish direction from a very young Stephen Weeks holds the story firmly together, and it's a version that many of the Jekyll and Hyde purists, seems to like*. Performances from Cushing and Lee are very good indeed. Lee owns his Mr Blake. Again, Cushing doesn't have a lot to do in the way of anything dynamic, but it's not that kind of role or film. And though the ending maybe quick, it's a good one, even though time constraints may have been the reason behind the obvious doubling of Lee's stand in, Eddie Powell, getting more than his fair share of the accidental close ups. The supporting cast does well, even with the weird appearance, of Radio DJ Mike Raven strolling through a late 1800's drawing room in full Victorian get-up! All play well and, look great.... the film indeed, DOES have a wonderful air and look of authenticity. Pinewood studio's still standing streets sets, from their mega budget musical 'OLIVER', do much to make the film look far more expensive than it really is. Sets were never Amicus's 'thing'. Many of their films were hurriedly shot at Shepperton and Pinewood, on the sets left behind from other productions, just DAYS before they would be struck or demolished.  For me personally, the problem is the score. A dreary string sawing quartet, pinches out the thinnest of tinny, depressing and mawkish sounds. When taking my annual viewing of this film, I SKIP the opening title roll, or I'd be 'hanging' from the rafters, by the last credit!

GIF REQUESTED BY PAULINE TANKERTON

* Producer Milton Subotsky, decided to rename the lead characters of this Robert Louis Balfour Stevenson  classic, Dr Marlowe and Mr Blake. It has been claimed that he changed the names on learning that Hammer films were  shooting their own variation on the theme, with Dr Jekyll and Sister Hyde . When I interviewed Milton Subotsky for the camera in 1982, and asked him to explain his choice of changing names. Milton confidently told me, 'I thought it would be a fun thing to do!..I wanted to add, 'Like making a film in 3D???' but opted to keep my trap, shut tight!

 

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#TOOCOOLTUESDAY: ROGUE ONE TARKIN WILL BE A WINNER!

#TOOCOOLTUESDAY: The making of a very good prosthetic likeness of #petercushing as #grandmofftarkinalong with addition CGI work will make #grandmofftarkin in #rogueone a definite improvement on his appearance in Star Wars: Revenge of the Sith.

 

 

 

 

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#TOOCOOLTUESDAY: GRAND HORROR HOUSES AND A BIRTHDAY GIRL WITH GIFS!

 

 

#TOOCOOLTUESDAY Peter Cushing out and about in Munich in 1979, during the making 'Hitler's Son'. It's another case of 'Horrendous film made in Europe . . .  but did provide us some great photographs!'

#TOOCOOLTUESDAY: Ok...so I am guessing, the photographer said, 'That's great Peter. HOLD IT there! ...and he did just...that Peter Cushing with Joyce Broughton his friend and secretary for 35 years.

#TOOCOOLTUESDAY : Finally, can you name the Peter cushing films, in which these very grand houses appeared??

#TOOCOOLTUESDAY: TODAY OCTOBER 18TH, A Birthday Girl! HAPPY BIRTHDAY TO THE GORGON TODAY...52 years old! We mark this one every year, but a tip of the hat, top of course...to our good friend, Joshua Kennedy who reminded me.. So, ...For Gorgon-Super-Fan Josh, you know, you nor the movie haven't aged a day!

 

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#MONSTERMONDAY : THE CREATURE : MONSTER OR VICTIM?

#MonsterMonday: Christopher Lee as The CREATURE in the first Hammer film to both star him and Peter Cushing, The Curse of Frankenstein (1957) Well...we posed the question, as we do every Monday...was he a monster or a victim?

Lots of interest over at our FACEBOOK FAN PAGE. BELOW ARE SOME OF YOUR COMMENTS AND REACTIONS:

S.GREEN: 'The creature is a victim of things that man should best leave alone.'

J.PLAYER: '100% victim - in a way he was like Hazel Court, caught between the conflict with Peter Cushing and Robert Urguhart'.

L.CONROY? 'The look on his face when Frankenstein commands him to stand up, walk over, sit down, etc...he's like a beaten child. Total victim, I agree.'

