#TOOCOOLTUESDAY: HAMMER HORROR HUGS AND KISSES : A CHILLING GALLERY PART ONE

GREAT KISSES WE HAVE KNOWN SEEN AND LOVED....!

I GUESS IF YOU ARE SETTLING DOWN to watch a romantic love story on dvd or at the local flicks, you are already primed to the risk of your delicate and sensitive emotions being titillated by the occasional embrace, hug, squeeze, kiss or as we Brits subtly refer to it, 'a snog'. But what if was the mid 1950's, and you are watching a horror film?? OK, RKO's King Kong got away with murder with Fay Wray, but for many years, in the UK the censors keep a very careful eye on films, and especially in regard of mixing horror, violence, sex and lusting, even if one of the participants did have huge teeth ..and had been dead for 200 years!

FOR MANY YEARS, those who liked their horrors and thrillers, dusted with more than the accidental brushing of hands or furtive glances, Hammer films could and did test the boundaries. Hammer films certainly woke up the sleepy British cinema going public with Cushing and Lee's 'The Curse of Frankenstein' in 1957 and kept the censors on their toes. When in 1958, Hammer released 'Dracula / The Horror of Dracula', the BFC and John Trevillion, sniffed,  twitched, and then SNIPPED, at Christopher Lee's all embracing seduction of Melissa Stribling's Mina Holmwood. Not until 2013, was the footage reinstalled. Viewing today, you can still see why Trevillion and company thought it steamy stuff!

 

HOWEVER, not all of Hammer films romantic wrestling's were of the high voltage vintage. Hammer films script writers Jimmy Sangster and Anthony Hinds (John Elder) KNEW the guys in the audience were there for the monsters, the girls for the thrills and as Cushing himself once said, 'When courting couples came to see our films, and the young girl became frightened or tense, the couple would cuddle up'!' So Hammer knew what the audiences expected and made sure, every film had a little 'something' ...somewhere.

Here we present the first gallery of our 'hand picked' small selection of stills and GIFS depicting some of the best romantic chemistry from Hammer's films. They are not all marquee titles, or indeed Hammer films and some of the pairings were about saucy as a vicar's tea party, but hey, the title says 'Hugs and Kisses' I have to make sure what's on the label, is also in the can.... well almost, part two soon!

THE FLESH AND THE FIENDS : Peter Cushing and June Laverick.

 

IF YOU LIKE what you see here at our website, you'll  love our daily themed posts at our PCAS FACEBOOK FAN PAGE.  Just click that blue LINK and click LIKE when you get there, and help us . . Keep The Memory Alive!. The Peter Cushing Appreciation Society website, facebook fan page and youtube channel are managed, edited and written by Marcus Brooks, PCAS coordinator since 1979. PCAS is based in the UK and USA.

TWO TARKINS TWO SHOES TWO SLIPPERS TWO CITIES AND TWO LEIA'S : #THROWBACKTHURSDAY!

#THROWBACKTHURSDAY: HEADS YOU WIN! Totally weird tale of

 attending to TARKIN!

#THROWBACKTHURSDAY:The late Carrie Fisher with Peter Cushing and George Lucas plotting and blocking their scene on the set of the Death Star at Elstree film studios in April 1976.

#THROWBACKTHURSDAY: SLIPPERS OR SHOES? Of the four days days that Peter Cushing spent on set shooting his scenes as Grand Moff Tarkin for #STARWARS in April / May 1976 at Elstree film studios, I have never been able to put a time line on when exactly he changed his ill fitting boots, for those legendary slippers. ALL the behind scenes photographs that are available of him shooting his scenes, where he is without his Tarkin boots, he is wearing what appears to be his black leather day wear shoes, presumably a pair of carpet slippers, were not around to slip into? 

THE FOOT WEAR in the above photograph, can be seen to be made of leather, with a typical leather tongue. Shoes? If we are to presume that the BROWN SOFT MATERIAL slippers in the glass display case at the Cushing Whitstable Museum exhibit ARE the slippers he wore on set...I have, as yet, not in 40 years seen any photographic evidence of them in any candid photographs taken from the days of Cushing shooting . . .

#THROWBACKTHURSDAY!: PETER CUSHING'S Tarkin slippers displayed at  Whitstable  Gallery and Museum . .

#THROWBACKTHURSDAY: TWO LEIA'S Carrie Fisher and her stunt double Tracey Eddon on the set of Return of the Jedi.

IF YOU LIKE what you see here at our website, you'll  love our daily themed posts at our PCAS FACEBOOK FAN PAGE.  Just click that blue LINK and click LIKE when you get there, and help us . . Keep The Memory Alive!. The Peter Cushing Appreciation Society website, facebook fan page and youtube channel are managed, edited and written by Marcus Brooks, PCAS coordinator since 1979. PCAS is based in the UK and USA. 

