IN THE SHADOWS: FRANCIS MATTHEWS

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

Today our focus is on Francis Matthews. If you’re a Hammer Film fan, you’re familiar with Matthews’ work, because of two key performances in THE REVENGE OF FRANKENSTEIN (1958) and DRACULA: PRINCE OF DARKNESS (1966).

With his distinctive voice, which sounds an awful lot like Cary Grant’s, Matthews made a lasting impression in these Hammer sequels.

Here’s a very brief look at the career of Francis Matthews, focusing mainly on his genre credits:

BHOWANI JUNCTION (1956) – Ranjit Kasel- Matthews’ first big screen credit is in this drama about English/Indian relations directed by George Cukor.  Stars Ava Gardner and Stewart Granger.

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Francis Matthews and Peter Cushing in THE REVENGE OF FRANKENSTEIN (1958).

THE REVENGE OF FRANKENSTEIN (1958) – Doctor Hans Kleve-  Francis Matthews is memorable here as the new young assistant to Peter Cushing’s Baron Frankenstein, or as he is known in this movie since he’s supposed to be dead and is hiding from the authorities, Dr. Stein. Matthews and Cushing share a nice camaraderie in their scenes together, and it’s too bad the series didn’t continue with these two actors. The character of Hans is notable here because at the end of the movie he successfully transplants Dr. Stein’s brain into another body.

CORRIDORS OF BLOOD (1958) – Jonathan Bolton – co-stars with both Boris Karloff and Christopher Lee in this standard shocker featuring Karloff playing a doctor who becomes addicted to the powerful anesthesia he has created and as a result becomes involved in murder. Christopher Lee plays a grave robber named Resurrection Joe, and his supporting performance steals the show. The best part is Karloff and Lee’s climactic battle, pitting one “Frankenstein monster” vs. the other. Neat stuff! Matthews plays it straight as Karloff’s son and protegé.

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Francis Matthews and Christopher Lee in DRACULA: PRINCE OF DARKNESS (1966).

DRACULA: PRINCE OF DARKNESS (1966) – Charles Kent – By far, my favorite Francis Matthews’ role. He plays Charles Kent, one of the four guests who find themselves spending the night in Dracula’s castle, and it’s Charles’ brother Alan (Charles Tingwell) who’s murdered by Dracula’s disciple Klove (Philip Latham) who then uses Alan’s blood to resurrect Dracula (Christopher Lee) in one of Hammer’s bloodiest and most gruesome scenes.

Charles then teams up with Father Sandor (Andrew Keir) to hunt down Dracula, but the vampire king complicates things by going after Charles’ wife Diana (Suzan Farmer) first.

This sequel to HORROR OF DRACULA (1958), arguably Hammer’s best shocker, is itself a really good movie, and its reputation has only gotten better over the years. Francis Matthews makes for a strong leading man, until that is, he has to face Dracula, which is as it should be. The later Hammer Draculas would stumble by having every random young hero best the vampire king when in all seriousness, that should have been something only the Van Helsings of the world could do.

Also, if you own the Blu-ray version of DRACULA: PRINCE OF DARKNESS, it includes a rare and very informative commentary by Christopher Lee, Barbara Shelley, Suzan Farmer, and Francis Matthews. All four actors sat down together for a screening of the film, and for most of them it was the first time they had watched the movie in years. All four actors add really neat insights. For instance, during the film’s pre-credit sequence, which begins with the ending of HORROR OF DRACULA, Lee was quick to point out that the ending they were watching was cut from the original version, and this commentary was recorded long before the recent restored version by Hammer.

The Blu-ray also contains rare behind-the-scenes footage on the set of DRACULA: PRINCE OF DARKNESS secretly filmed by Francis Matthews’ brother using an 8mm camera.

Sadly, of these four actors, only Barbara Shelley remains with us, as Lee, Matthews, and Suzan Farmer have all since passed away (Farmer in 2017).

RASPUTIN: THE MAD MONK (1966) – Ivan – shot nearly simultaneously as DRACULA: PRINCE OF DARKNESS, the film uses the same sets and much of the same cast, including Christopher Lee, Francis Matthews, Barbara Shelley, and Suzan Farmer.

THE SAINT (1964-1967) – Andre/Paul Farley – “To Kill A Saint”/”The Noble Sportsman” – appeared in two episodes of the popular Roger Moore spy show.

