IN THE SPOOKLIGHT: THE SKULL (1965)

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Christopher Lee and Peter Cushing in THE SKULL (1965).

 

Amicus Productions, the other horror film company from Great Britain that competed with Hammer Films in the 1960s-70s, is famous for their anthology horror movies, but one of their all time best horror films is not an anthology flick but one that tells a single story.

It’s THE SKULL (1965), starring Peter Cushing and Christopher Lee, and it’s one of the better horror films to come out of the 1960s, if not for anything else, for its original story.

Of course, it helps to have superior source material.  THE SKULL is based on the story “The Skull of the Marquis de Sade” by Robert Bloch.

THE SKULL (1965) tells the story of Christopher Maitland (Peter Cushing), a collector of all things macabre, who is offered the skull of the Marquis de Sade by the shady buyer and seller Anthony Marco (Patrick Wymark). Not sure if he wants to add it to his collection or not, Maitland visits his friend Sir Matthew Phillips (Christopher Lee) to seek advice on the item’s authenticity and is shocked when Sir Matthew tells him it is the real deal because Marco stole it from him. When Maitland offers to help Sir Matthew get it back, Sir Matthew tells him he wants no part of it and warns Maitland against purchasing it, citing the skull’s dangerous supernatural powers. Maitland scoffs at his friend’s warning and even calls him a coward, saying he’d welcome the full force of the skull’s powers if they existed so he could write about them.

Maitland goes ahead and adds the skull to his collection.

You should have listened to your friend’s advice.

Because it turns out that the skull is indeed evil, and it leads to the death and destruction of everyone who comes in contact with it.

THE SKULL has a lot of things going for it, and it’s one of those movies that has aged well and holds up better today than when it first came out.

For starters, it’s one of the first Peter Cushing/Christopher Lee horror movies not to be a period piece. It’s set in modern times, and as such, as much as I enjoy all the period piece Hammer Films, THE SKULL plays like a breath of fresh air.

THE SKULL also gives Cushing and Lee a chance to appear in the same scenes together and actually hold some intriguing conversations. Prior to THE SKULL, most of their movie scenes together involved them dueling to the death, with Cushing’s hero usually gaining the upper hand over Lee’s monster. Here, they share some noteworthy scenes together. My favorite is their conversation over a game of pool where they argue over the power of the skull. With a little imagination it’s easy to perceive this scene as a dialogue between Baron Frankenstein and Scaramanga. It kinda has that feel.

There’s also a neat dream sequence— or is it?— where Cushing’s Maitland is whisked away by some weird gangster thugs and taken to a secret court where he’s forced to play russian roulette with a loaded pistol. It’s a bizarre sequence, but it really works.

The special effects here for a 1965 movie aren’t half bad.  The skull looks pretty cool, and the scenes shot from inside the skull, an idea conceived by director Freddie Francis, also work.

But what works against the movie, and in the past, used to prevent me from truly loving it, is it has pacing issues, especially towards the end, where there are long scenes of Peter Cushing sitting and staring at the skull, which are hardly all that thrilling.  There are a couple of reasons for this.

One, according to director Freddie Francis, the script by producer Milton Subotsky was largely unfinished and resembled more of an outline than a full-fledged screenplay. According to Francis, he had to add quite a bit to the film’s story to make it reach feature-length.

Also, while Freddie Francis directed a lot of movies, he’s more known for his cinematography, for films in the 1950s, and later, on such classics as THE ELEPHANT MAN (1980) and GLORY (1989). He’s not one of my favorite horror movie directors, although I did enjoy his work on DRACULA HAS RISEN FROM THE GRAVE (1968) which I think is his best horror movie.

But as I said, THE SKULL has aged well, and I regard it much more highly than I did say thirty years ago.

The pacing remains slow, but that seems to matter less now, because its scenes of horror have only gotten better. It opens with an extremely atmospheric graveyard scene which takes place in the 1800s, and so even though this one isn’t a period piece, it begins that way, which makes its switch to modern-day later all the more effective.

There’s something very intelligent and artistic about the entire production, and that’s the part that seems to have gotten better with age. The other notable thing about THE SKULL is it’s not a movie where the good guys win. The forces of darkness are the victors here. In fact, the entire movie seems to be seeped in an aura of evil. It really resonates.

And the film has a very strong cast.  Of course, you have Cushing and Lee, but they’re supported by folks like Patrick Wymark, Jill Bennett, Nigel Green, Patrick Magee, Peter Woodthorpe, and Michael Gough.

