Peter Cushing, Christopher Lee, Vincent Price: Their Busiest Years

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Peter Cushing, Christopher Lee, and Vincent Price all share birthdays in May— Cushing on May 26, 1913, Lee on May 27, 1922, and Price on May 27, 1911.

To celebrate, here’s a column where we’ll look at their busiest years in the business, and they had a lot of them.  According to IMDB, Peter Cushing had 131 screen credits, Vincent Price had 201, and Christopher Lee surpassed them both with a whopping 281 screen credits.

But which years did they appear on screen the most?

For Peter Cushing, he had three such years.  In 1940—very, very early in his career— and in 1972, he made seven screen appearances.  But he did one better in 1974, with eight screen appearances.

Here are his eight screen credits from 1974:

1. SHATTER – Rattwood

2. FROM BEYOND THE GRAVE  – The Proprietor

3. FRANKENSTEIN AND THE MONSTER FROM HELL – Baron Frankenstein

4. THE BEAST MUST DIE – Dr. Lundgren

5. THE ZOO GANG (TV series) Episode:  “The Counterfeit Trap” – Judge Gautier

6. MADHOUSE  – Herbert Flay

7. THE LEGEND OF THE 7 GOLDEN VAMPIRES – Professor Van Helsing

8. TENDER DRACULA, OR CONFESSIONS OF A BLOOD DRINKER  -MacGregor

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Peter Cushing plays Baron Frankenstein for the last time in FRANKENSTEIN AND THE MONSTER FROM HELL (1974), the year he made the most screen appearances, with eight.

There are a couple of “lasts” and a “first” in this list of credits for Peter Cushing during his busiest year in 1974.  Both his role as Baron Frankenstein in FRANKENSTEIN AND THE MONSTER FROM HELL and as Professor Van Helsing in THE LEGEND OF THE SEVEN GOLDEN VAMPIRES marked the last time he would play these characters.  He played Van Helsing five times in the movies, and Baron Frankenstein six times.

TENDER DRACULA, OR CONFESSIONS OF A BLOOD DRINKER, marked the first and only time that Peter Cushing played a vampire in a movie.

Also of note, Cushing co-starred with Vincent Price in MADHOUSE. And surprisingly, during his busiest year ever in terms of screen credits, Cushing did not star in any films with frequent co-star Christopher Lee that year.

 

Christopher Lee, with his 281 credits, seemed to be busy every year he was working, but his busiest year was very early in his career, in 1956, when he amassed 11 credits in that one single year.

Here they are:

1. CHEVRON HALL OF STARS (TV series), Episode:  “Captain Kidd” – Governor

2. PRIVATE’S PROGRESS – Major Schultz

3.ALEXANDER THE GREAT – Nectenabus (voice)

4.THE SCARLET PIMPERNEL (TV series) – Louis

5. PORT AFRIQUE – Franz Vermes

6.PURSUIT OF THE GRAF SPEE – Manolo

7. BEYOND MAMBASA – Gil Rossi

8. RHEINGOLD THEATER (TV Series) – Appearances in various episodes

9. AGGIE (TV series) – Inspector John Hollis

10. SAILOR OF FORTUNE (TV series) – Yusif/Carnot

11. THE ERROL FLYNN THEATER (TV series) – The Visitant/Compte de Merret/Maurice Gabet

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Christopher Lee in the 1950s, right around his busiest year in the biz, 1956.

And while 1956 may have been Christopher Lee’s busiest year in terms of screen credits, it would be the following year that all his hard work would come to fruition, for in 1957 Christopher Lee would achieve international stardom for his role as The Creature in Hammer Film’s megahit, THE CURSE OF FRANKENSTEIN (1957), the film that also launched Peter Cushing’s international career, for his starring performance as Baron Victor Frankenstein.

 

Vincent Price didn’t have just one, but three busiest years of his career.  He made eight screen appearances in one year three times, in 1956, 1969, and 1970.

Here’s a look at those credits:

1956

1.SERENADE – Charles Winthrop

2.WHILE THE CITY SLEEPS – Walter Kyne

3.LUX VIDEO THEATRE (TV series) – Joseph Bentley/Dr.Austin Sloper/Christoff

4.THE ALCOA HOUR (TV series) – Alvanley

5.THE VAGABOND KING – Narrator (voice)

6.SCIENCE FICTION THEATRE (TV series) -Sgt. Gary Williams/Dr. Philip Redmond

7.THE TEN COMMANDMENTS – Baka

8. CROSSROADS (TV series) – Reverend Alfred W. Price/Rabbi GershomSeixas/Rev. Robert Russell

 

1969

1.MORE DEAD THAN ALIVE – Dan Ruffalo

2.DANIEL BOONE (TV series) – Dr. Thaddeus Morton

3. THE TROUBLE WITH GIRLS – Mr. Morality

4.THE OBLONG BOX – Julian

5. BBC PLAY OF THE MONTH (TV series) – Dr. Austin Sloper

6.THE GOOD GUYS (TV series) – Mr. Middleton

7. WORLD WIDE ADVENTURES:  ANNABEL LEE (Short) – Narrator

8. GET SMART (TV series) – Dr. Jarvis Pym

 

1970

1.SCREAM AND SCREAM AGAIN – Dr. Browning

2.AN EVENING OF EDGAR ALLAN POE – Narrator

3.CRY OF THE BANSHEE – Lord Edward Whitman

4.LOVE, AMERICAN STYLE (TV series)

5.HERE’S LUCY (TV series) – as Vincent Price

6. MOD SQUAD (TV series) – John Wells/Wentworth

7. HOLIDAY STARTIME SPECIAL (TV movie)

8.CUCUMBER CASTLE (TV movie) – Wicked Count Voxville

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Vincent Price in SCREAM AND SCREAM AGAIN (1970)..

