PETER CUSHING BY NUMB3RS!

A NICE CLEAN AND STYLISH WAY OF PRESENTING TITILLATING

BITS AND BOBS ABOUT PETER CUSHING. STARTS TODAY. HERE AT PETERCUSHING.ORG AND THE PCASUK FACE BOOK GROUP!  

PETER CUSHING CHRISTOPHER LEE FLYING CARPETS AND EMMA SAMMS!

SYNOPSIS:

Set in the Arabian city of Jadur in mystical times past. The three principal characters in this adventure are the evil magician Caliph Alquazar who lives in the palace; Majeed, a poor young Arab boy who arrives in the city looking for water; and Prince Hasan of Baghdad who comes to the city hoping to meet the beautiful Princess Zuleira who lives in the palace. Majeed and the Prince briefly meet up and exchange kindnesses before going their separate ways.

Alquazar is Princess Zuleira's stepfather who has become corrupted by evil and made the once benevolently ruled city a harsh place to live. Alquazar has a secret chamber in which he keeps a magic mirror which enables him to remotely view any location. Alquazar's aspiration is to possess the fabled Rose of Ilil, a talisman so powerful it will enable him to rule the world - but because of his evil he cannot fetch it for himself, it must be delivered to him by someone noble of purpose.

The mirror alerts him that the very person has arrived in the city and shows him an image of Prince Hasan in the company of a young Arab boy. Alquazar sends his guards to capture the Prince - not an easy task because the Prince is a valiant fighter, but eventually he is apprehended. Alquazar says he will permit Hasan to marry Zuleira if he first goes on a quest to bring back the Rose of Ilil. Hasan agrees and Alquazar sends him away on a magic carpet. Along the way Hasan is unexpectedly joined by Majeed who is transported to the carpet by his guardian angel genie Vahishta as a way of evading some city ruffians.

The carpet delivers them to the island of Ilil where there are a number of dangers to overcome as they encounter various protectors of the Rose. Eventually they find the magical Rose but it turns out to be young Majeed who was the noble one that the mirror was showing as able to pluck the glowing crystalline Rose.

The travellers return to Jadur but it soon becomes clear that evil Alquazar is not intending to honour his bargain and is planning to kill them once the Rose is handed over. Majeed works out what to do to defeat the wizard and throws the Rose of Ilil into Alquazar's magic mirror which sucks the evil one inside and reverses all his evil spells.

The kingdom is restored to its previous happy glory and the deposed former ruler is released from the dungeons to reign again. Prince Hasan and Princess Zuleira are married.

COMMENTARY:

This is a movie about the classic 1001 Nights. It was very much overlooked at the time it came out and still is, I guess. For a British low-budget movie it had a big cast: Christopher Lee, Peter Cushing, Capucine, Mickey Rooney, Milo O'Shea, Emma Sams, Oliver Tobias (well, some of them are or were big). Most of all, this is a tribute from Christopher Lee to Conrad Veidt in The Thief of Bagdad (1940). And he does a marvelous job, clad in black and looking as sinister as in his best Dracula- or Fu Manchu-movies.

Peter Cushing could be called mostly waisted in a small cameo-part, but that was his choice to sign up for a part in it anyway I guess; Mickey Rooney does his usual buffoonery but not totally out-of-place in this movie. The special effects vary from shoddy to amazing. The mechanical fire-breathing monsters don't look too convincing.

The flying carpet-scenes on the other hand are very well executed, in some moments even breath-taking (considering this movie was made in 1979, 2 years after Star Wars and clearly some of the flying carpet-scenes were executed with the knowledge they had already learned from Star Wars). If one compares this movie with the original The Thief of Bagdad from 1940, of course the special effects in An Arabian Adventure are better, even on a small budget. It is a children's-movie, for most parts. Or a family-movie. Not a masterpiece, but very entertaining in its own right.

PETER CUSHING AND CHRISTOPHER LEE : THE LAST MEETING NEW IMAGES AND CLIPS: COMING SOON

PETER CUSHING 'PIC OF THE WEEK No 1' CHRISTOPHER LEE AND KEVIN CONNOR

EVERY WEEK A SMASHING STILL PULLED FROM OUR FILES!

THIS WEEK: PETER CUSHING AND CHRISTOPHER LEE BEHIND THE SCENES:

PETER CUSHING CHRISTOPHER LEE AND DIRECTOR KEVIN CONNOR ON THE SET OF 'ARABIAN ADVENTURE' AT PINEWOOD STUDIOS IN 1978. THIS WAS THE FIRST TIME FOR CHRISTOPHER LEE TO RETURN TO WORKING IN A UK STUDIO FOR OVER TWO YEARS. CHRISTOPHER LEE PLAYED THE WICKED CALIPH ALQUAZAR, HIS FIRST MACABRE ROLE IN ELEVEN FILMS. PETER CUSHING HAD A GUEST ROLE AS THE CAPTURED WAZIR AL WUZARA. THE FILM COMMENCED SHOOTING IN SEPTEMBER 1978 AND ALSO STARRED OLIVER TOBIAS, MILO O'SHEA AND EMMA SAMMS ALONG WITH MICKEY ROONEY.

