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6656
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http://www.imwan.com/phpBB3/viewtopic.php%3Ff%3D1%26t%3D35484%26st%3D0%26sk%3Dt%26sd%3Da%26start%3D990
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6656
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https://subslikescript.com/movie/Fury_at_Smugglers_Bay-57085
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en
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Fury at Smugglers' Bay (1961) Movie Script
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Fury at Smugglers' Bay (1961) - full transcript
During the 1790s, on the Cornwall coast, local pirates led by Black John shipwreck ships during stormy nights and plunder their cargo.The pirates destroy the pilot lights and light misleading fires to guide the ships in distress towards their doom.The pirates kill the surviving sailors and then plunder the ship's cargo.The local magistrate, Squire Trevenyan is aware of Black John's ship wrecking and smuggling.But he's powerless since Black John knows the Squire's darkest secret and threatens to reveal it.Worse still , Squire Trevenyan's son, Christopher, falls in love with Louise Lejeune, the daughter of a local merchant whom the Squire doesn't approve of.During the day,a daring highwayman known as The Captain robs any stagecoach that ventures through his domain.Squire Trevenyan is under pressure to end the lawlessness in Cornwall.
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6656
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https://www.filmaffinity.com/en/film877792.html
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Fury at Smugglers' Bay (1961)
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Fury at Smugglers' Bay is a film directed by John Gilling with Peter Cushing, John Fraser, Bernard Lee, Michèle Mercier .... Year: 1961. Original title: Fury at Smugglers' Bay. Synopsis:You can watch Fury at Smugglers' Bay through on the platforms:
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FilmAffinity
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https://www.filmaffinity.com/us/film877792.html
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Is the synopsis/plot summary missing? Do you want to report a spoiler, error or omission? Please send us a message.
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dbpedia
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https://picclick.com.au/Fury-at-Smugglers-Bay-1961-Fury-at-115977186685.html
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FURY AT SMUGGLERS' Bay (1961) ( Fury at Smuggler's Bay ) ( Fury at Smugglers $66.34
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FURY AT SMUGGLERS' Bay (1961) ( Fury at Smuggler's Bay ) ( Fury at Smugglers - $66.34. FOR SALE! 115977186685
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PicClick AU
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https://picclick.com.au/Fury-at-Smugglers-Bay-1961-Fury-at-115977186685.html
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6656
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Fury at Smugglers’ Bay
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Can you help:
If you have any information regarding this production, the locations or, even better, some comparison shots please contact us. Images submitted must be in Landscape orientation, as would be seen on the cinema screen, not Portrait.
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6656
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2
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https://bombuj.ch/film/fury-at-smugglers-bay_Vd5hGG/
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Fury at Smugglers' Bay (1961) Celý film online CZ/SK
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Fury at Smugglers' Bay online celý film zdarma s cz/sk titulky. It is the end of the 18th century and smuggling is considered to be a legitimate spare-time occupation for
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Bombuj
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https://bombuj.la/film/fury-at-smugglers-bay_Vd5hGG/
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Fury at Smugglers' Bay online bombuj. It is the end of the 18th century and smuggling is considered to be a legitimate spare-time occupation for most fishermen around the British shores. But when a gang of cut-throats, led by the infamous Black John (Bernard Lee) begins to lure ships onto the rocks of Smugglers Bay, and murdering their crews for the sake of loot, the fishermen begin to fear for their livelihoods. In desperation, they appeal to the local magistrate Squire Trevenyan (Peter Cushing).
|
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http://www.screenonline.org.uk/people/id/874261/credits.html
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en
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BFI Screenonline: Malleson, Miles (1888
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Film Credits GAINSBOROUGH BURLESQUES: Battling Bruisers Some Boxing Buffoonery1925referee (uncredited) THE W PLAN1930additional dialogue CHILDREN OF CHANCE1930screenplay NIGHT BIRDSUK / Germany, 1930screenplay TWO WORLDS / LES DEUX MONDESUK / France, 1930adaptation / English dialogue THE YELLOW MASK1930dialogue CITY OF SONGUK / Germany, 1931dialogue / stage-door-keeper THE WOMAN BETWEEN1931original play SALLY IN OUR ALLEY1931screenplay A NIGHT IN MONTMARTRE1931original play THE LOVE CONTRACT1932Peters MONEY MEANS NOTHING1932screenplay / doorman THE SIGN OF FOUR1932Thaddeus Sholto THE BLUE DANUBE - A RHAPSODY1932dialogue THE WATER GIPSIES1932screenplay THE MAYOR'S NEST1932magistrate's clerk LOVE ON WHEELS1932Academy of Music porter GOOD NIGHT VIENNA1932dialogue SUMMER LIGHTNING1933Beach STRANGE EVIDENCEUK / US, 1933screenplay PERFECT UNDERSTANDING1933story / dialogue BITTER SWEET1933the butler QUEEN'S AFFAIR1934screenplay / Chancellor NELL GWYN1934screenplay / additional dialogue / Chiffinch FALLING IN LOVE1934screenplay LORNA DOONE1934dialogue VINTAGE WINE1935Henry Popinot LAZYBONES1935the pessimist PEG OF OLD DRURY1935scenario THE 39 STEPS1935Palladium manager (uncredited) BREWSTER'S MILLIONS1935Hamilton Higginbottom Button (uncredited) TUDOR ROSE1936dialogue / Henry, Jane's father RHODES OF AFRICA1936dialogue VICTORIA THE GREAT1937scenario / dialogue / Sir James, the physician ACTION FOR SLANDER1937adaptation KNIGHT WITHOUT ARMOUR1937drunken Red commissar THE RAT1937screenplay A ROYAL DIVORCE1938scenario SIXTY GLORIOUS YEARS1938screenplay / scenario and dialogue / wounded soldier (uncredited) THE THIEF OF BAGDAD1940screenplay / dialogue / Sultan SPELLBOUND1941screenplay MAJOR BARBARA1941Morrison PASTOR HALL1941associate writer THEY FLEW ALONE1941scenario / screenplay / salesman THIS WAS PARIS1941Watson THEY SPEAK FOR THEMSELVES1942producer / script THUNDER ROCK1942chairman of directors THE FIRST OF THE FEW1942screenplay / Vickers representative (uncredited) UNPUBLISHED STORY1942Farmfield YELLOW CANARY1943screenplay THE DEMI-PARADISE1943box office manager THEY MET IN THE DARK1943screenplay THE GENTLE SEX1943railway guard DEAD OF NIGHT1945hearse driver PERFECT STRANGERS1945screenplay (uncredited) LAND OF PROMISE1945script team / Mr Know-All WHILE THE SUN SHINES1947Horton SARABAND FOR DEAD LOVERS1948Lord of Misrule ONE NIGHT WITH YOU1948jailer IDOL OF PARIS1948Offenbach THE MARK OF CAIN1948Mr Burden WOMAN HATER1948Vicar Meadows KIND HEARTS AND CORONETS1949Mr Elliott, the hangman THE PERFECT WOMAN1949Professor Ernest Belmon THE QUEEN OF SPADES1949Tchybukin TRAIN OF EVENTS1949Johnson, the timekeeper THE HISTORY OF MR. POLLY1949old gentleman on punt CARDBOARD CAVALIER1949Judge Gorebucket GOLDEN SALAMANDER1949Douvet STAGE FRIGHT1949Fortescue, bibulous gent THE MAGIC BOX1951orchestra conductor THE MAN IN THE WHITE SUIT1951the tailor SCROOGE1951Old Joe THE IMPORTANCE OF BEING EARNEST1952Canon Chasuble TREASURE HUNT1952Mr. Walsh VENETIAN BIRD1952Crespi TRENT'S LAST CASE1952Burton Cupples FOLLY TO BE WISE1952Dr. Hector McAdam THE HAPPY FAMILY1952Mr Thwaites THE CAPTAIN'S PARADISE1953Lawrence St. James GEORDIE1955Lord Paunceton KING'S RHAPSODY1955Jules ONE SUNDAY MORNING / NIEDZIELNY PORANEKPoland, 1955English language commentator THE MAN WHO NEVER WAS1955scientist THE SILKEN AFFAIR1956Mr. Blucher BROTHERS IN LAW1956Kendall Grimes Q.C. PRIVATE'S PROGRESS1956Mr Windrush Sr THREE MEN IN A BOAT1956Baskcombe, 2nd old gentleman DRY ROT1956Yokel THE ADMIRABLE CRICHTON1957vicar HAPPY IS THE BRIDE19571st magistrate BARNACLE BILL1957angler THE NAKED TRUTH1957The Reverend Cedric Bastable BEHIND THE MASK1958Sir Oswald Pettiford BACHELOR OF HEARTS1958Dr. Butson CARLTON-BROWNE OF THE F.O.1958Davidson, resident adviser THE CAPTAIN'S TABLE1958Canon Swingler GIDEON'S DAY1958judge DRACULA1958undertaker THE HOUND OF THE BASKERVILLES1958Bishop Frankland I'M ALL RIGHT JACK1959Windrush Sr AND THE SAME TO YOU1959the bishop THE DAY THEY ROBBED THE BANK OF ENGLAND1959assistant curator PEEPING TOM1960elderly gentleman KIDNAPPEDUS / UK, 1960Lawyer Rankeillor THE BRIDES OF DRACULA1960Dr Tobler FURY AT SMUGGLERS' BAY1960Duke of Avon THE HELLFIRE CLUB1960judge DOUBLE BUNK1961Rev. 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JUSTICE DUNCANNON: Burden of ProofBBC tx 18/1/1963Sir Redvers Featherstone A MIDSUMMER NIGHT'S DREAMITV tx 24/6/1964Peter Quince
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||||||
6656
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dbpedia
|
3
| 3 |
https://letterboxd.com/film/fury-at-smugglers-bay/
|
en
|
Fury at Smugglers' Bay (1961)
|
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It is the end of the 18th century and smuggling is considered to be a legitimate spare-time occupation for most fishermen around the British shores. But when a gang of cut-throats, led by the infamous Black John (Bernard Lee) begins to lure ships onto the rocks of Smugglers Bay, and murdering their crews for the sake of loot, the fishermen begin to fear for their livelihoods. In desperation, they appeal to the local magistrate Squire Trevenyan (Peter Cushing).
|
en
|
https://letterboxd.com/film/fury-at-smugglers-bay/
|
I guess John Gilling really wanted to make this picture, since he wrote it, directed it, and produced it under his own production company. That's a lot of effort to realize a personal vision on the big screen but it's just a low-key adventure story about some pirates and smugglers. Peter Cushing is the stern and taciturn squire of the village, being blackmailed by a a wild and rough Bernard Lee, quite a different role than the one he is best known for as "M" in the original Bond series. The beautiful Michèle Mercier is the love interest for the Squire's son, but none of the characters really drew me in. Instead there's a romantic highwayman who feels somewhat peripheral…
Nowhere near as good as Captain Clegg, Fury at Smuggler's Bay is a little too stuffy to be entertaining. Sure, some swash is buckled and Cushing is dependable as always, but Bernard Lee seems woefully miscast. This one scrapes by on the action alone. It was clearly a passion project for the director, who also wrote and produced, but he lacks the vision to make this a more adventurous night at the pictures.
I'm now struggling as I want to watch more previously unseen Peter Cushing but having difficulty finding his films online. YouTube is a mixed bag and streaming is hopeless.
Watched Online.
I'm sort of disappointed with this because it promised a lot.
You've got Peter Cushing, but he's barely used.
You've also got Bernard (M) Lee as the villain, which is fun to see him play against type, yet somehow is very boring.
Finally, you've got the beautiful Michèle Mercier and she too is terribly wasted in this.
I love pirate/smuggler movies, so believe me when I say this isn't worth your time.
|
||||||
6656
|
dbpedia
|
0
| 8 |
https://moviemem.com/products/movie-posters-general/fury-at-smugglers-bay-original-daybill-movie-poster/
|
en
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FURY AT SMUGGLER'S BAY Original Daybill Movie poster Peter Cushing Bernard Lee
|
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[
"Fury at Smugglers' Bay",
"John Gilling",
"Peter Cushing Bernard Lee Michèle Mercier John Fraser"
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[] |
2007-12-31T18:41:45+00:00
|
Original Movie posters, Buy and Sell movie posters, Australian Daybills and Lobby Cards, Vintage movie memorabilia, Travel posters, collectibles, Brisbane, Melbourne, Sydney, Queensland
|
en
|
Moviemem Original Movie Posters
|
https://moviemem.com/products/movie-posters-general/fury-at-smugglers-bay-original-daybill-movie-poster/
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6656
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dbpedia
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2
| 82 |
https://myrarefilms.co.uk/british-film/1960s/
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en
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My Rare Films
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[] |
[
""
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en
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My Rare Films
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https://myrarefilms.co.uk/british-film/1960s/
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6656
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dbpedia
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1
| 1 |
https://www.imdb.com/title/tt0057085/
|
en
|
Die Bucht der Schmuggler (1961)
|
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1961-10-13T00:00:00
|
Die Bucht der Schmuggler: Directed by John Gilling. With Peter Cushing, John Fraser, Bernard Lee, Michèle Mercier. Pirate wreckers ravage a small seaside community while the ineffectual local squire tries to discourage his son's romance with a smuggler's pretty daughter.
|
en
|
IMDb
|
https://www.imdb.com/title/tt0057085/
|
When the wreckers start operating in his local community, it falls to "Squire Trevenyan" (Peter Cushing) to try to stop this ruthless and brutal crime. Thing is, though, when his son "Christopher" (John Fraser) returns home one night with details of who is doing what to whom, his father is suddenly nervous, compromised - but why? Is it just because the lad has a crush on "Louise" (Michèle Mercier) or because he is afraid of her brute of a father "Black John" (Bernard Lee). Anyway, time to send for the Redcoats! It's a standard adventure film this with little jeopardy or anything new as it sails, predictably, towards it's conclusion. Some of the foliage looks a bit out of place - not sure we have palm trees here in the UK, but Cushing still has a little of the charisma needed and Lee makes for a good rumbustious brigand. Though I don't think i will ever recall it, I like the genre and I quite enjoyed this light-weight and busky costume drama.
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https://www.famousfix.com/topic/bernard-lee/filmography
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en
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Bernard Lee Filmography, List of Bernard Lee Movies and TV Shows
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Films starring Bernard Lee. Also features Bernard Lee TV shows. Latest movies featuring Bernard Lee. Bernard Lee DVDs. The list includes TV series, TV movies, short films and movie appearances. The filmography list includes the title, the title's year of release, and the character played by Bernard Lee, where applicable.
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FamousFix.com
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https://www.famousfix.com/topic/bernard-lee/filmography
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6656
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https://www.alamy.com/original-film-title-fury-at-smugglers-bay-english-title-fury-at-smugglers-bay-film-director-john-gilling-year-1961-credit-mijo-production-album-image207695929.html
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en
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Original Film Title: FURY AT SMUGGLERS BAY. English Title: FURY AT SMUGGLERS BAY. Film Director: JOHN GILLING. Year: 1961. Credit: MIJO PRODUCTION / Album Stock Photo
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Download this stock image: Original Film Title: FURY AT SMUGGLERS BAY. English Title: FURY AT SMUGGLERS BAY. Film Director: JOHN GILLING. Year: 1961. Credit: MIJO PRODUCTION / Album - P1WA7N from Alamy's library of millions of high resolution stock photos, illustrations and vectors.
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https://www.alamy.com/original-film-title-fury-at-smugglers-bay-english-title-fury-at-smugglers-bay-film-director-john-gilling-year-1961-credit-mijo-production-album-image207695929.html
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Original Film Title: FURY AT SMUGGLERS BAY. English Title: FURY AT SMUGGLERS BAY. Film Director: JOHN GILLING. Year: 1961. Credit: MIJO PRODUCTION / Album
Captions are provided by our contributors.
RMID:Image ID :P1WA7N
Image details
Contributor :
Album / Alamy Stock Photo
Image ID :
P1WA7N
File size :
22 MB (537.4 KB Compressed download)
Open your image file to the full size using image processing software.
Releases :
Model - no | Property - noDo I need a release?
Dimensions :
2480 x 3095 px | 21 x 26.2 cm | 8.3 x 10.3 inches | 300dpi
Date taken :
1 January 1961
Photographer :
Album
More information :
This image could have imperfections as it’s either historical or reportage.
Sorry this image isn’t available for license in your territory, please contact us for more information.
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.
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http://www.mitopositano.com/zorn.htm
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https://en.wikipedia.org/wiki/List_of_pirate_films_and_television_series
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en
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List of pirate films and television series
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https://en.wikipedia.org/static/favicon/wikipedia.ico
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https://en.wikipedia.org/static/favicon/wikipedia.ico
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2006-06-15T19:16:02+00:00
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en
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/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/List_of_pirate_films_and_television_series
|
This is a list of pirate films and TV series, primarily in the pirate film genre, about the Golden Age of Piracy from the 17th through 18th centuries. The list includes films about other periods of piracy, TV series, and films tangentially related, such as pirate-themed pornographic films. Films about other types of piracy, such as music piracy, are not included.
Released Title Country Director Notable cast Notes 1908 The Story of Treasure Island United States J. Stuart Blackton Short film based on Treasure Island L'Honneur du corsaire France Victorin-Hippolyte Jasset Charles Krauss Short film The Pirate's Gold United States D. W. Griffith George Gebhardt, Linda Arvidson, Charles Inslee Short Film 1909 Morgan le pirate France Victorin-Hippolyte Jasset Jean-Marie de l'Isle Serial (3 parts)
Released Title Country Director Notable cast Notes 1911 Blackbeard United States Francis Boggs Sydney Ayres, Hobart Bosworth Short film about Blackbeard (c. 1680 – 1718) 1912 Treasure Island United States J. Searle Dawley Addison Rothermel, Ben F. Wilson, Charles Ogle Short film based on Treasure Island 1913 Pirate Gold United States Wilfred Lucas Blanche Sweet, Charles Hill Mailes, J. Jiquel Lanoe Short Film 1915 The Footsteps of Capt. Kidd United States Rex Beach, Edward A. Salisbury Documentary On the Spanish Main United States Rex Beach, Edward A. Salisbury Documentary Pirate Haunts United States Rex Beach, Edward A. Salisbury Documentary A Submarine Pirate United States Charles Avery, Sydney Chaplin Sydney Chaplin, Wesley Ruggles Short film featuring submarine piracy 1916 Colonel Heeza Liar and the Pirates United States John Randolph Bray Animated comedy short film Daphne and the Pirate United States Christy Cabanne Lillian Gish, Elliott Dexter, Walter Long 1918 The Sea Panther United States Thomas N. Heffron William Desmond, Mary Warren, Jack Richardson Treasure Island United States Chester M. Franklin, Sidney Franklin Francis Carpenter, Virginia Lee Corbin, Violet Radcliffe Based on Treasure Island 1919 Störtebeker Ernst Wendt Film about Klaus Störtebeker (c. 1360 – 1401), set in the North Sea and Baltic Sea
Released Title Country Director Notable cast Notes 1920 Jolanda, la figlia del Corsaro Nero Italy Vitale De Stefano Anita Faraboni Based on Yolanda, the Black Corsair's Daughter Pirate Gold United States George B. Seitz Marguerite Courtot, George B. Seitz, Frank Redman Film serial Treasure Island United States Maurice Tourneur Shirley Mason, Josie Melville, Al W. Filson Based on Treasure Island 1921 The Black Corsair Italy Vitale De Stefano Rodolfo Badaloni Based on The Black Corsair Cold Steel United States Sherwood MacDonald J. P. McGowan, Kathleen Clifford, Stanhope Wheatcroft Il figlio del corsaro rosso Italy Vitale De Stefano Based on Son of the Red Corsair La regina dei Caraibi Italy Vitale De Stefano La Bella Argentina, Rodolfo Badaloni Based on The Queen of the Caribbean Gli ultimi filibustieri Italy Vitale Di Stefano Riccardo Tassani Based on the sequel novels of The Black Corsair 1922 Captain Kidd United States Burton L. King, J. P. McGowan Eddie Polo, Kathleen Myers, Leslie Casey Film serial Le Fils du Flibustier France Louis Feuillade Aimé Simon-Girard Film serial Masters of the Sea Austria Alexander Korda Victor Varconi 1924 The Buccaneers Mark Goldaine, Robert F. McGowan Joe Cobb, Jackie Condon, Mickey Daniels 1924 Captain Blood United States David Smith J. Warren Kerrigan, Jean Paige, Charlotte Merriam Based on Captain Blood Peter Pan United States Herbert Brenon Betty Bronson, Ernest Torrence, George Ali Based on Peter and Wendy The Sea Hawk United States Frank Lloyd Milton Sills, Enid Bennett Based on The Sea Hawk, set in the Elizabethan era in the Mediterranean Sea 1925 Clothes Make the Pirate United States Maurice Tourneur Leon Errol, Dorothy Gish, Nita Naldi Comedy Peter the Pirate Germany Arthur Robison Paul Richter, Aud Egede Nissen, Rudolf Klein-Rogge Set in the Mediterranean Sea Satan's Sister United Kingdom George Pearson Betty Balfour Surcouf France Luitz-Morat Jean Angelo Film serial about Robert Surcouf (1773 – 1827), set in the Napoleonic Wars 1926 The Black Pirate United States Albert Parker Douglas Fairbanks, Billie Dove, Anders Randolf Also known as The Black Buccaneer Breed of the Sea United States Ralph Ince Ralph Ince, Margaret Livingston, Pat Harmon The Eagle of the Sea United States Frank Lloyd Florence Vidor, Ricardo Cortez Film about Jean Lafitte (c. 1780 – c. 1823) Old Ironsides United States James Cruze Charles Farrell, Esther Ralston, Wallace Beery Also known as Sons of the Sea.
Set in the Mediterranean Sea, in the early 19th century. 1927 The Road to Romance United States John S. Robertson Ramon Novarro, Marceline Day, Marc McDermott Based on Romance 1928 The Beautiful Corsair Italy Wladimiro De Liguoro Rina De Liguoro The First Kiss United States Rowland V. Lee Fay Wray, Gary Cooper, Lane Chandler Modern Pirates Germany Manfred Noa Jack Trevor 1929 The Delightful Rogue United States Leslie Pearce Rod La Rocque The Pirate of Panama United States Ray Taylor Jay Wilsey, Natalie Kingston, Al Ferguson Film serial
Released Title Country Director Notable cast Notes 1930 Hell Harbor United States Henry King Lupe Vélez, Jean Hersholt, John Holland 1931 Corsair United States Roland West Chester Morris 1934 Pirate Treasure United States Ray Taylor Richard Talmadge, Lucille Lund, Walter Miller Film serial Treasure Island United States Victor Fleming Wallace Beery, Jackie Cooper, Lionel Barrymore Based on Treasure Island 1935 Captain Blood United States Michael Curtiz Errol Flynn, Olivia de Havilland, Basil Rathbone, Lionel Atwill Based on Captain Blood China Seas United States Tay Garnett Clark Gable, Jean Harlow, Wallace Beery Naughty Marietta United States Robert Z. Leonard, W. S. Van Dyke Jeanette MacDonald, Nelson Eddy Musical Pirate Party on Catalina Isle Charles 'Buddy' Rogers, Sterling Young, The Fanchonettes Pirate-themed variety show held of Catalina Isle starring a number of Hollywood comics. 1936 Captain Calamity United States John Reinhardt Marian Nixon, George Houston, Vince Barnett Dancing Pirate United States Lloyd Corrigan Charles Collins, Frank Morgan, Steffi Duna Musical comedy. Set in the 1820s. 1937 The Black Corsair Italy Amleto Palermi Ciro Verratti, Silvana Jachino Based on The Black Corsair Doctor Syn United Kingdom Roy William Neill George Arliss, Margaret Lockwood, John Loder Film about smugglers in England in the late 18th century. Based on Doctor Syn: A Tale of the Romney Marsh. 1938 The Buccaneer United States Cecil B. DeMille Fredric March, Franciska Gaal, Akim Tamiroff Film about Jean Lafitte (c. 1780 – c. 1823) Spawn of the North United States Henry Hathaway George Raft, Henry Fonda, Dorothy Lamour Set in the coast of Alaska 1939 Jamaica Inn United Kingdom Alfred Hitchcock Charles Laughton, Maureen O'Hara, Robert Newton Set in England in 1819. Based on Jamaica Inn
Released Title Country Director Notable cast Notes 1940 The Daughter of the Green Pirate Italy Enrico Guazzoni Doris Duranti, Fosco Giachetti Based on the sequel novels of The Black Corsair The Sea Hawk United States Michael Curtiz Errol Flynn, Brenda Marshall, Claude Rains Set in the Elizabethan era, but unlike the novel The Sea Hawk it is set in the Caribbean Sea 1942 The Black Swan United States Henry King Tyrone Power, Maureen O'Hara, Laird Cregar Film about Henry Morgan (c. 1635 – 1688) Reap the Wild Wind United States Cecil B. DeMille Ray Milland, John Wayne, Paulette Goddard Set in the 1840s along the Florida coast 1943 Il figlio del corsaro rosso Italy Marco Elter Vittorio Sanipoli Based on Son of the Red Corsair Gli ultimi filibustieri Italy Marco Elter Vittorio Sanipoli Based on the sequel novels of The Black Corsair 1944 El Corsario Negro Mexico Chano Urueta Pedro Armendáriz, María Luisa Zea, June Marlowe Based on The Black Corsair Frenchman's Creek United States Mitchell Leisen Joan Fontaine, Arturo de Córdova, Basil Rathbone Based on Frenchman's Creek The Princess and the Pirate United States David Butler Bob Hope, Virginia Mayo, Walter Brennan, Victor McLaglen, Walter Slezak Comedy 1945 Captain Kidd United States Rowland V. Lee Charles Laughton, Randolph Scott, Barbara Britton Film about Captain William Kidd (1654 – 1701) Manhunt of Mystery Island United States Spencer Gordon Bennet, Yakima Canutt, Wallace Grissell Richard Bailey, Linda Stirling Film serial The Spanish Main United States Frank Borzage Paul Henreid, Maureen O'Hara, Walter Slezak 1947 The Sea Hound United States W. B. Eason, Mack V. Wright Buster Crabbe, Jimmy Lloyd (actor), Pamela Blake Film serial Sinbad the Sailor United States Richard Wallace Douglas Fairbanks Jr., Maureen O'Hara, Walter Slezak, Anthony Quinn Set at the time of Caliph Harun al-Rashid (ruled from 786 to 809), in the Indian Ocean. 1948 Buccaneer Bunny United States Friz Freleng Mel Blanc (voice) Animated comedy short film The Pirate United States Vincente Minnelli Judy Garland, Gene Kelly, Walter Slezak Musical 1949 Barbary Pirate United States Lew Landers Donald Woods, Trudy Marshall Film about the begin of the First Barbary War. Set in 1801 Rosvo-Roope (Raunchy Ropey) Finland Hannu Leminen Tauno Palo, Helena Kara, Ghedi Lönnberg
Released Title Country Director Notable cast Notes 1950 Buccaneer's Girl United States Frederick de Cordova Yvonne De Carlo, Philip Friend, Robert Douglas Set around 1810 Double Crossbones United States Charles Barton Donald O'Connor, Helena Carter, Will Geer Comedy Fortunes of Captain Blood United States Gordon Douglas Louis Hayward, Patricia Medina, George Macready Based on Captain Blood Last of the Buccaneers United States Lew Landers Paul Henreid, Jack Oakie, Karin Booth Film about Jean Lafitte (c. 1780 – c. 1823) Pirates of the High Seas United States Spencer Gordon Bennet, Thomas Carr Buster Crabbe, Lois Hall, Tommy Farrell Film serial Treasure Island United States
United Kingdom
Byron Haskin Robert Newton, Bobby Driscoll, Basil Sydney Based on Treasure Island Two Lost Worlds United States Norman Dawn James Arness, Kasey Rogers, Bill Kennedy Set in the year 1830 1951 Anne of the Indies United States Jacques Tourneur Jean Peters, Louis Jourdan, Debra Paget With Blackbeard (c. 1680 – 1718) Captain Horatio Hornblower R.N. United Kingdom Raoul Walsh Gregory Peck, Virginia Mayo, Robert Beatty Based on the Horatio Hornblower novels. Set in the Napoleonic Wars Flame of Araby United States Charles Lamont Maureen O'Hara, Jeff Chandler, Lon Chaney Jr., Buddy Baer Film about the Brothers Barbarossa (Oruç Reis, c. 1474 – 1518, and Hayreddin Barbarossa, c. 1478 – 1546) Hurricane Island United States Lew Landers Jon Hall, Marie Windsor, Romo Vincent Set in Florida in the year 1513 Revenge of the Pirates Italy Primo Zeglio Jean-Pierre Aumont, Maria Montez 1952 Abbott and Costello Meet Captain Kidd United States Charles Lamont Bud Abbott, Lou Costello, Charles Laughton Comedy Against All Flags United States George Sherman Errol Flynn, Maureen O'Hara, Anthony Quinn Set in Madagascar Blackbeard the Pirate United States Raoul Walsh Robert Newton, Linda Darnell, William Bendix Film about Blackbeard (c. 1680 – 1718) Captain Pirate United States Ralph Murphy Louis Hayward, Patricia Medina, John Sutton Based on Captain Blood.
Also known as Captain Blood, Fugitive.
Sequel to Fortunes of Captain Blood (1950). Caribbean Gold United States Edward Ludwig John Payne, Arlene Dahl, Cedric Hardwicke Set in 1728 The Crimson Pirate United States Robert Siodmak Burt Lancaster, Nick Cravat, Eva Bartok The Golden Hawk United States Sidney Salkow Sterling Hayden, Rhonda Fleming, Helena Carter Jolanda, the Daughter of the Black Corsair Italy Mario Soldati May Britt, Marc Lawrence, Renato Salvatori Based on Yolanda, the Black Corsair's Daughter I tre corsari Italy Mario Soldati Ettore Manni, Marc Lawrence, Renato Salvatori, Cesare Danova Based on The Black Corsair Yankee Buccaneer United States Frederick de Cordova Jeff Chandler, Scott Brady, Suzan Ball Film about David Porter (1780 – 1843) 1953 Fair Wind to Java United States Joseph Kane Fred MacMurray, Vera Ralston, Robert Douglas Set in 1883 The Great Adventures of Captain Kidd United States Derwin Abrahams, Charles S. Gould Richard Crane, David Bruce, John Crawford Film serial about Captain William Kidd (1654 – 1701) The Master of Ballantrae United Kingdom William Keighley Errol Flynn, Roger Livesey, Anthony Steel, Beatrice Campbell, Yvonne Furneaux Set after 1745, based on The Master of Ballantrae Peter Pan United States Clyde Geronimi, Wilfred Jackson, Hamilton Luske Bobby Driscoll, Kathryn Beaumont, Hans Conried (voices) Animated film based on Peter and Wendy Prince of Pirates United States Sidney Salkow John Derek, Barbara Rush, Carla Balenda Set in the 16th century in the Netherlands Raiders of the Seven Seas United States Sidney Salkow John Payne, Donna Reed, Gerald Mohr Film about Barbarossa (Oruç Reis, c. 1474 – 1518) 1954 Alvaro piuttosto corsaro Camillo Mastrocinque Renato Rascel Musical The Black Pirates United States
Mexico El Salvador
Allen H. Miner Anthony Dexter, Martha Roth, and Lon Chaney Jr. Captain Hareblower United States Friz Freleng Mel Blanc (voice) Animated comedy short film Captain Kidd and the Slave Girl United States Lew Landers Anthony Dexter, Eva Gabor, Alan Hale Jr. His Majesty O'Keefe United States Byron Haskin Burt Lancaster Film about David O'Keefe (1824 – 1901) and Bully Hayes (1827 – 1877) Long John Silver United States Byron Haskin Robert Newton, Connie Gilchrist, Lloyd Berrell Also known as Long John Silver's Return to Treasure Island
Sequel to Treasure Island Return to Treasure Island United States Ewald André Dupont Tab Hunter, Dawn Addams, Porter Hall Sequel to Treasure Island 1955 Moonfleet United States Fritz Lang Stewart Granger, George Sanders, Joan Greenwood Film about smugglers in England in the 18th century Pirates of Tripoli United States Felix E. Feist Paul Henreid, Patricia Medina, Paul Newlan Set in the Mediterranean Sea 1956 Davy Crockett and the River Pirates United States Norman Foster Fess Parker, Buddy Ebsen, Jeff York Film about Davy Crockett (1786 – 1836), set on the Mississippi River 1957 Pirate of the Half Moon Italy Giuseppe Maria Scotese John Derek, Gianna Maria Canale, Ingeborg Schöner Set in the 16th century in the Mediterranean Sea 1958 The Amorous Corporal France Robert Darène François Périer, Rossana Podestà, Robert Hirsch Set in Madagascar The Buccaneer United States Anthony Quinn Yul Brynner, Claire Bloom, Charles Boyer, Charlton Heston Film about Jean Lafitte (c. 1780 – c. 1823) The Fabulous World of Jules Verne Czechoslovakia Karel Zeman Lubor Tokoš, Arnost Navrátil, Miroslav Holub Fantasy and science fiction film based on Facing the Flag by Jules Verne Pirate of the Black Hawk Italy
France
Sergio Grieco Gérard Landry, Mijanou Bardot Set in the 16th century in the Mediterranean Sea 1959 The Little Savage United States Byron Haskin Pedro Armendáriz Marie of the Isles France
Italy
Georges Combret Belinda Lee, Alain Saury, Magali Noël, Folco Lulli Set in 1635 The Pirate and the Slave Girl Italy Piero Pierotti Lex Barker, Chelo Alonso, Massimo Serato, Graziella Granata Set in the 16th century in the Mediterranean Sea Son of the Red Corsair Italy Primo Zeglio Lex Barker Based on Son of the Red Corsair
Released Title Country Director Notable cast Notes 1960 The Boy and the Pirates United States Bert I. Gordon Charles Herbert, Susan Gordon, Murvyn Vye Fantasy film with Blackbeard (c. 1680 – 1718) Morgan, the Pirate Italy
France
André de Toth, Primo Zeglio Steve Reeves, Valérie Lagrange, Ivo Garrani Film about Henry Morgan (c. 1635 – 1688) Pirates of the Coast Italy Domenico Paolella Lex Barker Queen of the Pirates Italy Mario Costa Gianna Maria Canale, Massimo Serato, Scilla Gabel Set in the 16th century in the Mediterranean Sea Robin Hood and the Pirates Italy Giorgio Simonelli Lex Barker, Walter Barnes Set in England in the 12th century Swiss Family Robinson United States Ken Annakin John Mills, Dorothy McGuire, James MacArthur Set in the early 19th century, based on The Swiss Family Robinson 1961 Il conquistatore di Maracaibo Eugenio Martín Hans von Borsody, Luisella Boni Fury at Smugglers' Bay United Kingdom John Gilling Peter Cushing, Bernard Lee, Michèle Mercier, John Fraser Set in England in the 1790s. Guns of the Black Witch Italy
France
Domenico Paolella Don Megowan, Silvana Pampanini Jules Verne's Mysterious Island United States
United Kingdom
Cy Endfield Michael Craig, Joan Greenwood, Michael Callan, Herbert Lom Based on The Mysterious Island, set in 1865 Pirates of Tortuga United States Robert D. Webb Ken Scott, Letícia Román, Dave King Queen of the Seas Italy
France
Umberto Lenzi Lisa Gastoni, Jerome Courtland, Walter Barnes Also known as The Adventure of Mary Read
Film about Mary Read (c. 1690 – 1721) Rage of the Buccaneers Italy Mario Costa Ricardo Montalbán, Vincent Price, Giulia Rubini The Secret of the Black Falcon Italy Domenico Paolella Lex Barker, Walter Barnes 1962 Avenger of the Seven Seas Italy
France
Domenico Paolella Richard Harrison, Michèle Mercier, Walter Barnes Set in 1790 Hawk of the Caribbean Italy Piero Regnoli Johnny Desmond, Yvonne Monlaur Hero's Island United States Leslie Stevens James Mason, Neville Brand, Kate Manx Set in 1718 at the Outer Banks of North Carolina Julius Caesar Against the Pirates Italy Sergio Grieco Gustavo Rojo, Abbe Lane, Gordon Mitchell An adventure of the young Julius Caesar, based on a true story. Set in the Mediterranean Sea in the years 75 BC and 74 BC. Musketeers of the Sea Italy Steno Pier Angeli, Channing Pollock, Aldo Ray, Philippe Clay, Robert Alda The Pirates of Blood River United Kingdom John Gilling Kerwin Mathews, Glenn Corbett, Christopher Lee Seven Seas to Calais Italy Rudolph Maté, Primo Zeglio Rod Taylor, Keith Michell, Edy Vessel Film about Francis Drake The Son of Captain Blood Italy Tulio Demicheli Sean Flynn, Alessandra Panaro, John Kitzmiller Based on Captain Blood Tiger of the Seven Seas Italy Luigi Capuano Gianna Maria Canale, Anthony Steel, John Kitzmiller 1963 The Lion of St. Mark Italy Luigi Capuano Gordon Scott, Gianna Maria Canale, Alberto Farnese Set in the 1620 in the Mediterranean Sea Samson and the Sea Beast Italy Tanio Boccia Kirk Morris, Margaret Lee 1964 Captain Clegg United Kingdom Peter Graham Scott Peter Cushing, Yvonne Romain, Patrick Allen Also known as Night Creatures.