THE AVENGERS (1966-1967) – Chivers/Collins – “Mission – Highly Improbable”/”The Thirteenth Hole”- appeared in two episodes of THE AVENGERS TV show.

RUN FOR YOUR WIFE (2012) – Francis Matthews’ final screen credit is in this British comedy.

Francis Matthews has 106 screen credits, and I’ll always remember him for his two noteworthy performances in two of Hammer’s better sequels, THE REVENGE OF FRANKENSTEIN (1958) and DRACULA: PRINCE OF DARKNESS (1966).

Matthews was born on September 2, 1927. He died on June 14, 2014 at the age of 86.

Well, that’s all we have time for today. I hope you enjoyed reading about Francis Matthews, and please join me again next time on the next IN THE SHADOWS when we’ll look at the career at another great character actor in the movies, especially horror movies.

Thanks for reading!

—Michael

 

 

 

 

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IN THE SPOOKLIGHT: THE CURSE OF THE MUMMY’S TOMB (1964)

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The following IN THE SPOOKLIGHT column originally appeared in the April 2012 edition of the HWA NEWSLETTER:

 

Like Universal before them, Hammer Films made a series of Mummy movies, four to be exact, none of them direct sequels, none of them all that exciting, but all of them in vivid color and at the very least entertaining.

THE CURSE OF THE MUMMY’S TOMB (1964) is the second Mummy movie Hammer made, and of the four, it’s my second favorite.  My favorite, of course, is their first Mummy movie, THE MUMMY (1959) starring Peter Cushing and Christopher Lee.  Again, THE CURSE OF THE MUMMY’S TOMB is not a sequel to THE MUMMY but tells an entirely new story, completely separate from Hammer’s initial Mummy movie.

Egyptologists John Bray (Ronald Howard), Sir Giles Dalrymple (Jack Gwillim), and Annette Dubois (Jeanne Roland) discover the mummified remains of the Egyptian prince Ra.  Like all good Mummy movies, there’s a curse that says anyone who messes with the mummy’s tomb will die.  The difference in this story, however, is that the curse is welcomed.  That’s because the expedition has been financed by an American showman Alexander King (Fred Clark) who wants to take the mummy and all the relics discovered along with it on the road for a sort of travelling road show, the sort of thing Carl Denham would have dreamed up after his adventures with King Kong.

Unfortunately, the show doesn’t last long because someone— the audience doesn’t know who— resurrects the Mummy, and so King can’t have his show without its star.  Soon afterwards, the Mummy goes on a murder spree, methodically attempting to kill everyone involved in the discovery of his tomb.  Will the Mummy kill everyone in the movie?  Or will our heroes figure out the identity of the Mummy’s secret benefactor and stop both him and the Mummy before it’s too late?  You’ll have to watch THE CURSE OF THE MUMMY’S TOMB to find out.

I’ve always found THE CURSE OF THE MUMMY’S TOMB to be a fairly entertaining movie, as it has some neat things going for it.

First off, director Michael Carreras cranks up the violence in this one, although admittedly by today’s standards, the movie is very tame.  The movie opens with a scene in which a man’s hand is chopped off.  In another scene, the Mummy uses a heavy statuette to smash in the head of his victim.  This occurs off camera, of course, but alone on the soundtrack— without any accompanying music— is the sickening thud of the statuette crushing the man’s skull.  In yet another scene, the Mummy uses its powerful foot to obliterate his victim’s head.  Nasty!

Director Carreras usually served Hammer in another capacity, as a producer.  He produced many of their early hits, including THE CURSE OF FRANKENSTEIN (1957) and HORROR OF DRACULA (1958).  As the director of THE CURSE OF THE MUMMY’S TOMB, Carreras performs well.

The first time the Mummy makes his appearance, it’s an excellent scene as he steps from a thick fog onto the top of a creepy outdoor staircase ready to attack his first victim.  Later, the Mummy emerges from fog again, this time just before crashing through a window.

Another neat touch is the sound effect of the Mummy breathing.  Fourteen years later John Carpenter would use a similar effect with Michael Myers in HALLOWEEN (1978).

Carreras also penned the screenplay using the pseudonym “Henry Younger” which was an in-joke because fellow Hammer producer Anthony Hinds wrote the screenplays for a ton of Hammer movies [including THE CURSE OF THE WEREWOLF (1961) & DRACULA HAS RISEN FROM THE GRAVE (1968)] under the pen name “John Elder.”