Some things of note regarding these credits:  in THE OBLONG BOX, he co-starred with Christopher Lee, and in SCREAM AND SCREAM AGAIN he starred with both Lee and Peter Cushing, the first of only two times that all three of these actors appeared in the same movie together.

I hope you enjoyed this look at the busiest years in the careers of three of the busiest actors in horror film history.

Happy Birthday Peter Cushing, Christopher Lee, and Vincent Price!

Thanks for reading, everybody!

—Michael

 

 

 

 

 

 

 

 

 

 

IN THE SPOOKLIGHT: THE BEAST FROM 20,000 FATHOMS (1953)

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Return with me now to 1953, when the giant monster movie genre was still in its infancy, the year that saw the release of THE BEAST FROM 20,000 FATHOMS (1953).

Prior to THE BEAST FROM 20,000 FATHOMS,  the world had seen KING KONG (1933), filled with eye-popping special effects by Willis O’Brien, who would go on to make Kong’s quickie (and inferior) sequel SON OF KONG (1933) and later MIGHTY JOE YOUNG (1949), the latter being significant because it introduced O’Brien’s young protegé, Ray Harryhausen, to the world.

Soon after MIGHTY JOE YOUNG, Harryhausen was ready to strike out on his own, and he would provide the special effects for today’s movie, THE BEAST FROM 20,000 FATHOMS, released a full twenty years after KING KONG, and so for two decades, the giant monster movie lay dormant.  That would change with THE BEAST FROM 20,000 FATHOMS, which pre-dated perhaps the most famous giant monster, Godzilla, by one year.  Of course, once GODZILLA (1954) stomped onto the world, and Toho Studios opened up the door to their Kaiju universe, giant monsters would never look back.

But it’s quite possible that Toho’s incredible world of monsters may not have happened without the success and influence of Ray Harryhausen’s THE BEAST FROM 20,000 FATHOMS. And when I put Harryhausen’s name in front of the title, I realize he didn’t direct the movie— that job was handled by Eugene Lourie, who actually would go on to direct two other very significant giant monster movies, THE GIANT BEHEMOTH (1959), which featured special effects by Willis O’Brien, and GORGO (1961)— but when you watch a movie with special effects by Ray Harryhausen, it’s his work that you remember, work that is always top-notch and phenomenal; in short, his name belongs in front of the movies he worked on.

THE BEAST FROM 20,000 FATHOMS is based on the short story “The Fog Horn” by Ray Bradbury, who was good friends with Harryhausen.

The movie opens with atomic bomb tests being conducted in the Arctic.  When two scientists visit the scene after the blast to conduct tests, they are shocked to see a giant prehistoric beast roaming through the snow, causing an avalanche which kills one of the scientists.  This plot point, an atomic blast awaking a giant monster, which would become commonplace in the 1950s, was first introduced here in this movie, making THE BEAST FROM 20,000 FATHOMS the first movie about a giant creature awakened by an atomic blast.

The surviving scientist, Professor Tom Nesbitt (Paul Christian) tries in vain to convince people that he saw a live dinosaur.  Nesbitt eventually makes his way to Professor Thurgood Elson (Cecil Kellaway), a prominent paleontologist, and his assistant Lee Hunter (Paula Raymond) and tries to convince them as well, eventually producing enough evidence to get them on board.  However, his contact in the military, Colonel Jack Evans (Kenneth Tobey)  isn’t so easily convinced.

But when the beast— identified by Professor Elson as a rhedosaurus—  attacks a lighthouse and eventually surfaces in the waters outside New York City, there’s no ignoring the situation.  The beast is very real.

THE BEAST FROM 20,000 FATHOMS is not only historically significant in that it’s the first of the 1950s giant monster movies, but it’s also an outstanding movie, one of the best giant monster movies ever made.

And the conversation about BEAST begins and ends with the work of Ray Harryhausen. Harryhausen brought his “A” game to every movie that he worked on.  His stop-motion special effects are always top-notch.  A movie with inferior special effects by Ray Harryhausen does not exist.  The major reason for this of course is Harryhausen’s talent, but another reason is the time he spent on each movie.  Harryhausen never rushed his work, which is why, sadly, there weren’t more movies made with his stop-motion effects.  It often took him years to work on one movie.

THE BEAST FROM 20,000 FATHOMS is no exception.  It features superior special effects by Ray Harryhausen.  It also features one of the scariest and most memorable scenes from any giant monster movie period— the lighthouse scene.  Which comes as no surprise since this is the scene directly connected to Ray Bradbury’s short story, which was about a dinosaur attacking a lighthouse.

I first saw THE BEAST FROM 20,000 FATHOMS on TV when I was probably eight years old or so, and the lighthouse scene gave me nightmares and stayed with me long afterwards. In this scene, there are two men in the closed-in confines of the lighthouse, and outside the protective walls, the beast emerges from the ocean, drawn by the light perhaps.  The men inside hear a noise, and look up to see the enormous face of the creature peering through the glass.  The beast then destroys the lighthouse before the men can escape, and as we learn later, eats them.  It’s a terrifying scene.

beast lighthouse

It’s also perfectly shot by director Lourie and Harryhausen.  The matting effect is near perfect, and without a DVD/Blu-ray to freeze fame, it would be very difficult for the naked eye in real-time to see where the real shots of the ocean and the matte shots of Harryhausen’s animation meet.  The chilling black and white photography helps here, and the whole scene is so well done it’s nearly seamless.  The lighthouse itself is also animated, as is the immediate island onto which the rhedosaurus climbs, but the surrounding ocean is not, as it’s the real thing.