Film about smugglers in England in the late 18th century. Based on Doctor Syn: A Tale of the Romney Marsh. The Devil-Ship Pirates United Kingdom Don Sharp Christopher Lee, Andrew Keir, John Cairney Set in England in 1588 Hercules and the Black Pirates Italy Luigi Capuano Alan Steel, Rosalba Neri The Masked Man Against the Pirates Italy Vertunnio De Angelis George Hilton, Tony Kendall The Pirates of Malaysia Italy
France Spain
Umberto Lenzi Steve Reeves, Andrea Bosic, Jacqueline Sassard Set in the 19th century in Malaysia Toto vs. the Black Pirate Italy Fernando Cerchio Totò, Mario Petri Comedy Treasure Island China Hsin-yan Chang, Qi Fu Tseng Chang, Sisi Chen, Qi Fu 1965 The Adventurer of Tortuga Italy Luigi Capuano Guy Madison, Ingeborg Schöner, Rik Battaglia Giant of the Evil Island Italy Piero Pierotti Peter Lupus, Halina Zalewska A High Wind in Jamaica United Kingdom Alexander Mackendrick Anthony Quinn, James Coburn, Dennis Price Set in 1870 1966 Assault on a Queen United States Jack Donohue Frank Sinatra, Virna Lisi, Alf Kjellin Submarine piracy The Sea Pirate Italy Sergio Bergonzelli, Roy Rowland Gérard Barray, Antonella Lualdi Film about Robert Surcouf (1773 – 1827), set in the Napoleonic Wars Tonnerre sur l'océan Indien Sergio Bergonzelli, Roy Rowland Gérard Barray, Antonella Lualdi Film about Robert Surcouf (1773 – 1827), set in the Napoleonic Wars 1967 The King's Pirate United States Don Weis Doug McClure, Jill St. John, Guy Stockwell The Rover Italy Terence Young Anthony Quinn, Rosanna Schiaffino, Rita Hayworth Based on The Rover, set in France in the Napoleonic Wars 1968 Blackbeard's Ghost United States Robert Stevenson Peter Ustinov, Dean Jones, Suzanne Pleshette Fantasy comedy 1969 Franco, Ciccio e il pirata Barbanera Italy Mario Amendola Franco and Ciccio, Fernando Sancho Comedy
Released Title Country Director Notable cast Notes 1970 Il corsaro [it] Antonio Mollica Robert Woods Pippi in the South Seas Sweden
West Germany
Olle Hellbom Inger Nilsson Comedy, based on Pippi in the South Seas 1971 Blackie the Pirate Italy Enzo Gicca Terence Hill, George Martin, Bud Spencer Los corsarios Ferdinando Baldi Dean Reed, Alberto de Mendoza, Annabella Incontrera The Light at the Edge of the World United States
Spain
Kevin Billington Kirk Douglas, Yul Brynner, Samantha Eggar Set at Cape Horn in the year 1865. Based on The Lighthouse at the End of the World 1972 Un pirata de doce años [it] René Cardona Jr. Hugo Stiglitz, René Cardona III, Christa Linder Pirates of Blood Island [it] José Luis Merino Carlos Quiney, Stelvio Rosi Treasure Island United States Hal Sutherland Richard Dawson, Davy Jones, Dal McKennon (voices) Animated film based on Treasure Island Treasure Island United Kingdom
France West Germany Italy Spain
John Hough Orson Welles, Kim Burfield, Lionel Stander Based on Treasure Island 1973 Ghost in the Noonday Sun United Kingdom Peter Medak Peter Sellers Comedy Scalawag United Kingdom Kirk Douglas Kirk Douglas Set in California in the 19th century 1974 Les Démoniaques France Jean Rollin Joëlle Cœur, Lieva Lone, Patricia Hermenier, John Rico, Willy Braque Horror. Set at the end of the 19th century, on the north European coast. The Ghost Galleon Spain Amando de Ossorio Maria Perschy, Jack Taylor Horror film 1976 The Black Corsair Sergio Sollima Kabir Bedi, Carole André, Mel Ferrer Based on The Black Corsair Noroît France Jacques Rivette Geraldine Chaplin, Bernadette Lafont, Kika Markham Avant-garde and experimental film Swashbuckler United States James Goldstone Robert Shaw, James Earl Jones, Peter Boyle, Geneviève Bujold Also known as Scarlet Buccaneer 1977 Oro rojo Spain
Mexico
Alberto Vázquez Figueroa José Sacristán, Isela Vega, Hugo Stiglitz Golden Rendezvous South Africa Ashley Lazarus Richard Harris, Ann Turkel, Gordon Jackson
Released Title Country Director Notable cast Notes 1980 The Island United States Michael Ritchie Michael Caine, David Warner, Angela Punch McGregor 1981 Los Diablos del mar Juan Piquer Simón Ian Sera, Patty Shepard, Frank Braña 1982 The Pirate Movie Australia Ken Annakin Kristy McNichol, Christopher Atkins, Ted Hamilton Musical 1983 Nate and Hayes New Zealand
United States
Ferdinand Fairfax Tommy Lee Jones, Michael O'Keefe, Jenny Seagrove Film about Bully Hayes (1827 – 1877) The Pirates of Penzance United Kingdom
United States
Wilford Leach Kevin Kline, Angela Lansbury, Linda Ronstadt Musical Space Raiders United States Howard R. Cohen Vince Edwards, David Mendenhall Science fiction Yellowbeard United States Mel Damski Graham Chapman, Peter Boyle Comedy Project A Hong Kong Jackie Chan Jackie Chan, Sammo Hung, Yuen Biao Action comedy 1984 The Ice Pirates United States Stewart Raffill Robert Urich, Mary Crosby, Michael D. Roberts Science fiction The Master of Ballantrae United States
United Kingdom
Douglas Hickox Michael York, Timothy Dalton, John Gielgud Television film set after 1745, based on The Master of Ballantrae 1985 The Goonies United States Richard Donner Sean Astin, Josh Brolin and Jeff Cohen, Corey Feldman 1985 The Lightship United States Jerzy Skolimowski Robert Duvall, Arliss Howard, Klaus Maria Brandauer The Pirates of Penzance Norman Campbell Brent Carver, Jeff Hyslop, Caralyn Tomlin Television film musical Treasure Island United Kingdom
France
United States
Raúl Ruiz Melvil Poupaud, Martin Landau, Vic Tayback Based on Treasure Island 1986 Castle in the Sky Japan Hayao Miyazaki Animated science fiction film Pirates France
Tunisia
Poland
Roman Polanski Walter Matthau, Cris Campion, Damien Thomas 1987 Jim & Piraterna Blom Sweden Hans Alfredson Johan Åkerblom, Ewa Fröling, Jan Malmsjö The Princess Bride United States Rob Reiner Cary Elwes, Mandy Patinkin, Robin Wright, André the Giant Project A Part II Hong Kong Jackie Chan Jackie Chan, Maggie Cheung, Rosamund Kwan, Bill Tung Action comedy 1988 Deep Rising United States Stephen Sommers Treat Williams, Famke Janssen, Anthony Heald Iguana Italy Monte Hellman Everett McGill, Fabio Testi, Michael Madsen Set in the 19th century on a remote island of the Galápagos Islands Act of Piracy United States John Cardos Gary Busey, Belinda Bauer, Ray Sharkey
Released Title Country Director Notable cast Notes 1990 Shipwrecked Norway
United States
Nils Gaup Stian Smestad, Gabriel Byrne, Louisa Milwood-Haigh Treasure Island United Kingdom
United States
Fraser Clarke Heston Charlton Heston, Christian Bale, Oliver Reed, Christopher Lee Television film based on Treasure Island Voyage of Terror: The Achille Lauro Affair United States
Germany Italy France
Alberto Negrin Burt Lancaster, Eva Marie Saint, Robert Culp, Renzo Montagnani, Rebecca Schaeffer Television film Pirate Prince Alan Horrox Sean Blowers, Danny Cerqueira, Mona Hammond Television film Pirate's Island Australia Viktors Ritelis Beth Buchanan, Brian Rooney, Sancho Gracia Television film 1991 Matusalem Canada Roger Cantin Marc Labrèche, Jessica Barker, Maxime Collin Hook United States Steven Spielberg Dustin Hoffman, Robin Williams, Julia Roberts Based on Peter and Wendy 1992 Under Siege United States Andrew Davis Steven Seagal, Tommy Lee Jones, Gary Busey 1994 Treasure Island: The Adventure Begins Scott Garen Anthony Zerbe, Corey Carrier, Jason Beghe Television film based on Treasure Island 1995 Cutthroat Island United States
France
Renny Harlin Geena Davis, Matthew Modine, Frank Langella Magic Island United States Sam Irvin Zachery Ty Bryan, Andrew Divoff, Edward Kerr Waterworld United States Kevin Reynolds Kevin Costner, Dennis Hopper Science fiction 1996 Muppet Treasure Island United States Brian Henson Tim Curry, Kevin Bishop, Billy Connolly Comedy, based on Treasure Island 1998 Doraemon: Nobita's Great Adventure in the South Seas Japan Tsutomu Shibayama Animated film based on Doraemon anime Matusalem II Roger Cantin Manuel Aranguiz, Jean Pierre Bergeron, Pierre-Luc Brillant Six Days, Seven Nights United States Ivan Reitman Harrison Ford, Anne Heche, David Schwimmer, Temuera Morrison 1999 Pirates of the Plain United States John R. Cherry III Tim Curry, Seth Adkins, Dee Wallace, Charles Napier Fantasy comedy I predatori delle Antille Italy Joe D'Amato Anita Skultéty Treasure Island United States Peter Rowe Jack Palance Based on Treasure Island Final Voyage United States Jim Wynorski Dylan Walsh, Ice-T, Erika Eleniak, Claudia Christian
Released Title Country Director Notable cast Notes 2000 One Piece: The Movie Japan Junji Shimizu Mayumi Tanaka, Kazuya Nakai, Akemi Okamura, Kappei Yamaguchi Based on One Piece and its anime adaptation Agent Red United States Damian Lee Dolph Lundgren, Alexander Kuznetov, Natalie Radford Submarine piracy 2001 The Abrafaxe – Under The Black Flag Germany Gerhard Hahn [de] Animated fantasy film with Blackbeard (c. 1680 – 1718) 2002 Treasure Planet United States Ron Clements, John Musker Joseph Gordon-Levitt, Emma Thompson, Martin Short (voices) Animated science fiction film, based on Treasure Island 2003 Captain Sabertooth Norway Stig Bergqvist, Rasmus A. Sivertsen Terje Formoe, Ole Alfsen, Nina Lund Feste (voices) Comedy One Piece The Movie: Dead End no Bōken Japan Kōnosuke Uda Based on One Piece and its anime adaptation Peter Pan United States P. J. Hogan Jeremy Sumpter, Jason Isaacs, Olivia Williams Based on Peter and Wendy Pirates of the Caribbean: The Curse of the Black Pearl United States Gore Verbinski Johnny Depp, Geoffrey Rush, Orlando Bloom, Keira Knightley Sinbad: Legend of the Seven Seas United States Tim Johnson, Patrick Gilmore Animated comedy film. Set in the Mediterranean Sea Singing Behind Screens Ermanno Olmi Jun Ichikawa, Bud Spencer Film about Ching Shih (1775–1844) 2004 One Piece: The Cursed Holy Sword Japan Kazuhisa Takenouchi Based on One Piece and its anime adaptation 2005 The Pirate's Curse Mark Roper Thomas Ian Griffith Submerged United States Anthony Hickox Steven Seagal, William Hope, Vinnie Jones Submarine piracy Pirates United States Joone Jesse Jane, Carmen Luvana, Janine, Teagan Presley, Devon, Jenaveve Jolie and Evan Stone Pornographic film Jolly Roger: Massacre at Cutter's Cove United States Gary Jones Rhett Giles, Tom Nagel, Kristina Korn Slasher film about a vengeful undead pirate. Set in modern times.[1] 2006 Pirates of Treasure Island United States Leigh Scott Lance Henriksen Based on Treasure Island Pirates of the Caribbean: Dead Man's Chest United States Gore Verbinski Johnny Depp, Orlando Bloom, Keira Knightley Pirates of the Great Salt Lake United States E. R. Nelson Kirby Heyborne, Trenton James, Larry Bagby A Pirate's Heart [de] Miguel Alexandre Ken Duken, Claire Keim, Gottfried John, Gudrun Landgrebe, Frank Giering Television film about Klaus Störtebeker (c. 1360 – 1401), set in the North Sea and Baltic Sea 2007 L'Île aux trésors France Alain Berbérian Gérard Jugnot, Alice Taglioni, Jean-Paul Rouve Based on Treasure Island One Piece Movie: The Desert Princess and the Pirates: Adventures in Alabasta Japan Takahiro Imamura Based on One Piece and its anime adaptation Pirates of the Caribbean: At World's End United States Gore Verbinski Johnny Depp, Orlando Bloom, Keira Knightley, Chow Yun-Fat, Geoffrey Rush Treasure Island Germany Hansjörg Thurn Tobias Moretti, François Goeske, Diane Willems, Christian Tramitz, Jürgen Vogel A German television film, Die Schatzinsel, based on the novel by R.L. Stevenson, it adds a character, Captain Flint's daughter 2008 Pirates II: Stagnetti's Revenge United States Joone Jesse Jane, Belladonna, Evan Stone Pornographic film The Pirates Who Don't Do Anything: A VeggieTales Movie United States Mike Nawrocki Animated comedy film
Released Title Country Director Notable cast Notes 2022 One Piece Film: Red Japan Gorō Taniguchi Based on One Piece and its anime adaptation 2023 Peter Pan & Wendy United States David Lowery Jude Law, Jim Gaffigan Based on Peter Pan and Wendy
Released Title Country Director Notable cast Notes 1954 The Adventures of Long John Silver Australia Byron Haskin Robert Newton, Connie Gilchrist, Kit Taylor 26 episode TV series filmed in colour in Australia. 1956 The Buccaneers United Kingdom C.M. Pennington-Richards Robert Shaw, Paul Hansard, Brian Rawlinson 1986 Return to Treasure Island United Kingdom Alan Clayton Brian Blessed, Christopher Guard, Reiner Schöne Television miniseries based on Treasure Island 1987 Treasure Island in Outer Space Italy Antonio Margheriti Anthony Quinn, Ernest Borgnine, Klaus Löwitsch Science fiction miniseries, based on Treasure Island 1990 Peter Pan and the Pirates United States Tim Curry, Kath Soucie, Chris M. Allport (voices) Animated series based on Peter and Wendy 1991 The Pirates of Dark Water United States Jodi Benson, Héctor Elizondo, George Newbern (voices) Animated television series 1994 Pirates United Kingdom Peter Tabern Mem Ferda, Benjamin Rennis, June Brown Children's television series 1996 Return to Treasure Island Steve La Hood Jed Brophy, Will Clannachan, Richard Condon Based on Treasure Island 1997 Pirate Tales Kevin McCarey Chuck Shamata, Roger Daltrey, Richard Schumann Television miniseries 1998 Mad Jack the Pirate United States Animated television series 1999 Caraibi Lamberto Bava Paolo Seganti, Nicholas Rogers, Mario Adorf, Padma Lakshmi, Jennifer Nitsch Television miniseries also known as Pirates: Blood Brothers One Piece Japan Anime adaptation of the manga One Piece Famille Pirate [fr] France
Germany Canada
Animated television series 2003 Pirate Islands Australian Brooke Harman, Nicholas Donaldson, Eliza Taylor 2006 Blackbeard United States Kevin Connor Angus Macfadyen, Richard Chamberlain, Rachel Ward, Stacy Keach TV miniseries about Blackbeard (c. 1680 – 1718) Blackbeard: Terror at Sea United Kingdom Richard Dale, Tilman Remme James Purefoy TV miniseries about Blackbeard (c. 1680 – 1718) 2011 Jake and the Never Land Pirates United States Animated television series Piratas Spain 2012 Treasure Island United Kingdom
Ireland
Steve Barron Eddie Izzard, Toby Regbo, Elijah Wood, Donald Sutherland Television miniseries based on Treasure Island 2014 Black Sails United States Jonathan E. Steinberg and Robert Levine Toby Stephens, Hannah New, Luke Arnold Set roughly two decades before the events of Treasure Island and during the Golden Age of Piracy. Crossbones United States Neil Cross, James V. Hart and Amanda Welles John Malkovich, Richard Coyle, Claire Foy, Yasmine Al Masri, David Hoflin, Chris Perfetti, Tracy Ifeachor Based on Colin Woodard's book The Republic of Pirates. 2017 The Pirates Next Door [fr] France Animated television series 2021 The Lost Pirate Kingdom United States Stan Griffin, Justin Rickett, Patrick Dickinson Sam Callis, James Oliver Wheatley, Derek Jacobi Netflix docuseries portraying the rise and fall of the 18th century pirate republic based in Nassau, Bahamas. 2022 Our Flag Means Death United States David Jenkins Rhys Darby, Taika Waititi, Kristian Nairn, Rory Kinnear Period comedy semi-based on the story of Stede Bonnet, an aristocrat who abandons his life to become a pirate. 2023 One Piece United Kingdom
United States Japan
Live-action adaptation of the manga One Piece 2024 Lootere India Jai Mehta Vivek Gomber, Rajat Kapoor, Amruta Khanvilkar, Martial Batchamen Tchana 8 episodes series based on Somalian pirates
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] |
[] |
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[
""
] | null |
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1961-01-01T00:00:00
|
Where to watch Fury at Smugglers' Bay (1961) starring Peter Cushing, John Fraser, Bernard Lee and directed by John Gilling.
|
en
|
/icons/favicon.ico
|
https://watch.plex.tv/movie/fury-at-smugglers-bay
|
Pirate wreckers ravage a small seaside community while the ineffectual local squire tries to discourage his son's romance with a smuggler's pretty daughter.
|
|||
6656
|
dbpedia
|
2
| 46 |
https://filmbutcher-horror-posters.com/products/fury-at-smugglers-bay-1961-yugoslavian-poster
|
en
|
Fury at Smugglers' Bay (1961) Yugoslavian Medium Poster
|
http://filmbutcher-horror-posters.com/cdn/shop/products/FURYATSMUGGLER_SBAYYUGOPOSTER_1200x1200.jpg?v=1609437547
|
http://filmbutcher-horror-posters.com/cdn/shop/products/FURYATSMUGGLER_SBAYYUGOPOSTER_1200x1200.jpg?v=1609437547
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"https://filmbutcher-horror-posters.com/cdn/shop/products/[email protected]?v=1609437547"
] |
[] |
[] |
[
""
] | null |
[] | null |
Artist: 'D' but adapted from UK 1 Sheet artwork Condition: VERY FINE
|
//filmbutcher-horror-posters.com/cdn/shop/files/frank_ico_frank.png.png?v=1719844978
|
Horror Poster Emporium
|
https://filmbutcher-horror-posters.com/products/fury-at-smugglers-bay-1961-yugoslavian-poster
|
Newsletter
Sign up for the latest news, offers and more!
|
|||
6656
|
dbpedia
|
2
| 11 |
https://www.tv-films.co.uk/film/fury-at-smugglers-bay-1961/
|
en
|
Fury at Smugglers Bay (1961)
|
[] |
[] |
[] |
[
"Fury at Smugglers Bay",
"1961",
"Bernard Lee",
"John Fraser",
"Peter Cushing",
"John Gilling"
] | null |
[] | null |
It is the end of the 18th century and smuggling is considered to be a legitimate spare-time occupation for most fishermen around the British shores. But when a gang of cut-throats, led by the infamous Black John (Bernard Lee) begins to lure ships onto the rocks of Smugglers Bay, and murdering their crews for the sake of loot, the fishermen begin to fear for their livelihoods. In desperation, they appeal to the local magistrate Squire Trevenyan (Peter Cushing).
|
en
|
/static/listing/favicon/apple-touch-icon.png?v=pgdXJLre6e
| null | ||||||
6656
|
dbpedia
|
2
| 85 |
https://talkingpicturestv.co.uk/spotlight-john-gilling/
|
en
|
SPOTLIGHT ON JOHN GILLING – Talking Pictures TV
|
https://talkingpicturestv.co.uk/wp-content/uploads/2020/12/favicon.ico
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https://talkingpicturestv.co.uk/wp-content/uploads/2020/12/favicon.ico
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https://talkingpicturestv.co.uk/spotlight-john-gilling/
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John Gilling is not a forgotten filmmaker: after all, he fell in with the heads at Hammer Films, and that ensures a certain recognition amongst aficionados of British horror at least. But he's a figure worthy of greater consideration – and since this is a spotlight dedicated to exploring the dustier recesses of British film, so in Gilling’s case, it makes ample sense to cover the career of this oft-neglected director. He was extremely prolific: he seems to have averaged something like two films a year for much of his working life and he worked in a variety of styles. His crime movies he made in the fifties and early sixties are equally as important as the horrors. Partly, that's because they're available to us again through Talking Pictures TV and DVD releases and partly because some of them are very good indeed. But crime and horror are only a part of his career. Born in London on 29 May 1912, John Gilling first entered films in 1933 as an editor and was an assistant director, starting with Father O'Flynn in 1935, until his Royal Navy service in World War II. Gilling began screenwriting with Black Memory in 1947, and made his directing debut with Escape from Broadmoor (1948). Gilling also produced and directed Mother Riley Meets the Vampire (aka Vampire Over London, aka My Son the Vampire) in 1952 bringing together Bela Lugosi and the very English Arthur Lucan as Mother Riley. Gilling continued through the 1950s making several entertaining 'quota quickies' such as The Voice of Merrill for Monty Berman's Tempean Films. He entered television too directing in several British made series that received international distribution such as Douglas Fairbanks Jr Presents and Gideon's Way, as well as Monty Berman's The Saint, The Champions, and Department S. Starting in 1956 Gilling directed and wrote several films for Albert R. Broccoli and Irving Allen's Warwick Films including the film that launched Anthony Newley’s career as a pop star Idle On Parade in 1959. A John Gilling Enterprises production company made Fury at Smugglers' Bay in 1961 but it was deemed unsuccessful. Gilling then joined Hammer Films directing Shadow of the Cat where he achieved his greatest fame with several horror films as well as making the non-horror Hammer films The Pirates of Blood River (1962) and The Scarlet Blade. Gilling was also responsible for directed the second Charles Vine superspy film Where the Bullets Fly in 1966. He was often thought of as having a crabby disposition and at time being “difficult” to work with, but his track record showed more hits than misses and therefore his disposition was often overlooked. But after making Cross of the Devil in 1975, Gilling retired to Spain where he whiled away the time painting. He died in Madrid aged 72 on 22 November 1984.
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FURY AT SMUGGLERS Bay DVD Region 4 PAL SEALED ADVENTURE Peter Cushing $19.99
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FURY AT SMUGGLERS Bay DVD Region 4 PAL SEALED ADVENTURE Peter Cushing - $19.99. FOR SALE! Fury At Smugglers Bay Peter Cushing, John Fraser, Bernard Lee Region 4 DVD PAL In sealed condition Why not check out our many other items to combine shipping? ▓▓▓▓▓▒▒▒░░░ PLEASE READ THIS ░░░▒▒▒▓▓▓▓▓ International Buyers ? Please Note: Import duties, taxes, and charges are not included in the item price 335445020399
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Fury At Smuggler´s Bay (1961) - Peter Cushing
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Fury At Smuggler´s Bay (1961) DIGITAL DOWNLOAD During the 1790s, on the Cornwall coast, local pirates led by Black John shipwreck ships during stormy nights and plunder their cargo.The pirates destroy the pilot lights and light misleading fires to guide the ships in distress towards their doom.The pirates kill the surv
|
Elvis DVD Collector & Movies Store
|
https://www.elvisdvdcollector.com/products/fury-at-smuggler-s-bay-1961-peter-cushing
|
Fury At Smuggler´s Bay (1961)
DIGITAL DOWNLOAD
During the 1790s, on the Cornwall coast, local pirates led by Black John shipwreck ships during stormy nights and plunder their cargo.The pirates destroy the pilot lights and light misleading fires to guide the ships in distress towards their doom.The pirates kill the surviving sailors and then plunder the ship's cargo.The local magistrate, Squire Trevenyan is aware of Black John's ship wrecking and smuggling.But he's powerless since Black John knows the Squire's darkest secret and threatens to reveal it.Worse still , Squire Trevenyan's son, Christopher, falls in love with Louise Lejeune, the daughter of a local merchant whom the Squire doesn't approve of.During the day,a daring highwayman known as The Captain robs any stagecoach that ventures through his domain.Squire Trevenyan is under pressure to end the lawlessness in Cornwall.
Starring :
Peter Cushing, John Fraser, Bernard Lee, Michele Mercier
Director :
John Gilling
Running time : 82 Minutes
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http://dandayjr35.blogspot.com/2022/04/fury-at-smugglers-bay.html
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en
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The Hitless Wonder Movie Blog
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[
"Dan Day",
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] | null |
A movie blog by a working class Midwestern film geek.
|
en
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http://dandayjr35.blogspot.com/favicon.ico
|
http://dandayjr35.blogspot.com/2022/04/fury-at-smugglers-bay.html
|
I've seen just about every film that my favorite actor, Peter Cushing, has appeared in....but one that has constantly eluded me is FURY AT SMUGGLERS' BAY, a 1961 period adventure. I finally was able to see it this weekend, courtesy of a decent widescreen print on YouTube.
The story is set in the late 18th Century, when smuggling was prevalent along the southern English coastline. The haughty Squire Trevenyan (Peter Cushing) is concerned about the illegal activities in his district, but he seems reluctant to confront a group known as the "wreckers", a gang of cutthroats who lure ships to their doom, and then make off with the cargoes. The Squire harbors a secret involving his son Christopher (John Fraser), and this is known by the leader of the wreckers, the nefarious Black John (Bernard Lee). Christopher attempts to get evidence to being the wreckers to justice, with the help of a mysterious highwayman called "The Captain" (William Franklyn).
FURY AT SMUGGLERS' BAY is well-done classic action-adventure tale, with all sorts of daring-do. It anticipates Hammer's later CAPTAIN CLEGG, and it is also reminiscent of Hitchcock's JAMAICA INN. There's gun battles, fistfights, chases on horseback, a tavern brawl, and a sword duel. Producer-writer-director John Gilling never lets things slow down for a moment, and the film's running time of 82 minutes is perfect for this type of story.
Various sources give two different places for the extensive location shooting--either Ireland or South Wales--but wherever it was, Gilling and cinematographer Harry Waxman made great use of it, providing the viewer with a number of excellent widescreen color compositions. The production design and costumes are exemplary as well, making the production look much more expensive than the films Gilling would later make for Hammer. There's also a rousing music score by Harold Geller.
Peter Cushing must have appreciated getting top billing in a non-horror film at this time, but I'm sure he must have realized that Bernard Lee and William Franklyn had much better roles. Lee is almost unrecognizable as the grizzled Black John, and the relationship his character has with Cushing's Squire is very much like the one Boris Karloff and Henry Daniell had in THE BODY SNATCHER. William Franklyn shines as the Errol Flynn-like "Captain"--the fellow is more of a charming rogue than a hardened criminal.
The supporting cast is filled with names familiar to fans of British Cinema during this period--June Thorburn plays the Squire's daughter, while Liz Fraser gets a choice part as a voluptuous barmaid. Miles Malleson and George Coulouris are in this as well.
Peter Cushing would be personally much better served with CAPTAIN CLEGG, but FURY AT SMUGGLERS' BAY is a fine, entertaining swashbuckler that turned out much better than I thought it would be. It deserves an official North American home video release--or at least it deserves more attention.
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https://www.amazon.co.uk/Fury-Smugglers-Bay-ITA/dp/B002AS3RDC
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Fury at Smugglers' Bay (ITA) ( Fury at Smuggler's Bay ) ( Fury at Smugglers Bay ): Amazon.co.uk: Peter Cushing, Bernard Lee, John Fraser, George Coulouris, Miles Malleson, Michèle Mercier, William Fra
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Buy Fury at Smugglers' Bay (ITA) ( Fury at Smuggler's Bay ) ( Fury at Smugglers Bay ) from Amazon's Movies Store. Everyday low prices and free delivery on eligible orders.
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https://www.amazon.co.uk/Fury-Smugglers-Bay-ITA/dp/B002AS3RDC
|
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Night Creatures (1962, AKA Captain Clegg).
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2019-03-20T00:00:00
|
Directed by Peter Graham Scott Screenplay by John Elder (Anthony Hinds) Based on Russell Thorndike’s Dr. Syn character Music by Don Banks Director Of Photography: Arthur Grant Film Editor: Eric Boyd-Perkins Cast: Peter Cushing (Parson Blyss/Captain Clegg), Yvonne Romain (Imogene), Patrick Allen (Captain Collier), Oliver Reed (Harry), Michael Ripper (Mipps), David Lodge (Bosun), Derek Francis…
|
en
|
https://s1.wp.com/i/favicon.ico
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The Hannibal 8
|
https://thehannibal8.wordpress.com/2019/03/20/night-creatures-1962-aka-captain-clegg/
|
Directed by Peter Graham Scott
Screenplay by John Elder (Anthony Hinds)
Based on Russell Thorndike’s Dr. Syn character
Music by Don Banks
Director Of Photography: Arthur Grant
Film Editor: Eric Boyd-Perkins
Cast: Peter Cushing (Parson Blyss/Captain Clegg), Yvonne Romain (Imogene), Patrick Allen (Captain Collier), Oliver Reed (Harry), Michael Ripper (Mipps), David Lodge (Bosun), Derek Francis (Squire), Jack MacGowran
What if Heaven was a place where you’ve got a stack of old movies starring, or made by, all your favorites — that you’ve never seen? Like maybe another couple Scott-Boetticher Westerns, a second George Lazenby Bond movie — or a Peter Cushing Hammer picture you somehow missed while here on Earth. Well, that last little slice of Heaven materialized here in Raleigh, North Carolina, over the weekend. I finally got around to checking out Night Creatures (1962, UK title Captain Clegg).
There’s an interesting bit of history to this one. Hammer Films planned to remake Dr. Syn (1937), which starred George Arliss as the mysterious smuggler Reverend Doctor Christopher Syn — based on the novels by Russell Thorndike.