Peter Cushing always delivers a top-notch performance, although his best work is when he plays the hero or the villain. Here, as Christopher Maitland, he’s a flawed character who isn’t strong enough to fend off the powers of the skull, but as such, it’s rather refreshing to see him play this kind of role.

Christopher Lee’s Sir Matthew Phillips is largely a supporting role, but it is an excellent performance nonetheless. As many of Lee’s early performances so often were, it went largely unnoticed by critics, but he is quite good here as the man who, unlike Maitland, realizes just how dangerous the skull is and tries to tell his friend to walk away from the supernatural object.  Lee does a terrific job creating a character who shows both strength and fear.

Producer and writer Milton Subotsky had a vision for this film to be a feature-length horror movie with very little dialogue. He once said in an interview, “It’s a fantastic film and I think, will someday be considered a horror classic.”

It may have taken over 50 years, but I think Subotsky was right.

We’ve reached the point where we can safely call THE SKULL a classic horror movie from the 1960s.

–END—

 

 

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IN THE SPOOKLIGHT: THE CURSE OF THE FLY (1965)

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the curse of the fly poster

THE CURSE OF THE FLY (1965), the third movie in the original “FLY” series, is the odd duck of the FLY family.

First of all, the monster known as “the Fly,” that human-fly hybrid with the hideous fly head atop a man’s body does not appear in this film. Second, neither does Vincent Price who starred in the first two films. And third, whereas the first two movies were American productions, this one hails from the UK.

As a kid, I never liked this movie for the simple reason that the “Fly” did not appear in it. But don’t let that major omission fool you, because at the end of the day, THE CURSE OF THE FLY is a well-written horror story that has a lot of things going for it, which is a rarity, because usually by the time you get to the third film in a series, there’s a lot of repetition.  Not so here. THE CURSE OF THE FLY pretty much stands on its own.

The original THE FLY (1958) was about a scientist Andre Delambre (David Hedison) whose experiments with a teleportation machine went awry when unbeknownst to him a fly got trapped inside the device with him, and during the transport. their genes were spliced together, and what emerged from the machine was a monster with a fly’s head on a man’s body.

The sequel RETURN OF THE FLY (1959) followed Andre’s adult son Philippe (Brett Halsey) as he continued his father’s experiments, and he too had fly trouble and was also transformed into a fly monster. Vincent Price appeared in both films as Francois Delambre, Andre’s brother and Philippe’s uncle. Strangely, in spite of Price’s star power, his roles in these two FLY movies were simply supporting ones.

In THE CURSE OF THE FLY, we meet yet another son of Andre’s, Henri Delambre (Brian Donlevy) who with his two adult sons continues to work on saving the Delabmre legacy by continuing to tinker with the teleportation machines. At least these folks are careful and make sure there aren’t any flies in the machines with them. So, while there is no fly monster in this movie, there are mutants. See, in spite of all this tinkering, the Delambres still have not perfected the technology, and the mutants are all the victims of their experiments. The Delambres keep them locked in secret rooms on their property.

THE CURSE OF THE FLY is mostly about Henri’s son Martin (George Baker) who in spite of his father’s dedication to the cause wants out of the family business.  Good thinking there, Martin!  Instead of helping his dad, Martin decides to get married, and he surprises his father when he returns home with his new bride, the lovely Patricia Stanley (Carole Gray.)  Henri believes this is a bad idea, having a stranger on the property when they’re conducting their experiments, but once he meets Patricia, he changes his mind and welcomes her into their home.

But unbeknownst to both of them, Patricia has escaped from a mental institution, and this is why THE CURSE OF THE FLY is such an interesting movie. It has a really neat story. In fact, the film opens with Patricia running aimlessly along a dark road where she is almost hit by a car driven by Martin. Yep, this is how the two of these characters meet, and shortly thereafter, they fall in love and get married. For Martin, it’s all part of his getting away from his dad, and for Patricia, it’s about her getting away from the institution.

And later, when she begins to see strange things at the house, like the mutants, she begins to wonder if she’s going crazy again. So really, even more so than the Delambres, THE CURSE OF THE FLY is about Patricia and pretty much follows her story arc.