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CRAZY AS A FOX AND PUSHED TO THE 'MAX' : ASYLUM (1972)

#GRABTHECUSHIONITSCUSHING... Here is the second of our SUNDAY posts under our new theme looking at some of the most frightening scenes from Peter Cushing films.... This week it's a clip from Amicus's Asylum (1972) SPOILERS...… In which Dr. Martin (Robert Powell) learns the truth about 'Max' (Geoffrey Bayldon)…. Always found that laugh particularly chilling…. How DOES THIS scene rate in your FAV CUSHING terror scenes???

THE CLIP ABOVE has stirred up some child-hood memories and revisited nightmares over at our PCASUK FACEBOOK FAN PAGE! Here are a small selections of comments from visitors:

W.SLEET:'The climax of 'Blind Alleys' from TALES FROM THE CRYPT was one of my most vivid childhood scares. Many of the Amicus films scared me more so than any of the Hammer films ever did - the combination of the contemporary setting (as opposed to costumed dramatics), plumby acTORs and gleeful gallows humour can be very unsettling - but, even now, this chilly little tale still makes me shudder!'

J.THORLEY: 'This was especially shocking when I was little, I expected a traditional happy ending. See also the hammer house of horror episode The Silent Scream! Really disturbing'.

J.MORROW: 'That last scene with that creepy laugh chilled me to the bone. Geoffrey Bayldon gave an unforgettable performance' 

P.DUFFUS: 'A classic..great music too...Mussorgsky..the PC story my favourite on this one with the suit..' 

D.FULCE: 'Spent a day with Geoffrey a few years back and told him I thought his laugh was on par with Dwight Frys in ' Dracula ' as most chilling ever !!'

B.MAIDMENT: ' I love this film and can watch it again and again. I cant decide
which story I like the best . Herbert Lom with his scary dolls or could it be Brit Eckland as Lucy. Peter Cushing with the suit but I know Geoffrey Bayldon out shines them all in this film Great acting.

C.CARLEY: Love Geoffrey Bayldon, he was magic as Catweazle and I loved that small role he had in Dracula

MORE CLIPS TO GET YOUR PULSES PUMPING AND FINGERS CUSHION CLUTCHING NEXT SUNDAY! RIGHT HERE!

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MARGARET ROBINSON 1920 - 2016

VERY SAD TO HEAR of the passing of Margaret Robinson yesterday. . . . a very important member of the Hammer films in house company, and the wife of Bernard Robinson . . more than that, she was an artist in her own right, and the creator of beautiful paintings, marionettes and masks. I first met Margaret in 1979, as she strolled around a convention room, without a name badge. While queuing for a coffee, I struck up conversation with Margaret, but not knowing her asked, if there was anyone in particular she had come along to meet and chat with from the Hammer films guests. She laughed and said, 'Well, I was rather hoping someone would want to talk to me!' Puzzled and apologizing for sounding rude, I asked, 'You are a guest?' 'Yes!' she laughed, '...my husband was Bernard Robinson, the set designer for Hammer films, I am Margaret, I made the masks for THE Hound of the Baskervilles!'

EMBARRASSED, and surprised, I introduced myself and while quickly grabbing her a coffee, asked her if she would mind being interviewed? In a hotel room upstairs, interviewed everyone at the event, I was preparing the first PCAS audio magazine, and had started presenting my first radio programme at a regional BBC radio station. Margaret was the very first person I ever interviewed with a connection to Peter and Hammer films.

During our two hours together, she had a sketch pad on her lap, I thought she was jotting down my questions and doodling. It was only after the interview, she presented my with a beautiful and detailed sketch...of me asking her questions! Signed and framed, it's one of my special things. We kept in touch until five years ago. Always light, unpretentious and extremely kind, she had a no nonsense approach, and much empathy for young people and the arts. Her husband, Bernard who passed at the young age of 57 is quoted as once saying as saying, It's not the LENGTH of a life that counts, but, the quality'. In Margaret's case, she certainly had both...

 

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