But it turned out that Disney also had their eye on Dr. Syn, for their Wonderful World Of Disney TV show, and had acquired the rights to the novels themselves — versus Hammer’s remake rights to the old movie. Disney’s eventual three-part TV program starred Patrick McGoohan and William Sylvester. (In the mid-70s, it was re-cut and played US theaters as Dr. Syn, Alias The Scarecrow. I thought it was one of the coolest things I’d ever seen.)
Anyway, back to Hammer. To avoid any legal hassle from the Disney people, Hammer changed the character’s name to Captain Clegg and made a few other modifications. There’s still a scarecrow, there’s still plenty of brandy to be smuggled and taxes to be avoided. But we now get the creepy Marsh Phantoms. Stills of the Phantoms that turned up in my monster movie books and magazines had me wanting to see this movie to a ridiculous degree.
Somehow, it took me more than 40 years to catch up with Night Creatures. But it was worth the wait.
Turns out, it’s not really a horror movie at all. Instead, it’s a dark, moody pirate/adventure story. Hammer was pretty good at pirate movies. Their The Pirates Of Blood River, from the same year as Night Creatures and with some of the same cast, is a hoot — and they’d follow it with The Devil-Ship Pirates in 1964. Both star Christopher Lee.
I’m not gonna spoil things by giving you a synopsis. It’s too good a movie for me to screw it up for you.
Night Creatures is Peter Cushing’s movie all the way, in spite of some strong work from Oliver Reed, Michael Ripper (who’s got a bigger part than usual) and the lovely Yvonne Romain. Cushing gets to do plenty of action stuff, which he’s always very good at. It’s shame he’s known these days primarily for standing around and being mean in Star Wars (1977). Cushing is so versatile, and he really gets to show his range in this one, going back and forth from ruthless pirate to compassionate preacher numerous times over the course of the picture’s 82 minutes. Over the last year or so, I’ve developed a real love of Cushing. He’s a joy to watch.
Patrick Allen is appropriately hateful as the government man sent to track down the band of smugglers and clashing with the Marsh Phantoms along the way. The Phantoms’ scenes deliver the goods I’d been waiting decades for — though I’d love to have seen what Jack Asher, Hammer’s other DP, would’ve done with those scenes on the moors. His stylized color effects always knock me out.
There isn’t a single thing in this movie that isn’t cool.
|
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6656
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http://www.cardpostage.com/zorn.htm
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6656
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2
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https://www.imdb.com/title/tt0057085/
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en
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Die Bucht der Schmuggler (1961)
|
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[] |
[] |
[
"Reviews",
"Showtimes",
"DVDs",
"Photos",
"User Ratings",
"Synopsis",
"Trailers",
"Credits"
] | null |
[] |
1961-10-13T00:00:00
|
Die Bucht der Schmuggler: Directed by John Gilling. With Peter Cushing, John Fraser, Bernard Lee, Michèle Mercier. Pirate wreckers ravage a small seaside community while the ineffectual local squire tries to discourage his son's romance with a smuggler's pretty daughter.
|
en
|
IMDb
|
https://www.imdb.com/title/tt0057085/
|
This entertaining adventure drama about smuggling in late 18th century is somehow betrayed by its low budget, more evident in the ship wrecking scenes, under furious storms. It tells the story of a British coastal town laden with taxes, where almost everybody has turn to smuggling to make ends meet. The action never stops with good rhythm and precise dialogue, and the enjoyment is evident in the actors' faces. All the cast is very effective, with Peter Cushing as a magistrate with a secret that haunts him, Bernard Lee as the villain before playing M to Sean Connery's James Bond, John Fraser as a dashing young swordsman and William Franklyn as a highwayman that becomes a hero. With pretty Michèle Mercier as the love interest, June Thorburn as Cushing's daughter and Liz Fraser in one of her best early roles as waitress-spy, this is one of John Gilling's best contributions to period drama.
|
|||||
6656
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dbpedia
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2
| 92 |
https://livius1.com/2019/07/08/three-steps-to-the-gallows/
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en
|
Three Steps to the Gallows
|
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[
"Colin McGuigan"
] |
2019-07-08T00:00:00
|
Last summer I spent a long time trawling through a range of British crime movies, and had a most enjoyable time in the process. I can't promise to devote the same time this year but I do want to look at a few more examples of these B pictures. Additionally, it's an opportunity to fit…
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en
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Riding the High Country
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https://livius1.com/2019/07/08/three-steps-to-the-gallows/
|
Last summer I spent a long time trawling through a range of British crime movies, and had a most enjoyable time in the process. I can’t promise to devote the same time this year but I do want to look at a few more examples of these B pictures. Additionally, it’s an opportunity to fit in some cast and crew who have earned passing mentions on this site, and who I do want to draw a little attention to. So with that in mind, I’d like to begin with Three Steps to the Gallows (1953), a pacy and hugely entertaining film noir.
Alfred Hitchcock famously spoke of the “MacGuffin” as a plot device, namely something which is of inordinate and perhaps life-threatening importance to the protagonists of a drama, which motivates them and drives the narrative yet is of little real concern to the viewers. In Three Steps to the Gallows this applies to the diamonds, and I’d be amazed if anyone who watches this movie has the part played by these gemstones in mind by the time the film has come to a close. Nevertheless, diamonds, or should we say the smuggling of diamonds, is vital to the characters on screen. Gregor Stevens (Scott Brady) is an American seaman on shore leave in London, first seen happily disembarking from his ship and off to pay a visit to his brother who is resident in the capital. He’s checked out of his accommodation and a stop at the travel agency where he was employed as a courier reveals he has moved on from there, although a customer (Mary Castle) appears to recognize the name before seeing something that makes her reconsider. To cut to the chase, a few more inquiries lead Stevens to the shocking realization that his brother has not only been arrested for murder but has subsequently been tired, convicted and has a date with the hangman in three days time. And that’s where the diamonds come in; the condemned man seems to have been involved with a smuggling outfit and been framed for a killing as a result. Where does this leave the brother? Well, he has 72 hours to blunder and bludgeon his way around the criminal underworld in an attempt to clear his sibling’s name and, hopefully, nail the true culprits.
As was so often the case, Three Steps to the Gallows imported Hollywood talent to add some more box-office appeal. Both Scott Brady and Mary Castle were the transatlantic stars used, and they do add a touch of noir authenticity, in my opinion. Brady was a reasonably big name at the time, although he has probably been overshadowed somewhat by his more notorious older brother Lawrence Tierney since then. Brady had a few brushes with the law himself and had a tough demeanor too. It’s this aspect, the physicality of the man, that is highlighted most in the movie. His character crashes around London like an impatient and short-tempered bouncer, finding himself framed for a killing even as he tries to clear his brother and frequently resorting to his fists before his brain has had a chance to catch up. On paper, this possibly sounds off-putting but Brady manages to make this bruising lead sympathetic. Rita Hayworth lookalike Mary Castle, whose life took a series of noir turns itself, is fine as the girl who offers him his first opening and moves from potential femme fatale to Girl Friday. The supporting cast is typical of these B features and includes such welcome and well-known faces as Ballard Berkeley, Colin Tapley, Ronan O’Casey, John Blythe and Ferdy Mayne.
Three Steps to the Gallows was a Tempean Films production, meaning that it came from producers Monty Berman and Robert S Baker, the former also taking on the cinematography duties here. These two played a significant role in British film and television in the post-war years. Tempean Films was responsible for a number of spare and entertaining crime movies and the Baker-Berman partnership was then instrumental in bringing about many of the best ITC TV series, including The Saint with Roger Moore. The direction was handled by the ever reliable and generally stylish John Gilling, who started out as a prolific writer and director of B noir before moving on to bigger budgets, Hammer Films and television work. Here, Gilling moves everything along very snappily and the film perfectly captures the slightly seedy and decaying post-war milieu.
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6656
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dbpedia
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3
| 5 |
https://renownfilms.co.uk/product/fury-at-smugglers-bay/
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en
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Fury at Smugglers Bay DVD – Renown Films
|
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en
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https://renownfilms.co.uk/product/fury-at-smugglers-bay/
|
Description
Fury at Smugglers Bay DVD
Adventure. No of discs: 1. Colour. Year: 1961. Total Running Time: approx 83 mins.
Director: John Gilling.
Cast: Peter Cushing, Bernard Lee, Michèle Mercier, John Fraser, William Franklyn, George Coulouris, Liz Fraser, June Thorburn and Miles Malleson.
Pirate wreckers ravage a small seaside community in 18th century Cornwall, while the local squire attempts to discourage his son’s romance with a smuggler’s pretty daughter, whose
father, a petty thief, has been sentenced to a penal colony at the insistence of Black John, a vicious smuggler who is blackmailing the squire. The daughter asks for help from a local highwayman, an honourable thief who watches over those he has robbed to ensure their safe return home. The rich atmosphere and continuous action keep the plot moving, with nightly shoreline battles between the fisher folk and the wreckers, who light fires on the beach to draw ships into the rocks.
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6656
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dbpedia
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0
| 25 |
http://www.78rpm.co.uk/tvu.htm
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en
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Believed Extinct
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[
"missing believed wiped",
"our house",
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description of black/white television programmes
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On his way to work, he calls to see his bank manager, Roberts, who listens to his promotion story, but warns not to count on anything and meanwhile practise some economies.
At the factory, foreman and local shop secretary Ron Banks demands some guarantees from Max that the forthcoming takeover will not mean redundancies and Max promises to take this up with Henry Somes.
Somes is discussing the takeover with his son David, an army friend of Max's who had arranged Max's job here. Garlands, the takeover firm, are actually demanding Max should go, but David defends Max, adding that it was Max himself who had introduced Garlands to them. Somes promises to do his best, but a takeover that benefits everybody cannot be jeopardised for one man's sake.
Over a pub lunch Max tries unsuccessfully to pump David over his future, but back in his office Max telephones Muriel to say that there's a meeting at 5.30 after which she can expect good news. Muriel has to phone back with the bad news that Lucy has had an accident in the school gym, can he come home at once? Afraid to miss Somes, Max puts Muriel off, and her icy response confirms his fear that he has made the wrong decision.
David has been trying without much success, to land a job for Max among his friends. At the 5.30 meeting, Max explains Ron's fears regarding the future under the new dispensation and receives guarded assurances from Somes. As to Max's own future, there's only prevarication and David is forced to admit Garlands want him out. Max is shocked and outraged, the more so when he is offered a job as manager of a subsidiary firm in Perth Australia. There's no common ground, and Max ends up reproaching David for not warning him in advance. Consider the Perth job seriously, is David's recommendation.
Max meets Ron in the pub and is surprised by the universally enthusiastic reaction to the Perth offer.
When he gets home, Muriel is incensed by his lack of concern for Lucy, had she been his child... He offers to accompany her to hospital to see Lucy. But when she is told of the Perth job, she rebuffs him at once. If he won't travel thirty miles on her behalf, she will certainly won't go half way round the world for him.
2. The Two-Legged Chameleon (Jan 11th 1968) also with Diana Beevers as Gwen, Norman Rossington, Douglas Livingstone, Richard Leech, Michael Graham-Cox, Timothy Carlton, Anne de Vigier, Zuleika Robson, Frank Dracott, Maurice Quick and Alan Casley. Script: Julian Bond. Director: Michael Lindsay-Hogg.
Following her accident, Lucy has been a hospital outpatient. Max and Muriel meet her when she is discharged, and Max promises to celebrate by taking them both to Chessington Zoo at half term. After Lucy has caught her bus, Max and Muriel revert to their customary strained relationship. She's not prepared to let him forget his faux pas and accuses him of trying to con Lucy.
At the factory, Max notices two of the men from Garlands snooping around. He and his secretary Gwen settle down to an unaccustomed sandwich lunch in their office. He tries to explain the complexities of his long standing affair with Muriel and the fact that he is still married to Sally. He feels he could not possibly go to Australia to take up his new job without Muriel or Lucy. But the enterprising Gwen has been checking up on other possible vacancies for her boss, one for a personnel officer.
At home that evening, there's a letter waiting for Max from Sally, the constant barrier between Max and Muriel. Max admits he'll be unable to take them to Chessington tomorrow, that brings on a fresh complaint from Muriel that she and Lucy are always last on his list of priorities. When she tells Lucy, she's disconcerted by her daughter's disenchanted assessment of them.
Max can't go as he's got an interview with a Mayfair management consultant. Interviewers Bellamy, Feathers and Hoare expose Max's weaknesses thus confirming him in his pessimism.
Muriel has phoned the office and discovered Max hadn't come clean over cancelling the Chessington trip. She goes there alone with Lucy. Max goes to join them there, surprised he has been shortlisted for the post. He tells all and Muriel apologises for her earlier suspicions. After an enjoyable time, the day ends happily. Back home, Muriel shows Max the birthday present for Sally that he invariably would otherwise forget.
Next day Max gets behind and is going to be late for his next interview. Gwen offers to drive him, making it clear she'd be prepared to come with him to Australia if he fails to land this job. Max meets his prospective employer Dick Bush on the roof of his building. This man is ruthless and direct, deliberately provoking Max, but the job is Max's. When Gwen is informed, she is dismayed, having lost the chance to go down under, and feeling a fool for betraying her emotions. Max feels embarrassed and clumsy over the incident.
Later he tells Muriel he has accepted Bush's offer of a job at a lower figure than his current income and with limited prospects, for her sake. Muriel insists he turns the offer down. She also tells him he ought to have squashed Gwen's hopes, of being incapable of seeing one relationship through, of playing one against the other. Lucy breaks into their row, making an intense appeal on her own behalf. It ends with Muriel agreeing to go to Australia, but on her terms. He must divorce Sally and put an end to his blurred relationships with "suffering secretaries." It's an ultimatum. He reflects on whatever happened to love
3. Sally Go Round the Moon (Jan 18th 1968) also with Jean Harvey, Norman Eshley, Margaret Boyd, Lucy Appleby, Christopher Witty, Michael Hall. Script: Julian Bond. Director: Alan Clarke.
Max buys a birthday present for Sally hoping that will persuade her to give him a divorce. Muriel is certain it'll fail. A young man named Simon Houlder prevents Max from going in to Sally's house. The impasse is only broken when Sally drives up, accompanied by her ex-nursemaid Edie.
When she takes Max inside, he finds his gift compares very poorly with her other presents. One is from admirer Simon, she admits she enjoys his attentions. Already aware of his unpropitious start, Max invites himself to dinner, hoping for a chance to prove his case. Also present will be his children, Clare who is met at the station, she has a special affection for her father, as exclusive of that between son Michael and his mother.
Vainly Max tries to re-establish himself as head of the family over lunch. He is also unsuccessful in getting on more friendly terms with Michael, and, an afternoon out rejected, Max takes an afternoon nap. As he searches Sally's room, he is shocked to find evidence of her relationship with an Oliver Anson. When he returns downstairs, he finds Sally flirting with Simon. Max is put in his place, she says she has every right to do what she likes in her own home. That's just what ruined the marriage in the first place, retorts Max.
Ejected, Max lands in the local churchyard and reviews what has happened. He has achieved nothing of what he had intended. He decides to pocket his pride and go back to Sally's. She does accept his apology, but also rejects his invitation to dinner. But she changes her mind when she finds that Oliver has let her down.
The meal begins well since the head waiter recognises Max. Sally meets Max half way and they dance, enjoying an unfamiliar intimacy. The ice is really broken when they see the comic side of their situation. So when he sees Sally home, Max claims he has missed his last train home, and is invited to stay, sleeping in Michael's bed. He decides not to phone Muriel. But he does see Sally in her room, to discuss the divorce. The entire Australia question depends on her. Softened, she believes Max is inviting her to accompany him down under. Max hasn't the heart to disillusion her, and takes the line of least resistance. They make love.
In the morning, he returns to Muriel, with his courage screwed up to explain his absence. But he is astonished to discover Muriel has cleared her things out and gone. There's a note, but guessing its contents, Max doesn't bother to read it
4 Got Yourself Sorted Out At All? (Jan 25th 1968) also with Jean Harvey, Charles Tingwell, Clive Morton, Maxine Audley, Maurice Hedley, Nora Swinburne, Diana Beevers, Gabrielle Blunt, Penny Darrell, Athene Fielding, and Richard Cornish. Script: Julian Bond. Director: Alan Clarke.
Somes resents what he sees as Max's equivocal attitude to the Australia offer and he suspects him of disloyalty. But David defends him, disapproving of his father's scheming to make use of Max if he should take the job.
Sally's parents, Mr and Mrs Prentice urge Sally to have nothing more to do with Max, alarmed when they hear about Max's offer to take her down under.
In the pub, Max describes to Shirley his difficulties in persuading his family to agree to go to Australia. David joins them and apologises again for what has happened with Max's current job. Max fills David in on his current personal problems, Muriel's ultimatum and disappearance, and Sally misunderstanding, thinking he wants her to accompany him.
In the office, Gwen holds Sally off, as per her boss' orders, and locates Muriel. Against her friend Miss Cardew's advice, Muriel meets Max in a teashop. Make your mind up about Sally and the job, then she'll consider coming back to him. But is Max finding he quite likes the unaccustomed freedom?
Max is offered a job by a Mrs Alcon, which he turns down, but as she is in the same furniture business, she asks him for a quotation for some furniture. Another job is mooted to him, but why this sudden interest in him? Gwen suggests it's down to David, the least he can do in the circumstances.
Somes wants to know Max's decision. But he won't be rushed into accepting the Australia job as Somes wants. But then taken off guard, when Sally phones, he accepts a dinner date with her. He castigates Gwen for not protecting him from her, and that upsets Gwen. Mrs Alcon accepts Max's quote, and Max apologises to Gwen and she joins David and him in the pub for a celebratory drink. But David makes it clear he's not behind these job offers.
The meeting with Sally also includes her parents, there for moral support. The whole thing is a disaster, the Prentices united in their mutual detestation of Max. Max retorts by claiming they had tried to buy him for Sally when she was "on the shelf." It turns out Prentice is behind those offers, bent on trying to keep Sally in England. Max comes clean and tells them that he never wanted her to go to Australia, all he wants is divorce. He is disconcerted to see Sally is relieved rather than shocked, she'd never really wanted to go to Australia at all. But she refuses point blank to consider divorce, she cannot face a public humiliation on top of her private grief. Since there is no point arguing further, Max leaves empty handed
5 It All Looks Different Through a Custard Cream (Feb 1st 1968) also with Wilfred Pickles, Michael Turner, Daphne Slater, David Bird, Diana Beevers, Michael Lees, Christopher Witty, Brian Anderson and Ronald Falk. Script: Douglas Livingstone. Director: Alastair Reid.
Bill Harlow is an important customer whom Max entertains in the pub. He's also Australian, and urges Max to join him for a weekend's drinking. But Max can't as he has to attend his father's retirement party in Dorset. He is Sam Osborne, a widower, who retired four weeks ago, and is resentful that his employers the Wessex Cider Company have held the party over to coincide with the retirement of Richard Parker, his brother in law and managing director. Max's sister Anthea, a widow, keeps house for Sam, and the pair have settled into a joyless routine.
On the way down Max meets Ted Harvey, the firm's sales manager, who's making for the same party. The two conceal their mutual dislike, but Max is shocked to learn that Ted is staying at Sam's, since he happens to be friendly with Anthea. When they get there, Sam cuts through Anthea's plans and assures Ted that he'd be more comfortable in a local hotel. Anthea is hardly pleased and she urges Max to take their father with him to Australia: she's been looking after him for the past eighteen years, now it's his turn.
At the party at the Wessex Company, Parker is discussing the firm's future with his successor Minton. Anthea has to apologise for Max's disruptive appearance and Sam is getting steadily drunker. Thus when Parker announces Sam is to make a speech, there's only an incoherent mumbling and he leaves. Max follows him to Sam's old office. Sam says he'd always hated this job, the Parkers had forced him into it when they'd found their daughter was expecting Anthea. Though astonished at first, he gladly accepts Max's offer to go with him to Australia.
Max meets his son Michael at a restaurant. He wants to go to university at Cambridge and has no desire to join them.
Anthea and Ted attempt to revive their former intimacy, but just as he is persuading her to come to his hotel, Max interrupts. When Ted leaves, Anthea refuses to fall in with the trip to Australia. She doesn't want to be housekeeper again. She meets Ted at the hotel, but soon realises he's more concerned with safeguarding his own position with his employers than with her. Anthea tries him out over whether she ought to go down under, and when he is enthusiastic, her fears are confirmed. So she tells Sam and Max she will go with them
6 Uncle Richard Knows Better Than You (Feb 8th 1968) also with Wilfred Pickles, Michael Turner, Daphne Slater, David Bird, Diana Beevers, Lucy Appleby, Roger Brierley, Malcolm Douglas and George Betton. Script: Douglas Livingstone. Director: Alastair Reid.
Sam and Anthea see Max off at the station. He feels rushed by Sam's single-minded enthusiasm for the whole venture, and nagged by Anthea's exuberance. Sam has already arranged for house agent Harman to sell his house, even though Anthea is more cautious, urging to wait until plans have been finalised.
Back at work, Max is upset that the firm have refused to pay for his family's fares to Australia, and anticipating this, Gwen has some information on assisted passages. Anyway, Sam offers to help with the money.
Clare is Max's daughter. She attends a convent school. She's keen to go with them until she hears Sam and Anthea will be looking after her. After all, she hasn't seen them for eight years. So Max sets up a meeting in a London fish restaurant. Sam forces the pace with some jokes, and when Anthea and Clare discover a mutual interest in tennis, it seems the ice is breaking. However Sam is getting drunk and Clare becomes embarrassed, especially when Max tries to establish a close relationship with her. It's an unsatisfactory time and as Max and Anthea bid farewell to Sam at Waterloo station, they try to lift the gloom. For Clare has already left them, saying she has a headache. Sam has insisted Anthea stay in town to check their plans at Australia House. When the train has departed, she demands Max give a definite decision about Australia. On the train, Sam gets drunk and steps out of the train thinking it has stopped at a station. He suffers a heart attack and ends up in a coma.
When Max gets down to Sam in Dorset, his uncle Richard Parker and Ted are already there. They visit him in hospital, he's not likely to recover. Ted takes his chance and urges Anthea to stay in England, that annoys Max who tells Ted to leave Anthea alone. Max is furious everyone is assuming the worst for Sam. He berates Parker for forcing his father into a job he did not like. Parker points out the Sam is no better than a drunkard, no use at his job and should have been sacked years ago. Max storms out.
Sam does die. Anthea thinks it was suicide, blaming Max on his unthinking optimism and his assumption they'd all love Australia. That meeting with Clare, Sam knew had been doomed to failure. Anthea says she hates Max, all his life he's always taken, and given nothing in return but disappointment. She's going back to Ted.
Max phones Clare but can't bring himself to tell her of Sam's death
7 The Dream Time (Feb 15th 1968) also with Thorley Waters, Maurice Hedley, Terence Brady, June Jago, Noel Hood, Carmen Munro, Harry Hutchinson, Tom Criddle, Gabrielle Drake, David Dandas and Frederick Shrecker. Script: Arden Winch. Director: Alastair Reid.
In an Oxford hotel bar, Prentice slangs Max over his treatment of Sally. Max tries to explain he only wants a divorce from Sally. Prentice leaves, leaving Max to foot the bill. Max then meets Dr Maynard, known as Wilfred, a regular figure around the city, who is as lonely as Max. They agree their time in university was a "dream time." The two embark on a sightseeing tour, finishing at his old college St Edmund Hall. Max explains how he sacrificed his Oxford career for a girl, life was never the same again. Max had met Lydia, who lived over a tobacconist's, where the attractive young Rose notoriously seduced many an undergraduate. Wilfred sympathises, he's living on a legacy that lasts as long as he remains a bachelor. The pair visit the shop, Max horrified to find Rose is still there, a middleaged slattern. Disconcerted by the grotesque anti-climax, he determines to find Lydia again.
Over tea, Max relates how he had been forced into marrying Sally, somehow he'd never got round to marrying Lydia. Prompted by Wilfred, Max goes to the office where Lydia used to work, but a Miss Waller is uncooperative, even claiming noone by the name of Lydia had ever worked here. So he leaves frustrated, and encounters Anna, an African student, whose idealistic hopes contrast sharply with his own sense of failure. She is proud of the fact that she's the first woman from her country to study in England. She plans to start a hospital for women in her country and Max wishes her luck. It recalls his own time at university when he'd been "free." That was more important than the actual degree he took, he reflects. Now money is all important, but then it had mattered very little. Wilfred holds a party for his Oxford cronies, who all seem to be middle aged and seedy. One is called Robin, who has a young man Roy in tow and when he talks to him, Max is shocked to find Roy brackets him with Wilfred's generation and age group. Roy is in fact the son of his former friend Garland. It's also clear Max is quite out of fashion with pop music these days. Roy's girl friend Penny has found out that Lydia is now living in London.
The party over, Max is despondent over the fact that he is middle aged and hasn't achieved anything. The dream time in Oxford had been his only happy time, but now he wonders whether even this was an illusion, the entire experience remembered as a fantasy, no relation to the truth
8 Which Side Are You On? (Feb 22nd 1968) also with Charles Tingwell, Clive Morton, Frederick Jaeger, Douglas Livingstone, Aubrey Richards, Denise Buckley, Mary Hignett, Gabrielle Blunt, Godfrey James, Henry Stamper and Shivendra Sinha. Script: Roy Russell. Director: Gareth Davies.
Somes and David fear a Go Slow at the factory could ruin the firm, but Ron Banks the shop steward is convinced all will be well when the rich company Garlands take them over. Ron proposes leaving negotiations in Max's hands, but by now Somes is doubting Max's reliability.
Max is now back at back after Sam's funeral. He has a temporary secretary in Sandie Turner, who is most efficient. He blames the dispute on Somes who has arbitrarily moved six men without any consultation, as four are Pakistanis there's some suggestion of colour prejudice. Max meets with Ron Banks and they do agree on the principle of joint consultation. But Max strenuously denies Ron's insinuation that because Max is leaving he is only interested in himself. He's always kept his word in the past, Max claims.
In the pub, David lets Max understand that if the dispute could be resolved quickly, it would be noticed by Garlands, to mutual benefit, but resenting what sounds like a bribe, Max insists he always does the best he can anyway.
When Max probes the causes of the dispute with Ron Banks further, he discovers that the fear of victimisation is the root. When Garlands take over, the men will not have Max there to protect them. The representative of Garlands, Noel Smedley, aged 48, is of the view that Max can have no love for Garlands and David too believes Max is taking the men's side. Max however claims his past negotiation successes have always depended on his being utterly impartial.
Smedley affirms to Somes and David that Garlands will not countenance taking over an unprofitable firm, and that the transfer of all six men must stand. Max puts the men's side, that they fear Garlands might tear down the factory and erect a new office block. The men down tools. Max proposes that the local union officer Wilkinson be brought in, but the men refuse. Alongside the sympathetic Sandie, Max watches Smedley and Somes failing to attract the attention of the strikers, and he tells Sandie to put Wilkinson in the picture.
Max is asked to quieten the noisy rabble, and does so. Smedley interprets this as a sign of Max's one sided sympathies, but takes his chance and continues addressing the men, only to be met by more resentment and heckling. Wilkinson sends Gregson, not a conciliator at all and Somes blames Max for introducing him into the dispute. But the men go back to work, Gregson however demanding that the six men be reinstated within fifteen minutes or there will be a walk out. He sees the issue as a test case against the big business interests for which Garlands stands. Poor Max can see that his old friendly methods of negotiating no longer apply. When he relays Gregson's ultimatum, Max finds himself blamed for bringing Gregson in. Inefficient and disployal Max is. Outside the factory Max meets one of the six, Askew, who feels guilty about it all. Max admits the affair is out of his hands and drowns his sorrows in the pub with Sandie
9 You Know Who Your Friends Are (Feb 29th 1968). Cast as well as George Cole were Charles Tingwell, Clive Morton, Frederick Jaeger, Douglas Livingstone, Aubrey Richards, Denise Buckley, Mary Hignett, Gabrielle Blunt, Godfrey James, Henry Stamper and Shivendra Sinha. Script: Roy Russell. Director: Gareth Davies.
Deadlock at the factory after a week of dispute. Banks and Gregson blames Max, believing him to be concerned only with his own future. Somes and David have agreed to call on Smedley at Garlands' luxurious city offices, blaming them for the firm's verge of collapse. Smedley offers a way out, that the takeover should be accepted at a lower price. This Somes and David flatly reject.
At the local working men's club Gregson warns the men they could be in for a hard time. One, Ken Bartlett, believes Max ought to have been given a better chance to act.
Banks fails to persuade David to reinstate Max, thinking he is not really interested in solving the dispute. David is evidently attracted to Sandie and arranges a weekend in Brighton with her.
Max holds a clandestine meeting in the pub with Jim Askew, one of the six sacked workers. Max bravely asks Jim to risk abuse from his fellow workers and reapply for his job. Next morning Jim runs the gauntlet of the picket line, and is met at the gates by Max. To everyone Max announces he will sign Jim on when the strike is over. Gregson and Banks question Jim closely over his change of heart.
Somes and David blame Garlands for sacking the men in Max's absence. With Smedley, they consider ways out of the impasse. It is agreed to give Max a free hand for twenty four hours, and Smedley gracefully agrees to keep out of his way.
The status quo is restored. At a meeting scheduled for 4pm, Gregson warns Banks not to let his distrust of Max jeopardise negotiations. The meeting takes place in Somes' office. Max tells everyone that the key figure in the dispute Jim Askew, is on a week's leave, and that another man is willing to take on the job he had refused to do. Both sides accept this, and to joint consultation in the future. Further the factory will remain a factory.
Sandie congratulates Max on success, in turn he thanks her for her encouragement. She doesn't tell him about David and he is bewildered by her lack of warmth.
Smedley thanks Max, coolly, for his efforts. Max finds that by settling the strike he has ruined himself. Had it continued the take over would have failed and he would still be in a job.
Max meets with Gregson who is bleakly contemptuous of his shattered illusions. Neither side is grateful to Max, who now learns that the men are even blaming him for their wages lost during the strike
10 Someone I Knew (Mar 7th 1968) also with Isabel Dean, Hugh Cross, John Hallam, Margot Boyd, Rosemary Rogers, Ernest Hare and Michael Sheard. Script: Julian Bond. Director: Bill Bain.
"Max drives to Southend in a hired car and joins a funeral party in the local cemetery. Among the mourners are Lydia Laing, 40, and Frank Meredith, 45. Although utterly unprepared for Max's visit, Lydia turns to him instinctively afterwards, allowing him to drive her away from her well intentioned friends and relations. Sitting in the car near the beach, she tells Max how she has spent the past eighteen years looking after her mother, until her death, so fulfilling a promise to her father on his deathbed. Lydia had always disliked her mother for the way she had subtly punished her father for being a failure during his lifetime, and afterwards had hypocritically pretended he had been perfect. Lydia is astonished at the ease with which she is confiding in Max, and in a pub he admits his journey here had been prompted by reading about her mother's death. He now gives her a partial picture of his own life, his marriage and family and his limited success as a personnel officer.
Lydia has forgotten her friends, who may be anxious on her behalf. It is twenty years since she and Max last met and she eagerly accepts his invitation to lunch. Max, pleasantly excited, wonders how long it will be before this relationship goes sour too.
In the restaurant they nostalgically recall the intimacies, delights and disasters, of their youth shared at Oxford twenty years ago. A picnic expedition to the Perch Inn which had begun romantically but ended in Max's falling in the water, a symbol of his later life. An occasion when Lydia had felt at one with Max, but he had failed to respond to her mood. Max's short lived venture into business on his own when he had invested and lost his little capital. They agree that reality had tarnished the brilliance of many of their contemporaries, that they are failures themselves.
Breaking the mood, they make an absurd show of enjoying themselves by going to the pier amusement arcade, trying all its attractions and ending in hysterical laughter. They speculate on their possible fate had they got married, as Max had wanted. Lydia consoles herself with the idea that she has been engaged for five years to Frank, but it is not a passionate relationship. Lydia invites him home to tea.
At Lydia's Victorian home they share tea and toast like students and re-enact their first meeting. Lydia is suddenly distressed by regret for the past, but refuses to let Max comfort her. She insists they are too late and too old and she does not want a further meeting. He now tells her the truth about himself: that he and Sally are separated and only married because she refuses a divorce. Max insists that he and Lydia were genuinely in love once before and they have a chance now to put the mistakes of the past right. Insisting he needs her, Max enlarges on his own troubles with Sally, Muriel and his job. He is unprepared for Lydia's outraged response. She points out she would have welcomed him at any other time but now, when he is merely looking for a support. She believes he sees her as his last resort and accuses him of tricking her with his nostalgic talk about the past. Now, as she is asking Max to go, Frank calls. He greets Max warmly and thanks him for taking care of Lydia at a critical moment. After Max has left, she dismisses him to Frank as 'someone she knew,' but Frank guesses there had been a special relationship.
Accepting the end of another dream, Max sets off home in the hired car."
11 Never Mind How We Got Here- Where Are We? (Mar 14th 1968) also with Jean Harvey, Peter Barkworth, Basil Henson, Shelagh Fraser, Christopher Witty, Lucy Appleby, Bruce Robinson, Reg Peters and Ralph Ball. Script: Julian Bond. Director: Alan Clarke.
"When Max goes to his bank to cash a cheque, he is asked to see the manager Mr Roberts, who is anxious to know what economies Max is preparing to make. Max tells him about the Australia offer and immediately Roberts becomes more affable and promises considerable financial help if Max takes the job. Max thanks him, explains that if he can get a divorce from his wife, he will certainly take the job, and promises to look in the following day and discuss details.