Carreras’ screenplay tells the usual Mummy tale but does include an interesting plot twist.  While it won’t knock your socks off, it’s still an intriguing twist.

The actual Mummy make-up looks fine, but the same can’t be said for the Mummy’s body.    The Mummy was played by stunt man Dickie Owen, and he surprisingly sports a noticeable pot belly.  It’s sadly laughable.

Lon Chaney Jr. was criticized when he played Kharis the Mummy for Universal for looking too solid and heavy to be an Egyptian mummy, but Chaney looks like a trim Olympic athlete compared to the Mummy in this movie!

THE CURSE OF THE MUMMY’S TOMB has a solid cast.  Ronald Howard, the son of famed actor Leslie Howard, is capable as lead Egyptologist John Bray.  I also really liked Fred Clark as the showman Alexander King.  The best part about the entire cast, which can be said for the majority of Hammer movies, is that they are thoroughly believable in their roles.  They make you believe in all the supernatural proceedings.

THE CURSE OF THE MUMMY’S TOMB also has a good music score by Carlo Martelli.

On the other hand, one thing that doesn’t work so well is the ending, which is abrupt and is probably the weakest part of the movie.  Compared to the Mummy scenes that come before it, the ending is not very exciting.

Overall, though, THE CURSE OF THE MUMMY’S TOMB is a decent Mummy movie, competently executed by all involved, and it gets much better once the Mummy finally appears.  The final twenty minutes are the best part of the movie, except for the ending, which mummy-wraps things up too quickly.

So, this spring, if you’re pining for pleasant sunshine and warmer temperatures, but the weather isn’t cooperating, take a trip to the desert sands of Egypt in search of Mummies and monsters.  And like Alexander King in the movie, don’t fear THE CURSE OF THE MUMMY’S TOMB, but embrace it!

That’s right.  Hug your Mummy today!

—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

 

 

IN THE SPOOKLIGHT: THE BRIDES OF DRACULA (1960)

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THE BRIDES OF DRACULA (1960), Hammer Films’ second vampire movie, is so steeped in rich atmosphere you can almost feel the Transylvanian mist on your flesh.

It also ranks as one of the best vampire films ever made.

THE BRIDES OF DRACULA tells the story of young Marianne (Yvonne Monlaur) on her way to the Lang Academy at Badstein where she is to be a teacher.  Unfortunately, before arriving at the school, she spends the night at the Chateau Meinster where she meets the young dashing Baron Meinster (David Peel) who happens to be a vampire.

Doctor Van Helsing (Peter Cushing, reprising the role he played in HORROR OF DRACULA two years earlier) arrives in town to investigate the reports of vampirism in the area.  Van Helsing befriends young Marianne and discovers that Baron Meinster is the local vampire.  In a neat piece of drama, he is understandably shocked to learn that Marianne and the Baron are engaged to be married.  However, Van Helsing puts his personal feelings aside and pursues the vampire, eventually battling it out with Meinster in an exciting climax in a fiery windmill.

While THE BRIDES OF DRACULA is an excellent film, it’s not without its problems.  For starters, Dracula does not appear in the movie, so the title is a major misnomer and source of frustration for many fans.   Dracula is absent from the film because back in 1960 Christopher Lee refused to reprise the role for fear of being typecast.  And while David Peel performs admirably as Baron Meinster, he’s no Christopher Lee, and his performance lacks the powerful punch that viewers loved about Lee.

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David Peel as vampire Baron Meinster in THE BRIDES OF DRACULA (1960).

Also, the music score by Malcolm Williamson is so over the top in places it’s almost laughable.  James Bernard’s music is sorely missed here.

Still, there’s lots to like about BRIDES.

The cast is superb, led by Peter Cushing as Dr. Van Helsing.  Long before Hugh Jackman put us to sleep in the over-hyped yawn fest VAN HELSING (2004), Peter Cushing was THE film Van Helsing.  His performances in HORROR and BRIDES marked the first time the role was played as a younger action hero, rather than the old wise professor from Stoker’s novel.

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Van Helsing (Peter Cushing) fighting off a vampire in THE BRIDES OF DRACULA (1960).

The supporting cast is also very good, notably Martita Hunt as the Baroness Meinster, Baron Meinster’s mother, and Freda Jackson as Greta, Baron Meinster’s former nurse and current servant.  Jackson steals nearly every scene she’s in.