There are a lot of other memorable scenes as well.  The rhedosaurus’ first appearance in the snowy Arctic is also quite chilling, and the ending of the film, which takes place by the rollercoaster on Coney Island is also noteworthy.

Beast - snow

THE BEAST FROM 20,000 FATHOMS also has an interesting cast.  I could take or leave Paul Christian, whose real name was Paul Hubschmid, as lead hero Tom Nesbitt.  Likewise, Paula Raymond  is just OK as lead love interest Lee Hunter.

It’s the supporting cast that stands out in this one.  Cecil Kellaway does a fine job as the amiable Professor Elson.  Kellaway was a famous character actor with a ton of credits in a career that spanned from the 1930s through the 1970s, appearing in such movies as Disney’s THE SHAGGY DOG (1959) and GUESS WHO’S COMING TO DINNER (1967).  Kellaway also appeared in two Universal monster movies and was memorable in both of them.  He played Inspector Sampson in the first Invisible Man sequel, THE INVISIBLE MAN RETURNS (1940) in which he doggedly pursues Vincent Price’s Invisible Man, and he played the flamboyant magician Solvani in THE MUMMY’S HAND (1940).

Kenneth Tobey plays Colonel Jack Evans.  Tobey of course played the lead hero Captain Patrick Hendry in THE THING FROM ANOTHER WORLD (1951) and he would play the lead again in Ray Harryhausen’s IT CAME FROM BENEATH THE SEA (1955), which tells the tale of a giant monstrous octopus.  Tobey is excellent here in THE BEAST FROM 20,000 FATHOMS in a supporting role.

And yes, that’s Lee Van Cleef as Corporal Stone, the marksman given the daunting task of shooting the fatal radioactive isotope into the wound of the rhedosaurus.

Lou Morheim and Fred Freiberger wrote the screenplay, based on the Bradbury short story.  It’s a decent screenplay as it tells a solid story, contains realistic dialogue, and creates sympathetic characters.

THE BEAST FROM 20,000 FATHOMS also features a compelling music score by David Buttolph.

So, the next time you’re enjoying a giant monster movie, especially one in the Godzilla/Toho/Kaiju universe, remember it might not have happened without the success of Ray Harryhausen’s rhedosaurus, aka THE BEAST FROM 20,000 FATHOMS.

—END—

 

 

 

 

 

IN THE SHADOWS: TORIN THATCHER

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Torin Thatcher as the evil magician Sokurah in THE 7TH VOYAGE OF SINBAD (1958).

Welcome back to IN THE SHADOWS, that column where we look at the career of character actors in the movies, especially horror movies.

Today IN THE SHADOWS it’s Torin Thatcher, a character actor known mostly for his villainous roles.  I remember him most for his outstanding portrayal of the evil magician Sokurah in the classic fantasy film THE 7TH VOYAGE OF SINBAD (1958) which also features some of Ray Harryhausen’s best stop-motion special effects.

And when you watch a movie featuring Ray Harryhausen’s special effects, it’s usually those effects that you remember, not the actors in the film.  This is true with THE 7TH VOYAGE OF SINBAD, with the exception of Torin Thatcher.  His work in 7TH VOYAGE is so strong you remember the magician Sokurah just as vividly as you do Harryhausen’s fantastic creatures.

Before he become an actor, Torin Thatcher was a school teacher.  How cool would that have been?  To have Sokurah the Magician as your teacher.  But seriously, I can only imagine how powerfully effective he must have been standing in a classroom teaching students.

Here now is a partial list of Torin Thatcher’s 150 film and TV credits:

THE MERCHANT OF VENICE (1927) – Solanio – Torin Thatcher’s first movie credit as Solanio in this silent short adaptation of Shakespeare’s play.

NORAH O’NEALE (1934) – Dr. Hackey – Thatcher’s first screen credit in a feature-length movie.  Early drama starring Lester Matthews, known to horror fans for his work in WEREWOLF OF LONDON (1935) and the Boris Karloff/Bela Lugosi classic THE RAVEN (1935).

SABOTEUR (1942) – uncredited appearance in this classic Alfred Hitchcock thriller.

GREAT EXPECTATIONS (1946) – Bentley Drummle – small role in the classic David Lean version of the Charles Dickens tale starring John Mills, Alec Guinness, Valerie Hobson who played Elizabeth in the Boris Karloff classic THE BRIDE OF FRANKENSTEIN (1935), and future Hammer Films stars from THE BRIDES OF DRACULA (1960) Martita Hunt and Freda Jackson.

THE FALLEN IDOL (1948) – Policeman – Plays a policeman in this classic mystery from director Carol Reed (Oliver Reed’s uncle) with a script by Graham Greene.

THE CRIMSON PIRATE (1952) – Humble Bellows – Swashbuckling pirate adventure starring Burt Lancaster and directed by Robert Siodmak, the director of SON OF DRACULA (1943).  Also memorable for featuring a young Christopher Lee in a supporting role.

THE SNOWS OF KILIMANJARO (1952) – Johnson – classic drama starring Gregory Peck, Susan Hayward, Ava Gardner, and Leo G. Carroll.

THE DESERT RATS (1953) – Col. Barney White – Robert Wise-directed war movie starring Richard Burton and James Mason.

THE ROBE (1953) – Sen. Gallio – Biblical tale  of Roman tribune with a conscience starring Richard Burton and Michael Rennie.