Max meets Sally in Cambridge, where she has gone with Michael, who is having interviews for a place at the university. Max is horrified when he discovers that Oliver Manson, whom he knows to be a close friend of Sally's is staying at the same hotel. That evening Sally comes to Max's room with a bottle of champagne and tells him she is prepared to give him a divorce. Max is furious that she has got himself and Manson under the same roof to discuss the matter and refuses to agree to a divorce.
Over breakfast the following morning, Max and Sally continue to row and she finally storms out of the dining room closely followed by Manson. A moment later, Michael comes in and Max tells him that he is not prepared to divorce Sally and let another man look after his children. Michael seems unperturbed and announces at the end of the meal that he passed his interview.
Max returns to the bank and tells Roberts that he is unlikely to go to Australia after all. Roberts' attitude changes abruptly and he warns Max that he will have to straighten his affairs quickly. Max goes to see Clare, and tells her that he has decided to go to Australia without her. She is surprised as mother had written to her saying that she had finished with Oliver Manson. Max is equally surprised to hear this, and wonders what the devil Sally is playing at.
Max goes to Manson's house and receives a chilly reception. Finally Manson admits that he had just been away on holiday with Sally and at the end of it she told him that she did not want after all to marry him. Max goes to Sally's house and tells her that he knows that she is finished with Manson and so why does she want a divorce? Sally explains that she feels that at last she has grown up and can stand on her own two feet. She has not given Max a divorce before, in case she needed him back. Now she feels that she can live happily alone. Max agrees that they should do the decent thing. He agrees to the divorce and they part for ever."
12 If Only Wishing Could End As Loving (Mar 21st 1968) also with Norman Rossington, Garfield Morgan, Andree Evans, Ann Rye, George Tovey, Jean Driant, Gilles Milinaire, Colin Maitland, Robert Sessions, Harry Tierney, David Billa, Maria Gray, Billy McComb, Gilles Dattas, Sylvie Dattas, Jacques Cey, Michael Faure and Ann Heffernan. Script: Julian Bond. Director: Michael Lindsay-Hogg.
"In the street, Max is intercepted by Bush, who would like to employ him. Bush admits he had underrated Max before, but that he had been impressed by his handling of the Garland crisis. Now he would like an early response to his offer, but Max insists he must first resolve his personal domestic problems.
He calls for Muriel at Dawson's flat, but hears she has gone to attend Lucy's school play. After hearing that Sally has offered Max a divorce at last, and admitting their mutual dislike, Dawson urges Max to make a special gesture now towards Muriel at this critical time.
Muriel has arrived at Victoria to board The Golden Arrow and is joined by Max at the last minute. He refuses to be drawn, claiming that the surprise expedition is purely for pleasure, and Muriel is satisfied. She is further pleased by their hotel at the Pas de Calais, but outside the cold wind disperses some of their romantic feelings. That evening, as they are coming down for dinner, Muriel is dismayed to meet a fellow teacher, Heather, who is staying at the same hotel with her friend Ian. There is no room for dissembling. Both couples are engaged in illicit affairs. Recognising the risk to their vulnerable new relationships, Max rushes Muriel out to a restaurant, rather than make up a foursome suggested by Ian.
The restaurant proves disappointing and Max is disgusted with the food, wine and service, and further irritated by a boisterous wedding party. Muriel agrees that the meeting with Heather has ruined the occasion for them. Max erupts at the waiter, refusing to tip him, and then marches over to the wedding party who are amusing themselves at his expense. He relents at the last moment, seeing the pathetic young bride, and leaves abruptly. He and Muriel go to an amusement arcade, but fail to lift the feeling of gloom. Forced into a corner, Max explains his motive in coming here, that Sally is offering a divorce. He had taken Dawson's advice that he should make a big splash, and he has spent the whole evening trying to establish the right moment to ask Muriel to marry him. Muriel is touched by his confession, and a new tender mood is generated.
Going on to a nightclub, they are put out by the arrival of Ian and Heather, but now Muriel feels herself secure enough to cope with them. All four agree that the dinners served at both hotel and restaurant had been bad. Heather, clearly anxious and inexperienced, begs Muriel not to desert her. Ian, self appointed 'life and soul of the party,' embarks on a series of dirty stories. Both Ian and Max are agreed on an evening of hard drinking. Muriel persuades Max to act as the cabaret conjuror's stooge, but afterwards, with his suit ruined, he recalls bitterly how Sally too used to enjoy making him appear a buffoon.
Later at the club, Max and Ian are getting on well together, reminiscing and establishing mutual acquaintances, and ignoring the women. In a drunken schoolboy mood, they decide to help the cabaret stripper take her clothes off. They are forced to beat a retreat from the restive French audience, leaving the embarrassed Muriel and Heather to pay the bill.
Having got back to the hotel, Max passes out, leaving Muriel hurt and angry. He wakes in the morning, at a disadvantage, to find Muriel dressed and packing. Defending his last night's conduct, he points out that he was coerced into stooging for the conjuror, but Muriel suggests it was really the shock of having his marriage proposal accepted that had made him get drunk. Muriel insists that they both face the truth: that the only thing they have in common is sexual attraction, and their affair only continued because Sally had happened to find it out. Max, realising how he has cheated everybody, ascribes his character defect to his public school upbringing. Piying him, and seeing him as a baby, Muriel knows their marriage would certainly fail. Miserable and desperate they return to London on The Golden Arrow and part on the platform making a clean break."
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Peter Wilton Cushing OBE (26 May 1913 – 11 August 1994) was an English actor. His acting career spanned over six decades and included appearances in more than 100 films, as well as many television, stage, and radio roles. He achieved recognition in his home country for his leading performances in the Hammer Productions horror films from the 1950s to 1970s, while earning international prominence as Grand Moff Tarkin in Star Wars (1977).
Born in Kenley, Surrey, Cushing made his stage debut in 1935 and spent three years at a repertory theatre before moving to Hollywood to pursue a film career. After making his motion picture debut in the film The Man in the Iron Mask (1939), Cushing began to find modest success in American films before returning to England at the outbreak of the Second World War. Despite performing in a string of roles, including one as Osric in Laurence Olivier's film adaptation of Hamlet (1948), Cushing struggled greatly to find work during this period. His career was revitalised once he started to work in live television plays, and he soon became one of the most recognisable faces in British television. He earned particular acclaim for his lead performance as Winston Smith in a BBC adaptation of George Orwell's Nineteen Eighty-Four (1954).
Cushing gained worldwide fame for his appearances in 22 horror films from the Hammer studio, particularly for his role as Baron Frankenstein in six of their seven Frankenstein films, and Doctor Van Helsing in five Dracula films. Cushing often appeared alongside actor Christopher Lee, who became one of his closest friends, and occasionally with the American horror star Vincent Price. Cushing appeared in several other Hammer films, including The Abominable Snowman (1957), The Mummy and The Hound of the Baskervilles (both 1959), the last of which marked the first of the several occasions he portrayed the detective Sherlock Holmes. Cushing continued to perform in a variety of roles, although he was often typecast as a horror film actor. He played Dr. Who in Dr. Who and the Daleks (1965) and Daleks' Invasion Earth 2150 A.D. (1966) and gained the highest amount of visibility in his career with his part in the original Star Wars film. Cushing continued acting into the early 1990s and wrote two autobiographies.
Biography
Early life
Peter Wilton Cushing was born in Kenley, then a district in the English county of Surrey, on 26 May 1913 to George Edward Cushing (1881–1956) and Nellie Marie (née King) Cushing (1882–1961). His father, a quantity surveyor, was a reserved and uncommunicative man whom Peter said he never got to know very well. His mother was the daughter of a carpet merchant and considered of a lower class than her husband. Cushing's family consisted of several stage actors, including his paternal grandfather Henry William Cushing (who toured with Henry Irving), his paternal aunt Maude Cushing (his father's sister) and his step-uncle Wilton Herriot, after whom Peter Cushing received his middle name.
The Cushing family lived in Dulwich during the First World War, but moved to Purley after the war ended in 1918. Although raised during wartime, Cushing was too young to understand or become greatly affected by it, and was shielded from the horrors of war by his mother, who encouraged him to play games under the kitchen table whenever the threat of possible bombings arose. In his infancy, Cushing twice developed pneumonia and once what was then known as "double pneumonia". The latter was often fatal during that period, although he survived. During one Christmas in his youth, Cushing saw a stage production of Peter Pan, which served as an early source of inspiration and interest in acting. Cushing loved dressing up and make believe from an early age, and later claimed he always wanted to be an actor, "perhaps without knowing at first." A fan of comics and toy collectibles in his youth, Cushing earned money by staging puppet shows for family members with his glove-puppets and toys.
He began his early education in Dulwich, South London, before attending the Shoreham Grammar School in Shoreham-by-Sea, on the Sussex coast between Brighton and Worthing. Prone to homesickness, he was miserable at the boarding school and spent only one term there before returning home. He attended the Purley County Grammar School, where he swam and played cricket and rugby. With the exception of art, Cushing was a self-proclaimed poor student in most subjects and had little attention span for that which did not interest him. He got fair grades only through the help of his brother, a strong student who did his homework for him. Cushing harboured aspirations for the arts all throughout his youth, especially acting. His childhood inspiration was Tom Mix, an American film actor and star of many Western films. D.J. Davies, the Purley County Grammar School physics teacher who produced all the school's plays, recognised some acting potential in him and encouraged him to participate in the theatre, even allowing Cushing to skip class to paint sets. He played the lead in nearly every school production during his teenage years, including the role of Sir Anthony Absolute in a 1929 staging of Richard Brinsley Sheridan's comedy of manners play, The Rivals.
Cushing wanted to enter the acting profession after school, but his father opposed the idea, despite the theatrical background of several of his family members. Instead, seizing upon Cushing's interest in art and drawing, he got his son a job as a surveyor's assistant in the drawing department of the Coulsdon and Purley Urban District Council's surveyor's office during the summer of 1933. Cushing hated the job, where he remained for three years without promotion or advancement due to his lack of ambition in the profession. The only enjoyment he got out of it was drawing prospectives of proposed buildings, which were almost always rejected because they were too imaginative and expensive and lacked strong foundations, which Cushing disregarded as a "mere detail."
Thanks to his former teacher Davies, Cushing continued to appear in school productions during this time, as well as amateur plays such as W. S. Gilbert's Pygmalion and Galatea, George Kelly's The Torch-Bearers, and The Red Umbrella, by Brenda Girvin and Monica Cosens. Cushing often learned and practised his lines in an attic at work, under the guise that he was putting ordnance survey maps into order. He regularly applied for auditions and openings for roles he found in the arts-oriented newspaper The Stage, but was turned down repeatedly due to his lack of professional experience in the theatre.
Early career
Cushing eventually applied for a scholarship at the Guildhall School of Music and Drama in London. His first audition was before the actor Allan Aynesworth, who was so unimpressed with Cushing's manner of speech that he rejected him outright and insisted he not return until he improved his diction. Cushing continued to pursue a scholarship, writing twenty-one letters to the school, until actor and theatre manager Bill Fraser finally agreed to meet Cushing in 1935 simply so he could ask him in person to stop writing. During that meeting, Cushing was given a walk-on part as a courier in that night's production of J.B. Priestley's Cornelius. This marked his professional stage debut, although he had no lines and did little more than stand on stage behind other actors. Afterward, he was granted the scholarship and given odd jobs around the theatre, such as selling refreshments and working as an assistant stage manager.
One of his earliest professional stage performances was in 1935 as Captain Randall in Ian Hay's The Middle Watch at the Connaught Theatre in Worthing. By the end of the summer of 1936, Cushing accepted a job with the repertory theatre company Southampton Rep, working as assistant stage manager and performing in bit roles at the Grand Theatre in the Hampshire city. He spent the next three years in an apprenticeship at Southampton Rep., auditioning for character roles both there and in other surrounding theatres, eventually amassing almost 100 individual parts. While he was in Southampton he met an 18 year old fellow actor Doreen Lawrence and they were engaged to be married. Lawrence broke off the engagement citing his frequent crying and bringing his parents on dates.
Soon, he felt the urge to pursue a film career in the United States. In 1939, his father bought him a one-way ticket to Hollywood, where he moved with only £50 to his name. Cushing met a Columbia Pictures employee named Larry Goodkind, who wrote him a letter of recommendation and directed him to acquaintances Goodkind knew at the company Edward Small Productions. Cushing visited the company, which was only a few days away from shooting The Man in the Iron Mask (1939), the James Whale-directed adaptation of the Alexandre Dumas tale based on the French legend of a prisoner during the reign of Louis XIV of France. Cushing was hired as a stand-in for scenes that featured both characters played by Louis Hayward, who had the dual lead roles of King Louis XIV and Philippe of Gascony. Cushing played one part against Hayward in one scene, then the opposite part in another, and ultimately the scenes were spliced together in a split screen process that featured Hayward in both parts and left Cushing's work cut from the film altogether. Although the job meant Cushing received no actual screen time, he was eventually cast in a bit part as the king's messenger, which made The Man in the Iron Mask his official film debut. The small role involved sword-fighting and, although Cushing had no experience with fencing, he told Whale he was an excellent fencer to ensure he got the part. Cushing later said his unscreened scenes alongside Hayward were terrible performances, but that his experience on the film provided an excellent opportunity to learn and observe how filming on a studio set worked.
Only a few days after filming on The Man in the Iron Mask was completed, Cushing was in the Schwab's Drug Store, a famous Sunset Boulevard hangout spot for actors, when he learned producer Hal Roach was seeking an English actor for a comedy film starring Laurel and Hardy. Cushing sought and was cast in the role. Cushing appeared only briefly in A Chump at Oxford (1940) and his scenes took just one week to film, but he was proud to work with whom he called "two of the greatest comedians the cinema has ever produced." Around this time actor Robert Coote, who met Cushing during a cricket game, recommended to director George Stevens that Cushing might be good for a part in Stevens' upcoming film Vigil in the Night (1940). Adapted from a serial novella of the same name, it was a drama film about a nurse played by Carole Lombard working in a poorly-equipped country hospital. Stevens cast Cushing in the second male lead role of Joe Shand, the husband of the Lombard character's sister. Shooting ran from September to November 1939, and the film was released in 1940, drawing Cushing's first semblance of attention and critical praise.
Cushing continued to work in a few Hollywood engagements, including an uncredited role in the war film They Dare Not Love (1941), which reunited him with director James Whale. Cushing was cast (again uncredited) in one of a series of short films in an entry in the MGM series The Passing Parade, which focused on strange-but-true historical events. He appeared in the episode The Hidden Master (1940) as a young Clive of India, well before the soldier established the military and political supremacy of the East India Company. In the film, Clive tries to shoot himself twice but the gun misfires, then he fires a third time at a pitcher of water and the gun works perfectly. Clive takes this to be an omen that he should live, and he goes on to perform great feats in his life. Studio executives were pleased with Cushing's performance, and there was talk among Hollywood insiders grooming him for stardom. Despite the promise, however, Cushing grew homesick and decided he wished to return to England. He moved to New York City in anticipation of his eventual return home, during which time he voiced a few radio commercials and joined a summer stock theatre company to raise money for his voyage back to England. He performed in such plays as Robert E. Sherwood's The Petrified Forest, Arnold Ridley's The Ghost Train, S. N. Behrman's Biography and a modern dress version of William Shakespeare's Macbeth. He was eventually noticed by a Broadway theatre talent scout, and in 1941 he made his Broadway debut in the religious wartime drama The Seventh Trumpet. It received poor reviews, however, and ran for only eleven days.
Return to England
Cushing returned to England during the Second World War. Although some childhood injuries prevented him from serving on active duty, a friend suggested he entertain the troops by performing as part of the Entertainments National Service Association. In 1942, the Noël Coward play Private Lives was touring the military stations and hospitals in the British Isles, and the actor playing the lead role of Elyot Chase was called to service. Cushing agreed to take his place with very little notice or time to prepare, and earned a salary of ten pounds a week for the job. During this tour he met Violet Hélène "Helen" Beck, a former dancer who was starring in the lead female role of Amanda Prynne. They fell in love and were married on 10 April 1943. Cushing eventually had to leave ENSA due to lung congestion, an ailment his wife helped him recover from. The two had little money around this time, and Cushing had to collect from both National Assistance and the Actors' Benevolent Fund. Cushing struggled to find work during this period, with some plays he was cast in failing to even make it past rehearsals into theatres. Others closed after a few showings, like an ambitious five-hour stage adaptation of Leo Tolstoy's novel War and Peace that opened and closed in 1943 in London's Phoenix Theatre.
Cushing recorded occasional radio spots and appeared in week-long stints as a featured player in London's Q Theatre, but otherwise work was difficult to come by. He found a modest success in a 1945 production of Sheridan's The Rivals at Westminster's Criterion Theatre, which earned him enough money to pay off some growing debts. The war years continued to prove difficult for him, however, and at one point he was forced to work designing ladies head-scarves at a Macclesfield-based silk manufacturer to make ends meet. In the autumn of 1946, after the war ended, Cushing unsuccessfully auditioned for the part of Paul Verrall in a stage production of the play Born Yesterday that was being staged by famed actor and director Laurence Olivier. He was not cast because he insisted he could not perform in an American accent. After Cushing attempted the accent and failed, Olivier replied, "Well, I appreciate you not wasting my time. I shall remember you." Nearing middle age and finding it increasingly harder to make a living in acting, Cushing began to consider himself a failure.
In 1947, when Laurence Olivier sought him out for his film adaptation of Shakespeare's Hamlet, Cushing's wife Helen pushed him to pursue a role. Far from being deterred by Cushing's unsuccessful audition the year before, Olivier remembered the actor well and was happy to cast him, but the only character left unfilled was the relatively small part of the foppish courtier Osric. Cushing accepted the role, and Hamlet (1948) marked his British film debut.
Hamlet won the Academy Award for Best Picture, and earned Cushing praise for his performance. Also appearing in the film was Christopher Lee, who eventually became a close friend and frequent co-star with Cushing. Cushing designed custom hand-scarves in honour of the Hamlet film, and as it was being exhibited across England, the scarves were eventually accepted as gifts by the Queen and her daughter Princess Elizabeth. After Hamlet, both Peter and Helen Cushing accepted a personal invitation from Olivier to join Old Vic, Olivier's repertory theatre company, which embarked on a year-long tour of Australasia. The tour, which lasted until February 1949, took them to Melbourne, Sydney, Brisbane, Hobart, Tasmania, Auckland, Wellington, Christchurch and Dunedin, and included performances of Richard Brinsley Sheridan's The School for Scandal, Shakespeare's Richard III, Thornton Wilder's The Skin of Our Teeth, Jean Anouilh's Antigone and Anton Chekhov's The Proposal.
Success in television
Cushing struggled greatly to find work over the next few years, and became so stressed that he felt he was suffering from an extended nervous breakdown. Nevertheless, he continued to appear in several small roles in radio, theatre and film. Among them was the John Huston film Moulin Rouge (1952) in which he played a racing spectator named Marcel de la Voisier appearing with José Ferrer, who played the artist Henri de Toulouse-Lautrec. During this discouraging period for Cushing, his wife encouraged him to seek roles in television, which was beginning to develop in England. She suggested he write to all the producers listed in the Radio Times magazine seeking work in the medium. The move proved to be a wise one, as Cushing was hired to complement the cast of a string of major theatre successes that were being adapted to live television. The first was J.B. Priestley's Eden End, which was televised in December 1951. Over the next three years, he became one of the most active and favoured names in British television, and was considered a pioneer in British television drama.
He earned praise for playing the lead male role of Mr. Darcy in an early BBC Television serialisation of Jane Austen's Pride and Prejudice (1952). Other successful television ventures during this time included Epitaph for a Spy, The Noble Spaniard, Beau Brummell, Portrait by Peko, and Anastasia, the latter of which won Cushing the Daily Mail National Television Award for Best Actor of 1953–54. His largest television success from this period was the leading role of Winston Smith in Nineteen Eighty-Four, (1954) an adaptation by Nigel Kneale of George Orwell's novel of the same name about a totalitarian regime.
In the two years following Nineteen Eighty-Four, Cushing appeared in thirty-one television plays and two serials, and won Best Television Actor of the Year from the Evening Chronicle. He also won best actor awards from the Guild of Television Producers in 1955, and from the British Academy of Film and Television Arts in 1956. Among the plays he appeared in during this time were Terence Rattigan's The Browning Version, Gordon Daviot's Richard of Bordeaux, and the production of Nigel Kneale's The Creature (1955), the latter of which Cushing starred in film adaptation released in 1957. Despite this continued success in live television, Cushing found the medium too stressful and wished to return to film. Cinematic roles proved somewhat difficult to find, however, as film producers were often resentful of television stars for drawing audiences away from the cinema.
Nevertheless, he continued to work in some film roles during this period, including the adventure film The Black Knight (1954) opposite Alan Ladd. For that film, he travelled to Spain and filmed scenes on location in the castles of Manzanares el Real and El Escorial. He also starred in the film adaptation of the Graham Greene novel The End of the Affair (1955) as Henry Miles. Also around the same time, he appeared in Magic Fire (also 1955), an autobiographical film about the German composer Richard Wagner. Filmed on location in Munich, Cushing played Otto Wesendonck, the husband of poet Mathilde Wesendonck.
Hammer Frankenstein films
During a brief quiet period following Cushing's television work, he read in trade publications about Hammer, a low-budget production company seeking to adapt Mary Shelley's horror novel Frankenstein into a new film. Cushing, who enjoyed the tale as a child, had his agent John Redway inform the company of Cushing's interest in playing the protagonist, Baron Victor Frankenstein. The studio executives were anxious to have Cushing; in fact, Hammer co-founder James Carreras had been unsuccessfully courting Cushing for film roles in other projects even before his major success with Nineteen Eighty-Four. Cushing was about twenty years older than Baron Frankenstein as he appeared in the original novel, but that did not deter the filmmakers. Cushing was cast in the lead role of The Curse of Frankenstein (1957), marking the first of twenty-two films he made for Hammer. He later said that his career decisions entailed selecting roles where he knew that he would be accepted by the audience. "Who wants to see me as Hamlet? Very few. But millions want to see me as [Baron] Frankenstein, so that's the one I do." The film critic Roger Ebert described Cushing's work in the Hammer films: "[Cushing is] the one in all those British horror films, standing between Vincent Price and Christopher Lee. His dialog usually runs along the lines of, 'But good heavens, man! The person you saw has been dead for more than two centuries!'"
Unlike Frankenstein (1931) produced by Universal, the Hammer films revolved mainly around Victor Frankenstein, rather than his monster. Screenwriter Jimmy Sangster wrote the protagonist as an ambitious, egotistical and coldly intellectual scientist who despised his contemporaries. The Curse of Frankenstein also featured Christopher Lee, who played Frankenstein's monster. Cushing and Lee became extremely close friends, and remained so for the rest of Cushing's life. They first met on the set of the film, where Lee was still wearing the monster make-up prepared by Phil Leakey. Hammer Studios' publicity department put out a story that when Cushing first encountered Lee without the make-up on, he screamed in terror.
Cushing so valued preparation for his role that he insisted on being trained by a surgeon to learn how to wield a scalpel authentically. The film did well at the box-office with its target audience, but drew mixed to negative reviews from the critics.
The Curse of Frankenstein was an overnight success, bringing both Cushing and Lee worldwide fame. The two men continued to work together in many films for Hammer, and their names became synonymous with the company. Cushing reprised the role of Baron Victor Frankenstein in five sequels. In the first, The Revenge of Frankenstein (1958), his protagonist is sentenced to death by guillotine, but he flees and hides under the alias Doctor Victor Stein. He returned for The Evil of Frankenstein (1963), where the Baron has a carnival hypnotist resurrect his monster's inactive brain, and Frankenstein Created Woman (1967), in which the Frankenstein's monster is a woman played by Susan Denberg. Cushing played the lead role twice more in Frankenstein Must Be Destroyed (1969) and Frankenstein and the Monster from Hell (1974). In Frankenstein and the Monster from Hell, Cushing portrayed Frankenstein as having gone completely mad, in a fitting coda to the earlier films.
Hammer Dracula films
When Hammer sought to adapt Bram Stoker's classic vampire novel Dracula, they cast Cushing to play the vampire's adversary Doctor Van Helsing. Cushing envisioned the character as an idealist warrior for the greater good, and studied the original book carefully and adapted several of Van Helsing's characteristics from the books into his performance, including the repeated gesture of raising his index finger to emphasise an important point. Dracula was released in 1958, with Cushing once again starring opposite Lee, who played the title character, although Cushing was given top billing.
In 1959, Cushing agreed to reprise the role of Van Helsing in the sequel, The Brides of Dracula (1960). Before filming began, however, Cushing said he had reservations about the screenplay written by Jimmy Sangster and Peter Bryan. As a result, playwright Edward Percy was brought in to make modifications to the script, though the rewrites pushed filming into early 1960 and brought additional costs to the production. For the sequel, Dracula: Prince of Darkness (1966), which marked Lee's return to the title role for the first time since 1958, Cushing granted permission for archival footage featuring him to be used in the opening scene, a reprisal of the climax from the first Dracula film. In exchange, Hammer's James Carreras thanked Cushing by paying for extensive roofing repair work that had recently been done on Cushing's recently purchased Whitstable home. Cushing appeared in Dracula A.D. 1972 (1972), a Hammer modernisation of the Dracula story set in the then-present day. Lee once again starred as Dracula. In the opening scene, Cushing portrays the nineteenth century Van Helsing as he did in the previous films, and the character is killed after battling Dracula. Thereafter the action jumps ahead to 1972, and Cushing plays the original character's grandson for the bulk of the movie. Cushing performed many of his own stunts in Dracula A.D. 1972, which included tumbling off a haywagon during a fight with Dracula. Christopher Neame, who also starred in the film, said he was particularly impressed with Cushing's agility and fitness, considering his age. Cushing and Lee both reprised their respective roles in the sequel The Satanic Rites of Dracula (1974), which was known in the United States as Count Dracula and his Vampire Bride. Around the same time, Cushing played the original nineteenth century Van Helsing in The Legend of the 7 Golden Vampires (also 1974), a co-production between Hammer Studios and the Shaw Brothers Studio, which brought Chinese martial arts into the Dracula story. In that film, Cushing's Van Helsing travels to the Chinese city Chungking, where Count Dracula is heading a vampire cult.
Other Hammer roles
Although most well known for his roles in the Frankenstein and Dracula films, Cushing appeared in a wide variety of other Hammer productions during this time. Both he and his wife feared Cushing would become typecast into horror roles, but he continued to take them because they guaranteed regular work. He appeared in the horror film The Abominable Snowman (1957), a Hammer adaptation of a BBC Nigel Kneale television play The Creature (1955) which Cushing had also starred in. He portrayed an English botanist searching the Himalayas for the legendary Yeti. Director Val Guest said he was particularly impressed with Cushing's preparation and ability to plan which props to best use to enhance his performance, so much so that Cushing started to become known as "Props Peter". Cushing and Lee appeared together in the Hammer horror The Mummy (1959), with Cushing as the archaeologist John Banning and Lee as the antagonist Kharis. Cushing saw a promotional poster for The Mummy that showed Lee's character with a large hole in his chest, allowing a beam of light to pass through his body. There was no reference to such an injury in the film script, and when he asked the publicity department why it was on the poster, they said it was simply meant to serve as a shocking image to promote the movie. During filming he asked director Terence Fisher for permission to drive a harpoon through the mummy's body during a fight scene, to explain the poster image. Fisher agreed, and the scene was used in the film.
Around the same time, he portrayed the detective Sherlock Holmes in the Hammer production of The Hound of the Baskervilles (also 1959), an adaptation of Sir Arthur Conan Doyle's novel of the same name. He once again co-starred opposite Lee, who portrayed the aristocratic Sir Henry Baskerville. A huge fan of Sherlock Holmes, Cushing was highly anxious to play the character, and reread the novels in anticipation of the role. Hammer decided to heighten the source novel's horror elements, which upset the estate of Conan Doyle, but Cushing himself voiced no objection to the creative licence because he felt the character of Holmes himself remained intact. However, when producer Anthony Hinds proposed removing the character's deerstalker, Cushing insisted they remain because audiences associated Holmes with his headgear and pipes. Cushing prepared extensively for the role, studying the novel and taking notes in his script. He scrutinised the costumes and screenwriter Peter Bryan's script, often altering words or phrases. In later years, Cushing considered his Holmes performance one of the finest accomplishments of his career. Cushing drew generally mixed reviews: Film Daily called it a "tantalising performance" and Time Out's David Pirie called it "one of his very best performances", while the Monthly Film Bulletin called him "tiresomely mannered and too lightweight" and BBC Television's Barry Norman said he "didn't quite capture the air of know-all arrogance that was the great detective's hallmark". The Hound of the Baskervilles was originally conceived as the first in a series of Sherlock Holmes films, but eventually no sequels were made.
Immediately upon completion of The Hound of the Baskervilles, Cushing was offered the lead role in the Hammer film The Man Who Could Cheat Death (1959), a remake of The Man in Half Moon Street (1945). Cushing turned it down, in part because he did not like the script by Jimmy Sangster, and the lead role was taken instead by Anton Diffring. Cushing next appeared for Hammer when he played the Sheriff of Nottingham in the adventure film Sword of Sherwood Forest (1960), which starred Richard Greene as the outlaw Robin Hood. It was filmed on location in County Wicklow in the Republic of Ireland. The next year, Cushing starred as an Ebenezer Scrooge-like manager of a bank being robbed in the Hammer thriller film Cash on Demand (1961). Cushing considered this among the favourites of his films, and some critics believed it to be among his best performances, although it was one of the least seen films from his career. He appeared in the Hammer film Captain Clegg (1962), known in the United States as Night Creatures. Cushing starred as Parson Blyss, the local reverend of an 18th-century English coastal town believed to be hiding his smuggling activities with reports of ghosts. The film was roughly based on the Doctor Syn novels by Russell Thorndike. Cushing read Thorndike to prepare for the role, and made suggestions to make-up artist Roy Ashton about Blyss' costume and hairstyle. Cushing and director Peter Graham Scott did not get along well during filming and at one point, when the two were having a disagreement on set, Cushing turned to cameraman Len Harris and said, "Take no notice Len. We've done enough of these now to know what we're doing."
Cushing and Lee appeared together in the horror film The Gorgon (1964), about the female snake-haired Gorgon character from Greek mythology and in She (1965), about a lost realm ruled by the immortal queen Ayesha, played by Ursula Andress. Among his final Hammer roles was Fear in the Night (1972), where he played a one-armed school headmaster apparently terrorising the protagonist, played by Judy Geeson.
Non-Hammer film work
Although best known for his Hammer performances from the 1950s to the 1970s, Cushing worked in a variety of other roles during this time, and actively sought roles outside the horror genre to diversify his work. He continued to perform in occasional stage productions, such as Robert E. MacEnroe's The Silver Whistle at Westminster's Duchess Theatre in 1956. Around the same time, he appeared in the film Alexander the Great (1956) as the Athenian General Memnon of Rhodes. In 1959, Cushing originally planned to appear in the lead role of William Fairchild's play The Sound of Murder, while shooting a film at the same time. The hectic schedule became overbearing for Cushing, who had to drop out of the play and resolved to never again attempt a film and play simultaneously.
He appeared in the biographical epic film John Paul Jones (1959), in which Robert Stack played the title role of the American naval fighter in the American Revolutionary War. Cushing played Robert Knox in The Flesh and the Fiends (1960). He appeared in several films released in 1961, including Fury at Smugglers' Bay, an adventure film about pirates scavenging ships off the English coastline; The Hellfire Club, where he played a lawyer helping a young man expose a cult; and The Naked Edge, a British-American thriller about a woman who suspects her husband framed another man for murder. The latter film starred Deborah Kerr, Cushing's co-star from The End of the Affair, and Gary Cooper, one of Cushing's favourite actors. In 1965, Cushing appeared in the Ben Travers farce play Thark at Westminster's Garrick Theatre. It was his final stage performance for a decade, but he continued to stay active in film and television during this period.
Cushing took the lead role in two science fiction films by AARU Productions based on the British television series, Doctor Who. Although Cushing's protagonist was derived from television scripts used for First Doctor serials, his portrayal of the character differed in the fact that Cushing's Dr. Who was a human being, whereas the original Doctor as portrayed on TV by William Hartnell was extraterrestrial. Cushing played the role in Dr. Who and the Daleks (1965) and Daleks' Invasion Earth 2150 A.D. (1966).
Cushing later starred in the fifteen-episode BBC television series Sherlock Holmes, once again reprising his role as the title character with Nigel Stock as Watson, though only six episodes now survive. The episodes aired in 1968. Douglas Wilmer had previously played Holmes for the BBC, but he turned down the part in this series due to the extremely demanding filming schedule. Fourteen days of rehearsal was originally scheduled for each episode, but they were cut down to ten days for economic reasons. Many actors turned down the role as a result, but Cushing accepted, and the BBC believed his Hammer Studios persona would bring what they called a sense of "lurking horror and callous savagery" to the series. Production lasted from May to December, and Cushing adopted a strict regimen of training, preparation and exercise. He tried to keep his performance identical to his portrayal of Holmes from The Hound of the Baskervilles. Although the series proved popular, Cushing felt he could not give his best performance under the hectic schedule, and he was not pleased with the final result.
Cushing appeared in a handful of horror films by the independent Amicus Productions, including Dr. Terror's House of Horrors (1965); The Skull (1965); and Torture Garden (1967). Cushing also appeared in non-Amicus horror films like Island of Terror (1966) and The Blood Beast Terror (1968), in both of which he investigates a series of mysterious deaths. He appeared in Corruption (1968), a film that was billed as so horrific that "no woman will be admitted alone" into theatres to see it. Cushing played a surgeon who attempts to restore the beauty of his wife (played by Sue Lloyd), whose face is horribly scarred in an accident.