THE CURSE OF THE FLY was directed by Don Sharp, who directed a few Hammer Films, including their highly regarded THE KISS OF THE VAMPIRE (1963), Hammer’s follow-up to THE BRIDES OF DRACULA (1960). Sharp also directed the first two Christopher Lee Fu Manchu movies, THE FACE OF FU MANCHU (1965) and THE BRIDES OF FU MANCHU (1966).

Sharp gives THE CURSE OF THE FLY a definite British feel. It’s creepy throughout, and its black and white photography only adds to the mood.

And that’s easy to do here because THE CURSE OF THE FLY has a strong screenplay by Harry Spalding. The story is believable and the dialogue matter-of-fact and realistic, and I love the dueling story arcs.  You have Patricia’s story on the one hand crossing paths with the whole Delambre plot.  It’s really a neat story.

Carole Gray is convincing as Patricia, the young woman with mental issues who finds herself living in a house with people conducting strange experiments.  Gray also starred in the thrilling science fiction movie ISLAND OF TERROR (1966), which was directed by Terence Fisher and starred Peter Cushing.

George Baker is just as good as Martin Delambre.

Brian Donlevy, who enjoyed a long career spanning four decades, and who starred in two early Hammer movies, THE QUATERMASS EXPERIMENT (1955) and ENEMY FROM SPACE (1957) gets top billing here.

While there are no “monsters” in this one, there’s lots of creepiness, making THE CURSE OF THE FLY a worthy entry in the FLY series.

Summer time is almost here. So the next time you grab the mustard and curse the fly you’re swatting off your hot dog, think of poor Patricia, living in a house with mad scientists and mutants, in the nightmare world of THE CURSE OF THE FLY.

—END—

 

 

 

 

LEADING LADIES: BARBARA SHELLEY

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Barbara Shelley in DRACULA – PRINCE OF DARKNESS (1966).

Welcome back to LEADING LADIES, that column where we look at lead actresses in horror movies.

Up today it’s Barbara Shelley, a woman whose talent and beauty adorned some of Hammer Films’ best shockers.  Of course, Shelley starred in more than just Hammer horror movies, appearing in all sorts of movies and TV shows as well.  Here’s a partial look at her long and successful career, focusing mostly on her horror films:

MAN IN HIDING (1953) – Barbara Shelley’s first screen credit, under her real name, as Barbara Kowin, in this British whodunit murder mystery starring Paul Henreid and Lois Maxwell.

BALLATA TRAGICA (1954) – Betty Mason- Shelley’s first credit as Barbara Shelley in this Italian crime drama.

CAT GIRL (1957) – Leonora Johnson- Shelley’s first horror movie, a variation of the more famous CAT PEOPLE (1942), where she plays a young woman affected by a family curse that warns she will turn into a murderous leopard when angered.  Some girls have all the fun.

BLOOD OF THE VAMPIRE (1958) – Madeleine –  One of my favorite Barbara Shelley movies, this atmospheric horror movie about a mad scientist named Dr. Callistratus (Donald Wolfit) conducting strange blood experiments in a creepy prison is a subtle exercise in “thinking man’s horror.”  It looks and plays like a Hammer Film, but it’s not, but it was written by Jimmy Sangster, who wrote some of Hammer’s best shockers.

VILLAGE OF THE DAMNED (1960) – Anthea Zellaby – Probably my favorite Barbara Shelley movie, this science fiction classic about the strange children with the glowing eyes is one of the best science fiction horror movies ever made.  Also stars George Sanders, Michael Gwynn, and Laurence Naismith.

THE SHADOW OF THE CAT (1961) – Beth Venable – Shelley’s first Hammer Film, another cat tale involving murder and the supernatural. Also starring Andre Morrell and Freda Jackson.

THE SAINT (1962) – Valerie North – appeared in the episode “The Covetous Headsman” of this classic TV show starring Roger Moore.

THE GORGON (1964) – Carla Hoffman- co-stars with Peter Cushing and Christopher Lee in this Hammer shocker that is topnotch throughout except for an ending that exposes some very weak special effects when the titlular monster is finally shown on screen. Major role for Shelley, as her character is integral to the plot. Directed by Hammer’s best director, Terence Fisher.

THE MAN FROM U.N.C.L.E (1965) – Bryn Watson – starred in the episode “The Odd Man Affair” of this classic secret agent TV show starring Robert Vaughn and David McCallum.