Jimmy Sangster, Peter Bryan, and Edward Percy all worked on the screenplay for THE BRIDES OF DRACULA.  Evidently, extra writers were called in and extensive rewrites were performed at the request of Peter Cushing who was unhappy with the original script.  For instance, in the original script, Van Helsing used black magic to fight off the vampires, and Cushing thought this was completely out of character for the doctor.

Director Terence Fisher gives the film its wonderful atmosphere by using rich colors and textures, elaborate sets and costumes, the whole bit.  It’s one of the reasons Hammer Films were so successful.  They always looked liked extremely high-budgeted movies when in fact they weren’t.

Fisher also creates some classic scenes in this film- Greta calling to the young vampire bride in her grave, the girl’s hand clawing its way out of the soil, Van Helsing burning the vampire’s bite from his own neck, and in the fiery climax, Van Helsing leaping onto the blades of the burning windmill to form the shadow of the cross on an adjacent building.

THE BRIDES OF DRACULA is an atmospheric gem, well worth sinking your teeth into.

—END—

(This column was originally published in the HWA Newsletter in November 2006.)

 

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

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 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

 

 

IN THE SPOOKLIGHT: BLOOD FROM THE MUMMY’S TOMB (1971)

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One of the better parts of the awful reboot THE MUMMY (2017) starring Tom Cruise was that it featured a female mummy, but it wasn’t the first film to do this.

Hammer Films did it and did it better back in 1971 with BLOOD FROM THE MUMMY’S TOMB, a film based on the novel The Jewel of the Seven Stars by Bram Stoker.

BLOOD FROM THE MUMMY’S TOMB is completely unlike the Hammer Mummy movies which came before it, and for that matter from the Universal Mummy movies as well. Gone is the lumbering monster wrapped in bandages.  In its place is a  beautiful woman whose otherworldly powers are just as deadly.

BLOOD FROM THE MUMMY’S TOMB is the story of a young woman named Margaret Fuchs (Valerie Leon), the daughter of famed archeologist Professor Julian Fuchs (Andrew Keir).  Margaret is troubled by nightmares in which she catches glimpses of an expedition led by her father which discovered a female mummy, Queen Tera, which strangely had not suffered any decomposition.  Even stranger, Queen Tera is a dead ringer for Margaret.  What’s a girl to do?

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Queen Tera (Valerie Leon), looking pretty good for a centuries old mummy.

Why, investigate, of course!  Which is exactly what Margaret does, with the help of her boyfriend Tod Browning (Mark Edwards).  No, not the guy who directed Bela Lugosi in DRACULA (1931), but obviously the use of the name here is a nod to the famous director, and it makes sense here, since Browning directed DRACULA, which was based on Bram Stoker’s famous novel, and of course this Mummy movie was based on Stoker’s less famous novel.

What Margaret and Tod find out is that Queen Tera is very much alive and intent on walking the earth again, but to do that, she must kill, kill, kill, which she does by using Margaret.

While I wouldn’t place BLOOD FROM THE MUMMY’S TOMB up there with Hammer’s best shockers, it does belong in the better-than-average category.  My favorite part is that it is so different.

Director Seth Holt— who would die from a heart attack before the film was released— uses a slow almost artistic style to tell this story.  The effect is quite mesmerizing.  While you won’t be jolted out of your seat from in-your-face scares, you will be captivated by a haunting tale that subtly gets under your skin.

The music score here by Tristram Cary is also quite effective, as it lends a sense of eeriness to the proceedings.

The screenplay by Christopher Wicking is a good one.  It tells an interesting story and creates some intriguing characters.  The plot also builds to a bloody climax in which survivors are hard to come by.

Valerie Leon is okay as Margaret Fuchs/Queen Tera.  It’s kind of a one note performance, as she doesn’t exhibit a lot of range.  I enjoyed Mark Edwards much better as her boyfriend Tod Browning.  I thought he came off like a real person, and he seemed quite natural inside this supernatural environment.

I’m a big fan of Andrew Keir, and he’s very good here as Professor Julian Fuchs, in a role that was originally intended for Peter Cushing, but Cushing had to drop out to care for his ailing wife.  My favorite Andrew Keir role in a Hammer Film is his performance as Father Sandor in DRACULA-PRINCE OF DARKNESS (1966).  His role here as Professor Fuchs isn’t as significant, but Keir’s presence adds dignity and respectability to the story.