In July 1969, Cushing appeared as the straight man in The Morecambe & Wise Show, the British comedy series. In the skit, Cushing portrayed King Arthur, while the other two gave comedic portrayals of characters like Merlin and the knights of the Round Table. Cushing continued to make occasional cameos in the series over the next decade, portraying himself desperately attempting to collect a payment for his previous acting appearance on the show. Cushing and Lee made cameos as their old roles of Frankenstein and Dracula in the comedy One More Time (1970), which starred Peter Lawford and Sammy Davis Jr. The single scene took only one morning of filming, which Cushing agreed to after Davis asked him to do it as a favour. The next year, Cushing appeared in I, Monster (1971), which was adapted from Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde, alongside Lee as the Jekyll/Hyde figure. Later that year he was set to appear in Blood from the Mummy's Tomb (1971), an adaptation of the Bram Stoker novel The Jewel of Seven Stars. He was forced to withdraw from the film to care for his wife, and was ultimately replaced by Andrew Keir.
In 1971, Cushing contacted the Royal National Institute for the Blind and offered to provide voice acting for some of their audiobooks. They immediately accepted, and among the works Cushing recorded was The Return of Sherlock Holmes, a collection of thirteen one-hour stories. He appeared alongside Vincent Price in Dr. Phibes Rises Again! (1972), a sequel to The Abominable Dr. Phibes, and then co-starred with Price again in the film Madhouse (1974). Cushing continued to appear in several Amicus Productions films during this period, including Tales from the Crypt (1972), From Beyond the Grave (1973), And Now the Screaming Starts! (1973), and The Beast Must Die (1974). His performance in Tales from the Crypt won him the Best Male Actor award at the 1971 French Convention of Fantasy Cinema in France.
In 1975, Cushing was anxious to return to the stage, where he had not performed in ten years. Around this time he learned that Helen Ryan, an actress who impressed him in a televised play about King Edward VII, was planning to run the Horseshoe Theatre in Basingstoke with her husband, Guy Slater. Cushing wrote to the couple and suggested they stage The Heiress, a play by Ruth and Augustus Goetz, with Cushing himself in the lead role. Ryan and Slater agreed, and Cushing later said performing the part was his most pleasant experience since his wife had died four years earlier. Cushing also starred in several horror films released in 1975. Among them were Land of the Minotaur and The Ghoul. That latter marked the first Cushing worked for producer Kevin Francis, who worked in minor jobs at Hammer and had long aspired to work with Cushing, whom he admired deeply. They went on to make two other films together, Legend of the Werewolf (1975) and The Masks of Death (1984) with the actor playing Sherlock Holmes once more. Cushing appeared in the television film The Great Houdini (1976) as Sir Arthur Conan Doyle, the creator of Sherlock Holmes. Cushing wrote the forewords to two books about the detective: Peter Haining's Sherlock Holmes Scrapbook (1974) and Holmes of the Movies: The Screen Career of Sherlock Holmes (1976), by David Stuart Davies. Cushing also appeared in the horror film The Uncanny (1977).
Star Wars
Film director George Lucas approached Cushing with the hopes of casting the actor in his upcoming space fantasy film, Star Wars. Since the film's primary antagonist Darth Vader wore a mask throughout the entire film and his face was never visible, Lucas felt a strong human villain character was necessary. This led Lucas to write the character of Grand Moff Tarkin: a high-ranking Imperial governor and commander of the planet-destroying battlestation, the Death Star. Lucas felt a talented actor was needed to play the role and said Cushing was his first choice for the part. However, Cushing has claimed that Lucas originally approached him to play the Jedi Master Obi-Wan Kenobi, and only decided to cast him as Tarkin instead after the two met each other. Cushing said he would have preferred to play Kenobi rather than Tarkin, but could not have done so because he was to be filming other movie roles when Star Wars was shooting, and Tarkin's scenes took less time to film than those of the larger Kenobi role. Although not a particular fan of science fiction, Cushing accepted the part because he believed his audience would love Star Wars and enjoy seeing him in the film.
Cushing joined the cast in May 1976, and his scenes were filmed at Elstree Studios in Borehamwood. Along with Alec Guinness, who was ultimately cast as Kenobi, Cushing was among the best known actors at the time to appear in Star Wars, as the rest of the cast were then relatively unknown. As a result, Cushing was paid a larger daily salary than most of his fellow cast, earning £2,000 per day compared to weekly salaries of $1,000 for Mark Hamill, $850 for Carrie Fisher and $750 for Harrison Ford, who played protagonists Luke Skywalker, Princess Leia Organa and Han Solo, respectively. When Cushing smoked between shots, he wore a white glove so the make-up artists would not have to deal with nicotine stains on his fingers. Like Guinness, Cushing had difficulty with some of the technical jargon in his dialogue, and claimed he did not understand all of the words he was speaking. Nevertheless, he worked hard to master the lines so they sounded natural and that his character appeared intelligent and confident.
Cushing got along well with the entire cast, especially his old co-star David Prowse who played Darth Vader and Carrie Fisher, who was appearing in her first major role as Princess Leia Organa. The scene in which Tarkin and Organa appear together on the Death Star, just before the destruction of the planet Alderaan, was the first scene with major dialogue that Fisher filmed for Star Wars. Cushing consciously attempted to define their characters as opposite representations of good and evil, and the actor purposely stood in the shadows so the light shone on Fisher's face. Fisher said she liked Cushing so much that it was difficult to act as though she hated Tarkin, and she had to substitute somebody else in her mind to muster the feelings. Although one of her lines referred to Tarkin's "foul stench," she said the actual actor smelled like "linen and lavender," something Cushing attributed to his tendency to wash and brush his teeth thoroughly before filming because of his self-consciousness about bad breath.
During the filming of Star Wars, Cushing was provided with a pair of boots far too small to accommodate the actor's size twelve feet. This caused a great deal of pain for him during shooting, but the costume designers did not have enough time to get him another pair. As a result, he asked Lucas to film more close-up shots of him from the waist up and, after the director agreed, Cushing wore slippers during the scenes where his feet were not visible. During rehearsals, Lucas originally planned for Tarkin and Vader to use a giant screen filled with computerised architectural representations of hallways to monitor the whereabouts of Skywalker, Solo and Organa. Although the idea was ultimately abandoned before filming began, Cushing and Prowse rehearsed those scenes in a set built by computer animation artist Larry Cuba. The close-up shots of Cushing aboard the Death Star, shown right before the battlestation is destroyed, were actually extra footage taken from previously-shot scenes with Cushing that did not make the final film. During production, Lucas decided to add those shots, along with second unit footage of the Death Star gunners preparing to fire, to add more suspense to the film's space battle scenes.
When Star Wars was first released in 1977, most preliminary advertisements touted Cushing's Tarkin as the primary antagonist of the film, not Vader; Cushing was extremely pleased with the final film, and he claimed his only disappointment was that Tarkin was killed and could not appear in the subsequent sequels. The film gave Cushing the highest amount of visibility of his entire career, and helped inspire younger audiences to watch his older films.
For the film Rogue One (2016), CGI and digitally-repurposed-archive footage were used to insert Cushing's likeness from the original movie over the face of actor Guy Henry. Henry provided the on-set capture and voice work with the reference material augmented and mapped over his performance like a digital body-mask. Cushing's estate owners were heavily involved with the creation which took place more than twenty years after Cushing died. This extensive use of CGI to "resurrect" an actor who had died many years earlier created a great deal of controversy about the ethics of using a deceased actor's likeness. Joyce Broughton, Cushing's former secretary, had approved recreating Cushing in the film. After attending the London premiere, she was reportedly "taken aback" and "dazzled" with the effect of seeing Cushing on screen again.
Later career
Toward the end of his career, Cushing performed in films and roles critics widely considered below his talent. Director John Carpenter approached him to appear in the horror film Halloween (1978) as Samuel Loomis, the psychiatrist of murderer Michael Myers, but Cushing turned down the role. It was also turned down by Christopher Lee, and eventually went to Donald Pleasence, another of Cushing's former co-stars. Cushing appeared alongside his old co-stars Christopher Lee and Vincent Price in House of the Long Shadows (1983), a horror-parody film featuring Desi Arnaz, Jr. as an author trying to write a gothic novel in a deserted Welsh mansion.
Cushing appeared in the television film The Masks of Death (1984), marking both the last time he played detective Sherlock Holmes and the final performance for which he received top billing. He appeared alongside actor John Mills as Watson, and the two were noted by critics for their strong chemistry and camaraderie. As both actors were in their seventies, screenwriter N.J. Crisp and executive producer Kevin Francis both in turn sought to portray them as two old-fashioned men in a rapidly changing world. Cushing's biographer Tony Earnshaw said Cushing's performance in The Masks of Death was arguably the actor's best interpretation of the role, calling it "the culmination of a life-time as a Holmes fan, and more than a quarter of a century of preparation to play the most complex of characters". The final notable roles of Cushing's career were in the comedy Top Secret! (1984), the fantasy film Sword of the Valiant (also 1984) and the adventure film Biggles: Adventures in Time (1986). In 1986, he appeared on the British television show Jim'll Fix It, hosted by Jimmy Savile, in which it was arranged for the wishes of guests to be granted. Cushing wished for a strain of rose to be named after his wife, and it was arranged for the Helen Cushing Rose to be grown at the Wheatcroft Rose Garden in Edwalton, Nottinghamshire.
During this period, Cushing was honoured by the British Film Institute, which invited him in 1986 to give a lecture at the National Film Theatre. He also staged An Evening with Peter Cushing at St. Edmund's Public School in Canterbury to raise money for the local Cancer Care Unit. In 1987, a watercolour painting Cushing painted was accepted by Prince Edward and auctioned at a charity event he organised to raise funds for The Duke of Edinburgh's Award Scheme. Also that year, a sketch Cushing drew of Sherlock Holmes was accepted as the official logo of the Northern Musgraves Sherlock Holmes Society.
Cushing wrote two autobiographies, Peter Cushing: An Autobiography (1986) and Past Forgetting: Memoirs of the Hammer Years (1988). Cushing wrote the books as what he called "a form of therapy to stop me going stark, raving mad" following the loss of his wife. His old friend and co-star John Mills encouraged him to publish his memoirs as a way of overcoming the reclusive state Cushing had placed himself into following her death. In 1989 he was made an Officer of the Order of the British Empire for his contributions to the British film industry. Cushing also wrote a children's book called The Bois Saga, a story based on the history of England. Published in 1994, it was originally written specifically for the daughter of Cushing's long-time secretary and friend Joyce Broughton, to help her overcome reading problems resulting from her dyslexia. It was Broughton who encouraged Cushing to have the book published. His final acting job was narrating, along with Christopher Lee, the Hammer Films documentary Flesh and Blood: The Hammer Heritage of Horror (1994), which was recorded only a few weeks before his death. Produced by American writer and director Ted Newsom, his contribution was recorded in Canterbury, near his home. Lee recognised Cushing's health was fading and did his best to keep his friend's spirits up, but Lee later claimed he had a premonition that it would be the last time he saw Cushing alive, which proved to be true.
Personal life
Cushing had a variety of interests outside acting, including collecting and battling model soldiers, of which he owned over five thousand. He hand-painted many and used the Little Wars rule set by H. G. Wells for miniature wargaming. He also loved games and practical jokes, and enjoyed drawing and painting watercolours, the latter of which he did especially often in his later years.
After his wife's death, Cushing visited several churches and spoke to religious ministers, but was dissatisfied by their reluctance to discuss death and the afterlife, and never joined an organized religion. He nevertheless maintained a belief in both God and an afterlife. He was an ardent vegetarian for most of his life who served as a patron with the Vegetarian Society from 1987 until his death. He also had a great interest in ornithology and wildlife in general. He suffered from nyctophobia from early in his life, but in his later years overcame this by forcing himself to take walks outside after midnight.
Cushing was known among his colleagues for his gentle and gentlemanly demeanour, as well as his professionalism and rigorous preparation as an actor. He once said that he learned his parts "from cover to cover" before filming began. His co-stars and colleagues often spoke of his politeness, charm, old-fashioned manners and sense of humour. While working, he actively provided feedback and suggestions on other elements beyond his performance, such as dialogue and wardrobe. At times, this put him at odds with writers and producers; Hammer Studios producer Anthony Hinds once declared him a "fusspot [and] terrible fusser about his wardrobe and everything, but never a difficult man."
Although he appeared in both television and stage productions, Cushing preferred the medium of film, which allowed his perfectionist nature to work out the best performance possible. He did not enjoy the repetitive nature of stage performances, and once compared it to a painter being forced to paint the same picture every day. Cushing himself was not a particular fan of horror or science fiction films, but he tended to choose roles not based on whether he enjoyed them, but whether he felt his audience would enjoy him in them. However, Cushing was very proud of his experiences with the Hammer films, and never resented becoming known as a horror actor. He always took the roles seriously and never portrayed them in a campy or tongue-in-cheek style because he felt it would be insulting to his audience.
On 10 April 1943, Cushing married Violet Hélène Beck, sister of Reginald Beck.
In 1971 Cushing's wife died of emphysema. Cushing often said he felt his life had ended when hers did, and he was so crushed that when his first autobiography was published in 1986, it made no mention of his life after her death.
The effects of his wife's death proved to be as much physical as mental. For his role in Dracula A.D. 1972, Cushing (who was 58) had originally been cast as the father of Stephanie Beacham's character, but had aged so visibly and lost so much weight that the script was hastily rewritten to make him her grandfather: it was done again in the last Dracula film from Hammer, The Satanic Rites of Dracula. In a silent tribute to Helen, a shot of Van Helsing's desk includes a photograph of her. He repeated the role of the man who lost family in other horror films, including Asylum (1972), The Creeping Flesh (1973), and The Ghoul (1975).
Death and legacy
In May 1982, Cushing was diagnosed with prostate cancer. He was rushed to the Kent and Canterbury Hospital when his left eye had swollen to nearly three times its normal size, a side effect of the cancer. Doctors determined he had twelve to eighteen months to live, and that his left eye might be lost. To their surprise, however, Cushing recovered well enough to be released from the hospital, and although his health continued to gradually decline, Cushing lived another twelve years without any operative treatment or chemotherapy. During this period, he lived with Joyce Broughton and her family at their homes in Hartley, Kent. In August 1994, Cushing entered himself into Pilgrims Hospice in Canterbury, where he died on 11 August at 81 years old. In accordance with his wishes, Cushing had a low-profile funeral with family and friends, although hundreds of fans and well-wishers came to Canterbury to pay their respects. In January 1995, a memorial service was held in The Actor's Church in Covent Garden, with addresses given by Christopher Lee, Kevin Francis, Ron Moody and James Bree. In total, Cushing appeared in more than 100 films throughout his career.
Several filmmakers and actors have claimed to be influenced by Peter Cushing, including actor Doug Bradley, who played Pinhead in the Hellraiser horror films, and John Carpenter, who directed such films as Halloween (1978), Escape from New York (1981) and The Thing (1982). Director Tim Burton and actor Johnny Depp both said the portrayal of Ichabod Crane in Sleepy Hollow was intended to resemble that of Cushing's old horror film performances.
In 2008, fourteen years after his death, Cushing's image was used in a set of stamps issued by the Royal Mail honouring Hammer Studios films on the fiftieth anniversary of the release of Dracula. In 2013, Cushing was honoured by the Royal Mail as one of ten people selected for their "Great Britons" commemorative postage stamp issue.
Filmography
Film
Title Year Role Note The Man in the Iron Mask 1939 Second Officer Playing opposite Louis Hayward to facilitate the double exposure scenes, with a small role of his own Laddie 1940 Robert Pryor A Chump at Oxford Student Vigil in the Night Joe Shand Women in War Captain Evans Uncredited The Howards of Virginia Leslie Stephens Uncredited They Dare Not Love 1941 Sub-Lieutenant Blackler Uncredited Hamlet 1948 Osric Moulin Rouge 1952 Marcel de la Voisier The Black Knight 1954 Sir Palamides The End of the Affair 1955 Henry Miles Magic Fire Otto Wesendonk Alexander the Great 1956 General Memnon Time Without Pity 1957 Jeremy Clayton The Curse of Frankenstein Victor Frankenstein First lead role The Abominable Snowman Dr. Rollason Violent Playground 1958 Priest Dracula Doctor Van Helsing The Revenge of Frankenstein Doctor Victor Stein The Hound of the Baskervilles 1959 Sherlock Holmes John Paul Jones Captain Richard Pearson The Mummy John Banning The Flesh and the Fiends 1960 Dr. Robert Knox Cone of Silence Captain Clive Judd The Brides of Dracula Doctor Van Helsing Suspect Professor Sewell Sword of Sherwood Forest Sheriff of Nottingham The Hellfire Club 1961 Merryweather Fury at Smugglers' Bay Squire Trevenyan The Naked Edge Mr. Evan Wrack Cash on Demand Harry Fordyce Captain Clegg 1962 Parson Blyss Alternative title: Night Creatures The Devil's Agent (scenes deleted) The Man Who Finally Died 1963 Dr. Peter von Brecht The Evil of Frankenstein 1964 Victor Frankenstein The Gorgon Dr. Namaroff Dr. Terror's House of Horrors 1965 'Dr. Terror' / Dr. W. R. Schreck She Major Holly The Skull Christopher Maitland Dr. Who and the Daleks Dr. Who Island of Terror 1966 Dr. Brian Stanley Daleks' Invasion Earth 2150 A.D. Dr. Who Frankenstein Created Woman 1967 Baron Frankenstein Night of the Big Heat Dr. Vernon Stone Torture Garden Lancelot Canning (segment 4: "The Man Who Collected Poe") Some May Live John Meredith The Blood Beast Terror 1968 Detective Inspector Quennell Corruption Sir John Rowan Frankenstein Must Be Destroyed 1969 Baron Frankenstein Incense for the Damned 1970 Dr. Walter Goodrich Alternative title: Bloodsuckers Scream and Scream Again Major Heinrich Benedek One More Time Baron Frankenstein Uncredited The Vampire Lovers General von Spielsdorf The House That Dripped Blood 1971 Philip Grayson (segment 2: "Waxworks") Twins of Evil Gustav Weil I, Monster Frederick Utterson Tales from the Crypt 1972 Arthur Edward Grimsdyke (segment 3: "Poetic Justice") Dracula A.D. 1972 Lawrence Van Helsing and Lorrimer Van Helsing Dr. Phibes Rises Again Captain Asylum Mr. Smith (Segment 2: "The Weird Tailor") Fear in the Night Michael Carmichael Horror Express Dr. Wells Nothing But the Night 1973 Sir Mark Ashley The Creeping Flesh Emmanuel Hildern And Now the Screaming Starts! Dr. Pope The Satanic Rites of Dracula Lorrimer Van Helsing Shatter 1974 Rattwood From Beyond the Grave Antique Shop Proprietor Frankenstein and the Monster from Hell Baron Frankenstein The Beast Must Die Dr. Christopher Lundgren Madhouse Herbert Flay The Legend of the 7 Golden Vampires Professor Van Helsing Tender Dracula MacGregor Legend of the Werewolf 1975 Professor Paul The Ghoul Dr. Lawrence Medalla Sitges en Plata de Ley Award for Best Actor Trial by Combat 1976 Sir Edward Gifford Alternative title: Dirty Knights Work At the Earth's Core Dr. Abner Perry This film was "riffed" on 14 April 2017 as part of the Season One (episode 14) release of Mystery Science Theater 3000: The Return on Netflix. Land of the Minotaur Baron Corofax Alternative title: The Devil's Men Star Wars 1977 Grand Moff Tarkin Nominated: Saturn Award for Best Supporting Actor Shock Waves SS Commander Alternative title: Almost Human The Uncanny Wilbur The Standard Baron von Hackenberg Son of Hitler 1978 Heinrich Haussner Arabian Adventure 1979 Wazir Al Wuzara A Touch of the Sun Commissioner Potts Alternative title: No Secrets! Misterio en la isla de los monstruos 1981 William T. Kolderup Alternative title: Mystery on Monster Island Black Jack Sir Thomas Bedford Alternative title: Asalto al casino House of the Long Shadows 1983 Sebastian Grisbane Caixa de Catalunya Award for Best Actor
(shared with Vincent Price, Christopher Lee & John Carradine) Top Secret! 1984 Bookstore Proprietor Sword of the Valiant Seneschal – Gaspar Biggles: Adventures in Time 1986 Air Commodore William Raymond (final film role)
Television
Title Year Role Note Pride and Prejudice 1952 Mr. Darcy TV mini-series (all 6 episodes) Epitaph for a Spy 1953 Josef Vadassey TV mini-series (all 6 episodes) You are There Rudolf Hess Season 1, episode 20: "The Escape of Rudolf Hess" BBC Sunday-Night Theatre 1951–1957 Charles Appleby
Cyril Beverly
Simpson
Antoine Vanier
Piotr Petrovsky
Seppi Fredericks
Prince Mikhail Alexandrovitch Ouratieff
Beau Brummell
Winston Smith
Dr. John Rollason
Prime Minister
Mr. Manningham Season 2, episode 48: "Eden End (I)"
Season 3, episode 15: "Bird in Hand"
Season 4, episode 5: "Number Three"
Season 4, episode 25: "The Road"
Season 4, episode 28: "Anastasia"
Season 4, episode 34: "Portrait by Peko"
Season 5, episode 4: "Tovarich"
Season 5, episode 11: "Beau Brummell"
Season 5, episode 50: "Nineteen Eighty-Four"
Season 6, episode 5: "The Creature"
Season 6, episode 10: "The Moment of Truth"
Season 8, episode 2: "Gaslight" Drama 61-67 1962 Frederick James Parsons Season 2, episode 7: "Drama '62: Peace with Terror" ITV Television Playhouse Fred Parsons Season 8, episode 3: "Peace with Terror" The Spread of the Eagle 1963 Cassius TV mini-series Comedy Playhouse Albert Fawkes Season 3, episode 6 "The Plan" Story Parade 1964 Elijah Baley Episode: "The Caves of Steel" (unknown season) Thirty-Minute Theatre 1965 Leonard Season 1, episode 5: "Monica" The Avengers 1967 Paul Beresford Episode: "Return of the Cybernauts" (season 5, episode 17 or season 6, episode 1) Sherlock Holmes 1968 Sherlock Holmes All 16 episodes from season 2:
"The Second Stain"
"The Dancing Men"
"A Study in Scarlet"
"The Hound of the Baskervilles (Part 1)"
"The Hound of the Baskervilles (Part 2)"
"The Boscombe Valley Mystery"
"The Greek Interpreter"
"The Naval Treaty"
"Thor Bridge"
"The Musgrave Ritual"
"Black Peter"
"Wisteria Lodge"
"Shoscombe Old Place"
"The Solitary Cyclist"
"The Sign of Four"
"The Blue Carbuncle" Orson Welles Great Mysteries 1973 Count Gerard De Merret Season 1, episode 4: "La Grande Breteche" The Zoo Gang 1974 Judge Gautier Season 1, episode 5: "The Counterfeit Trap" Space: 1999 1976 Raan Season 1, episode 7: "Missing Link" Looks Familiar 1 episode – dated 2 February 1976 The New Avengers Von Claus Season 1, episode 1: "The Eagle's Nest" Hammer House of Horror 1980 Martin Blueck Season 1, episode 7: "The Silent Scream" Tales of the Unexpected 1983 Von Baden Season 6, episode 7: "The Vorpal Blade"
Television films
Title Year Role Note When We Are Married 1951 Gerald Forbes If This Be Error 1952 Nick Grant Asmodée Blaise Lebel The Silver Swan Lord Henriques Rookery Nook 1953 Clive Popkiss The Noble Spaniard Duke of Hermanos A Social Success Henry Robbins The Face of Love 1954 Mardian Thersites Richard of Bordeaux 1955 Richard II The Browning Version Andrew Crocker-Harris Home at Seven 1957 David Preston The Winslow Boy 1958 Sir Robert Morton Uncle Harry Uncle Harry The Great Houdini 1976 Sir Arthur Conan Doyle A Tale of Two Cities 1980 Dr. Alexander Manette Helen Keller: The Miracle Continues 1984 Professor Charles Copeland The Masks of Death Sherlock Holmes
Short films
Title Year Note Role The Hidden Master 1940 Robert Clive of India (Uncredited role) Dreams 1940 First Dreamer It Might Be You 1946 The Doctor
Other credits
Title Year Role Note Late Night Line-Up 1965 Himself Four separately recorded interviews, (with Michael Dean (broadcaster), Rudolf Cartier, and Yvonne Mitchell) about the 1954 tv. production of Nineteen Eighty-Four The Morecambe & Wise Show 1969–1980 Himself Long running gag involving being owed payment BBC Wildlife Spectacular 1971 Himself – Presenter Dieter & Andreas 1986 Grateful acknowledgment Wogan 1986–1988 Himself Regular guest House of the Long Shadows... Revisited 2012 Dedicated to Rogue One 2016 Grand Moff Tarkin Special acknowledgment;
Posthumous release;
CGI recreation used for likeness Bad Batch 2021 Grand Moff Tarkin Animated Recreation
See also
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] |
[] |
[] |
[
""
] | null |
[] |
1961-01-01T00:00:00
|
Where to watch Fury at Smugglers' Bay (1961) starring Peter Cushing, John Fraser, Bernard Lee and directed by John Gilling.
|
en
|
/icons/favicon.ico
|
https://watch.plex.tv/movie/fury-at-smugglers-bay
|
Pirate wreckers ravage a small seaside community while the ineffectual local squire tries to discourage his son's romance with a smuggler's pretty daughter.
|
|||
6656
|
dbpedia
|
1
| 7 |
https://petercushingblog.blogspot.com/2012/01/bay-watch-peter-cushings-1961-fury-at.html
|
en
|
PETERCUSHINGBLOG.BLOGSPOT.COM (PCASUK): 'BAY WATCH!' PETER CUSHING'S 1961 'FURY AT SMUGGLERS BAY' DVD REVIEW
|
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[] |
[] |
[
""
] | null |
[
"petercushingblog.blogspot.com"
] | null |
en
|
https://petercushingblog.blogspot.com/favicon.ico
|
https://petercushingblog.blogspot.com/2012/01/bay-watch-peter-cushings-1961-fury-at.html
|
Fair Use
One of the rights accorded to the owner of copyright is the right to reproduce or to authorize others to reproduce the work in copies. This right is subject to certain limitations found in sections 107 through 118 of the copyright law (title 17, U. S. Code). One of the more important limitations is the doctrine of “fair use.” The doctrine of fair use has developed through a substantial number of court decisions over the years and has been codified in section 107 of the copyright law.
Section 107 contains a list of the various purposes for which the reproduction of a particular work may be considered fair, such as criticism, comment, news reporting, teaching, scholarship, and research. Section 107 also sets out four factors to be considered in determining whether or not a particular use is fair:
|
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6656
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dbpedia
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2
| 51 |
https://www.ranker.com/list/best-pirate-movies/ranker-film%3Fpage%3D2
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en
|
The Best Pirate Movies
|
https://imgix.ranker.com/list_img_v2/13787/1433787/original/1433787-u2
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https://imgix.ranker.com/list_img_v2/13787/1433787/original/1433787-u2
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2014-04-03T00:00:00
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Over 2K filmgoers have voted on the 70+ films on Best Pirate Movies. Current Top 3: Pirates of the Caribbean: The Curse of the Black Pearl, Pirates of the ...
|
en
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/img/icons/touch-icon-iphone.png
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Ranker
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https://www.ranker.com/list/best-pirate-movies/ranker-film
|
The best pirate movies have us adventuring on the open seas. Who doesn’t love a good action flick about the life of a pirate? The idea of searching the world for hidden treasure is a daydream that most of us have as kids. Some of our favorite literary works tell the story of a pirate and his ship and it’s no wonder so many movies tell these piratey, swashbuckling stories as well. But what are the best pirate movies? Cast your votes below and see which film comes out on top!
The movies featured on this list follow the life of a pirate in one way or another. Some are cartoon versions that are great sources of adventure for children, others are based on classic books such as the famous Treasure Island, while others take a dramatic look at what life on the seas is really like. No matter what kind of pirate you're looking for, the world of film certainly has a salty character for you.
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Katherine Kath Articles & Miscellany
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The Wonderful Katherine Kath
Katherine Kath Articles and Miscellany
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en
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https://fasthosts.co.uk/favicon.ico
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http://katherinekath.co.uk.websitebuilder.prositehosting.co.uk/katherine-kath-articles-miscellany
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Home - The Wonderful Katherine Kath
Katherine Kath Mini Biography
Katherine Kath Films & T.V.
Katherine Kath Photo Gallery 1
Katherine Kath Photo Gallery 2
Katherine Kath Articles & Miscellany
Katherine Kath Links
Acknowledgment
The Wonderful Katherine Kath
Katherine Kath Articles & Miscellany
Katherine Kath's ballet shoes.
Katherine Kath's ballet shoes.
Sketch of Katherine Kath in Antigone 14/02/1946.
Katherine Kath as La Goulue in Moulin Rouge 1952.
Moulin Rouge 1952 Lobby Card
'Reflections' - La Goulue.
Henri Toulouse Lautrec La Goulue Lithograph.
A Moulin Rouge poster where Katherine Kath is credited.
Film Ad for These Dangerous Years 1957.
Film Ad for Subway in the Sky 1959.
Film Ad for Fury At Smugglers Rest 1961.
Film Ad for Gigot 1962.
Aliki, Press Reception Invitation 1963.
Katherine Kath with Wilfred Hyde-White Aliki My Love 1962. Courtesy Håkan Flychten
Katherine Kath far right. Aliki My Love 1962. Courtesy Håkan Flychten
Katherine Kath second from left Aliki My Love 1962. Courtesy Håkan Flychten
Katherine Kath caricature. Artist and date unknown.
Katherine Kath as Madame Engadine from The Prisoner A,B and C. 1967 with Patrick McGoohan.
Katherine Kath as Madame Engadine from The Prisoner A,B and C. 1967 with Georgina Cookson.
Katherine Kath as Madame Engadine from The Prisoner A,B and C. 1967 with Patrick McGoohan.
Katherine Kath as Madame Engadine from The Prisoner A,B and C. 1967
Katherine Kath as Madame Engadine from The Prisoner A,B and C. 1967 with Patrick McGoohan.
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Fury at Smugglers Bay (DVD) (2022)
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During the late 18th century, smuggling has become standard practice for fishermen around the British coast. When a band of pirates, led by Black John (Bernard Lee), begin luring ships to their doom at Smuggler's Bay, the local community beg squire Trevenyan (Peter Cushing) to bring an end to the wanton pillaging and murder. The squire, however, has issues of his own, not least of all Black John, who has knowledge of Trevenyan's past that could be used against him should he attempt to bring the pirate to justice.
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https://imusic.uk/movies/5060425354190/fury-at-smugglers-bay-2022-fury-at-smugglers-bay-dvd
|
During the late 18th century, smuggling has become standard practice for fishermen around the British coast. When a band of pirates, led by Black John (Bernard Lee), begin luring ships to their doom at Smuggler's Bay, the local community beg squire Trevenyan (Peter Cushing) to bring an end to the wanton pillaging and murder. The squire, however, has issues of his own, not least of all Black John, who has knowledge of Trevenyan's past that could be used against him should he attempt to bring the pirate to justice.
|
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https://www.themoviedb.org/movie/239400-fury-at-smugglers-bay%3Flanguage%3Den-US
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en
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Die Bucht der Schmuggler
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Cornwall, im 18. Jahrhundert: Ein kleines Fischerdorf dessen Bucht immer wieder von Schmugglern heimgesucht wird. Die Bewohner des Örtchens sehen den Schmuggel als Lebensunterhalt und sogar gutes Recht an, doch seit einiger Zeit wird ihnen das Leben von Piraten unter Anführung von "Black John" schwer gemacht. Der sorgt nämlich dafür das das Leuchtfeuer gelöscht und dadurch Schiffe an die Klippen navigiert werden. Dann werden sie beraubt und überlebende Schiffbrüchige zudem erschossen. Und jederman weiß auch das "Black John" dahintersteckt. Doch der zuständige Herzog Trevenyan der mehr oder weniger im Dorf das Sagen hat wird erpresst und kann so nicht eingreifen...
|
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https://www.themoviedb.org/movie/239400-fury-at-smugglers-bay
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You need to be logged in to continue. Click here to login or here to sign up.
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https://universalmonsters.fandom.com/wiki/Peter_Cushing
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Peter Cushing
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[
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2024-07-29T22:27:06+00:00
|
Peter Wilton Cushing, (26 May 1913 – 11 August 1994) was an English actor, known for his many appearances in Hammer Films, in which he played the distinguished-looking but sinister scientist Baron Frankenstein and the vampire hunter Dr. Van Helsing, amongst many other roles, often appearing...
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en
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/skins-ucp/mw139/common/favicon.ico
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Universal Monsters Wiki
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https://universalmonsters.fandom.com/wiki/Peter_Cushing
|
Peter Wilton Cushing, (26 May 1913 – 11 August 1994) was an English actor, known for his many appearances in Hammer Films, in which he played the distinguished-looking but sinister scientist Baron Frankenstein and the vampire hunter Dr. Van Helsing, amongst many other roles, often appearing opposite Christopher Lee, and occasionally Vincent Price. A familiar face on both sides of the Atlantic, his most famous roles outside of "Hammer Horror" include his many appearances as Sherlock Holmes, as Grand Moff Tarkin in Star Wars (1977) and as the mysterious Doctor in Dr. Who and the Daleks and Daleks - Invasion Earth 2150 AD in 1965 and 1966, two cinema films based on the television series Doctor Who.