WITNESS FOR THE PROSECUTION (1957) – Mr. Myers – Billy Wilder-directed Agatha Christie tale starring Tyrone Power, Marlene Dietrich, Charles Laughton, and the Bride of Frankenstein herself, Elsa Lanchester.  Also features veteran character actor Una O’Connor, also from THE BRIDE OF FRANKENSTEIN (1935) and THE INVISIBLE MAN (1933).

THE 7TH VOYAGE OF SINBAD (1958) – Sokurah the Magician – My favorite all-time Torin Thatcher role.  This classic fantasy adventures features some of Ray Harryhausen’s best special effects ever.  Who can ever forget his giant Cyclops?  In addition, it also features a rousing Bernard Herrmann score, one of my favorites.  The third outstanding element of this movie is Torin Thatcher’s performance as Sokurah.  It’s a rare occurrence indeed in a Ray Harryhausen movie for anything to be as memorable as his creature effects, but Torin Thatcher achieves this feat.  He’s just as memorable in this film as Harryhausen’s effects.

ALFRED HITCHCOCK PRESENTS (1957-59) – Constable Johnson – “The Hands of Mr. Ottermole” (1957)/ Felix Edward Manbridge – “Relative Value” – appearances in two episodes of the classic Alfred Hitchcock TV series.

THRILLER (1961) – Jeremy Teal – “Well of Doom” – appearance in the classic horror anthology TV show hosted by Boris Karloff.

JACK THE GIANT KILLER (1962) – Pendragon – Once again playing the villain in a fantasy adventure.  Thatcher is reunited with 7TH VOYAGE OF SINBAD director Nathan Juran and lead actor Kerwin Matthews who played Sinbad in 7TH VOYAGE and plays Jack here, but missing this time around is Ray Harryhausen and his fantastic creatures, resulting in inferior special effects.

GET SMART (1966) – Dr. Braam – “All In the Mind” (1966) – appearance in the classic Mel Brooks TV series starring Don Adams as Secret Agent Maxwell Smart and Barbara Feldon as Agent 99.

LOST IN SPACE (1966) – The Space Trader- “The Space Trader” (1966)- plays a villain in this Season 1 episode of the Irwin Allen science fiction adventure TV show.  Trades with the Robinson family, takes advantage of Dr. Smith’s greed and makes him his slave, only to be eventually outsmarted by the Robinson Robot.  Way to go, bubble headed booby!

STAR TREK (1967) – Marplon- “The Return of the Archons” (1967) – appearance in this Season 1 episode of the classic TV series chronicling the adventures of Captain Kirk, Mr. Spock, and Dr. McCoy aboard the starship Enterprise.

THE STRANGE CASE OF DR. JEKYLL AND MR. HYDE (1968) – Sir John Turnbull – TV movie version of the classic Robert Louis Stevenson tale, produced by Dan Curtis, the man behind DARK SHADOWS and THE NIGHT STALKER (1971).  Starring Jack Palance as a very sinister Mr. Hyde.

LAND OF THE GIANTS (1970) – Dr. Berger – “Nightmare” (1970) – appearance in this Irwin Allen fantasy TV show.

NIGHT GALLERY ( 1971) – Captain of the Lusitania – “Lone Survivor” (1971) – appearance in the horror anthology series by Rod Serling.

BRENDA STARR ( 1976) – Lassiter- Torin Thatcher’s last screen credit is in this TV movie adventure involving extortion, voodoo, and the supernatural.  Starring Jill St. John.

Thatcher passed away on March 4, 1981 at the age of 76 from cancer.

Torin Thatcher – January 15, 1905 – March 4, 1981.

I hope you enjoyed this edition of IN THE SHADOWS.  Join me next time when we look at the career of another classic character actor.

Thanks for reading!

—Michael

 

 

 

 

 

 

 

 

 

Leading Ladies: FAY WRAY

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Ann Darrow (Fay Wray) in King Kong’s clutches in KING KONG (1933).

Welcome back to LEADING LADIES, that column where we look at leading ladies in the movies, especially horror movies.  Up today, it’s Fay Wray, the woman who King Kong carried to the top of the Empire State Building in KING KONG (1933).

Fay Wray had a ton of credits.  She began her career as a teenager in silent movies, and so by the time she made KING KONG in 1933 at age 26, she had already amassed fifty four screen credits!

All together, Fay Wray had 123 screen credits, but none bigger than her role as Ann Darrow in KING KONG.

Here’s a partial list of Wray’s movie credits:

GASOLINE LOVE (1923) – Fay Wray’s first screen credit.

THE COAST PATROL (1925) – Beth Slocum- Wray’s first feature film role.

DOCTOR X (1932) – Joanne Xavier- horror movie with Lionel Atwill, famous for being shot in Technicolor.

THE MOST DANGEROUS GAME (1932) – Eve Trowbridge – Thriller directed by KING KONG director Ernest B. Schoedsack and featuring Carl Denham himself, Robert Armstrong.

THE VAMPIRE BAT (1933)- Ruth Bertin- classic horror movie featuring Lionel Atwill, Melvyn Douglas, and Dwight Frye.  Atwill is the mad scientist, Douglas the hero, Wray the heroine, and Frye is the creepy guy the villagers think is the vampire— but they’re wrong.  Very atmospheric creepy horror movie.

MYSTERY OF THE WAX MUSEUM (1933) – Charlotte Duncan – Reunited with Lionel Atwill in yet another classic horror movie.  Like DOCTOR X, it was also shot in color and was believed to have been lost for decades before being re-discovered in the late 1960s.  Directed by Michael Curtiz, who also directed that little wartime movie, CASABLANCA (1942).