PETER CUSHING: SURPRISE 80TH BIRTHDAY PARTY IMAGES.

PETER CUSHING'S 80TH BIRTHDAY ON 26TH MAY 1993 WAS CELEBRATED BY A MAGNIFICENT SURPRISE BIRTHDAY PARTY. FRIENDS ATTENDING INCLUDED DON HENDERSON, PAUL EDDINGTON, MICHAEL GOUGH, TIMOTHY WEST, ERNIE WISE, HIS LONG TIME FRIEND PETER GRAY, MICHAEL AND ANN REDINGTON AND MANY MORE. 

HERE WE PRESENT SOME IMAGES FROM A VERY HAPPY AND SPECIAL DAY:

  

 Michael Gough worked with Peter in Hammer Films 58 DRACULA as Arthur Holmwood. He is one of the first to arrive at the secret venue.

Paul Eddington, best known to Hammer fans for his role as Richard Eaton in 'The Devil Rides Out' and the highly BBC television series 'Yes, Minister', sneaks in the back door.

  As the last of the guests are slipping into the living room, Peter arrives with his secretary Joyce Broughton, who unknown to Peter has arranged the secret party. Peter is told to go into the living room, were someone wants to wish him a 'Happy Birthday'

Sheepishly, Peter peeps around the doorway....

...where everyone surprises him by bursting into song, singing 'Happy Birthday To You'....

Peter is delighted and very surprised and joins in with the singing.

The singing and cheering ends with 'Three Cheers for Peter', as Peter recovers from the shock!

One by one, Peter greets his guest, with hugs and handshakes.

  Peter embraces actress Rebecca Lacey, daughter of Ronald Lacey. Someone we suspect Peter has known since she was a child.

Bearing gifts and a Birthday Card...Ernie Wise. One half of the celebrated comedy duo 'Morecambe and Wise'. Peter appeared on their variety television show, a total of six times....asking for his money...!

Another old friend, actor Timothy West.

Fellow actor, Don Henderson who worked with Peter as General Taggi aboard the Death Star in  'Star Wars' and played Peter's 'son in the attic' in Tyburn Films 'The Ghoul' in 1975. With him his wife, actress Shirley Stelfox. Shirley appeared with Peter back in 1967, when she played 'Girl at the Party' in 'Corruption'!

Another chorus of 'Happy Birthday'....

Peter puts on his reading glasses to inspect his Birthday Cake, a one-off creation, decorated with motifs reflecting Peter's life and career.

Finally, as a gesture of thanks and appreciation......

Peter stands to attention...and salutes everyone for a cake and a party very well done, indeed!

Peter poses for the press. Raising a thankful glass in appreciation for a wonderful surprise party and a 'Very Happy 80th Birthday'!

PETER CUSHING: PRESS AD AND PAPER BACK TIE IN 'THE FLESH AND THE FIENDS'

PAPER BACK TIE AND PRES AD FOR BODY SNATCHERS CHILLER 'FLESH AND THE FIENDS' TRIAD PRODUCTIONS 1959 DIRECTED BY JOHN GILLING

'HEAR NOW, THE LEGEND OF THE HOUND OF THE BASKERVILLES' PETER CUSHING, ANDRE MORELL : SHERLOCK HOLMES : HAMMER FILMS GALLERY AND REVIEW

Considering that I like the character of Sherlock Holmes so much, it may come as some surprise that I’ve never read a word of Sir Arthur Conan Doyle’s original stories. My first, and most extensive, contact with Sherlock Holmes comes from the films starring Basil Rathbone as the world’s greatest detective and Nigel Bruce as Dr. Watson. I’m aware that the performances these two gave, and the stories they were involved in, varied (sometimes greatly) from the source material, but I like them all the same.

Because I’m so familiar with the Basil Rathbone versions, it’s always interesting when I get to see another actor’s take on Holmes and another set of filmmakers’ approach to the same basic material. Consequently, when the Hammer Films version of The Hound of the Baskervilles aired on MGM HD — an almost, but not quite, variation on Turner Classic Movies — I jumped at the chance. I happen to have a fondness for Hammer productions, so this was a two-fer.