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Andrew Keir as Professor Julian Fuchs, trying to put an end to Queen Tera, the Mummy.

Also memorable is James Villiers as the mysterious Corbeck, a member of the Fuchs expedition which discovered the tomb of Queen Tera, who later contacts Margaret and Tod and has his own ideas as to what needs to be done regarding the mummy.

If there’s one thing I don’t like about BLOOD FROM THE MUMMY’S TOMB it’s that it lacks energy.  At first, its slow-paced eerie style works, but the film never builds on this, never becomes more suspenseful.  It does have a violent conclusion, but it’s not as powerful as you would expect.  And that’s why for me it’s not up there with Hammer’s best. It’s an atmospheric thriller and generally satisfying, but there’s just something rather passive about the whole thing.

Stoker’s novel The Jewel of the Seven Stars would be filmed again in 1980 under the title of THE AWAKENING starring Charlton Heston with similar if not lesser results.

So, really, female mummies haven’t fared all that well in the movies.  In fact, you could make the argument, that this above average thriller BLOOD FROM THE MUMMY’S TOMB is the best of the lot.

Either way, if you’re looking for a change of pace and want to watch a Mummy movie not about a slow-moving monster in bandages, one that features a female mummy in a story that is far better than the one told in the 2017 MUMMY, give BLOOD FROM THE MUMMY’S TOMB a try.

Its subtle style might be just the thing for a starry September evening.

—END—

 

 

 

 

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.

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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.

peter cushing - twins of evil

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

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

IN THE SPOOKLIGHT: KISS OF THE VAMPIRE (1963)

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Since Christopher Lee was not interested in playing Dracula again after Hammer Films’ megahit HORROR OF DRACULA (1958), (it would take him a few more years to change his mind) Hammer made a sequel without him, THE BRIDES OF DRACULA (1960), in which Peter Cushing reprised his role as Doctor Van Helsing.

And after the success of THE BRIDES OF DRACULA, Hammer decided to follow it up with another vampire movie, KISS OF THE VAMPIRE (1963), this one without either Lee or Cushing, and without their A-List director, Terence Fisher.  It was directed by Don Sharp.

All this being said, while not as highly regarded as some of Hammer’s best vampire movies, KISS OF THE VAMPIRE is nonetheless a well-made, well-acted, and extremely atmospheric vampire movie.  If not for a poorly conceived and executed conclusion, it would have been even better.

KISS OF THE VAMPIRE opens with a chilling pre-credit sequence which is quintessential Hammer.  As the village priest leads a burial ceremony, complete with grieving townspeople, a man Professor Zimmer (Clifford Evans), arrives upon the scene.  Taking a shovel, he drives it into the loose soil of the girl’s grave, causing a fountain of bright red blood to gush from underneath the ground.  Cue James Bernard’s rousing music score.  It’s a perfect beginning to another atmospheric Hammer vampire film.

A young couple Gerald (Edward de Souza) and Marianne Harcourt (Jennifer Daniel) on their honeymoon arrive in a small European village, stranded there temporarily when their car runs out of petrol.  They are invited to the castle overlooking the village, and there they meet their host, Dr. Ravna (Noel Willman) who introduces the couple to his family, which consists of his son and daughter, and he promises to get them some petrol so they can continue their journey.

In the meantime, Dr. Ravna invites Gerald and Marianne to a party at the castle.  It seems like the perfect idea, until Gerald and Marianne realize that their hosts— and in fact all the guests— are vampires!  We’ll take that petrol now, thank you very much!

When Marianne is abducted by this undead family, Gerald turns to the knowledgable Professor Zimmer for help in saving Marianne and destroying the vampires.

KISS OF THE VAMPIRE has a lot of things going for it.  First off, it looks fabulous.  In terms of atmosphere and capturing that whole vampire feel, it’s up there with THE BRIDES OF DRACULA (1960).  Director Don Sharp deserves a lot of credit for the way this one looks.

And while its story is nothing new— young couple runs afoul of a vampire in a remote European village— there are parts of it that are refreshing.  For instance, instead of one vampire, we have a family of vampires, and eventually an entire congregation of vampires.