DRACULA- PRINCE OF DARKNESS (1966) – Helen Kent – Becomes Dracula’s victim in this excellent Hammer Dracula movie, the first direct sequel to HORROR OF DRACULA (1958) with Christopher Lee reprising his role as Dracula once again. Also starring Andrew Keir, Francis Matthews, Suzan Farmer, Thorley Walters, and Philip Latham. Directed by Terence Fisher.

RASPUTIN: THE MAD MONK (1966) – Sonia – Reunited with DRACULA-PRINCE OF DARKNESS co-stars Christopher Lee, Francis Matthews, and Suzan Farmer in this Hammer Film which also used the same sets from that DRACULA sequel.

THE AVENGERS (1961-1967) – Venus/Susan Summers – “From Venus With Love” (1967)/ “Dragonsfield” (1961)- Two appearances on the spy TV series starring Patrick Macnee.

FIVE MILLION YEARS TO EARTH (1967)- Barbara Judd – Classic Hammer science fiction movie, part of their Quatermass series, originally titled QUATERMASS AND THE PIT. Stars Andrew Keir as Professor Quatermass.  This one’s got an impressive mystery and tells a neat story.  Also starring James Donald and Julian Glover.

GHOST STORY (1974) – Matron – Haunted house tale not to be confused with Peter Straub’s novel or the 1981 film based on Straub’s novel. Shelley’s final performance in a theatrical release.

DOCTOR WHO (1984) – Sorasta – appeared in the four part episode “Planet of Fire” of this classic science fiction TV show.  Peter Davison played the Doctor.

UNCLE SILAS (1989) – Cousin Monica – Barbara Shelley’s final screen credit to date in this horror TV mini-series starring Peter O’Toole as the mysterioius Uncle Silas.

Barbara Shelley was born on February 13, 1932.  She is currently retired from acting.

 

I hope you enjoyed this partial look at the career of actress Barbara Shelley, one of the more influential actresses from 1950s-1960s British horror cinema.

Join me again next time when we look at the career of another actress in horror cinema in the next edition of LEADING LADIES.

Thanks for reading!

—-Michael

 

 

Movie Lists: The STAR WARS movies

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Empire Strikes Back poster

Welcome back to the MOVIE LIST column, where we look at lists pertaining to the movies.

Up today, the STAR WARS franchise.  Yep, with the latest STAR WARS film STAR WARS: THE LAST JEDI (2017) set to hit theaters today, December 14, 2017, here’s a look at how the previous films in the series rank:

  1. THE EMPIRE STRIKES BACK (1980)

For my money, this first STAR WARS sequel is the best of the lot.  Following upon the heels of the original, EMPIRE is darker, bolder, and more innovative and exciting than its predecessor. All three leads- Mark Hamill, Harrison Ford, and Carrie Fisher grew into their roles here, and much more is revealed about one of the screen’s greatest villains, Darth Vader (David Prowse, with James Earl Jones providing the voice).  John Williams’ iconic Darth Vader theme, the Imperial March, is introduced here, making it hard to believe it didn’t exist in the first movie.

In a brilliant stroke, to keep things fresh, George Lucas stepped out of the director’s chair in favor of Irvin Kershner, something Lucas would stumble over in the second trilogy with his ill-fated decision to direct all three films.  EMPIRE also has the best script in the series, written by Leigh Brackett and Lawrence Kasdan.  Before ROGUE ONE came along, EMPIRE had the darkest ending in the series, with its now infamous reveal about the relationship between Luke Skywalker and Darth Vader.  Also the film that introduced Yoda.

Star Wars poster

2. STAR WARS (1977)

The movie that started it all.  I still remember when this one first hit the theaters, back in the summer of 1977.  When I saw this on the big screen that summer at the age of 13, I was blown away. Having grown up watching STAR TREK and LOST IN SPACE on TV, I had never seen such amazing special effects before.

Instantly drawn into the story of Luke Skywalker, Princess Leia, and Han Solo, I was along for the ride from the get-go, and I still haven’t forgotten the awe and wonder I felt entering the strange alien worlds and spaceship of this ultra imaginative movie.  Also featured my all-time favorite actor, Peter Cushing, playing the villain, Grand Moff Tarkin, which gave me the second opportunity to see Cushing on the big screen, the first being the inferior Amicus adventure AT THE EARTH’S CORE (1976).

Rousing iconic score by John Williams, and brilliant directing by George Lucas make this one a classic for the ages.  It’s now called STAR WARS: EPISODE IV: A NEW HOPE to fit in with the entire trilogy, but back in the day when it first came out, it was just STAR WARS, and rightly so.