Hammer is known primarily for its horror output (all those Dracula movies foremost among them), so The Hound of the Baskervilles is something different. It still has a quasi-Gothic feel to it — it takes place primarily in a manor house on a moor, after all — so it’s not as divergent from Hammer’s usual product as all that, but it lacks any supernatural elements and is, basically, a straight-up Sherlock Holmes movie with a few Hammer touches.

The Hound of the Baskervilles has been made into a movie 24 times, so I’m going to lay odds you’ve seen at least one version at some time in your life. Accuracy to the source material varies, I’m sure, so arguments can be made about which is more faithful, but for me these kinds of things boil down to who’s playing Sherlock Holmes and Dr. Watson. I’ve already told you that I favor Basil Rathbone and Nigel Bruce, but in this film we have Peter Cushing and André Morell.

First a quick word about Peter Cushing. I have seen him in other things, most notably as various Van Helsings and Frankensteins in Hammer Films’ other type of movies. Despite all this, the very first thing I think of when I see Peter Cushing is Star Wars. I know it’s unfair to boil an actor down to a single role like that, and it’s equally unfair to Alec Guinness, who likewise had a long and varied career, but Peter Cushing equals Grand Moff Tarkin in my mind. As a result, he had a tough row to hoe when it came to winning me over as Holmes. It may surprise you that it didn’t take long.

Peter Cushing makes a really excellent Sherlock Holmes, and he went on to play the character many times afterward, so I’m not the only one who thought so. He has the almost sneering air of superiority about him that Basil Rathbone did so well, while remaining just likable enough in his brilliance that we can still root for him as the hero. Equally important, André Morell acquits himself quite well as Dr. Watson, something that’s absolutely essential in The Hound of the Baskervilles because Holmes is offscreen for fully one half of the picture.

Morell’s depiction of Watson is completely absent the lovable buffoonery that marks Nigel Bruce’s portrayals of the character and is more in line with (as I understand) his literary roots. Let us not forget that Watson is a decorated war veteran and, while he may not be as gifted intellectually as Holmes, is a medical doctor and partner to the detective. In the whole of this The Hound of the Baskervilles he does precisely one silly thing, which serves as foreshadowing for the demise of one of the other characters.

Story-wise there are differences between this film and the other with which I’m familiar. I consider these the Hammer touches. For example: the Baskerville family apparently suffers under a curse brought upon them by the excesses of an ancestor. In The Hound of the Baskervilles (1939), this information in shared with the audience via good, old-fashioned exposition. In this The Hound of the Baskervilles, we get a prologue set well into the past, where Sir Hugo Baskerville holds a wild party in which murder and rape are on the menu. This is the kind of thing that set Hammer Films apart from, say, Universal’s horror output: the willingness to push the envelope and even feature some (brilliantly colored) blood.

This Hound turns a supporting character into a sultry Spanish temptress, the better to feature her exposed legs and bare feet and bosom to the audience for their titillation, no pun intended. Another supporting character has a grotesque webbed hand. I’m not saying the old Rathbone pictures didn’t have good-looking women in them, or characters with weird traits, but they weren’t quite so in-your-face as these examples are. The difference between making movies in the ’30s versus the ’50s, I expect.

There’s a nice bit of cultural shorthand in The Hound of the Baskervilles that is likewise appropriate to a Hammer film. Christopher Lee — looking tanned, handsome and very aristocratic — plays Sir Henry Baskerville, the latest heir to the Baskerville manor and fortune. While he’s unfailingly polite and gentlemanly, he finds himself nearly out of control with sexual desire when it comes to the aforementioned Spanish temptress, the daughter of one of his neighbors. He presses his sexual attraction on her without an ounce of shame, calling back to a time when the aristocracy were essentially masters of all they surveyed, including the “little people.”

With some exceptions, the mystery plays out pretty much the same as it does in the Rathbone version. I won’t spoil you with the solution to the curse, even though you’ve had over 100 years to read it (I still haven’t), but I will say that the Hammer Films approach to the climax is more violent and, in its way, mean-spirited than the way they handled things in 1939. I’m not saying this is necessarily worse, only that it’s different.

You should check out The Hound of the Baskervilles for a few reasons, including a rare chance to see Christopher Lee playing a good-guy role, and Peter Cushing essaying Sherlock Holmes. The stage-bound, colorful images are an added treat, being as much a Hammer signature as the heaving breasts and blood.

Maybe I’ll actually read the novel now.

REVIEW: Sam Hawken
IMAGES: Marcus Brooks

COMING SOON!

COMING SOON: HEAR FROM THE WOMAN WHO MADE THE HOUNDS MASK ...MARGARET ROBINSON, WIFE OF HAMMER FILMS PRODUCTION DESIGNER, BERNARD ROBINSON, IN A 1980 INTERVIEW ON THE BLACKBOXCLUB.COM PODCAST SOON!