KING KONG (1933) – Ann Darrow – the film that made Fay Wray a star, and she spends most of it screaming, as she is abducted and chased by Kong throughout.  Directed by Merian C. Cooper and Ernest B. Schoedsack, with an outstanding music score by Max Steiner, and starring Robert Armstrong, Bruce Cabot, Wray, and of course King Kong.  Amazing special effects by Willis O’Brien.  This classic movie still holds up wonderfully today.  By the way, Wray was not blonde.  She wore a wig for her most famous role.  That is her real scream, though.

MASTER OF MEN (1933)- Kay Walling- The last of eleven movies Wray made in 1933!

BLACK MOON (1934) – Gail Hamilton – Horror movie about a voodoo curse, directed by Roy William Neill, the man who in addition to directing many of the Basil Rathbone Sherlock Holmes movies also directed FRANKENSTEIN MEETS THE WOLF MAN (1943).

WOMAN IN THE DARK (1934) – Louise Loring – Crime movie starring Ralph Bellamy and Melvyn Douglas, based on a book by Dashiell Hammett.

THE CLAIRVOYANT (1934)- Rene – Effective mystery/horror movie with Claude Rains as a fake clairvoyant who suddenly finds himself with real predictive powers.

HELL ON FRISCO BAY (1955) – Kay Stanley – Film-noir with Edward G. Robinson and Alan Ladd.

CRIME OF PASSION (1957) – Alice Pope- more film-noir, this time with Barbara Stanwyck, Sterling Hayden, and Raymond Burr.

TAMMY AND THE BACHELOR (1957) – Mrs. Brent-  First of four “Tammy” movies, starring Debbie Reynolds, Leslie Nielsen, and Walter Brennan.

ALFRED HITCHCOCK PRESENTS – “Dip In The Pool” (1958) – Mrs. Renshaw/  “The Morning After” (1959) – Mrs. Nelson – two appearances on the ALFRED HITCHCOCK PRESENTS TV show.

PERRY MASON – “The Case of the Prodigal Parent” (1958) – Ethel Harrison/ “The Case of the Watery Witness” (1959)- Lorna Thomas/ “The Case of the Fatal Fetish” (1965) – Mignon Germaine – several appearances on the classic PERRY MASON TV show starring Raymond Burr.

GIDEON’S TRUMPET (1980) – Edna Curtis – Fay Wray’s final screen credit, in this TV movie starring Henry Fonda based on the true story of Clarence Earl Gideon.

Even though she never had a bigger role than Ann Darrow in KING KONG, Fay Wray enjoyed a long and successful movie career.  She passed away in 2004 at age 96.

Fay Wray – September 15, 1907- August 8, 2004.

I hope you enjoyed this edition of LEADING LADIES.  Join me again next time when we look at the career of another Leading Lady.

Thanks for reading!

—Michael

 

 

 

 

 

 

 

 

 

HALLOWEEN SPECIAL: Karloff, Lugosi, Chaney, Lee, Cushing, and Price Talk Horror

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The following mock interview uses real quotes spoken by horror icons BORIS KARLOFF, BELA LUGOSI, LON CHANEY JR., CHRISTOPHER LEE, PETER CUSHING, and VINCENT PRICE.  The quotes and answers, therefore, are real.

My interview, obviously, is not.

That being said, I hope you will read on as I “interview” these horror stars with questions on their thoughts on horror.

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Bela Lugosi and Boris Karloff

MICHAEL ARRUDA:  Welcome to a special Halloween column.

Here with me today to discuss horror are six of horror movies’ biggest stars, BORIS KARLOFF, BELA LUGOSI, LON CHANEY JR., CHRISTOPHER LEE, PETER CUSHING, and VINCENT PRICE.  Thank you all for joining me tonight.

Let’s get right to it.  Your thoughts on the horror genre and horror movies.  Boris, we’ll start with you.

BORIS KARLOFF:  Thank you, Michael.

MICHAEL ARRUDA:  What does horror mean to you?

BORIS KARLOFF:  Horror means something revolting.

Anybody can show you a pailful of innards. But the object of the roles I played is not to turn your stomach – but merely to make your hair stand on end.

CHRISTOPHER LEE (to Karloff):  You’ve actually said you don’t like the word “horror.”  You’ve said the same thing, Lon.  (Chaney nods).  And I agree with the both of you.

MICHAEL ARRUDA:  They said that?

CHRISTOPHER LEE:  Oh yes.  Both Lon and Boris here don’t like the word “horror”. They– like I— go for the French description: “the theatre of the fantastique.”

LON CHANEY JR.:  But on the other hand, nothing is more natural to me than horror.

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Lon Chaney Jr. and Bela Lugosi

PETER CUSHING:  Strangely enough, I don’t like horror pictures at all. I love to make them because they give pleasure to people, but my favorite types of films are much more subtle than horror.

I like to watch films like BRIDGE OVER THE RIVER KWAI (1957), THE APARTMENT (1960), or lovely musicals.

VINCENT PRICE:  I sometimes feel that I’m impersonating the dark unconscious of the whole human race. I know this sounds sick, but I love it.

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Peter Cushing and Vincent Price

MICHAEL ARRUDA:  Second and final question tonight.  Your thoughts on the roles you have played?

BELA LUGOSI:  Every actor’s greatest ambition is to create his own, definite and original role, a character with which he will always be identified. In my case, that role was Dracula.

And Dracula never ends. I don’t know if I should call it a fortune or a curse, but Dracula ever ends.

CHRISTOPHER LEE:  There are many vampires in the world today – you only have to think of the film business.  (Everyone laughs)

Seriously, though, I’ve always acknowledged my debt to Hammer. I’ve always said I’m very grateful to them. They gave me this great opportunity, made me a well-known face all over the world for which I am profoundly grateful.