3. STAR WARS: THE FORCE AWAKENS (2015)

After a sub par and inferior second trilogy, STAR WARS returned to the top with this energetic and exciting new entry by writer/director J.J. Abrams, who earlier achieved similar success with his excellent STAR TREK reboots.  The spirit of STAR WARS seemed to be missing in the previous trilogy, but it’s back and stronger than ever here.

With the return of familiar characters like Han Solo, Chewbacca, and Princess Leia, and newcomers like Rey (Daisy Ridley) and Finn (John Boyega), this sequel which takes place thirty years after the events of RETURN OF THE JEDI, completely recaptures the magic of the original STAR WARS movies.  My only gripe is that Luke Skywalker (Mark Hamill) doesn’t appear until the very end.

rogue one poster

4. ROGUE ONE – A STAR WARS STORY (2016)

The first stand-alone STAR WARS movie was a mixed bag for me the first time around.  I thought the film did a poor job with character development which was a major deal here since the film contains nearly all new characters.  But I liked this one much better upon a second viewing.  Its story, the tale of how the rebels stole the Death Star plans used by Luke Skywalker and the rebels in the original STAR WARS film, is a good one, and it even addresses the long-standing joke of how inept the Empire must have been to have built the Death Star with a glaring weakness that the rebels could expose so easily.  ROGUE ONE makes it clear that this supposed weakness was not by accident.

Excellent storytelling gets better as the movie goes along as it moves towards its powerhouse finale, the darkest by far in the entire series.  Also notable for its sometimes impressive CGI re-creation of Peter Cushing playing Grand Moff Tarkin.  On the big screen, I thought he looked cartoonish, but at home on my TV screen he looked a bit more genuine.

 

5. STAR WARS: EPISODE III: REVENGE OF THE SITH (2005)

I am really not a fan of this second series, but I do like the third and final film in which we learn how Anakin Skywalker becomes Darth Vader.  Part of the problem with this series is it’s a prequel. Another part is that it simply takes too long to tell its story.  The three movie arc was unnecessary.  Had REVENGE OF THE SITH been a standalone film, it would have been better received.

Other problems with this series: a lack of imagination and fun.  They are about as cold and lifeless as one can get in a supposed adventurous science fiction fantasy tale.  They also feature a stoic unimaginative actor in the lead as young Anakin, Hayden Christensen.

But I do like this third film, mostly because it succeeds in convincingly telling its tale of just why Anakin Skywalker chose the Dark Side in the first place.  In short, the Jedi were jerks to him, while the Emperor filled his head with flattery.  Most of the film is uneven, but the final reel is the best part and well worth the wait.

 

6. STAR WARS: EPISODE II: ATTACK OF THE CLONES (2002)

Completely unnecessary movie in the STAR WARS canon, notable mostly for Christopher Lee’s presence as Count Dooku, and Natalie Portman’s portrayal of the increasingly tragic Padme.

 

7. RETURN OF THE JEDI (1983)

I know, a lot of people love this one, but I’ve disliked it since I first saw it at the theater.  Following the masterful EMPIRE STRIKES BACK, JEDI is clunky in its story telling, struggles with pacing, and doesn’t come close to capturing the awe and magic of the first two movies.  When the film should have been reaching new heights in its tale of light vs. dark, it instead reverts to cutesiness, introducing us to huggable Ewoks, who do nothing but take away valuable screen time from Luke and Darth Vader.

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Darth Maul, one of the few good things about THE PHANTOM MENACE (1999).

8. STAR WARS: EPISODE I: THE PHANTOM MENACE (1999)

My least favorite of the series.  Did we really need an entire movie about Anakin Skywalker’s life as a little boy?  In a word, no.

Notable for Liam Neeson’s presence as Qui-Gon Jinn, and the very cool villain Darth Maul.  Yep, Qui-Gon and Darth Maul are by far the two best characters in this movie, and they are both promptly killed off.  Shows you how good this movie is.

And there you have it.  A quick take on the STAR WARS movies.  I’ll be sure to update this list shortly to include the latest movie, STAR WARS: THE LAST JEDI (2017).

Until then, thanks for reading!

—Michael

MEMORABLE MOVIE QUOTES: THE MAN WITH THE GOLDEN GUN (1974)

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man with the golden gun poster

Welcome back to another MEMORABLE MOVIE QUOTES column, where we look at some memorable quotes from some pretty nifty movies.