The Ravna family is charming, hospitable, and friendly.  They don’t seem like vampires at all.  It’s easy to see how Gerald and Marianne let their guard down so easily.  And unlike the traditional black and red garb that Dracula wears, Ravna and his vampires wear white robes.

Producer Anthony Hinds wrote the screenplay under his pen name “John Elder.”  Hinds wrote a lot of Hammer Films, including some of their best, films like THE CURSE OF THE WEREWOLF (1961), THE EVIL OF FRANKENSTEIN (1964), and DRACULA HAS RISEN FROM THE GRAVE (1968), to name just a few.  It’s an intriguing screenplay.

There are things, however, that don’t work all that well.

For starters, Noel Willman is no Christopher Lee.  His vampire Dr. Ravna is a little too non-vampiric. He comes off as polite and gentlemanly, with just a touch of vulgarity.  He’s hardly sensual, and the scenes where he commands his vampire women to do his bidding are difficult to believe.  The best part of his performance is it’s easy to believe when village officials refute accusations that he’s a vampire since he’s the area’s most upstanding citizen.  Willman pulls off this side of Ravna’s personality with ease.  The problem is he doesn’t do much with the other side, the darker side.  He’s not much of a vampire.

Barry Warren and Jacquie Wallis are both rather wooden as Ravna’s adult vampire children, Carl and Sabena.  The best vampire performance in the movie belongs to Isobel Black as Tania, one of the village girls held captive by the Ravnas, who is turned into a vampire.  Black’s Tania is sensuous, mesmerizing, and eager to drink blood.

Edward de Souza makes for an amiable hero as Gerald Harcourt, although he does tend to overract a bit at times, something he didn’t do in his earlier Hammer Film appearance, in THE PHANTOM OF THE OPERA (1962).

Jennifer Daniel is less effective as heroine Marianne Harcourt.  She’s rather blah.

And as the main hero, the eccentric Professor Zimmer, Clifford Evans does an adequate job, although just as Noel Willman is no Christopher Lee, Evans is no Peter Cushing either, and Zimmer is no Van Helsing.  KISS OF THE VAMPIRE definitely misses a strong presence like Cushing or Lee.  But Evans is a very good actor, and in the scenes where Zimmer is not drunk, Evans makes him an effective vampire hunter.

While director Don Sharp makes KISS OF THE VAMPIRE a very atmospheric vampire movie, he doesn’t handle the horror scenes as well.  The scene where Harcourt and Professor Zimmer rescue Marianne from Ravna’s clutches lacks punch, and there really aren’t any memorable shock scenes in this one, other than the pre-credit sequence.

Then there’s the ending.

The conclusion where Professor Zimmer uses a black mass ritual to destroy the vampires was originally conceived for THE BRIDES OF DRACULA (1960).  The vampire in that movie, Baron Meinster, was supposed to have been torn apart by a horde of vampire bats, unleashed by a ritual performed by Dr. Van Helsing, but Peter Cushing balked at this idea, claiming that Van Helsing wouldn’t resort to the dark arts to defeat a vampire, a decision I believe he was spot-on with.

So writer Hinds went with that idea for his ending to KISS OF THE VAMPIRE.  While it’s an intriguing idea, mostly because having bats attack and destroy your vampires is pretty unique when it comes to vampire movie endings, I’m still not sure I understand it. Professor Zimmer says his ritual will in effect turn the forces of darkness on each other, but I’ve never understood why this happens.  What is it that Zimmer does that makes the vampire bats attack the vampires?  Are they confused?  Vengeful that the vampires allowed Zimmer to perform this ritual?  It’s never clearly explained in the movie.

The sequence is ultimately done in by inferior special effects.  The incoming swarm of vampire bats descending upon the Ravna castle is filmed with cheap animation, looking like the bats in SCOOBY DOO cartoons.

The bats inside the castle look just as fake and don’t look any better than the bats used in the old Universal Dracula movies.  In fact, in color, they actually look a bit worse.

As such, KISS OF THE VAMPIRE has never been one of my favorite Hammer movies.  It’s not bad, but it lacks the sensuality and horror usually associated with the best of the Hammer vampire flicks.

Then again, if the vampiric Tania were to show up at your bedroom window in the dead of night, I doubt you’d be able to turn her away.  In fact, I’d wager to guess you’d be powerless to prevent her from giving you the KISS OF THE VAMPIRE.

Wild garlic, anyone?

—END—