PETER CUSHING:  Agreed.  I mean, who wants to see me as Hamlet? Very few. But millions want to see me as Frankenstein so that’s the one I do.

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Christopher Lee and Peter Cushing

LON CHANEY JR.:   All the best of the monsters played for sympathy. That goes for my father,myself and all the others. They all won the audience’s sympathy.

The Wolf Man didn’t want to do all those bad things. He was forced into them.

VINCENT PRICE:  I don’t play monsters. I play men besieged by fate and out for revenge.

BORIS KARLOFF:  For me it was pure luck.

You could heave a brick out of the window and hit ten actors who could play my parts. I just happened to be on the right corner at the right time.

MICHAEL ARRUDA:  And often that’s really what it comes down to.  Being in the right place at the right time, and of course, being persistent.

Thank you gentlemen, for joining me this evening.

And thank you all for reading!

Happy Halloween!

—Michael

 

 

 

 

SHOCK SCENES: DRACULA’S DEMISE – A Look at the Hammer Dracula Endings – Part 3

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SHOCK SCENES:  DRACULA’S DEMISE- A Look at the Hammer Dracula Endings

Part 3

By

Michael Arruda

Welcome to Part 3 of our look at the endings to the Hammer DRACULA series, where we examine how Dracula met his demise in the various Hammer Dracula movies. Previously we looked at the endings to the first four Hammer Dracula pics.  Here in Part 3 we’ll look at the endings to the next two films in the series, TASTE THE BLOOD OF DRACULA (1969) and SCARS OF DRACULA (1970).

And remember, if you haven’t seen these films, there are major spoilers here, so proceed with caution.

taste the blood of dracula poster

TASTE THE BLOOD OF DRACULA (1969)

Give credit to director Peter Sasdy.  With the exception of the first two Hammer Dracula films by Terence Fisher, HORROR OF DRACULA (1958) and THE BRIDES OF DRACULA (1960), TASTE THE BLOOD OF DRACULA is probably the best looking of the Hammer Draculas.  The cinematography is clear, crisp, rich and colorful, with deep dark reds and blues spilling onto the screen like a bruised corpse dripping blood.

While most of the Hammer Dracula sequels are shot in a way that make them look like horror films, TASTE THE BLOOD OF DRACULA looks like a PBS drama.  The cinematography here is simply a step above the rest.

And Christopher Lee has never looked better as Dracula. Gone are the red bloodshot eyes (for the most part – they’re back in some scenes) and pasty white face shot with green light in DRACULA HAS RISEN FROM THE GRAVE (1968), and in their place is a more noble and princely looking Lee.  In fact, at times Sasdy’s camera makes Lee look about ten years younger.  Other than way back in HORROR OF DRACULA, when he was only 36, Christopher Lee is probably photographed at his handsomest as Dracula here in TASTE THE BLOOD OF DRACULA.

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Dracula (Christopher Lee) in the desecrated church in TASTE THE BLOOD OF DRACULA (1969).

 

The film gets its title because in this one, a young devil worshipper Lord Courtley (Ralph Bates) gets hold of a vial of Dracula’s blood, spilled after the vampire was impaled on a cross at the end of DRACULA HAS RISEN FROM THE GRAVE (1968).  To resurrect Dracula, he mixes his own blood with Drac’s and then orders the men he has brought into his circle to drink it.  Hence the title.

While TASTE THE BLOOD OF DRACULA may be richly photographed, it’s not my favorite of the Dracula sequels.  Its story doesn’t always makes sense, and its characters simply aren’t as likable or as developed as those in the previous films in the series.

TASTE THE BLOOD OF DRACULA also has the strangest ending of the entire series.

Young Paul (Anthony Corland) attempts to rescue his girlfriend Alice (Linda Hayden) from the clutches of Dracula (Christopher Lee) who’s hiding out in a desecrated church.  Paul places crucifixes throughout the church and puts a white cloth over the altar.  As you might imagine, Dracula is none too happy about these changes, and there is a struggle.

Dracula flees to the upper level of the church to get away from Paul’s crosses, and when he smashes a stained-glass window, he turns to see the entire church lit with candles and looking like it’s ready for Sunday Mass.  It’s a miracle!  Unable to withstand this sudden burst of holiness, Dracula falls from his perch and proceeds to disintegrate into ashes once more.

Scratching your head?  Me, too, and I’ve seen this ending multiple times.  It appears as best as I can figure it, that in this movie, God destroys Dracula!  Yup, that’s about the size of it.  It’s a weird ending, and worse yet, it’s simply not very satisfying.  It also serves as proof that the characters in this movie aren’t up to the task of destroying Dracula, so, why destroy him at all?  I still think some of these Hammer Dracula sequels would have been even better had Dracula simply survived at the end.  It would have given these movies some very dark endings which would only have made them more memorable.

And while the special effects in the disintegration sequence are impressive, they lack the excitement and thrill of the effects in HORROR OF DRACULA.

It all makes for a very bizarre and rather disappointing ending.

 

scars of dracula poster

SCARS OF DRACULA (1970)

While TASTE THE BLOOD OF DRACULA may have had the strangest ending to the series, the next movie, SCARS OF DRACULA, has the worst ending.

SCARS OF DRACULA was an attempt by Hammer to give Dracula more screen time, which is a rarity since even in the best of the Hammer Draculas, like HORROR OF DRACULA (1958), for example, Dracula just isn’t in the film very much.  The Hammer Draculas always made the most of Dracula’s brief screen time.

DRACULA HAS RISEN FROM THE GRAVE (1968), Hammer’s biggest money-maker of all time, struck a nice balance with its Dracula scenes, and Dracula seemed to be in this one more than the other films.  On the other hand, it took Dracula nearly half of TASTE THE BLOOD OF DRACULA to show up, which no doubt left viewers disappointed, regardless of how richly photographed that movie was.