We return today to the world of James Bond as we look at THE MAN WITH THE GOLDEN GUN (1974), the second film in which Roger Moore played secret agent 007.  The other neat thing about this movie, especially for horror fans, is that Christopher Lee played the villain, the man with the golden gun, the million dollar hitman, Scaramanga, who in this film has his sights on James Bond.  Scaramanga is one of Christopher Lee’s better film performances.

THE MAN WITH THE GOLDEN GUN did not perform all that well at the box office upon its initial release in 1974.  Audiences back then were still struggling with the transition to Roger Moore as Bond and were still craving a return by Sean Connery, but the film has aged well, and today it ranks as one of the better Bond movies.  It also has a memorable music score by John Barry.

And like most Bond movies, it’s chock-full of neat quotes.  Let’s have a listen to some of these quotes from THE MAN WITH THE GOLDEN GUN, screenplay by Richard Maibaum and Tom Mankiewicz.

Christopher Lee gets some of the better lines in the film as the villainous Scaramanga, especially when he spars verbally with James Bond, like in this scene where he suggests to Bond that they engage in a gun duel to the death:

SCARAMANGA: A duel between titans. My golden gun against your Walther PPK. Each of us with a 50-50 chance.

JAMES BOND:  Six bullets to your one?

SCARAMANGA: I only need one.

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Scaramanga vs. Bond

 

And in this scene where he explains to Bond how he first became interested in killing:

SCARAMANGA: When I was a boy I was brought up in a circus. My only real friend was a huge, magnificent African bull elephant. One day, his handler mistreated him and he went berserk. Bleeding, dying, he came and found me, stood on one leg, his best trick, picked me up and put me on his back. The drunken handler came along and emptied his gun into his eye… I emptied my stage pistol into his!

JAMES BOND:  An eye for an eye.

SCARAMANGA: You see, Mr. Bond, I always thought I loved animals. Then I discovered that I enjoyed killing people even more.

 

Of course, eventually, Bond gets to respond in kind:

JAMES BOND: You live well, Scaramanga.

SCARAMANGA: At a million dollars a contract I can afford to, Mr Bond. You work for peanuts, a hearty well done from her Majesty the Queen and a pittance of a pension. Apart from that we are the same. To us, Mr Bond, we are the best.

JAMES BOND: There’s a useful four letter word, and you’re full of it.

 

Scaramanga is as cool as he is deadly, as in this scene where he calmly kills the powerful Mr. Fat and politely addresses Fat’s subordinates moments later:

SCARAMANGA: Mr. Fat has just resigned. I am the new Chairman of the Board.

Fat always did like that mausoleum. Put him in it.

scaramanga

Christopher Lee takes aim as Scaramanga in THE MAN WITH THE GOLDEN GUN (1974).

 

Of course, Roger Moore gets plenty of zingers as James Bond.  Let’s listen to a few:

SAIDA:  Ah! I’ve lost my charm!

JAMES BOND: Not from where I’m standing.

 

And:

JAMES BOND:  Did you see who shot him?

SAIDA: No, I was in his arms. My eyes were closed.

JAMES BOND: Well, at least he died happy.

 

And what would a James Bond movie be without the double entendre names?

JAMES BOND (approaches woman in swimming pool):  Good morning. How’s the water?

WOMAN: Why don’t you come in and find out?

JAMES BOND:  Sounds very tempting, Miss…?

WOMAN:  Chew Mee.

 

Even M (Bernard Lee) and Q (Desmond Llewelyn) get in on the act with this lively exchange:

JAMES BOND: And that is really all there is to report, sir.

M:  So if I heard correctly, Scaramanga got away – in a car that sprouted wings!

Q: Oh, that’s perfectly feasible, sir. As a matter of fact, we’re working on one now.

M:  Oh, Q, shut up!

 

 

But my all time favorite line from THE MAN WITH THE GOLDEN GUN is spoken by Roger Moore, and it’s also one of my favorite lines in the entire series.  As Bond tries to extract information from a gun manufacturer, he points a gun at the man’s groin area, and he says:

LAZAR:  Mr. Bond, bullets do not kill. It is the finger that pulls the trigger.

JAMES BOND: Exactly. I am now aiming precisely at your groin. So speak or forever hold your piece.

 

Gotta love it!