FILMOGRAPHY IMAGES
Early life[]
Cushing was born in Kenley, Surrey, a son of George Edward Cushing and Nellie Marie (King) Cushing.[1] He was raised in Kenley and in Dulwich, South London. Cushing left his first job as a surveyor's assistant to take a scholarship at the Guildhall School of Music and Drama. After working in repertory theatre in Worthing, West Sussex,[2] he left for Hollywood in 1939, debuting in The Man in the Iron Mask, then returned in 1941 after roles in several films. In one, A Chump at Oxford (1940), he appeared alongside Laurel and Hardy. His first major film part was as Osric in Laurence Olivier's Hamlet (1948).
In the 1950s, he worked in television, notably as Winston Smith in the BBC's adaptation of the George Orwell novel Nineteen Eighty-Four (1954) scripted by Nigel Kneale. Cushing drew much praise for his performance in this production, although he always felt that his performance in the surviving version of the broadcast — it was performed live twice in one week, then a common practice, and only the second version exists in the archives — was inferior to the first. During many of his small screen performances, Cushing starred as Fitzwilliam Darcy in the BBC's 1952 production of Pride and Prejudice and as King Richard II in Richard of Bordeaux in 1955.
Hammer Horror[]
His first appearances in his two most famous roles were in Terence Fisher's films The Curse of Frankenstein (1957) and Dracula (1958). Cushing is closely associated with playing Baron Victor Frankenstein and Van Helsing in a long string of horror films produced by Hammer Film Productions. He later said that career decisions for him meant choosing roles where he knew the audience would accept him. "Who wants to see me as Hamlet? Very few. But millions want to see me as Frankenstein so that's the one I do."[3] He said "If I played Hamlet, they'd call it a horror film."[citation needed]
Cushing was often cast opposite the actor Christopher Lee, who became his best friend. "People look at me as if I were some sort of monster, but I can't think why. In my macabre pictures, I have either been a monster-maker or a monster-destroyer, but never a monster. Actually, I'm a gentle fellow. Never harmed a fly. I love animals, and when I'm in the country I'm a keen bird-watcher," he said in an interview published in ABC Film Review in November 1964.
In the mid-1960s, he played The Doctor in two movies (Dr. Who and the Daleks and Daleks — Invasion Earth 2150 AD) based on the television series Doctor Who. He decided to play the part as a lovable, avuncular figure to escape from his image as a "horror" actor. "I do get terribly tired with the neighbourhood kids telling me 'My mum says she wouldn't want to meet you in a dark alley'." he said in an interview in 1966. He appeared in The Avengers and its successor, The New Avengers. In 1986, he played the role of Colonel William Raymond in Biggles. In Space: 1999, he appeared as a Prospero-like character called Raan.
Cushing was one of many stars to guest on The Morecambe and Wise Show — the standing joke in his case being the idea that he was never paid for his appearance. He would appear, week after week, wearily asking hosts Eric and Ernie, "Have you got my five pounds yet?" When Cushing was the subject of This Is Your Life in 1989, one of the guests was Ernie Wise, who promptly presented him with a five pound note, but then, with typical dexterity, extorted it back from him. Cushing was absolutely delighted with this, and cried: "All these years and I still haven't got my fiver!"
Cushing played Sherlock Holmes many times, starting with Hammer's The Hound of the Baskervilles (1959), the first Holmes film made in colour. Cushing seemed a natural for the part and he played the part with great fidelity to the written character - that of a man who is not always easy to live with or be around - which had not been done up to that point. He followed this up with a performance in 16 episodes of the BBC series Sir Arthur Conan Doyle's Sherlock Holmes (1968), of which only six episodes remain. Finally, Cushing played the detective in old age, in The Masks of Death (1984) for Channel 4.
Personal life[]
In 1971, Cushing withdrew from the film Blood from the Mummy's Tomb when his wife died. He and actress Helen Beck (8 February 1905 – 14 January 1971) had been married since 1943. The following year, he was quoted in the Radio Times as saying, "Since Helen passed on I can't find anything; the heart, quite simply, has gone out of everything. Time is interminable, the loneliness is almost unbearable and the only thing that keeps me going is the knowledge that my dear Helen and I will be united again some day. To join Helen is my only ambition. You have my permission to publish that... really, you know dear boy, it's all just killing time. Please say that."[4]
Six years later, his feelings were unchanged: "When Helen passed on six years ago I lost the only joy in life that I ever wanted. She was my whole life and without her there is no meaning. I am simply killing time, so to speak, until that wonderful day when we are together again."[citation needed]
In his autobiography, he implies that he attempted suicide the night that his wife died, by running up and down stairs in the vain hope that it would induce a heart attack. He later stated that this was a hysterical reaction to his wife's death, and that he was not consciously trying to end his life - a poem left by his wife urged him not to end his life until he had lived it to the full, and thus he felt that ending his life would have been letting his wife down. Though he didn't consider himself religious he also had strong ethical beliefs.[5]
In 1986 Cushing appeared on the BBC TV show Jim'll Fix It, his wish being to have a strain of rose named after his late wife Helen Cushing.[6]
The effects of Helen's death proved physical as well. For his role in Dracula AD 1972, Cushing had been intended to play the father of Stephanie Beacham's character, but had visibly aged so much and lost so much weight that the script was hastily rewritten to make him her grandfather.[7] In a quiet tribute to Helen, a shot of Van Helsing's desk shows a photo of her.
Cushing appeared in a comedy play written by Ernie Wise in The Morecambe and Wise Show on BBC2 in 1969. Throughout the BBC era of the shows he would appear often with Morecambe and Wise on stage looking to be paid for his very first appearance on their show. This comedy skit continued when the comedy duo left the BBC and moved to Thames Television in 1978. Peter appeared in their first special for Thames Television on 18 October 1978, still looking to be paid with the hosts trying to get rid of him; at the end of the show Morecambe placed money in a wallet connected to a bomb, to try and blow Cushing up in a huge comedic style. On the duo's Christmas special, Cushing pretended to be the Prime Minister when they were caroling in front of 10 Downing Street; he actually made them give him money and finally coming out to say "paid, at last!"
Star Wars[]
In 1976, he was cast in Star Wars, which was shooting at Elstree Studios, Borehamwood. He appeared as Grand Moff Tarkin, despite having originally been considered for the role of Obi-Wan Kenobi. Cushing found accepting the role in a science fiction fantasy easy. "My criterion for accepting a role isn't based on what I would like to do. I try to consider what the audience would like to see me do and I thought kids would adore Star Wars."
During production Cushing was presented with ill-fitting riding boots for the role and they pinched his feet so much that he was given permission by George Lucas to play the role wearing his slippers. The camera operators filmed him above the knees or standing behind the table of the conference room set.
For Star Wars Episode III: Revenge of the Sith, Lucas wanted Cushing, by then deceased, to reprise his role as Tarkin through the use of archive footage and digital technology, but poor film quality made this impossible. Additionally, the scene required a full-body appearance of Tarkin, which was unavailable because of Cushing's use of slippers instead of boots when performing. Instead, Wayne Pygram took the role. Pygram was cast because it was felt he strongly resembled Cushing, but even so, he underwent extensive prosthetic makeup for his brief cameo.
Later career[]
After Star Wars, Cushing continued appearing in films and television sporadically, as his health allowed. In 1982, he was diagnosed with prostate cancer, but managed to survive for the remaining twelve years up to his death without surgery,[8] though his health was precarious.
In 1989, Cushing was made an Officer of the Order of the British Empire, though his close friend Christopher Lee publicly opined that this was "too little, too late." He retired to Whitstable, on the Kent coast, where he had bought a seafront home in 1959, and continued his hobby of birdwatching, and to write two autobiographies. Cushing worked as a painter, specialising in watercolours, and wrote and illustrated a children's book of Lewis Carroll style humour, The Bois Saga. He was the patron of The Vegetarian Society from 1987 up until his death.[9]
His final professional engagement was as co-narrator of Flesh and Blood, the Hammer Heritage of Horror, produced by American writer/director Ted Newsom. His narration was recorded in Canterbury near his home. The show was first broadcast in 1994, the week before his death.
Death[]
Cushing died of prostate cancer on 11 August 1994, aged 81 in the town of Whitstable (near Canterbury, in Kent), England, where he was well known as a local celebrity resident and had a local beauty spot named after him, "Cushing's View".
In an interview on the DVD release of The Hound of the Baskervilles, Christopher Lee remarked on his friend's death: "I don't want to sound gloomy, but, at some point of your lives, every one of you will notice that you have in your life one person, one friend whom you love and care for very much. That person is so close to you that you are able to share some things only with him. For example, you can call that friend, and from the very first maniacal laugh or some other joke you will know who is at the other end of that line. We used to do that with him so often. And then when that person is gone, there will be nothing like that in your life ever again".
Filmography[]
References[]
[]
Peter Cushing at the Internet Movie Database
[original research?]
Peter Cushing at the TCM Movie Database
Peter Cushing at the British Film Institute's Screenonline
Peter Cushing at AllRovi
Overview of Peter Cushing as Sherlock Holmes at Baker Street Dozen.
Literature on Peter Cushing
Peter Cushing Association
Peter Cushing in Ausstage
Template:Doctor Who actors Template:British Academy Television Award for Best Actor 1955–1959
Persondata Name Cushing, Peter Alternative names Short description Date of birth 26 May 1913 Place of birth Kenley, Surrey, England Date of death 11 August 1994 Place of death Canterbury, Kent, England
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Is Netflix, Amazon, Now TV, ITV, iTunes, etc. streaming Fury at Smugglers' Bay? Find where to watch online!
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https://renownfilms.co.uk/product/fury-at-smugglers-bay/
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Fury at Smugglers Bay DVD – Renown Films
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Description
Fury at Smugglers Bay DVD
Adventure. No of discs: 1. Colour. Year: 1961. Total Running Time: approx 83 mins.
Director: John Gilling.
Cast: Peter Cushing, Bernard Lee, Michèle Mercier, John Fraser, William Franklyn, George Coulouris, Liz Fraser, June Thorburn and Miles Malleson.
Pirate wreckers ravage a small seaside community in 18th century Cornwall, while the local squire attempts to discourage his son’s romance with a smuggler’s pretty daughter, whose
father, a petty thief, has been sentenced to a penal colony at the insistence of Black John, a vicious smuggler who is blackmailing the squire. The daughter asks for help from a local highwayman, an honourable thief who watches over those he has robbed to ensure their safe return home. The rich atmosphere and continuous action keep the plot moving, with nightly shoreline battles between the fisher folk and the wreckers, who light fires on the beach to draw ships into the rocks.
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https://www.imdb.com/title/tt0057085/
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Die Bucht der Schmuggler (1961)
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1961-10-13T00:00:00
|
Die Bucht der Schmuggler: Directed by John Gilling. With Peter Cushing, John Fraser, Bernard Lee, Michèle Mercier. Pirate wreckers ravage a small seaside community while the ineffectual local squire tries to discourage his son's romance with a smuggler's pretty daughter.
|
en
|
IMDb
|
https://www.imdb.com/title/tt0057085/
|
This entertaining adventure drama about smuggling in late 18th century is somehow betrayed by its low budget, more evident in the ship wrecking scenes, under furious storms. It tells the story of a British coastal town laden with taxes, where almost everybody has turn to smuggling to make ends meet. The action never stops with good rhythm and precise dialogue, and the enjoyment is evident in the actors' faces. All the cast is very effective, with Peter Cushing as a magistrate with a secret that haunts him, Bernard Lee as the villain before playing M to Sean Connery's James Bond, John Fraser as a dashing young swordsman and William Franklyn as a highwayman that becomes a hero. With pretty Michèle Mercier as the love interest, June Thorburn as Cushing's daughter and Liz Fraser in one of her best early roles as waitress-spy, this is one of John Gilling's best contributions to period drama.
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https://www.loc.gov/programs/national-film-preservation-board/film-registry/descriptions-and-essays/
|
en
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Brief Descriptions and Expanded Essays of National Film Registry Titles
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http://www.loc.gov/static/images/favicons/open-graph-logo.png
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http://www.loc.gov/static/images/favicons/open-graph-logo.png
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Brief descriptions of each Registry title can be found here, and expanded essays are available for select titles. The authors of these essays are experts in film history, and their works appear in books, newspapers, magazines and online. Some of these essays originated in other publications and are reprinted here by permission of the author. Other essays have been written specifically for this website. The views expressed in these essays are those of the author and do not necessarily represent the views of the Library of Congress.
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The Library of Congress
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Brief descriptions of each Registry title can be found here, and expanded essays are available for select titles. The authors of these essays are experts in film history, and their works appear in books, newspapers, magazines and online. Some of these essays originated in other publications and are reprinted here by permission of the author. Other essays have been written specifically for this website. The views expressed in these essays are those of the author and do not necessarily represent the views of the Library of Congress.
In most cases, the images linked to Registry titles listed below were selected from the Library's Prints & Photographs Online Catalog, however some are drawn from other Library collections.
View a list of all expanded essays
7th Heaven (1927)
"Seventh Heaven" (also referred to as "7th Heaven"), directed by Frank Borzage and based on the play by Austin Strong, tells the story of Chico (Charles Farrell), the Parisian sewer worker-turned-street cleaner, and his wife Diane (Janet Gaynor), who are separated during World War I, yet whose love manages to keep them connected. "Seventh Heaven" was initially released as a silent film but proved so popular with audiences that it was re-released with a synchronized soundtrack later that same year. The popularity of the film resulted in it becoming one of the most commercially successful silent films as well as one of the first films to be nominated for a Best Picture Academy Award. Janet Gaynor, Frank Borzage, and Benjamin Glazer won Oscars for their work on the film, specifically awards for Best Actress, Best Directing (Dramatic Picture), and Best Writing (Adaptation), respectively. "Seventh Heaven" also marked the first time often-paired stars Janet Gaynor and Charles Farrell worked together. Added to the National Film Registry in 1995.
Expanded essay by Aubrey Solomon (PDF, 694KB)
The 7th Voyage of Sinbad (1958)
Special-effects master Ray Harryhausen provides the hero (Kerwin Mathews) with a villanous magician (Torin Thatcher) and fantastic antagonists, including a genie, giant cyclops, fire-breathing dragons, and a sword-wielding animated skeleton, all in glorious Technicolor. And of course no mythological tale would be complete without the rescue of a damsel in distress, here a princess (Kathryn Grant) that the evil magician shrinks down to a mere few inches. Harryhausen's stunning Dynamation process, which blended stop-motion animation and live-actions sequences, and a thrilling score by Bernard Herrmann ("Psycho," "The Day the Earth Stood Still") makes this one of the finest fantasy films of all time. Added to the National Film Registry in 2008.
Expanded essay by Tony Dalton (PDF, 900KB)
3:10 to Yuma (1957)
Considered to be one of the best westerns of the 1950s, "3:10 to Yuma" has gained in stature since its original release as audiences have recognized the progressive insight the film provides into the psychology of its two main characters that becomes vividly exposed during scenes of heightened tension. Frankie Laine sang the film's popular theme song, also titled "3:10 to Yuma." Often compared favorably with "High Noon," this innovative western from director Delmer Daves starred Glenn Ford and Van Heflin in roles cast against type and was based on a short story by Elmore Leonard. Added to the National Film Registry in 2012.
12 Angry Men (1957)
In the 1950s, several television dramas acted live over the airways won such critical acclaim that they were also produced as motion pictures; among those already honored by the National Film Registry is "Marty" (1955). Reginald Rose had adapted his original stage play "12 Angry Men" for Studio One in 1954, and Henry Fonda decided to produce a screen version, taking the lead role and hiring director Sidney Lumet, who had been directing for television since 1950. The result is a classic. Filmed in a spare, claustrophobic style—largely set in one jury room—the play relates a single juror's refusal to conform to peer pressure in a murder trial and follows his conversion of one juror after another to his point of view. The story is often viewed as a commentary on McCarthyism, Fascism, or Communism. Added to the National Film Registry in 2007.
Expanded essay by Joanna E. Rapf (PDF, 258KB)
12 Years a Slave (2013)
This biographical drama directed by Sir Steve McQueen, and produced by Brad Pitt’s production company, is based on the 1853 slave memoir “Twelve Years a Slave” by Solomon Northup, an African-American free man who was kidnapped in Washington, D.C. by two conmen in 1841, and sold into slavery. He was put to work on plantations in the state of Louisiana for 12 years before being released. The film received nine Academy Award nominations, winning for Best Picture, Best Adapted Screenplay for John Ridley, and Best Supporting Actress for Lupita Nyong’o. Added to the National Film Registry in 2023.
13 Lakes (2004)
James Benning's feature-length film can be seen as a series of moving landscape paintings with artistry and scope that might be compared to Claude Monet's series of water-lily paintings. Embracing the concept of "landscape as a function of time," Benning shot his film at 13 different American lakes in identical 10-minute takes. Each is a static composition: a balance of sky and water in each frame with only the very briefest suggestion of human existence. At each lake, Benning prepared a single shot, selected a single camera position and a specific moment. The climate, the weather and the season deliver a level of variation to the film, a unique play of light, despite its singularity of composition. Curators of the Rotterdam Film Festival noted, "The power of the film is that the filmmaker teaches the viewer to look better and learn to distinguish the great varieties in the landscape alongside him. [The list of lakes] alone is enough to encompass a treatise on America and its history. A treatise the film certainly encourages, but emphatically does not take part in." Benning, who studied mathematics and then film at the University of Wisconsin, currently is on the faculty at the California Institute of the Arts (CalArts). Added to the National Film Registry in 2014.
Expanded essay by Scott MacDonald (PDF, 316KB)
20 Feet from Stardom (2013)
Directed by Morgan Neville and produced by Gil Friesen, “20 Feet from Stardom” uses archival footage and interviews sharing behind-the-scenes experiences, and shining the spotlight on backup singers, including Darlene Love, Merry Clayton, Lisa Fischer, Judith Hill, Jo Lawry, Claudia Lennear, and Tata Vega. Archival footage includes performances with Sting, David Bowie, Ray Charles, Michael Jackson, Elton John, Tom Jones, Ike & Tina Turner, Luther Vandross, and more. A highlight of the film includes an interview with Mick Jagger telling the story of how Merry Clayton came to sing the iconic background vocals on “Gimme Shelter.” Added to the National Film Registry in 2023.
42nd Street (1933)
At a little less than 90 minutes, "42nd Street" is a fast-moving picture that crackles with great dialogue and snappily plays up Busby Berkeley's dance routines and and the bouncy Al Dubin-Harry Warren ditties that include the irrepressably cheerful "Young and Healthy" (featuring the adorable Toby Wing), "Shuffle Off to Buffalo" and the title number. A famous Broadway director (Warner Baxter) takes on a new show despite his ill health, then faces disaster at every turn, including the loss of his leading lady on opening night. The film features Bebe Daniels as the star of the show and Berkeley regulars Guy Kibbee, Ginger Rogers, Dick Powell, and Ruby Keeler, whom Baxter implores, "You're going out a youngster, but you've got to come back a star!" Added to the National Film Registry in 1998.
2001: A Space Odyssey (1968)
Stanley Kubrick's landmark epic pushed the envelope of narrative and special effects to create an introspective look at technology and humanity. Arthur C. Clarke adapted his story "The Sentinel" for the screen version and his odyssey follows two astronauts, played by Keir Dullea and Gary Lockwood, on a voyage to Jupiter accompanied by HAL 9000, an unnervingly humanesque computer running the entire ship. With assistance from special-effects expert Douglas Trumbull, Kubrick spent more than two years creating his vision of outer space. Despite some initial critical misgivings, "2001" became one of the most popular films of 1968. Billed as "the ultimate trip," the film quickly caught on with a counterculture audience that embraced the contemplative experience that many older audiences found tedious and lacking substance. Added to the National Film Registry in 1991.
Expanded essay by James Verniere (PDF, 691KB)
20,000 Leagues Under the Sea (1916)
Directed by Stuart Paton, the film was touted as "the first submarine photoplay." Universal spent freely on location, shooting in the Bahamas and building life-size props, including the submarine, and taking two years to film. J. E. Williamson's "photosphere," an underwater chamber connected to an iron tube on the surface of the water, enabled Paton to film underwater scenes up to depths of 150 feet. The film is based on Jules Verne's "20,000 Leagues Under the Sea" and to a lesser extent, "The Mysterious Island." The real star of the film is its special effects. Although they may seem primitive by today's standards, 100 years ago they dazzled contemporary audiences. It was the first time the public had an opportunity to see reefs, various types of marine life and men mingling with sharks. It was also World War I, and submarine warfare was very much in the public consciousness, so the life-size submarine gave the film an added dimension of reality. The film was immensely popular with audiences and critics. Added to the National Film Registry in 2016.
Abbott and Costello Meet Frankenstein (1948)
Freight handlers Bud Abbott and Lou Costello encounter Dracula and Frankenstein's monster when they arrive from Europe for a house of horrors exhibit. After the monsters outwit the hapless duo and escape, Dracula returns for Costello whose brain he intends to transplant into the monster. Lon Chaney Jr. as the lycanthropic Lawrence Talbot, Bela Lugosi in his final appearance as Dracula and Glenn Strange as the Monster all play their roles perfectly straight as Bud and Lou stumble around them. Throughout the film, Dracula and the Monster cavort in plain view of the quivering Costello who is unable to convince the ever-poised and dubious Abbott that the monsters exist. until the wild climax in Dracula's castle, where the duo are pursued by all three of the film's monstrosities.
Expanded essay by Ron Palumbo (PDF, 424KB)
Ace in the Hole (aka Big Carnival) (1951)
Based on the infamous 1925 case of Kentucky cave explorer Floyd Collins, who became trapped underground and whose gripping saga created a national sensation lasting two weeks before Collins died. A deeply cynical look at journalism, "Ace in the Hole" features Kirk Douglas as a once-famous New York reporter, now a down-and-out has-been in Albuquerque. Douglas plots a return to national prominence by milking the story of a man trapped in a Native American cave dwelling as a riveting human-interest story, complete with a tourist-laden, carnival atmosphere outside the rescue scene. The callously indifferent wife of the stricken miner is no more sympathetic: "I don't go to church. Kneeling bags my nylons." Providing a rare moral contrast is Porter Hall, who plays Douglas' ethical editor appalled at his reporter's actions. Such a scathing tale of media manipulation might have helped turn this brilliant film into a critical and commercial failure, which later led Paramount to reissue the film under a new title, "The Big Carnival."
Expanded essay by Molly Haskell (PDF, 330KB)
Adam's Rib (1949)
With an Oscar-nominated script by Ruth Gordon and Garson Kanin, "Adam's Rib" pokes fun at the double standard between the sexes. Spencer Tracy and Katharine Hepburn play husband and wife attorneys, each drawn to the same case of attempted murder. Judy Holliday, defending the sanctity of her marriage and family, intends only to frighten her philandering husband (Tom Ewell) and his mistress (Jean Hagen) but tearfully ends up shooting and injuring the husband. Tracy argues that the case is open and shut, but Hepburn asserts that, if the defendant were a man, he'd be set free on the basis of "the unwritten law." As the trial turns into a media circus, the couple's relationship is put to the test. Holliday's first screen triumph propelled her onto bigger roles, including "Born Yesterday," for which she won an Academy Award. The film is also the debut of Ewell, who would become best known for his role opposite Marilyn Monroe in "The Seven Year Itch", and Hagen, who would floor audiences as the ditzy blonde movie star with the shrill voice in "Singin' in the Rain."
The Adventures of Robin Hood (1938)
When Richard the Lion-Hearted is captured and held for ransom, evil Prince John (Claude Rains) declares himself ruler of England and makes no attempt to secure Richard's safe return. A lone knight, Robin Hood (Errol Flynn), sets out to raise Richard's ransom by hijacking wealthy caravans traveling through Sherwood Forest. Aided by his lady love, Maid Marian (Olivia de Havilland), and band of merry men (including Alan Hale and Eugene Pallette) Robin battles the usurper John and wicked Sheriff of Nottingham to return the throne to its rightful owner. Dashing, athletic and witty, Flynn is everything that Robin Hood should be, and his adversaries are memorably villainous, particularly Basil Rathbone with whom Flynn crosses swords in the climactic duel. One of the most spectacular adventure films of all time, and features a terrific performance by the perfectly cast Flynn. Only a spirited and extravagant production could do justice to the Robin Hood legend; this film is more than equal to the task. Erich Wolfgang Korngold's score won an Oscar, as did the editing and art direction.
The African Queen (1951)
Adapted from a novel by C.S. Forester, the film stars Humphrey Bogart in an Oscar-winning portrayal of a slovenly, gin-swilling captain of the African Queen, a tramp steamer carrying supplies to small African villages during World War I. Katharine Hepburn plays a prim spinster missionary stranded when the Germans invade her settlement. Bogart agrees to transport Hepburn back to civilization despite their opposite temperaments. Before long, their tense animosity turns to love, and together they navigate treacherous rapids and devise an ingenious way to destroy a German gunboat. The difficulties inherent in filming on location in Africa are documented in numerous books, including one by Hepburn.
Airplane! (1980)
"Airplane!" emerged as a sharply perceptive parody of the big-budget disaster films that dominated Hollywood during the 1970s. Written and directed by David Zucker, Jerry Zucker and Jim Abrahams, the film is characterized by a freewheeling style and skewered Hollywood's tendency to push successful formulaic movie conventions beyond the point of logic. One of the film's most noteworthy achievements was to cast actors best known for their dramatic careers, such as Leslie Nielsen, Robert Stack and Lloyd Bridges, and provide them with opportunities to showcase their comic talents.The central premise is one giant cliche: a pilot (Robert Hays), who's developed a fear of flying, tries to win back his stewardess girlfriend (Julie Hagerty), boarding her flight so he can coax her around. Due to an outbreak of food poisoning, Hays must land the plane, with the help of a glue-sniffing air traffic controller (Bridges) and and his tyranical former captain (Stack). Supporting the stars is a wacky assemblage of stock characters from every disaster movie ever made.
Expanded essay by Michael Schlesinger (PDF, 477KB)
“¡Alambrista! (1977)
“¡Alambrista!” is the powerfully emotional story of Roberto, a Mexican national working as a migrant laborer in the United States to send money back to his wife and newborn. Director Robert M. Young’s sensitive screenplay refuses to indulge in simplistic pieties, presenting us with a world in which exploitation and compassion coexist in equal measure. The film immerses us in Roberto’s world as he moves across vast landscapes, meeting people he can’t be sure are friend or threat, staying one step ahead of immigration officials. “¡Alambrista!” is as relevant today as it was on its 1977 release, a testament to its enduring humanity. Added to the National Film Registry in 2023.
Expanded essay by Charles Ramírez Berg (PDF, 556KB)
Interview with Edward James Olmos (PDF, 2MB)
Alien (1979)
This film's appeal may lie in its reputation as "a haunted house movie in space." Though not particularly original, "Alien" is distinguished by director Ridley Scott's innovative ability to wring every ounce of suspense out of the B-movie staples he employs within the film's hi-tech setting. Art designer H.R. Giger creates what has become one of cinema's scariest monsters: a nightmarish hybrid of humanoid-insect-machine that Scott makes even more effective by obscuring it from view for much of the film. The cast, including Tom Skerritt and John Hurt, brings an appealing quality to their characters, and one character in particular, Sigourney Weaver's warrant officer Ripley, became the model for the next generation of hardboiled heroines and solidified the prototype in subsequent sequels. Rounding out the cast and crew, cameraman Derek Vanlint and composer Jerry Goldsmith propel the emotions relentlessly from one visual horror to the next.
All About Eve (1950)
Scheming ingénue Eve Harrington (Anne Baxter) ingratiates herself with aging Broadway star Margo Channing (Bette Davis) moving in on her acting roles, her friends and her stage director beau. The dialog is often too bitingly perfect with its sarcastic barbs and clever comebacks, but it's still entertaining and quote-worthy. The film took home Academy Awards for best picture, best director (Joseph L. Mankiewicz), best screenplay (Mankiewicz) and costume design (Edith Head and Charles Le Maire). George Sanders won a best supporting actor Oscar for his performance as the acid-tongued theater critic Addison DeWitt. Thelma Ritter as Margo's maid, Celeste Holm as Margo's best friend, and Marilyn Monroe, in a small role as an aspiring actress, give memorable performances.
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All My Babies (1953)
Written and directed by George Stoney, this landmark educational film was used to educate midwives throughout the South. Produced by the Georgia Department of Public Health, profiles the life and work of "Miss Mary" Coley, an African-American midwife living in rural Georgia. In documenting the preparation for and delivery of healthy babies in rural conditions ranging from decent to deplorable, the filmmakers inadvertently captured a telling snapshot at the socioeconomic conditions of the era that would prove fascinating to future generations. Added to the National Film Registry in 2002.
Expanded essay by Joshua Glick (PDF, 391KB)
Watch it here
All Quiet on the Western Front (1930)
This faithful adaptation of Erich Maria Remarque's classic pacifist novel is among the greatest antiwar films ever made, remaining powerful more than 80 years later, thanks to Lewis Milestone's inventive direction. Told from the perspective of a sensitive young German soldier (Lew Ayres) during WWI, recruited by a hawkish professor advocating "glory for the fatherland." The young soldier comes under the protective wing of an old veteran (Louis Wolheim) who teaches him how to survive the horrors of war. The film is emotionally draining, and so realistic that it will be forever etched in the mind of any viewer. Milestone's direction is frequently inspired, most notably during the battle scenes. In one such scene, the camera serves as a kind of machine gun, shooting down the oncoming troops as it glides along the trenches. Universal spared no expense during production, converting more than 20 acres of a large California ranch into battlefields occupied by more than 2,000 ex-servicemen extras. After its initial release, some foreign countries refused to run the film. Poland banned it for being pro-German, while the Nazis labeled it anti-German. Joseph Goebbels, later propaganda minister, publicly denounced the film. It received an Academy Award as Best Picture and Milestone was honored as Best Director.
Expanded essay by Garry Wills (PDF, 713KB)
Lobby card
All That Heaven Allows (1955)
The rich visual texture, using glorious Technicolor, and a soaring emotional score lend what is essentially a thin story a kind of epic tension. A movie unheralded by critics and largely ignored by the public at the time of its release, All That Heaven Allows is now considered Douglas Sirk's masterpiece. The story concerns a romance between a middle-aged, middle-class widow (Jane Wyman) and a brawny young gardener (Rock Hudson)—the stuff of a standard weepie, you might think, until Sirk's camera begins to draw a deeply disturbing, deeply compassionate portrait of a woman trapped by stifling moral and social codes. Sirk's meaning is conveyed almost entirely by his mise-en-scene—a world of glistening, treacherous surfaces, of objects that take on a terrifying life of their own; he is one of those rare filmmakers who insist that you read the image.
Expanded essay by John Wills (PDF, 187KB)
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All That Jazz (1979)
Director/choreographer Bob Fosse takes a Felliniesque look at the life of a driven entertainer. Joe Gideon (Roy Scheider, channeling Fosse) is the ultimate work (and pleasure)-aholic, as he knocks back a daily dose of amphetamines to juggle a new Broadway production while editing his new movie, an ex-wife Audrey, girlfriend Kate, young daughter, and various conquests. Reminiscent of Fellini's "8 1/2 ," Fosse moves from realistic dance numbers to extravagant flights of cinematic fancy, as Joe meditates on his life, his women, and his death. Fosse shows the stiff price that entertaining exacts on entertainers (among other things, he intercuts graphic footage of open-heart surgery with a song and dance), mercilessly reversing the feel-good mood of classical movie musicals.
All the King's Men (1949)
Based on the Pulitzer Prize-winning novel by Robert Penn Warren and directed by Robert Rossen, "All the King's Men" was inspired by the career of Louisiana governor Huey Long. Broderick Crawford won an Academy Award for his portrayal of Willie Stark, a backwoods Southern lawyer who wins the hearts of his constituents by bucking the corrupt state government. The thesis is basically that power corrupts, with Stark presented as a man who starts out with a burning sense of purpose and a defiant honesty. Rossen, however, injects a note of ambiguity early on (a scene where Willie impatiently shrugs off his wife's dream of the great and good things he is destined to accomplish); and the doubt as to what he is really after is beautifully orchestrated by being filtered through the eyes of the press agent (Ireland) who serves as the film's narrator, and whose admiration for Stark gradually becomes tempered by understanding. In addition to its Oscars for Crawford and Mercedes McCambridge, the film won the Best Picture prize.
All the President's Men (1976)
Based on the memoir by "Washington Post" reporters Bob Woodward and Carl Bernstein about uncovering the Watergate break-in and cover up, "All the President's Men" is a rare example of a best-selling book transformed into a hit film and a cultural phenomenon in its own right. Directed by Alan J. Pakula, the film stars Robert Redford as Woodward and Dustin Hoffman as Bernstein, and features an Oscar-winning performance by Jason Robards as Ben Bradlee. Nominated for numerous awards, it took home an Oscar for best screenplay by William Goldman (known prior to this for "Butch Cassidy and the Sundance Kid" and after for "The Princess Bride"). Pakula's taut directing plays up the emotional roller coaster of exhilaration, paranoia, self-doubt, and courage, without ignoring the tedium and tireless digging, and elevating it to noble determination.
Expanded essay by Mike Canning (PDF, 72KB)
Allures (1961)
Called the master of "cosmic cinema," Jordan Belson excelled in creating abstract imagery with a spiritual dimension that featured dazzling displays of color, light, and ever-moving patterns and objects. Trained as a painter and influenced by the films of Oskar Fischinger, Norman McLaren, and Hans Richter, Belson collaborated in the late 1950s with electronic music composer Henry Jacobs to create elaborate sound and light shows in the San Francisco Morrison Planetarium, an experience that informed his subsequent films. The film, Belson has stated, "was probably the space-iest film that had been done until then. It creates a feeling of moving into the void." Inspired by Eastern spiritual thought, "Allures" (which took a year and a half to make) is, Belson suggests, a "mathematically precise" work intended to express the process of becoming that the philosopher Teilhard de Chardin has named "cosmogenesis."