In this regard, giving Dracula more screen time, SCARS OF DRACULA  succeeds.  Dracula (Christopher Lee) shows up within the first few minutes of the film and is in this one quite a lot.  He also has a field day, as SCARS OF DRACULA is probably the most violent film in the series, as in addition to biting people on the neck, Dracula also whips, stabs, impales and brands his victims here.  Ouch!

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Dracula (Christopher Lee) doing his best Norman Bates impersonation as he stabs a victim in SCARS OF DRACULA (1970).

The other neat thing about this movie, and which makes it stand out from the rest of the Hammer Draculas, is the way Dracula appears and disappears. In the previous films, most of Draculas entrances were all highly dramatic, often with undead king baring his fangs and hissing in some genuine shock scenes.  Here, director Roy Ward Baker made the interesting choice never to show Dracula enter or exit a room.  Suddenly, he’s just standing there, and when a character turns around for a moment, he’s suddenly gone.  Even though it’s not the traditional Christopher Lee interpretation, it works.

So, for the most part, I really like SCARS OF DRACULA, even though its cinematography is vastly inferior to that of TASTE THE BLOOD OF DRACULA.  More so, it’s inferior to the cinematography of the rest of the Hammer Dracula’s as well.  There’s something very rushed and cheap looking about this movie, which goes against the Hammer Films formula of making sure that at the very least their films looked like they had a high budget.

But the ending is the worst and takes the rest of the film down several notches.  Dracula is on the roof of his castle, once more battling a young man over his girlfriend.  Dracula needs some lessons on dating.  Anyway, Dracula grabs a spear and prepares to hurl it at his adversary when a lightning bolt zaps the spear and ignites Dracula in a fiery blaze.  So, in the last film Dracula was desroyed by God.  This time he’s done in by— the weather?   Yep, Dracula is struck down by Mother Nature.  How implausible is that?  If you can’t write characters who are worthy of destroying Dracula, just let him survive already!

Dracula bursts into flames and as he screams in agony, he’s filmed in ridiculous slow motion.  When he falls from the castle roof, the shot of him plunging down the side looks as realistic as one of the freefalls of Wile E. Coyote.

Don’t get me wrong.  I love SCARS OF DRACULA.  But I don’t like the ending.  At all.

So, that about wraps things up for Part 3 of our look at the endings to the Hammer DRACULA series.  Join me next time for Part 4, when we’ll look at the endings to the rest of the films in the series.

See you then!

And thanks for reading!

—Michael

 

 

 

 

 

 

SHOCK SCENES: DRACULA’S DEMISE- A Look at the Hammer DRACULA Endings- Part 1

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Dracula (Christopher Lee) screams in agony in the conclusion to HORROR OF DRACULA (1958)

SHOCK SCENES:  DRACULA’S DEMISE- A Look at the Hammer Dracula Endings

Part 1

By

Michael Arruda

Welcome back to SHOCK SCENES, the column where we look at famous scenes in horror movie history.  Up today, a look at the Hammer DRACULA series, specifically the endings, those scenes where Dracula meets his demise, which is a strange thing when you think about it:  the King of the Undead is an undead, immortal, and yet at the end of every movie he’s thrust back down into the world of ashes and dust.  It’s a wonder how he survived so long in the first place!

Anyway, we’ll be looking at the various endings to these Dracula movies to see how Dracula met his end in each one.  So, if you haven’t seen these films, be forewarned, there are spoilers galore, so consider this a major spoiler alert.  If you have seen these films, read on and enjoy!

Here we go:

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HORROR OF DRACULA (1958)

The first Hammer Dracula film, HORROR OF DRACULA (1958)  is widely considered to be Hammer Films’ best movie, as well as one of the finest Dracula movies ever made.  A big reason for this is the ending. Van Helsing (Peter Cushing) chases Dracula (Christopher Lee) into Castle Dracula.  They scuffle, and Dracula pins Van Helsing into a corner, but the clever doctor sees a sliver of sunlight shing through the curtains, and he climbs onto the long table, runs across it, and leaps up at the window, tearing the curtains down.

The sunlight knocks Dracula to the ground, and Van Helsing keeps him there by grabbing two candlesticks and using them to make a cross, forcing Dracula into the sunlight, where the shrieking vampire disintegrates into dust before our very eyes.

horror of dracula ending

This is one of those endings where once you see it, you never forget it.  Hands down, this is the best ending of any Dracula/vampire movie.  Ever.  Period.  Not even close.  If you have not seen HORROR OF DRACULA, you owe it to yourself to check it out.  The ending alone makes it worth it, and of course, fans know the rest of the movie is every bit as effective as its famous conclusion.

There’s lots to talk about here.  First off, the special effects, for 1958, are amazing.  Dracula’s disintegration looks horrific and authentic at the same time.  It’s all done with a series of cutaways.  The camera cuts back and forth between Dracula’s disintegration and Van Helsing’s reactions.  It’s all very quick, but effective.  The last stage is pretty much a dummy of a rotting Dracula head with red lights inside lighting up his eyes. It’s a really cool image.

Of course, for years, the original uncut ending was not shown to Western audiences, until just a few years ago (and I’ve written several blog posts on this along with the video links, so feel free to check them out.) when the uncut footage was discovered in a vault in Japan.  The footage, which shows a few more scenes of disintegration, as well as one very cool shot of Dracula clawing the flesh off his face— again, for 1958 these were some incredibly bold effects— was finally released to European audiences but for some reason has still not been included in U.S.versions.  That being said, I did include a link of this footage on my blog post so feel free to check it out.