Well, that’s all we have time for today.  I hope you enjoyed this look at quotes from THE MAN WITH THE GOLDEN GUN.  Join me again next time when we look at more memorable quotes from other cool movies.

Thanks for reading!

—Michael

THE HORROR JAR: Genre Films Where PETER CUSHING Did NOT Play A Doctor/Scientist/Professor

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Peter Cushing and the Skull in THE SKULL (1965), a horror film in which Cushing did not play a doctor.

 

Welcome back to THE HORROR JAR, that column where we look at lists of odds and ends pertaining to horror movies.

Up today, my all time favorite horror movie actor, Peter Cushing.

When you think of Peter Cushing, his two most famous roles immediately come to mind, Baron Frankenstein and Dr. Van Helsing, two characters who were also both doctors.  In fact, a lot of Cushing’s roles in horror movies were of medical doctors, professors, or scientists.  So much so, that I thought:  when did he not play a doctor?

Turns out— many times.

Here’s a look at those roles, the times Peter Cushing starred in a horror or science fiction film but did not play a doctor or scientist.

THE HOUND OF THE BASKERVILLES (1959) – Sherlock Holmes.  Technically not a horror film, but that being said, Hammer Films added plenty of horror elements to their rendition of the Sir Arthur Conan Doyle tale.  Directed by Terence Fisher, with Cushing as Sherlock Holmes and Christopher Lee as Sir Henry Baskerville.  Superior little movie, atmospheric and full of thrills, with Cushing’s energetic Holmes leading the way.

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Cushing as Holmes in THE HOUND OF THE BASKERVILLES (1959).

 

NIGHT CREATURES (1962) – Rev. Dr. Blyss – even though the character is identified in the credits as “Dr. Blyss” he’s really the vicar of the small village of Dymchurch— check that, he’s actually the infamous pirate Captain Clegg, hiding out, posing as the vicar, while secretly smuggling rum in this rousing adventure/horror tale by Hammer Films.  Cushing at his energetic best.

Peter Cushing - Night Creatures

Peter Cushing delivers one of his best performances, as Captain Clegg/Dr. Blyss in NIGHT CREATURES (1962).

 

SHE (1965) – Major Holly – lost cities, a supernatural woman, and lots of action in this fantasy adventure by Hammer Films.

THE SKULL (1965) – Christopher Maitland – plays a private collector interested in the occult who purchases the skull of the Marquis de Sade with deadly results.  Christopher Lee co-stars as Cushing’s rival in this fine horror film by Hammer’s rival, Amicus Productions.

TORTURE GARDEN (1967) – Lancelot Canning – another film by Amicus, this one an anthology film featuring five horror stories based on the works of Robert Bloch.  Cushing appears in the fourth segment, “The Man Who Collected Poe,” once more playing a collector of the macabre.  Jack Palance co-stars with Cushing in this segment.

THE BLOOD BEAST TERROR (1968) – Inspector Quennell-  One of Peter Cushing’s worst movies.  In fact, Cushing himself considered it his worst.  Produced by Tigon Films, a company that tried to join Hammer and Amicus as a voice in British horror but ultimately failed.  The monster is a woman who turns into a giant moth that preys on men’s blood, and Cushing plays the police inspector (in a role originally written for Basil Rathbone) who tries to stop her.

SCREAM AND SCREAM AGAIN (1970) – Major Heinrich Benedek – pretty much just a cameo in this film, famous for being the first time Peter Cushing, Christopher Lee, and Vincent Price all starred together in the same movie.  A bizarre flick, perfect for 1970, but ultimately a disappointment as Cushing and Lee only appear briefly, while Price gets a bit more screen time.

THE VAMPIRE LOVERS (1970) – General von Spielsdorf – Cushing finally appears in a vampire movie where he’s not a doctor or a professor!  This time he’s a general, but he’s still hunting vampires in this atmospheric and very sensual vampire film from Hammer, starring Ingrid Pitt as the vampire Carmilla.  The first of Hammer’s “Karnstein” vampire trilogy.

THE HOUSE THAT DRIPPED BLOOD (1971) – Philip Grayson – Another anthology film by Amicus.  Cushing stars in the second segment “Waxworks” and plays a retired stockbroker who runs afoul of a nefarious wax museum.  Director Peter Duffell once said in an interview that Peter Cushing’s entire segment in this film was simply a contrivance to place his head on a platter, which remains one of the more shocking images from the film.