Amadeus (1984)
Milos Forman directed this deeply absorbing, visually sumptuous film based on the lives and rivalry of two great classical composers — the brash, youthful Wolfgang Amadeus Mozart and the good, if not truly exceptional, Antonio Salieri. Based upon Peter Shaffer's highly successful play, which Shaffer personally rewrote for the screen, "Amadeus," though ostensibly about classical music, instead shines as a remarkable examination of the concept of genius (Mozart) as well as the jealous obsession from less-talented rivals (Salieri). In an Oscar-winning performance, F. Murray Abraham skillfully lays bare the tortured emotions (admiration and covetous envy) Salieri feels for Mozart's work: "This was the music I had never heard...It seemed to me that I was hearing the voice of God. Why would God choose an obscene child to be his instrument?"
America, America (1963)
"My name is Elia Kazan. I am a Greek by blood, Turk by birth, American because my uncle made a journey." So begins the film directed, produced and written by Elia Kazan, and the one he frequently cited as his personal favorite. Based loosely on Kazan's uncle, Stavros dreams of going to America in the late 1890s. Kazan, who often hired locals as extras, cast in the lead role a complete novice, Stathis Giallelis, whom he discovered sweeping the floor in a Greek producer's office. Shot almost entirely in Greece and Turkey, Haskell Wexler's cinematography evokes scale and authenticity that combines with Gene Callahan's Oscar-winning art direction to give the film a distinctly European feel. Intended as the first chapter of a trilogy, the epically ambitious "America, America" also earned Oscar nominations for best director, best screenplay and best picture.
American Graffiti (1973)
Fresh off the success of "The Godfather," producer Francis Ford Coppola weilded the clout to tackle a project pitched to him by his friend, George Lucas. The film captured the flavor of the 1950s with ironic candor and a latent foreboding that helped spark a nostalgia craze. Despite technical obstacles, and having to shoot at night, cinematographer Haskell Wexler gave the film a neon glare to match its rock-n-roll soundscape. Lucas' period detail, co-writers Willard Huyck's and Gloria Katz's realistic dialogue, and the film's wistfulness for pre-Vietnam simplicity appealed to audiences amidst cultural upheaval. The film also established the reputations of Lucas (whose next film would be "Star Wars") and his young cast, and furthered the onset of soundtrack-driven, youth-oriented movies.
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An American in Paris (1951)
Gene Kelly, Leslie Caron, Georges Guetary, (The film was supposed to make Guetary into "the New Chevalier." It didn't.) The thinnish plot is held together by the superlative production numbers and by the recycling of several vintage George Gershwin tunes, including "I Got Rhythm," "'S Wonderful," and "Our Love Is Here to Stay." Highlights include Guetary's rendition of "Stairway to Paradise"; Oscar Levant's fantasy of conducting and performing Gershwin's "Concerto in F" (Levant also appears as every member of the orchestra). "An American in Paris," directed by Vincente Minnelli, cleaned up at the Academy Awards, with Oscars for best picture, screenplay, score, cinematography, art direction, set design, and even a special award for the choreography of its 18-minute closing ballet in which Kelly and Caron dance before lavish backgrounds resembling French masterpieces.
Interview with Leslie Caron (PDF, 1.36MB)
Anatomy of a Murder (1959)
Director Otto Preminger brought a new cinematic frankness to film with this gripping crime-and-trial movie shot on location in Michigan's Upper Peninsula where the incident on which it was based had occurred. Based on the best-selling novel by Robert Traver, Preminger imbues his film with daring dialogue and edgy pacing. Controversial in its day due to its blunt language and willingness to openly discuss adult themes, "Anatomy" endures today for its first-rate drama and suspense, and its informed perspective on the legal system. Starring James Stewart, Ben Gazzara and Lee Remick, it also features strong supporting performances by George C. Scott as the prosecuting attorney, and Eve Arden and Arthur O'Connell. The film includes an innovative jazz score by Duke Ellington and one of Saul Bass's most memorable opening title sequences.
Animal House (1978)
(see "National Lampoon's Animal House")
Annie Hall (1977)
Woody Allen's romantic comedy of the Me Decade follows the up and down relationship of two mismatched New York neurotics. "Annie Hall" blended the slapstick and fantasy from such earlier Allen films as "Sleeper" and "Bananas" with the more autobiographical musings of his stand-up and written comedy, using an array of such movie techniques as talking heads, splitscreens, and subtitles. Within these gleeful formal experiments and sight gags, Allen and co-writer Marshall Brickman skewered 1970s solipsism, reversing the happy marriage of opposites found in classic screwball comedies. Hailed as Allen's most mature and personal film, "Annie Hall" beat out "Star Wars" for Best Picture and also won Oscars for Allen as director and writer and for Keaton as Best Actress; audiences enthusiastically responded to Allen's take on contemporary love and turned Keaton's rumpled menswear into a fashion trend. Added to the National Film Registry in 2001.
Expanded essay by Jay Carr (PDF, 302KB)
Antonia: A Portrait of the Woman (1974)
Directed by Jill Godmilow and Judy Collins, this Oscar-nominated documentary chronicles the life of musician-conductor Antonia Brico and her struggle to become a symphony director despite her gender. Told by many that it was ridiculous for a woman to think of conducting, she admits, "I felt that I'd never forgive myself if I didn't try." And the pain and deprivation which she has known all her life are over-shadowed in this film by her ebullient, forthright warmth. The narrative of her life alternates with glimpses of her at work—rehearsing or teaching. She also reflects on the emotional experience of conducting— including the acute separation pangs that follow a concert.
Expanded essay by Diane Worthey (PDF, 458KB)
The Apartment (1960)
Billy Wilder is purported to have hung a sign in his office that read, "How Would Lubitsch Do It?" Here, that Lubitsch touch seems to hover over each scene, lending a lightness to even the most nefarious of deeds. One of the opening shots in the movie shows Baxter as one of a vast horde of wage slaves, working in a room where the desks line up in parallel rows almost to the vanishing point. This shot is quoted from King Vidor's silent film "The Crowd" (1928), which is also about a faceless employee in a heartless corporation. Cubicles would have come as revolutionary progress in this world. By the time he made this film, Wilder had become a master at a kind of sardonic, satiric comedy that had sadness at its center. Wilder was fresh off the enormous hit "Some Like it Hot," his first collaboration with Lemmon, and with "The Apartment" Lemmon showed that he could move from light comedian to tragic everyman. This movie was the summation of what Wilder had done to date, and the key transition in Lemmon's career. It was also a key film for Shirley MacLaine, who had been around for five years in light comedies, but here emerged as a serious actress who would flower in the 1960s.
Expanded essay by Kyle Westphal (PDF, 428KB)
Apocalypse Now (1979)
The chaotic production also experienced shut-downs when a typhoon destroyed the set and star Sheen suffered a heart attack; the budget ballooned and Coppola covered the overages himself. These production headaches, which Coppola characterized as being like the Vietnam War itself, have been superbly captured in the documentary, Hearts of Darkness: A Filmmaker's Apocalypse. Despite the studio's fears and mixed reviews of the film's ending, Apocalypse Now became a substantial hit and was nominated for eight Academy Awards, including Best Picture, Best Director, Best Supporting Actor for Duvall's psychotic Kilgore, and Best Screenplay. It won Oscars for sound and for Vittorio Storaro's cinematography. This hallucinatory, Wagnerian project has produced admirers and detractors of equal ardor; it resembles no other film ever made, and its nightmarish aura and polarized reception aptly reflect the tensions and confusions of the Vietnam era.
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Applause (1929)
This early sound-era masterpiece was the first film of both stage/director Rouben Mamoulian and cabaret/star Helen Morgan. Many have compared Mamoulian's debut to that of Orson Welles' "Citizen Kane" because of his flamboyant use of cinematic innovation to test technical boundaries. The tear-jerking plot boasts top performances from Morgan as the fading burlesque queen, Fuller Mellish Jr. as her slimy paramour and Joan Peters as her cultured daughter. However, the film is remembered today chiefly for Mamoulian's audacious style. While most films of the era were static and stage-bound, Mamoulian's camera reinvigorated the melodramatic plot by prowling relentlessly through sordid backstage life.
Apollo 13 (1995)
The extreme challenges involved in space travel present compelling cinema storylines, and one cannot imagine a more harrowing scenario than the near tragic Apollo 13 space mission. Director Ron Howard’s retelling is equally meticulous and emotional, a master class in enveloping the audience into a complicated technological exercise in life-and-death problem-solving. Based on the 1994 book “Lost Moon: The Perilous Voyage of Apollo 13” by astronaut Jim Lovell and Jeffrey Kluger, “Apollo 13” blends skillful editing, crafty special effects, a James Horner score, and a well-paced script to detail the quick-thinking heroics of both the astronaut crew and NASA technicians as they improvise and work through unprecedented situations. The talented cast includes Tom Hanks, Bill Paxton, Kevin Bacon, Gary Sinise, Ed Harris and Kathleen Quinlan. Howard went to great lengths to create a technically accurate movie, employing NASA's assistance in astronaut and flight-controller training for his cast, and obtaining permission to film scenes aboard a reduced-gravity aircraft for realistic depiction of the weightlessness experienced by the astronauts in space. Added to the National Film Registry in 2023.
The Asphalt Jungle (1950)
John Huston's brilliant crime drama contains the recipe for a meticulously planned robbery, but the cast of criminal characters features one too many bad apples. Sam Jaffe, as the twisted mastermind, uses cash from corrupt attorney Emmerich (Louis Calhern) to assemble a group of skilled thugs to pull off a jewel heist. All goes as planned — until an alert night watchman and a corrupt cop enter the picture. Marilyn Monroe has a memorable bit part as Emmerich's "niece."
Atlantic City (1980)
Aided by a taut script from playwright John Guare, director Louis Malle celebrates his wounded characters even as he mercilessly reveals their dreams for the hopeless illusions they really are. Malle reveals the rich portraits he paints of wasted American lives, through the filter of his European sensibilities. He is exceptionally well served by his cast and his location--a seedy resort town supported, like the principal characters, by memories of glories past. Burt Lancaster, in a masterful performance, plays an aging small-time criminal who hangs around Atlantic City doing odd jobs and taking care of the broken-down moll of the deceased gangster for whom Lou was a gofer. Living in an invented past, Lou identifies with yesteryear's notorious gangsters and gets involved with sexy would-be croupier (Susan Sarandon) and her drug-dealing estranged husband.
The Atomic Café (1982)
Produced and directed by Kevin Rafferty, Jayne Loader and Pierce Rafferty, the influential film compilation "The Atomic Cafe" provocatively documents the post-World War II threat of nuclear war as depicted in a wide assortment of archival footage from the period (newsreels, statements from politicians, advertisements, training, civil defense and military films). This vast, yet entertaining, collage of clips serves as a unique document of the 1940s-1960s era and illustrates how these films—some of which today seem propagandistic or even patently absurd ("The House in the Middle")—were used to inform the public on how to cope in the nuclear age.
Expanded essay by John Willis (PDF, 45KB)
Attica (1974)
The September 1971 Attica prison uprising is the deadliest prison riot in U.S. history. To protest living conditions, inmates took over the facility, held hostages, issued a manifesto demanding better treatment, and then engaged in four days of fruitless negotiations. On Day 5, state troopers and prison authorities retook the prison in a brutal assault, leaving 43 inmates and hostages dead. Cinda Firestone’s outstanding investigation of the tragedy takes us through the event, what caused it, and the aftermath. She uses first-hand interviews with prisoners, families and guards, assembled surveillance and news camera footage, and video from the McKay Commission hearings on the massacre. An ex-inmate ends the film with a quote hoping to shake public lethargy on the need for prison reform: “Wake up, because nothing comes to a sleeper, but a dream.”
The Augustas (1930s-1950s)
Scott Nixon, a traveling salesman based in Augusta, Ga., was an avid member of the Amateur Cinema League who enjoyed recording his travels on film. In this 16-minute silent film, Nixon documents some 38 streets, storefronts and cities named Augusta in such far-flung locales as Montana and Maine. Arranged with no apparent rhyme or reason, the film strings together brief snapshots of these Augustas, many of which are indicated at pencil-point on a train timetable or roadmap. Nixon photographed his odyssey using both 8mm and 16mm cameras loaded with black-and-white and color film, amassing 26,000 feet of film that now resides at the University of South Carolina. While Nixon's film does not illuminate the historical or present-day significance of these towns, it binds them together under the umbrella of Americana. Whether intentionally or coincidentally, this amateur auteur seems to juxtapose the name's lofty origin—'august,' meaning great or venerable—with the unspectacular nature of everyday life in small-town America.
View this film at Moving Image Research Collections, University of South Carolina External
The Awful Truth (1937)
Leo McCarey's largely improvised film is one of the funniest of the screwball comedies, and also one of the most serious at heart. Cary Grant and Irene Dunne are a pair of world-weary socialites who each believe the other has been unfaithful, and consequently enter into a trial divorce. The story began life as a 1922 stage hit and was filmed twice previously. McCarey maintained the basic premise of the play but improved it greatly, adding sophisticated dialogue and encouraging his actors to improvise around anything they thought funny. "The Awful Truth" was in the can in six weeks, and was such a success that Grant and Dunne were teamed again in another comedy, "My Favorite Wife" and in a touching tearjerker, "Penny Serenade." The film was nominated for an Academy Award for Best Picture.
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Baby Face (1933)
Smart and sultry Barbara Stanwyck uses her feminine wiles to scale the corporate ladder, amassing male admirers who are only too willing to help a poor working girl. One of the more notorious melodramas of the pre-Code era, a period when the movie industry relaxed its censorship standards, films such as this one led to the imposition of the Production Code in 1934. This relative freedom resulted in a cycle of gritty, audacious films that resonated with Depression-battered audiences.
Expanded essay by Gwendolyn Audrey Foster (PDF, 819KB)
Back to the Future (1985)
Writer/director Robert Zemeckis explored the possibilities of special effects with the 1985 box-office smash "Back to the Future." With his writing partner Bob Gale, Zemeckis tells the tale of accidental time-tourist Marty McFly. Stranded in the year 1955, Marty (Michael J. Fox)—with the help of his friend eccentric scientist Dr. Emmett Brown (played masterfully over-the-top by Christopher Lloyd)—must not only find a way home, but also teach his father (Crispin Glover) how to become a man, repair the space/time continuum and save his family from being erased from existence. All this, while fighting off the advances of his then-teenaged mother (Lea Thompson). The film generated a popular soundtrack and two enjoyable sequels.
The Bad and the Beautiful (1952)
Vincente Minnelli directed this captivating Hollywood story of an ambitious producer (Kirk Douglas)as told in flashback by those whose lives he's impacted: an actress (Lana Turner), a writer (Dick Powell) and a director (Barry Sullivan). Insightful and liberally sprinkled with characters modeled after various Hollywood royalty from David O. Selznick to Scott and Zelda Fitzgerald, witty, with one of Turner's best performances. Five Oscars include Supporting Actress (Gloria Grahame), Screenplay (Charles Schnee). David Raksin's score is another asset.
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Bad Day at Black Rock (1955)
Though only 81 minutes in length, "Bad Day" packs a punch. Spencer Tracy stars as Macreedy, a one-armed man who arrives unexpectedly one day at the sleepy desert town of Black Rock. He is just as tight-lipped at first about the reason for his visit as the residents of Black Rock are about the details of their town. However, when Macreedy announces that he is looking for a former Japanese-American Black Rock resident named Komoko, town skeletons suddenly burst into the open. In addition to Tracy, the standout cast includes Robert Ryan, Anne Francis, Lee Marvin, Ernest Borgnine and Dean Jagger. Director John Sturges displays the western landscape to great advantage in this CinemaScope production.
Badlands (1973)
Stark, brutal story based on the Charles Starkweather-Carol Fugate murder spree through the Midwest in 1958, with Martin Sheen as the killer lashing out against a society that ignores his existence and Sissy Spacek as his naive teenage consort. Sheen is forceful and properly weird as the mass murderer, strutting around pretending to be James Dean, while Spacek doesn't quite understand what he's all about, but goes along anyway. Director Terrence Malick neither romanticizes nor condemns his subjects, maintaining a low-key approach to the story that results in a fascinating character study. The film did scant box office business, but it remains one of the most impressive of directorial debuts.
Ball of Fire (1941)
In this Howard Hawks-directed screwball comedy, showgirl and gangster's moll Sugarpuss O'Shea (Barbara Stanwyck) hides from the law among a group of scholars compiling an encyclopedia. Cooling her heels until the heat lets up, Sugarpuss charms the elderly academics and bewitches the young professor in charge (Gary Cooper). Hawks deftly shapes an effervescent, innuendo-packed Billy Wilder-Charles Brackett script into a swing-era version of Snow White and the Seven Dwarfs or "squirrely cherubs," as Sugarpuss christens them. Filled with colorful period slang and boogie-woogie tunes and highlighted by an energetic performance from legendary drummer Gene Krupa, the film captures a pre-World War II lightheartedness.
The Ballad of Gregorio Cortez (1982)
Directed by Robert M. Young, produced by Moctesuma Esparza, and co-produced by Edward James Olmos, who stars as Gregorio, some of the film’s most beautiful scenes come from acclaimed cinematography Reynoldo Villalobos. “The Ballad of Gregorio Cortez” is one of the key feature films from the 1980s Chicano film movement. Edward James Olmos was a working actor but not yet a star when he and several friends, meeting at what would become the Sundance Film Festival, decided to make a film about a true story of injustice from the Texas frontier days.
Shot on a tiny budget for PBS, “The Ballad of Gregorio Cortez” accurately tells the story of a Mexican-American farmer who in 1901 was falsely accused of stealing a horse. Cortez killed the sheriff who tried to arrest him, outran a huge posse for more than a week, barely escaped lynching and was eventually sentenced to more than a decade in prison. The incident became a famous corrido, or story-song, that is still sung in Mexico and Texas. While some characters speak in Spanish and others in English, the filmmakers decided not to use subtitles to give audiences the same experience as those caught up in the unfolding tragedy.
“This film is being seen more today than it was the day we finished it,” Olmos said in a 2022 interview with the Library of Congress. “‘The Ballad of Gregorio Cortez’ is truly the best film I’ve ever been a part of in my lifetime.”
Interview with Edward James Olmos (PDF, 2MB)
Bambi (1942)
One of Walt Disney's timeless classics (and his own personal favorite), this animated coming-of-age tale of a wide-eyed fawn's life in the forest has enchanted generations since its debut nearly 70 years ago. Filled with iconic characters and moments, the film features beautiful images that were the result of extensive nature studies by Disney's animators. Its realistic characters capture human and animal qualities in the time-honored tradition of folklore and fable, which enhance the movie's resonating, emotional power. Treasured as one of film's most heart-rending stories of parental love, "Bambi" also has come to be recognized for its eloquent message of nature conservation.
Expanded essay by John Wills (PDF, 360KB)
Expanded essay by Gail Alexander (wife of Stan Alexander - “Flower”) (PDF, 371KB)
Original drawing of Bambi
Bamboozled (2000)
Mixing elements of “A Face in the Crowd,” “The Producers,” “Network” and “Putney Swope,” Spike Lee’s “Bamboozled” showcases his unique talents, here blending dark comedy and satire exposing hypocrisy. An African American TV executive (Damon Wayans) grows tired of his ideas being rejected by his insincere white boss, who touts himself with an “I am Black People” type of vibe. To get out of this untenable situation, Wayans proposes an idea he feels will surely get him fired: a racist minstrel show featuring African American performers donning blackface. The show becomes a smash hit while at the same time sparking outrage, including militant groups leading to violence. As with the best satire, the focus is not on believable plot but rather how the story reveals the ills of society, in this case how Hollywood and television have mistreated African Americans over the decades. Added to the National Film Registry in 2023.
The Band Wagon (1953)
Fred Astaire, Cyd Charisse, Oscar Levant, Nanette Fabray and Jack Buchanan star in this sophisticated backstage toe-tapper directed by Vincente Minnelli, widely considered one of the greatest movie musicals of all time. Astaire plays a washed-up movie star (in reality he'd been a succesful performer for nearly 30 years) who tries his luck on Broadway, under the direction of irrepressible mad genius Buchanan. Musical highlights include "Dancing in the Dark" and "That's Entertainment" (written for the film by Howard Dietz and Arthur Schwartz) and Astaire's sexy Mickey Spillane spoof "The Girl Hunt" danced to perfection by Charisse. Fred Astaire would only make three more musicals after "The Band Wagon," before turning to a film and television career that included the occasional turn as a dramatic actor.
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The Bank Dick (1940)
Perhaps more than any other film comedian in the early days of movies, W.C. Fields is an acquired taste. His absurdist brand of humor, at once dry and surreal, endures for the simple reason that the movies bear up under repeated viewings; in fact, it's almost a necessity to watch them over and over, if only to figure out why they're so funny. In his second-to-last feature, The Bank Dick (which he wrote under the moniker "Mahatma Kane Jeeves"), Fields as unemployed layabout Egbert Souse -- Soosay, if you don't mind -- replaces drunk movie director A. Pismo Clam on a location shoot in his hometown of Lompoc, California before chance lands him in the job of bank detective -- after which the movie becomes a riff on the comic possibilities of his new-found notoriety. The stellar comic supporting cast includes future Stooge Shemp Howard as the bartender at Fields' regular haunt, The Black Pussy, and Preston Sturges regular Franklin Pangborn as bank examiner J. Pinkerton Snoopington.
Expanded essay by Randy Skretvedt (PDF, 401KB)
The Bargain (1914)
After beginning his career on the stage (where he originated the role of Messala in "Ben-Hur" in 1899), William S. Hart found his greatest fame as the silent screen's most popular cowboy. His 1914 "The Bargain," directed by Reginald Barker, was Hart's first film and made him a star. The second Hart Western to be named to the National Film Registry, the film was selected because of Hart's charisma, the film's authenticity and realistic portrayal of the Western genre and the star's good/bad man role as an outlaw attempting to go straight. Added to the National Film Registry 2010.
Expanded essay by Brian Taves (PDF, 1692KB)
Watch it here
The Battle of the Century (1927)
"Battle of the Century" is a classic Laurel and Hardy silent short comedy (2 reels, ca. 20 minutes) unseen in its entirety since its original release. The comic bits include a renowned pie-fighting sequence where the principle of "reciprocal destruction" escalates to epic proportions. "Battle" offers a stark illustration of the detective work (and luck) required to locate and preserve films from the silent era. Only excerpts from reel two of the film had survived for many years. Critic Leonard Maltin discovered a mostly complete nitrate copy of reel one at the Museum of Modern Art in the 1970s. Then in 2015, film collector and silent film accompanist Jon Mirsalis located a complete version of reel two as part of a film collection he purchased from the Estate of Gordon Berkow. The film still lacks brief scenes from reel one, but the film is now almost complete, comprising elements from MoMA, the Library of Congress, UCLA and other sources. It was restored by the UCLA Film and Television Archive in conjunction with Jeff Joseph/SabuCat. The nearly complete film was preserved from one reel of 35mm nitrate print, one reel of a 35mm acetate dupe negative and a 16mm acetate print. Laboratory Services: The Stanford Theatre Film Laboratory, Deluxe Entertainment Services Group, Cineaste Restoration/Thad Komorowksi, Point 360/Joe Alloy. Special Thanks: Jon Mirsalis, Paramount Pictures Archives, Richard W. Bann, Ray Faiola, David Gerstein.
The Battle of San Pietro (1945)
John Huston's documentary about the WW II Battle of San Pietro Infine was considered too controversial by the U.S. military to be seen in its original form, and was cut from five reels to its released 33 minute-length. powerful viewing, vivid and gritty. Some 1,100 men died in the battle. scenes of grateful Italian peasants serve as a fascinating ethnographic time capsule. Filmed by Jules Buck. Unlike many other military documentaries, Huston's cameramen filmed alongside the Army's 143rd regiment, 36th division infantrymen, placing themselves within feet of mortar and shell fire. The film is unflinching in its realism and was held up from being shown to the public by the United States Army. Huston quickly became unpopular with the Army, not only for the film but also for his response to the accusation that the film was anti-war. Huston responded that if he ever made a pro-war film, he should be shot. Because it showed dead GIs wrapped in mattress covers, some officers tried to prevent troopers in training from seeing it, for fear of morale. General George Marshall came to the film's defense, stating that because of the film's gritty realism, it would make a good training film. The depiction of death would inspire them to take their training seriously. Subsequently the film was used for that purpose. Huston was no longer considered a pariah; he was decorated and made an honorary major.
Expanded essay by Ed Carter (PDF, 423KB)
View this film at National Film Preservation Foundation External
The Beau Brummels (1928)
Al Shaw and Sam Lee were an eccentrically popular vaudeville act of the 1920s. In 1928 they made this eight-minute Vitaphone short for Warner Bros. The duo later appeared in more than a dozen other films, though none possessed the wacky charm of "The Beau Brummels." As Jim Knipfel has observed: "If Samuel Beckett had written a vaudeville routine, he would have created Shaw and Lee." Often considered one of the quintessential vaudeville comedy shorts, the film has a simple set-up—Shaw and Lee stand side by side with deadpan expressions in non-tailored suits and bowler hats as they deliver their comic routine of corny nonsense songs and gags with a bit of soft shoe and their renowned hat-swapping routine. Shaw's and Lee's reputation has enjoyed a recent renaissance and their brand of dry, offbeat humor is seen by some as well ahead of its time. The film has been preserved by the UCLA Film & Television Archive.
Beauty and the Beast (1991)
Disney's "Beauty and the Beast" is an animated, musical retelling of the fairy tale by Jeanne-Marie Leprince du Beaumont. The film follows Belle (voiced by Paige O'Hara), an intelligent and rebellious young French woman, who is forced to live with a hideous monster, the Beast (voiced by Robby Benson), after offering to take her father's place as the Beast's prisoner. Unaware that the Beast is actually an enchanted prince, Belle falls in love with him. "Beauty and the Beast" was the first animated film nominated for an Academy Award in the Best Picture category. Alan Menken won an Oscar for his original score, and he and lyricist Howard Ashman (posthumously) earned Oscars for the film's theme song "Beauty and the Beast."
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Becky Sharp (1935)
Actress Miriam Hopkins had a long and successful movie career, appearing in many classics, including "Trouble in Paradise" and "Design for Living." However, it is as this film's titular heroine that she received her only Academy Award best-actress nomination. Based upon Thackeray's novel "Vanity Fair," "Becky" is the story of a socially ambitious woman and her destructive climb up the class system. "Becky Sharp" merits historical note as the first feature-length film to utilize the three-strip Technicolor process, which, even today, gives the film a shimmering visual appeal. The lengthy, complicated restoration process of "Becky Sharp" by the UCLA Film and Television Archive marked one of the earliest archival restorations to garner widespread public attention. Partners in this painstaking effort included the National Telefilm Associates Inc., Fondazione Scuola Nazionale di Cinema, Cineteca Nazionale (Rome), British Film Institute, The Film Foundation, National Endowment for the Arts, Paramount and YCM Laboratories. More information can be found at https://cinema.ucla.edu/restoration/becky-sharp-restoration External.
Before Stonewall (1984)
In 1969, New York City police raided the Stonewall Inn, a gay bar in Greenwich Village. After years of harassment, this infamous act proved a tipping point and led to three days of riots. The Stonewall riots are credited with launching the modern gay civil rights movement in the U.S. Narrated by Rita Mae Brown, "Before Stonewall" provides a detailed look at the history and making of the LGBTQ community in 20th-century America through archival footage and interviews with those who felt compelled to live secret lives during that period. Elements, prints and a new 2016 digital cinema package are held in the Outfest UCLA Legacy Project Collection at the UCLA Film & Television Archive.
Behind Every Good Man (1967)
This pre-Stonewall UCLA student short by Nikolai Ursin offers a stunning early portrait of Black, gender fluidity in Los Angeles and the quest for love and acceptance. Following playful street scene vignettes accompanied by a wistful, baritone voice-over narration, the film lingers tenderly on our protagonist preparing for a date who never arrives. The film is preserved by the UCLA Film & Television Archive. Preservation funded by the National Film Preservation Foundation on behalf of the Outfest UCLA Legacy Project. Special thanks to John Campbell, Stephen Parr and Norman Yonemoto.
Being There (1979)
Chance, a simple-minded gardener (Peter Sellers) whose only contact with the outside world is through television, becomes the toast of the town following a series of misunderstandings. Forced outside his protected environment by the death of his wealthy boss, Chance subsumes his late employer's persona, including the man's cultured walk, talk and even his expensive clothes, and is mistaken as "Chauncey Gardner," whose simple adages are interpreted as profound insights. He becomes the confidant of a dying billionaire industrialist (Melvyn Douglas, in an Academy Award-winning performance) who happens to be a close adviser to the U.S. president (Jack Warden). Chance's gardening advice is interpreted as metaphors for political policy and life in general. Jerzy Kosinski, assisted by award-winning screenwriter Robert C. Jones, adapted his 1971 novel for the screenplay which Hal Ashby directed with an understatement to match the subtlety and precision of Sellers' Academy Award-nominated performance. Shirley MacLaine also stars as Douglas's wife, then widow, who sees Chauncey as a romantic prospect. Film critic Robert Ebert said he admired the film for "having the guts to take this totally weird conceit and push it to its ultimate comic conclusion." That conclusion is a philosophically complex film that has remained fresh and relevant.
Expanded essay by Jerry Dean Roberts (PDF, 118KB)
Ben-Hur (1925)
Adapted from General Lew Wallace's popular novel "Ben-Hur: A Tale of the Christ" published in 1880, this epic featured one of the most exciting spectacles in silent film: the chariot race that was shot with 40 cameras on a Circus Maximus set costing a staggering (for the day) $300,000. In addition to the grandeur of the chariot scene, a number of sequences shot in Technicolor also contributed to the epic status of "Ben-Hur," which was directed by Fred Niblo and starred Ramon Novarro as Judah Ben-Hur and Francis X. Bushman as Messala. While the film did not initially recoup its investment, it did help to establish its studio, MGM, as one of the major players in the industry.
Expanded essay by Fritzi Kramer (PDF, 254KB)
Lobby card
Ben-Hur (1959)
This epic blockbuster stars Charlton Heston in the title role of a rebellious Israelite who takes on the Roman Empire during the time of Christ. Featuring one of the most famous action sequences of all time -- the breathtaking chariot race -- the film was a remake of the impressive silent version released in 1925. Co-starring Stephen Boyd as Judah Ben-Hur's onetime best friend and later rival, it also featured notable performances by Hugh Griffith and Jack Hawkins. Directed by Oscar-winner William Wyler, who found success with "Mrs. Miniver" "The Best Years of Our Lives" and others, "Ben-Hur" broke awards records, winning 11 Oscars, including best picture, director, actor, supporting actor, and score. Famed stuntman Yakima Canutt was brought in to coordinate all the chariot race stunt work and train the driver The race scene alone cost is reported to have cost about $4 million, or about a fourth of the entire budget, and took 10 weeks to shoot.
Expanded essay by Gabriel Miller (PDF, 499KB)
Bert Williams Lime Kiln Club Field Day (1913)
In 1913, a stellar cast of African-American performers gathered in the Bronx, New York, to make a feature-length motion picture. The troupe starred vaudevillian Bert Williams, the first African-American to headline on Broadway and the most popular recording artist prior to 1920. After considerable footage was shot, the film was abandoned. One hundred years later, the seven reels of untitled and unassembled footage were discovered in the film vaults of the Museum of Modern Art, and are now believed to constitute the earliest surviving feature film starring black actors. Modeled after a popular collection of stories known as "Brother Gardener's Lime Kiln Club," the plot features three suitors vying to win the hand of the local beauty, portrayed by Odessa Warren Grey. The production also included members of the Harlem stage show known as J. Leubrie Hill's "Darktown Follies." Providing insight into early silent-film production (Williams can be seen applying his blackface makeup), these outtakes or rushes show white and black cast and crew working together, enjoying themselves in unguarded moments. Even in fragments of footage, Williams proves himself among the most gifted of screen comedians.
The Best Years of Our Lives (1946)
A moving and personal story directed by real-life veteran William Wyler, the film depicts the return to civilian life by three World War II servicemen, portrayed by Dana Andrews, Fredric March and Harold Russell. Adapted by Robert Sherwood from MacKinlay Kantor's novel "Glory for Me," Gregg Toland's deep-focus cinematography is memorable for emotionally evokative long dolly shots. It also starred Myrna Loy, Teresa Wright, Cathy O'Donnell, and Virginia Mayo. The film won nine Oscars including Best Picture, as well as two awards for Russell, who lost his hands in the war.
Expanded essay by Gabriel Miller (PDF, 319KB)
Betty Tells Her Story (1972)
Liane Brandon’s classic documentary explores the layers of storytelling and memory - how telling a story again can reveal previously hidden details and context. In this poignant tale of beauty, identity and a dress, the filmmaker turns the storytelling power over to the subject. Deceptively simple in its approach, the director in two separate takes films Betty recalling her search for the perfect dress for an upcoming special occasion. During the first take, Betty describes in delightful detail how she found just the right one, spent more than she could afford, felt absolutely transformed … and never got to wear it. Brandon then asks her to tell the story again, and this time her account becomes more nuanced, personal and emotional, revealing her underlying feelings. Though the facts remain the same, the story is strikingly different. “Betty Tells Her Story” was the first independent documentary of the Women’s Movement to explore the ways in which clothing and appearance affect a woman’s identity. It is used in film studies, psychology, sociology, women’s studies, and many other academic disciplines as a perceptive look at how our culture views women in the context of body image, self-worth and beauty in American culture. The film was restored with a grant from New York Women in Film & Television’s Women's Film Preservation Fund.