#SILENTBUTDEADLYWEDNESDAY! GIFS SHERLOCK COMEDY VAMPIRES AND TITLES

#SILENTBUTDEADLYWEDNESDAY!: PLAYING THE ROLE OF SHERLOCK HOLMES was something that Peter Cushing enjoyed very much indeed. Being a student of the stories and everything that went along with that, was indeed  a Cushing thing! Cushing had an eye and attention for detail, pouring over the structure and methods, in the story of 'The Hound of the Baskervilles' for Hammer films in 1959, he was very much in his element. 

THE FACT THAT he signed on for the Hammer Hound, then in 1968 16 episodes of the BBC television serial and finally choose to neatly wind down his career, with a 90 min tv movie The Masks of Death in 1984, playing an elderly Holmes, who was also bringing his long and distinguished career to an end, says much. Had failing heath not intervened, Cushing would have rubbed his hands together and prepared for another feature film, The Abbott's Cry,  in 1985. But sadly, it was not to be.

#SILENTBUTDEADLYWEDNESDAY!: WHEN DIRECTOR Peter Duffell read the script for 'THE CLOAK' story that was part of the four stories that made up Amicus films, 'The House That Dripped Blood' in 1972, he started to form a plan. The script outlined the climax and death of Jon Pertwee's vampire character, and that this particular tale was to be 'the comic relief' in the film. He hit on the idea, that maybe the comedy should be cranked up to max, and that the chase and staking would great if, it was shot and edited in a 'silent movie style'. He almost got his way. The producers first wasn't sure if this sudden changed of gear would lose the audience, and ruin the tension that had been built with the previous story. They drew the line at the use of black white photography and a flicker effect.

ORIGINALLY, Duffell wanted the whole story to be shot in monochrome, and the death scene to be sped up, with a 'keystone cop' frame flicker. Producers tuned Duffel's idea down, pleading that monochrome would be far too expensive for an entire 15 to 20 minutes, and that the flicker would jarring. But,  Duffell did get his under-cranked camera speed, and a slap-stick ending. NOTE: Subotsky liked the concept of a story set in a horror film on the Hollywood studio lot, and revisited the idea in one of his last anthology films, 'The Uncanny' starring Peter Cushing and Donald Pleasence in 1977.

#SILENTBUTDEADLYWEDNESDAY! THIS SHOT gets requested a lot! Director Freddie Francis must have known he was really onto something when he came up with idea, of POV shooting through the SKULL'S eye sockets in Amicus films, 'THE SKULL'...so much so he repeated the whole thing in Tigon's 'THE CREEPING FLESH' with Peter Cushing a few years later! Point Of View camera work was nothing new in 1965, but through a skull? Yup. 

FREDDIE CRANKED up the terror with whole sequences of POV's in Tyburn film, 'LEGEND OF THE WEREWOLF' with Peter Cushing. The added effect this time, was a RED tint to the vision, giving the impression we were 'seeing what the werewolf' could see through his bloodshot eyes! It was very effective and saved money in the budget on showing the werewolf too!

#SILENTBUTDEADLYWEDNESDAY! I DON'T get requests for title sequences from trailers that often, but this one is a good one. Peter Cushing and Christopher Lee credits, with supportive text from 'THE GORGON' (Hammer 1964) I LOVE the font styles in 1950 and 6o's trailers. They seem to scream from the screen at you. Back in the day, text added to film was done in the labs optically, and was a highly skilled job. There were standard text styles that were used in rolling credits to be seen at the end of beginning of most films. But often, for something that came from Hammer films, the studio would ask for something a little special, like the title font style in these gifs here. Illustrators would attempt to evoke the genre or subject matter of the film through the letter forms. Here sharp, angular typography is used evoke the disturbing subject matter, also maybe echoing the work of German Expressionist illustrators like Josef Fenneker. 

IN THE DAYS BEFORE SOUND FEATURES, titles were standard and used to communicate the dialogue and direction of the story, but by the mid-late 1930s, film titles started serving a narrative function and were designed to prepare the viewer for the mood and story of the film. Hammer, Amicus and Tigon used this very effectively. 

AT THE TIME  THE GORGON was in production, title artists like SAUL BASS had made the film title an art form, with films like PSYCHO. Bass titles were legendary and he created what are still some of the best title designs for directors like Alfred Hitchcock. Bass once said, “For the average audience, the credits tell them there’s only three minutes left to eat popcorn… I aim to set up the audience for what’s coming; make them expectant,” says Bass. DO YOU have a favorite TITLE SEQUENCE from a Peter Cushing films? We are planning a feature all about title sequences in Cushing films. I would love to hear about it!

GIFs REQUESTED BY Shelley C.

IF YOU LIKE what you see here at our website, you'll  love our daily themed posts at our PCAS FACEBOOK FAN PAGE.  Just click that blue LINK and click LIKE when you get there, and help us . . Keep The Memory Alive!. The Peter Cushing Appreciation Society website, facebook fan page and youtube channel are managed, edited and written by Marcus Brooks, PCAS coordinator since 1979. PCAS is based in the UK and USA.