Strangely, when Hammer chose to restore HORROR OF DRACULA several years ago and insert the “lost” scenes from the Japanese version, they didn’t include all the scenes. For some reason, there are still scenes from the finale in the Japanese version which did not make it into the recently restored print of the film.  I don’t know why they were not restored.  Anyway, if you check YouTube, you can sometimes find the complete ending from the Japanese version.

The other reason this ending stood out in 1958 was before this, the endings to the Universal DRACULA series had been pretty much anticlimactic.  Heck, Dracula was staked off camera in the original Lugosi DRACULA (1931) and none of the subsequent Universal films contained dramatic endings, but that’s a story for another column.

A few other items about the ending to HORROR OF DRACULA:  supposedly, it was Peter Cushing himself who suggested the infamous run across the table and leap to tear down the curtains from the window.  The original script had Van Helsing taking out a crucifix from inside his coat to ward off Dracula, but as Cushing once put it, he felt like a “crucifix salesman” pulling out crosses in nearly every scene, and so he suggested the more dramatic leaping from the table.

And as far as I know, since I’ve never read or heard otherwise, that is Peter Cushing himself and not a stuntman making that run and leap at the curtains.  If anyone out there has information to the contrary, I’d love to hear from you.

Of course, the ending takes liberties with the tradition of a crucifix warding off a vampire.  In this ending, rather than using a blessed religious crucifix, Van Helsing forms two candlesticks into the shape of a cross and uses that to fend of Dracula.  It probably shouldn’t work, but it sure makes for great cinema!  And it also has made it into vampire lore.  In one of my favorite lines from the vampire movie FROM DUSK TILL DAWN (1996) George Clooney asks the folks trapped with him by the gang of vampires what they know about vampires, and one guy suggests making crosses out of anything they can find.  When Clooney asks if that will work, the guy replies, “Peter Cushing does it all the time.

HORROR OF DRACULA not only contains the best ending in the Hammer Dracula series, but it’s also the most dramatic and memorable ending of any Dracula movie period.

It’s one for the horror movie history books.

 

THE BRIDES OF DRACULA (1960)

Christopher Lee declined to play Dracula again in Hammer’s proposed sequel to HORROR OF DRACULA from fear of being typecast.  Of course, he would change his mind several years later.

But in 1960 Hammer went ahead without Lee and made THE BRIDES OF DRACULA (1960), a film that in spite of its title did not feature Dracula, but instead one of Dracula’s disciples, Baron Meinster (David Peel).  Hammer did get Peter Cushing to return to play Van Helsing once again.

The ending to THE BRIDES OF DRACULA, while not as memorable as the ending to HORROR OF DRACULA, is very good.  The film was directed by Hammer’s best director, Terence Fisher, who also directed HORROR, and he goes all out with this one.  THE BRIDES OF DRACULA may be the best looking of the Hammer DRACULAS- it’s certainly the most atmospheric, and is one of the most atmospheric vampire movies ever made.  For some fans, THE BRIDES OF DRACULA is their favorite Hammer Dracula, and considering that Christopher Lee isn’t in the movie,that’s saying quite a lot.

The ending, as directed by Fisher, is every bit as atmospheric as the rest of the film.  One of my favorite shots is when Van Helsing (Peter Cushing) enters the old windmill in search of Baron Meinster.  Its shot with purple lighting, and Van Helsing is backlit, and it makes for an indelible image.  It’s also reminiscent of the scene in THE EXORCIST (1973) when Father Merrin (Max Von Sydow) first enters Regan’s home.  I’ve often wondered if EXORCIST director William Friedkin was influenced by this scene in THE BRIDES OF DRACULA.

van helsing entrance

One of the most memorable parts of the ending comes when Meinster and Van Helsing battle, and this time Meinster wins and actually bites Van Helsing, setting up one of the most memorable scenes in the film, where Van Helsing uses a hot poker to burn the bites on his neck before dousing them with holy water, in effect curing him of the vampire’s bite.  Once again, Hammer takes liberties with vampire lore, but it again sure makes grand horror cinema!

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Later, Van Helsing burns Meinster’s face with holy water, setting up the film’s dramatic conclusion, where Van Helsing leaps onto the wings of the windmill, using it to form a shadow of a cross which falls on Meinster and destroys him.  Terence Fisher purposely did not show the shadow of the windmill but only of the wings, and he did this for full dramatic cinematic effect.

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As Hammer Dracula endings go, this one is one of the more understated, as Meinster simply collapses, and we do not see him distintegrate.  For story purposes, this makes sense, since unlike Dracula who was centuries old, Baron Meinster had only been a vampire for a relatively brief time.

The ending to THE BRIDES OF DRACULA, like the rest of the movie, is wonderfully atmospheric and cinematic.

Of course, this wasn’t the original ending.  Originally, Van Helsing was to use a little black magic to conjure up the forces of darkness to unleash a barrage of vampire bats which would descend upon Baron Meinster and tear him apart.  Peter Cushing objected to this sequence because he felt it out of character for Van Helsing to turn to black magic rather than religion and science, and I agree with him. I’m glad they changed it.  Hammer would use a variation of the vampire bats sequence for the ending to their next vampire movie, KISS OF THE VAMPIRE (1964), which once more did not feature Dracula.

That’s it for now.  Join me next time for Part 2 of SHOCK SCENES:  DRACULA’S DEMISE- A Look at the Hammer Dracula Endings, when we’ll look at the endings of the next two Hammer Dracula movies, DRACULA-PRINCE OF DARKNESS (1966) and DRACULA HAS RISEN FROM THE GRAVE (1968).

See you then!

—Michael