TWINS OF EVIL (1971) – Gustav Weil – Cushing is excellent (as he always is) in this vampire film from Hammer, playing a different kind of vampire hunter.  He leads the Brotherhood, a fanatical group of men seeking out witches in the countryside, a group that is every bit as deadly as the vampires.  As such, when the vampire threat becomes known, and the Brotherhood turn their attention to the undead, it makes for a much more interesting dynamic than the typical vampire vs. heroes.  It’s one of Cushing’s most conflicted roles.  There’s a scene where he laments that he only wanted to do the right thing, that really resonates, because for most of the film, he’s been doing the very worst things.  The third “Karnstein” vampire film.

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Peter Cushing as the fanatical Gustav Weil in TWINS OF EVIL (1971).

 

I, MONSTER (1971) – Utterson – plays a lawyer in this version of the Dr. Jekyll and Mr. Hyde tale by Amicus, which changed the names of Jekyll and Hyde to Marlowe and Blake, played here by Christopher Lee.

TALES FROM THE CRYPT (1972) – Arthur Edward Grimsdyke – famous Cushing role in yet another anthology film by Amicus.  Cushing appears in the third segment, “Poetic Justice” where he plays an elderly junk dealer who is terrorized into suicide by his neighbors, but a year later, and this is why the role is famous, he returns from the grave.

DR. PHIBES RISES AGAIN (1972) – Captain – cameo in this Vincent Price sequel.  Blink and you’ll miss him.

ASYLUM (1972) – Smith – appears in the segment “The Weird Tailor” in this anthology film by Amicus.

FEAR IN THE NIGHT (1972) – The Headmaster – plays a sinister headmaster, in this thriller written and directed by Jimmy Sangster, and also starring Joan Collins and Ralph Bates.

FROM BEYOND THE GRAVE (1974) – The Proprietor – plays the owner of an antique shop, and the man in the wraparound story in this Amicus anthology horror vehicle.

MADHOUSE (1974) – Herbert Flay – plays a screenwriter in this one, and best friend to Vincent Price’s horror actor Paul Toombes.  Toombes is having a rough go of it, as the character he played in the movies- Dr. Death – seems to be committing murders in real life.  A really interesting movie, not a total success, but definitely worth a look, mostly because Price and Cushing share equal and ample screen time in this one.

TENDRE DRACULA – Macgregor – bizarre ill-conceived French horror comedy, notable for featuring Cushing’s one and only performance as a vampire.

LAND OF THE MINOTAUR (1976) – Baron Corofax – plays the villain to Donald Pleasence’s heroic priest in this tale of devil worship and demons.

STAR WARS (1977) – Grand Moff Tarkin – aside from his work in Hammer Films, the role which Cushing is most known for.  As Tarkin, he’s the one character in the STAR WARS universe who bossed Darth Vader around and lived to tell about it.

Peter Cushing - Tarkin

Peter Cushing as Grand Moff Tarkin in STAR WARS (1977).

 

SHOCK WAVES (1977) – SS Commander – Nazi zombies attack!    Nuff said.  With John Carradine.

THE UNCANNY (1977) – Wilbur – Cushing plays a writer who learns that cats are a little more “active” than he first imagined in yet another horror anthology film.

MYSTERY ON MONSTER ISLAND (1981) – William T. Kolderup – plays the “richest man in America” in this bizarre horror comedy.

HOUSE OF THE LONG SHADOWS (1983) – Sebastian Grisbane – famous teaming of Peter Cushing, Christopher Lee, Vincent Price, and John Carradine in the same movie for the first (and only) time ever, this really isn’t a very good movie.  It tries hard, and ultimately isn’t all bad, but could have been so much better.  Price and Lee fare the best.

SHERLOCK HOLMES AND THE MASKS OF DEATH (1984) – Sherlock Holmes – Holmes comes out of retirement to solve a case.   Again, not horror, per se, but since this film was directed by Roy Ward Baker, written by Anthony Hinds, and of course starred Peter Cushing, there is a definite Hammer Films feel about this movie.  John Mills plays Dr. Watson.

There you have it.  A list of genre films starring Peter Cushing where he did not play a doctor, scientist or professor.  Perhaps next time we’ll have a look at those films where he did don a lab coat or carry a medical bag.

That’s it for now.  Thanks for reading!

—Michael

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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

christopher lee 1950s

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