Inductees' Gallery - Liane Brandon, producer and director
Big Business (1929)
As gifted in their repartee as they were in their physical antics, Stan Laurel and Oliver Hardy were the perfect team for the transition from silent film comedy to sound. Their legendary career spanned from 1921 to 1951 and included more than 100 films. This two-reeler finds the duo attempting to sell Christmas trees in sunny California. Their run-in with an unsatisfied customer (played by James Finlayson) lays the groundwork for a slapstick melee eventually involving a dismantled car, a wrecked house and an exploding cigar. The film was produced by the team's long-time collaborator, Hal Roach, the king of no-holds-barred comedy.
Expanded essay by Randy Skretvedt (PDF, 308KB)
The Big Heat (1953)
One of the great post-war noir films, "The Big Heat" stars Glenn Ford, Lee Marvin and Gloria Grahame. Set in a fictional American town, the film tells the story of a tough cop (Ford) who takes on a local crime syndicate, exposing tensions within his own corrupt police department as well as insecurities and hypocrisies of domestic life in the 1950s. Filled with atmosphere, fascinating female characters, and a jolting—yet not gratuitous—degree of violence, "The Big Heat," through its subtly expressive technique and resistance to formulaic denouement, manages to be both stylized and brutally realistic, a signature of its director Fritz Lang.
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The Big Lebowski (1998)
From the unconventional visionaries Joel and Ethan Coen (the filmmakers behind "Fargo" and "O Brother, Where Art Thou?") came this 1998 tale of kidnapping, mistaken identity and bowling. As they would again in the 2008 "Burn After Reading," the Coens explore themes of alienation, inequality and class structure via a group of hard-luck, off-beat characters suddenly drawn into each other's orbits. Jeff Bridges, in a career-defining role, stars as "The Dude," an LA-based slacker who shares a last name with a rich man whose arm-candy wife is indebted to shady figures. Joining Bridges are John Goodman, Tara Reid, Julianne Moore, Philip Seymour Hoffman, Steve Buscemi and, in a now-legendary cameo, John Turturro. Stuffed with vignettes—each staged through the Coens' trademark absurdist, innovative visual style—that are alternately funny and disturbing, "Lebowski" was only middling successful at the box office during its initial release. However, television, the Internet, home video and considerable word-of-mouth have made the film a highly quoted cult classic.
Expanded essay by J.M. Tyree & Ben Walters (PDF, 354KB)
The Big Parade (1925)
One of the first films to deglamorize war with its startling realism, "The Big Parade" became the largest grossing film of the silent era. From a story by Laurence Stallings, director King Vidor crafted what "New York Times" critic Mordaunt Hall called "an eloquent pictorial epic." The film, which Hall said displayed "all the artistry of which the camera is capable," depicts a privileged young man (John Gilbert) who goes to war seeking adventure and finds camaraderie, love, humility and maturity amid the horrors of war. Along the way he befriends two amiable doughboys (Karl Dane and Tom O'Brien) and falls for a beautiful French farm girl (Renée Adorée). Vidor tempered the film's serious subject matter with a kind of simple, light humor that flows naturally from new friendships and new loves. A five-time nominee for Best Director, Vidor was eventually recognized by the Academy in 1979 with an honorary lifetime achievement award. Both stars continued to reign until the transition to talking pictures, which neither Gilbert nor Adorée weathered successfully. Their careers plummeted and both died prematurely.
The Big Sleep (1946)
Howard Hawks directed this Raymond Chandler story featuring private eye Philip Marlowe, played by Humphrey Bogart. Appearing opposite him in only her second film was a former model named Lauren Bacall, with whom Bogart had fallen in love (and vice versa) during filming of "To Have and Have Not" earlier that year. Hawks and his writers attempted to untangle the threads of Chandler's complicated plot which caused frequent production delays. More than a month behind schedule and about $50,000 over budget, the film was ready in mid-summer1945, and that version was distributed to servicemen overseas. Shortly thereafter "To Have and Have Not" was released, and audiences loved the Bogart-Bacall chemistry, so the wide release of "The Big Sleep" was further delayed the wide release by rewriting scenes to heighten the chemistry and bring out Bacall's "insolent" quality that audiences found so appealing the pair's earlier film. The pre-release cut is only two minutes longer, but contains 18 minutes of scenes missing from the final picture. The first "draft" was discovered at the UCLA Film and Television Archive where both versions have since been preserved.
The Big Trail (1930)
This taming of the Oregon Trail saga comes alive thanks to the majestic sweep afforded by the experimental Grandeur wide-screen process developed by the Fox Film Corporation. Audiences marveled at the sheer scope of the panoramic scenes before them and delighted in the beauty of the vast landscapes. Hollywood legend has it that director Raoul Walsh was seeking a male lead for a new Western and asked his friend John Ford for advice. Ford recommended an unknown actor named John Wayne because he "liked the looks of this new kid with a funny walk -- like he owned the world." When Wayne professed inexperience, Walsh told him to just "sit good on a horse and point."Wayne's starring role in "The Big Trail" did not catapult him to stardom, and he languished in low-budget pictures until John Ford cast him in the 1939 classic "Stagecoach."
Expanded essay by Marilyn Ann Moss (PDF, 375KB)
The Birds (1963)
"The Birds" was the fourth suspense hit by Alfred Hitchcock—following "Vertigo," "North by Northwest" and "Psycho"—revealing his mastery of his craft. Hitchcock transfixed both critics and mass audiences by deftly moving from anxiety-inducing horror to glossy entertainment and suspense, with bold forays into psychological terrain. Marked by a foreboding sense of an unending terror no one can escape, the film concludes with its famous, final scene, which only adds to the emotional impact of "The Birds."
The Birth of a Nation (1915)
This landmark of American motion pictures is the story of two families during the Civil War and Reconstruction. Director D.W. Griffith's depiction of the Ku Klux Klan as heroes stirred controversy that continues to the present day. But the director's groundbreaking camera technique and narrative style advanced the art of filmmaking by leaps and bounds. Profoundly impacted by the novel "The Clansman: An Historical Romance of the Ku Klux Klan," Griffith hired its author Thomas F. Dixon Jr. to adapt it as a screenplay. At the heart of the story are two pairs of star-crossed lovers on either side of the conflict: Southerner Henry B. Walthall courts Northerner Lillian Gish, and the couple's siblings, played by Elmer Clifton and Miriam Cooper, are also in love. The ravages of war and the chaos of reconstruction take their toll on both families. The racist and simplistic depictions of blacks in the film is difficult to overlook, but underneath the distasteful sentiment lies visual genius.
Expanded essay by Dave Kehr (PDF, 599KB)
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Black and Tan (1929)
In one of the first short musical films to showcase African-American jazz musicians, Duke Ellington portrays a struggling musician whose dancer wife (Fredi Washington in her film debut) secures him a gig for his orchestra at the famous Cotton Club where she's been hired to perform, at a risk to her health. Directed by Dudley Murphy, who earned his reputation with "Ballet mécanique," which is considered a masterpiece of early experimental filmmaking, the film reflects the cultural, social and artistic explosion of the 1920s that became known as the Harlem Renaissance. Ellington and Washington personify that movement, and Murphy—who also directed registry titles "St. Louis Blues" (1929), another musical short, and the feature "The Emperor Jones" (1933) starring Paul Robeson—cements it in celluloid to inspire future generations. Washington, who appeared with Robeson in "Emperor Jones," is best known as "Peola" in the 1934 version of "Imitation of Life."
The Black Pirate (1926)
This swashbuckling tour-de-force by Douglas Fairbanks, king of silent action adventure pictures, is most significant for having been filmed entirely in two-strip Technicolor, a process still being perfected at the time, and the precursor to Technicolor processes that would become commonplace by the 1950s. Fairbanks plays a nobleman who has vowed to avenge the death of his father at the hands of pirates, and once upon the pirates' vessel, protects a damsel in distress (Bessie Love)taken hostage by the band of thieves. Fairbanks wrote the original story under a pseudonym, and Albert Parker directed.
Expanded essay by Tracey Goessel (PDF, 356 KB)
The Black Stallion (1979)
When a ship carrying young Alec Ramsey (Kelly Reno) and a black Arabian stallion sinks off the coast of Africa, Alec and the horse find themselves stranded on a deserted island. Upon their rescue, Alec and horse trainer/former jockey Henry Dailey (Mickey Rooney) begin training the horse to become a formidable racer. Directed by Carroll Ballard and based on the Walter Farley novel of the same name, the film was executive produced by Francis Ford Coppola who finally persuaded United Artists to release the film after shelving it for two years. The film's supervising sound editor, Alan Splet, received a Special Achievement Award for his innovations including affixing microphones around the horse's midsection to pick up the sound of its hoof beats and breathing during race sequences. "The Black Stallion" was nominated for two Academy Awards, one for Best Supporting Actor for Mickey Rooney and one for Best Film Editing for Robert Dalva.
Expanded essay by Keith Phipps (PDF, 375 KB)
Blackboard Jungle (1955)
In a 1983 interview, writer-director Richard Brooks claimed that hearing Bill Haley and the Comets' "Rock Around the Clock" in 1954 inspired him to make a rock & roll-themed picture. The result was "Blackboard Jungle," an adaptation of the controversial novel by Evan Hunter about an inner-city schoolteacher (played in the film by Glenn Ford) tackling juvenile delinquency and the lamentable state of public education— common bugaboos of the Eisenhower era. Retaining much of the novel's gritty realism, the film effectively dramatizes the social issues at hand, and features outstanding early performances by Sidney Poitier and Vic Morrow. The film, however, packs its biggest wallop even before a word of dialog is spoken. As the opening credits roll, Brooks' original inspiration for the film – the pulsating strains of "Rock Around the Clock" – blasts across theater speakers, bringing the devil's music to Main Street and epitomizing American culture worldwide.
Blacksmith Scene (1893)
Not blacksmiths but employees of the Edison Manufacturing Company, Charles Kayser, John Ott and another unidentified man are likely the first screen actors in history, and "Blacksmith Scene" is thought to be the first film of more than a few feet to be publicly exhibited. The 30-second film was photographed in late April 1893 by Edison's key employee, W.K.L. Dickson, at the new Edison studio in New Jersey. On May 9, audiences lined up single file at the Brooklyn Institute of Arts and Sciences to peer through a viewing machine called a kinetoscope where glowed images of a blacksmith and two helpers forging a piece of iron, but only after they'd first passed around a bottle of beer. A Brooklyn newspaper reported the next day, "It shows living subjects portrayed in a manner to excite wonderment."
First Motion Picture Copyright Found
National Film Preservation Foundation - Blacksmithing Scene External
Blade Runner (1982)
A blend of science fiction and film noir, "Blade Runner" was a box office and critical flop when first released, but its unique postmodern production design became hugely influential within the sci-fi genre, and the film gained a significant cult following that increased its stature. Harrison Ford stars as Rick Deckard, a retired cop in Los Angeles circa 2019. L.A. has become a pan-cultural dystopia of corporate advertising, pollution and flying automobiles, as well as replicants, human-like androids with short life spans built for use in dangerous off-world colonization. Deckard, a onetime blade runner – a detective that hunts down rogue replicants – is forced back into active duty to assassinate a band of rogues out to attack earth. Along the way he encounters Sean Young, a replicant who's unaware of her true identity, and faces a violent confrontation atop a skyscraper high above the city.
Expanded essay by David Morgan (PDF, 358 KB)
Blazing Saddles (1974)
This riotously funny, raunchy, no-holds-barred Western spoof by Mel Brooks is universally considered one of the funniest American films of all time. The movie features a civil-rights theme (the man in the white hat (Cleavon Little ) turns out to be an African-American who has to defend a bigoted town), and its furiously paced gags and rapid-fire dialogue were scripted by Brooks, Andrew Bergman, Richard Pryor, Norman Steinberg and Alan Unger. Little as the sheriff and Gene Wilder as his recovering alcoholic deputy have great chemistry, and the delightful supporting cast includes Harvey Korman, Slim Pickens, and Madeline Kahn as a chanteuse modelled on Marlene Dietrich. As in "Young Frankenstein," "Silent Movie," and "High Anxiety," director/writer Brooks gives a burlesque spin to a classic Hollywood movie genre.
Expanded essay by Michael Schlesinger (PDF, 662 KB)
Bless Their Little Hearts (1984)
Part of the vibrant New Wave of independent African-American filmmakers to emerge in the 1970s and 1980s, Billy Woodberry became a key figure in the movement known as the L.A. Rebellion. Woodberry crafted his UCLA thesis film, "Bless Their Little Hearts," which was theatrically released in 1984. The film features a script and cinematography by Charles Burnett. This spare, emotionally resonant portrait of family life during times of struggle blends grinding, daily-life sadness with scenes of deft humor. Jim Ridley of the "Village Voice" aptly summed up the film's understated-but- real virtues: "Its poetry lies in the exaltation of ordinary detail."
The Blood of Jesus (1941)
Also known as "The Glory Road," this was among the approximately 500 "race movies" produced between 1915 and 1950 for African-American audiences and featuring all-black casts. In this film, a deeply devout woman (Cathryn Caviness) faces a spiritual crossroads after being accidentally shot, and is forced to choose between heaven and hell. Spencer Williams, who wrote, directed and starred in the film, produced the film in response to a need for spiritually-based films that spoke directly to black audiences. Long thought lost, prints were discovered in a warehouse in Tyler, Texas, in the mid-1980s.
Expanded essay by Mark S. Giles (PDF, 256 KB)
View this film at Southern Methodist University Central University Libraries External
The Blue Bird (1918)
Maurice Tourneur's beautiful expressionist adaptation of Maurice Maeterlink's play remains one of the most aesthetically pleasing films. The film is a sumptuously composed pictorial entrance into a fantasy world, which tries to teach us not to overlook the beauty of what is close and familiar.
Expanded essay by Kaveh Askari (PDF, 445 KB)
The Blues Brothers (1980)
Dan Aykroyd and John Belushi, then both best known for their star-turns as part of the "Not Ready for Prime-Time Players" troupe on TV's "Saturday Night Live," took their recurring "Blues Brothers" SNL sketch to the big screen in this loving and madcap musical misadventures of Jake and Elwood Blues on a mission from God. An homage of sorts to various classic movie genres — from screwball comedy to road movie — "The Blues Brothers" serves as a tribute to the lead duo's favorite city (Chicago) as well as a lovely paean to great soul and R&B music. In musical cameos, such legends as Cab Calloway, Ray Charles, James Brown, Aretha Franklin and John Lee Hooker all ignite the screen. Added to the National Film Registry in 2020.
Interview with Dan Aykroyd (PDF, 2MB)
Interview with John Landis (PDF, 2MB)
Body and Soul (1925)
One of the truly unique pioneers of cinema, African-American producer/director/writer/distributor Oscar Micheaux somehow managed to get nearly 40 films made and seen despite facing racism, lack of funding, the capricious whims of local film censors and the independent nature of his work. Most of Micheaux's films are lost to time or available only in incomplete versions, with the only extant copies of some having been located in foreign archives. Nevertheless, what remains shows a fearless director with an original, daring and creative vision. Film historian Jacqueline Stewart says Micheaux's films, though sometimes unpolished and rough in terms of acting, pacing and editing, brought relevant issues to the black community including "the politics of skin color within the black community, gender differences, class differences, regional differences especially during this period of the Great Migration." For "Body and Soul," renaissance man Paul Robeson, who had gained some fame on the stage, makes his film debut displaying a blazing screen presence in dual roles as a charismatic escaped convict masquerading as a preacher and his pious brother. The George Eastman Museum has restored the film from a nitrate print, producing black-and-white-preservation elements and later restoring color tinting using the Desmet method.
Bohulano Family Film Collection (1950s-1970s)
Delfin Paderes Bohulano and Concepcion Moreno Bohulano recorded their family life for more than 20 years. Shot primarily in Stockton, California, their collection documents the history of the Filipinx community (once the largest in the country) during a period of significant immigration. The couple moved to the United States following American military service during World War II. They were involved in the local Filipino American community, including the building of Stockton's new Filipino Center in the early 1970s. The movies record community events, family gatherings, trips to New York, Atlantic City, and Washington, DC, as well as the family's 1967 visit to the Philippines. The 15-reel collection is shot on Super 8mm, 8mm, and 16mm, and in color and silent. Preserved by the Center for Asian American Media. Added to the National Film Registry in 2023.
Bonnie and Clyde (1967)
Setting filmmaking and style trends that linger today, "Bonnie and Clyde" veered from comedy to social commentary to melodrama and caught audiences unaware, especially with its graphic ending. The violence spawned many detractors, but others saw the artistry beyond the blood and it earned not only critical succes which eventually showed at thebox office. Arthur Penn deftly directs David Newman and Robert Benton's script, aided by the film's star and producer Warren Beatty, who was always eager to push the envelope. Faye Dunaway captures the Depression-era yearning for glamour and escape from poverty and hopelessness.
Expanded essay by Richard Schickel (PDF, 530KB)
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Born Yesterday (1950)
Judy Holliday's sparkling lead performance as not-so-dumb "dumb blonde" Billie Dawn anchors this comedy classic based on Garson Kanin's play and directed for the screen by George Cukor. Kanin's satire on corruption in Washington, D.C., adapted for the screen by Albert Mannheimer, is full of charm and wit while subtly addressing issues of class, gender, social standing and American politics. Holliday's work in the film (a role she had previously played on Broadway) was honored with the Academy Award for Best Actress and has endured as one of the era's most finely realized comedy performances.
Expanded essay by Ariel Schudson (PDF, 394KB)
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Boulevard Nights (1979)
"Boulevard Nights" had its genesis in a screenplay by UCLA student Desmond Nakano about Mexican-American youth and the lowrider culture. Director Michael Pressman and cinematographer John Bailey shot the film in the barrios of East Los Angeles with the active participation of the local community (including car clubs and gang members). This street-level strategy using mostly non-professional actors produced a documentary-style depiction of the tough choices faced by Chicano youth as they come of age and try to escape or navigate gang life ("Two brothers...the street was their playground and their battleground"). In addition to "Boulevard Nights," this era featured several films chronicling youth gangs and rebellion — "The Warriors" (1979), "Over the Edge" (1979), "Walk Proud" (1979) and "The Outsiders" (1983). The film faced protests and criticism from some Latinos who saw outsider filmmakers, albeit well-intentioned, adopting an anthropological perspective with an excessive focus on gangs and violent neighborhoods. Nevertheless, "Boulevard Nights" stands out as a pioneering snapshot of East L.A. and enjoys semi-cult status in the lowrider community.
Boys Don't Cry (1999)
Director Kimberly Peirce made a stunning debut with this searing docudrama based on the infamous 1993 case of a young Nebraska transgender man who is brutally raped and murdered (along with two other people) in a small Nebraska town. Released a year after the killing of Matthew Shepard, a gay student at the University of Wyoming, the film brought the issue of hate crimes clearly into the American public spotlight. Sometimes compared to Theodore Dreiser's "An American Tragedy," "Boys" raised issues that are still relevant 20 years later: intolerance, prejudice, the lack of opportunity in small towns, conceptions of self, sexual identity, diversity and cultural, sexual and social mores. New York Times' critic Janet Maslin lauded the film for not taking the usual plot routes: "Unlike most films about mind-numbing tragedy, this one manages to be full of hope." Several things helped create that result, particularly the performance of 22-year-old Hilary Swank, who won an Oscar as Brandon.
Boyz N the Hood (1991)
In his film debut, John Singleton wrote and directed this thought-provoking look at South Central L.A.'s black community. A divorced father (Larry Fishburne) struggles to raise his son, Tre (Cuba Gooding, Jr.) in a world where violence is a fact of life. Tre is torn by his desire to live up to his father's expectations and pressure from friends pushing him toward the gang culture. Roger Ebert praised the film for its "maturity and emotional depth," calling it "an American film of enormous importance." The lead players are backed by strong supporting performances from Ice Cube, Morris Chestnut, Tyre Ferrell, Angela Bassett and Nia Long.
Brandy in the Wilderness (1969)
This introspective "contrived diary" film by Stanton Kaye features vignettes from the relationship of a real-life couple, in this case the director and his girlfriend. An evocative 1960s time capsule—reminiscent of Jim McBride's "David Holzman's Diary"—this simulated autobiography, as in many experimental films, often blurs the lines between reality and illusion, moving in non-linear arcs through the ever-evolving and unpredictable interactions of relationships, time and place. As Paul Schrader notes, "it is probably quite impossible (and useless) to make a distinction between the point at which the film reflects their lives, and the point at which their lives reflect the film." "Brandy in the Wilderness" remains a little-known yet key work of American indie filmmaking.
This article by director Paul Schrader originally appeared in the Fall 1971 issue of "Cinema Magazine." (PDF, 1764KB)
Bread (1918)
Billed as a "sociological photodrama, "Bread" tells the story of a naïve young woman in a narrow-minded town who journeys to New York to become a star but faces disillusionment when she learns that sex is demanded as the price for fame. Ida May Park, director and scenarist of "Bread," was among more than a half-dozen prolific women directors working at the Universal Film Manufacturing Company during the period in which Los Angeles became the home of America's movie industry. Park directed 14 feature-length films between 1917 and 1920, and her career as a scenarist lasted until 1931. She reasoned that because the majority of movie fans were women, "it follows that a member of the sex is best able to gauge their wants in the form of stories and plays." In an essay Park contributed to the book "Careers for Women," she stated that women were advantaged as motion picture directors because of "the superiority of their emotional and imaginative faculties." In the two surviving reels of "Bread," one of only three films Park directed that are currently known to exist, she displays an accomplished ability to knowingly vivify her protagonist's plight as she fends off an attacker and places her frail hopes in a misshapen loaf of bread that has come to symbolize for her the good things in life.
Breakfast at Tiffany's (1961)
Truman Capote's acclaimed novella—the bitter story of self-invented Manhattan call girl Holly Golightly—arrived on the big screen purged of its risqué dialogue and unhappy ending. George Axelrod's screenplay excised explicit references to Holly's livelihood and added an emotionally moving romance, resulting, in Capote's view, in "a mawkish valentine to New York City." Capote believed that Marilyn Monroe would have been perfect for the film and judged Audrey Hepburn, who landed the lead, "just wrong for the part." Critics and audiences, however, have disagreed. The Los Angeles Times stated, "Miss Hepburn makes the complex Holly a vivid, intriguing figure." Feminist critics in recent times have valued Hepburn's portrayals of the period as providing a welcome alternative female role model to the dominant sultry siren of the 1950s. Hepburn conveyed intelligent curiosity, exuberant impetuosity, delicacy combined with strength, and authenticity that often emerged behind a knowingly false facade. Critics also have lauded the movie's director Blake Edwards for his creative visual gags and facility at navigating the film's abrupt changes in tone. Composer Henry Mancini's classic "Moon River," featuring lyrics by Johnny Mercer, also received critical acclaim. Mancini considered Hepburn's wistful rendition of the song on guitar the best he had heard.
The Breakfast Club (1985)
John Hughes, who had previously given gravitas to the angst of adolescence in his 1984 film, "Sixteen Candles," further explored the social politics of high school in this comedy/character study produced one year later. Set in a day-long Saturday detention hall, the film offers an assortment of American teen-age archetypes such as the "nerd," "jock," and "weirdo." Over the course of the day, labels and default personas slip away as members of this motley group actually talk to each other and learn about each other and themselves. "The Breakfast Club" is a comedy that delivers a message with laughs. Thirty years later, the movie's message is still vivid. Written and directed by Hughes, the film's cast includes Molly Ringwald, Anthony Michael Hall, Judd Nelson, Emilio Estevez and Ally Sheedy.
The Bride of Frankenstein (1935)
Director James Whale took his success with "Frankenstein," added humor and thus created a cinematic hybrid that perplexed audiences at first glance but captivated them by picture's end. Joined eventually by a mate (Elsa Lanchester), the Frankenstein monster (Boris Karloff reprising his role and investing the character with emotional subtlety) evolves into a touchingly sympathetic character as he gradually becomes more human. Ernest Thesiger as Dr. Pretorious is captivatingly bizarre. Many film historians consider "Bride," with its surreal visuals, superior to the original.
Expanded essay by Richard T. Jameson, (PDF, 672KB) examines "Frankenstein" and "Bride of Frankenstein" in a single entry.
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The Bridge on the River Kwai (1957)
At the heart of David Lean's antiheroic war epic about a band of British POWs forced to build a bridge in the wilds of Burma is the notion of men clinging to their sanity by clinging to military tradition. The film's cast, which reflects a broad spectrum of acting styles, includes Alec Guinness as the British commanding officer and Sessue Hayakawa as his Japanese counterpart, and William Holden as an American soldier who escapes from the camp and Jack Hawkins as the British major who convinces him to return and help blow up the bridge. Lean elects to keep the musical score to a minimum and instead plays up tension with nature sounds punctuating the action. For many film critics and historians, "Bridge on the River Kwai" signals a shift in Lean's directorial style from simpler storytelling toward the more bloated epics that characterized his later career.
Sessue Hayakawa and Alec Guinness in a scene from "The Bridge On The River Kwai"
Bringing Up Baby (1938)
In this fast-paced screwball comedy from director Howard Hawks, Susan Vance (Katharine Hepburn), an eccentric heiress with a pet leopard named Baby, proves a constant irritant to paleontologist David Huxley (Cary Grant), who is trying to raise $1 million to complete his dinosaur skeleton reconstruction project. Based on a short story by Hagar Wilde, Hawks worked closely with Wilde and screenwriter Dudley Nichols to perfect the script, in which the role of Susan Vance was written specifically with Hepburn in mind. Although now considered a cinematic classic, "Bringing Up Baby" received mixed critical reviews upon release and performed well in only certain areas of the United States, thus reaffirming the film industry's then-current view of Hepburn as "box office poison." Significantly, "Bringing Up Baby" is possibly the first American film to use the term "gay" as a reference to homosexuality.
Expanded essay by Michael Schlesinger (PDF, 25KB)
Broadcast News (1987)
James L. Brooks wrote, produced and directed this comedy set in the fast-paced, tumultuous world of television news. Shot mostly in dozens of locations around the Washington, D.C. area, the film stars Holly Hunter, William Hurt and Albert Brooks. Brooks makes the most of his everyman persona serving as Holly Hunter's romantic back-up plan while she pursues the handsome but vacuous Hurt. Against the backdrop of broadcast journalism (and various debates about journalist ethics), a grown-up romantic comedy plays out in a smart, savvy and fluff-free story whose humor is matched only by its honesty.
Expanded essay by Brian Scott Mednick (PDF, 432KB)
Brokeback Mountain (2005)
"Brokeback Mountain," a contemporary Western drama that won the Academy Award for best screenplay (by Larry McMurtry and Diana Ossana) and Golden Globe awards for best drama, director (Ang Lee) and screenplay, depicts a secret and tragic love affair between two closeted gay ranch hands. They furtively pursue a 20-year relationship despite marriages and parenthood until one of them dies violently, reportedly by accident, but possibly, as the surviving lover fears, in a brutal attack. Annie Proulx, the Pulitzer Prize-winning author of the short story upon which the film was based, described it as "a story of destructive rural homophobia." Haunting in its unsentimental depiction of longing, lonesomeness, pretense, sexual repression and ultimately love, "Brokeback Mountain" features Heath Ledger's remarkable performance that conveys a lifetime of self-torment through a pained demeanor, near inarticulate speech and constricted, lugubrious movements. In his review, Newsweek's David Ansen wrotes that the film was "a watershed in mainstream movies, the first gay love story with A-list Hollywood stars." "Brokeback Mountain" has become an enduring classic.
Broken Blossoms (1919)
Most associated with epics such as "Intolerance" and "The Birth of a Nation," D.W. Griffith also helmed smaller films that struck a chord with silent era audiences. "Broken Blossoms," Griffith's first title for his newly formed United Artists, is one example. Set in the slums of London, it concerns an abused 15-year-old girl, Lucy, portrayed by Lillian Gish and the former missionary turned shopkeeper Cheng Huan (Richard Barthelmess) who rescues her from her brutal father. More than a tender but chaste love story, "Broken Blossoms" entreats audiences to denounce racism and poverty.
Expanded essay by Ed Gonzalez (PDF, 495KB)
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A Bronx Morning (1931)
Part documentary and part avant-garde, this renowned city symphony was filmed by Jay Leyda when he was 21. It features sensational and stylish use of European filmmaking styles The images movingly show the resilience of people persevering with style and enthusiasm during the early years of the depression. "A Bronx Morning" won Leyda a scholarship to study with the renowned Soviet filmmaker Sergei Eisenstein. Added to the National Film Registry in 2004.
Expanded essay by Scott Simmon for the National Film Preservation Foundation (NFPF) (PDF, 284KB)
Watch it here
Buena Vista Social Club (1999)
"The best Wim Wenders documentary to date and an uncommonly self-effacing one, this 1999 concert movie about performance and lifestyle is comparable in some ways to "Latcho Drom," the great Gypsy documentary/musical. In 1996, musician Ry Cooder traveled to Havana to reunite some of the greatest stars of Cuban pop music from the Batista era (who were virtually forgotten after Castro came to power) with the aim of making a record, a highly successful venture that led to concerts in Amsterdam and New York. The players and their stories are as wonderful as the music, and the filmmaking is uncommonly sensitive and alert," wrote film critic Jonathan Rosenbaum.
The Buffalo Creek Flood: An Act of Man (1975)
This powerful documentary by the Kentucky-based arts and education center Appalshop represents the finest in regional filmmaking, providing important understanding of the environmental and cultural history of the Appalachian region. The 1972 Buffalo Creek Flood Disaster, caused by the failure of a coal waste dam, killed more than 100 people and left thousands in West Virginia homeless. Local citizens invited Appalshop to come to the area and to film a historical record, fearing that the Pittston Coal Co.'s powerful influence in the state would lead to a whitewash investigation and absolve it of any corporate culpability. Newsweek hailed the film as "a devastating expose of the collusion between state officials and coal executives."
Expanded essay by the film's director Mimi Pickering (PDF, 793KB)
Bullitt (1968)
The winding streets and stunning vistas of San Francisco, backed by a superb Lalo Schifrin score, play a central role in British director Peter Yates' film renowned for its exhilarating 11-minute car chase, arguably the finest in cinema history. In one of his most famous roles, Steve McQueen stars as tough-guy police detective Frank Bullitt. The story, based on Robert L. Pike's cr
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[] |
[] |
[
""
] | null |
[
"Ranker Film"
] |
2009-11-24T00:00:00
|
Over 300 filmgoers have voted on the 80+ films on Best Peter Cushing Movies. Current Top 3: Dracula, The Curse of Frankenstein, The Brides of Dracula
|
en
|
/img/icons/touch-icon-iphone.png
|
Ranker
|
https://www.ranker.com/list/peter-cushing-movies-and-films-and-filmography/ranker-film
|
List of the best Peter Cushing movies, ranked best to worst with movie trailers when available. Peter Cushing's highest grossing movies have received a lot of accolades over the years, earning millions upon millions around the world. The order of these top Peter Cushing movies is decided by how many votes they receive, so only highly rated Peter Cushing movies will be at the top of the list. Peter Cushing has been in a lot of films, so people often debate each other over what the greatest Peter Cushing movie of all time is. If you and a friend are arguing about this then use this list of the most entertaining Peter Cushing films to end the squabble once and for all.
If you think the best Peter Cushing role isn't at the top, then upvote it so it has the chance to become number one. The greatest Peter Cushing performances didn't necessarily come from the best movies, but in most cases they go hand in hand.
This list features Horror Express, The Hellfire Club and more.
"This list answers the questions, "What are the best Peter Cushing movies?" and "What are the greatest Peter Cushing roles of all time?"
|
||
6656
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dbpedia
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2
| 3 |
https://www.rottentomatoes.com/m/fury_at_smugglers_bay
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en
|
Fury at Smugglers Bay
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[] |
[
""
] | null |
[] | null |
An English squire's (Peter Cushing) son (John Fraser) exposes a pirate (Bernard Lee) and his gang of 19th-century shipwreckers.
|
en
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Rotten Tomatoes
|
https://www.rottentomatoes.com/m/fury_at_smugglers_bay
|
Let's keep in touch!
>
Sign up for the Rotten Tomatoes newsletter to get weekly updates on:
Upcoming Movies and TV shows
Rotten Tomatoes Podcast
Media News + More
Sign me up No thanks
|
||||
6656
|
dbpedia
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2
| 2 |
https://www.imdb.com/title/tt0057085/reviews
|
en
|
Die Bucht der Schmuggler (1961)
|
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[] |
[] |
[
"Reviews",
"Showtimes",
"DVDs",
"Photos",
"User Ratings",
"Synopsis",
"Trailers",
"Credits"
] | null |
[] | null |
Die Bucht der Schmuggler (1961) on IMDb: Movies, TV, Celebs, and more...
|
IMDb
|
https://www.imdb.com/title/tt0057085/reviews
| |||||||
6656
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0
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https://petercushingblog.blogspot.com/2012/01/
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Fair Use
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English actor (1913–1994)
Peter Wilton Cushing (26 May 1913 – 11 August 1994) was an English actor. His acting career spanned over six decades and included appearances in more than 100 films, as well as many television, stage and radio roles. He achieved recognition for his leading performances in the Hammer Productions horror films from the 1950s to 1970s, and as Grand Moff Tarkin in Star Wars (1977).
Born in Kenley, Surrey, Cushing made his stage debut in 1935 and spent three years at a repertory theatre before moving to Hollywood to pursue a film career. After making his motion-picture debut in the film The Man in the Iron Mask (1939), Cushing began to find modest success in American films before returning to England at the outbreak of the Second World War. Despite performing in a string of roles, including one as Osric in Laurence Olivier's film adaptation of Hamlet (1948), Cushing struggled to find work during this period. His career was revitalised once he started to work in live television plays, and he soon became one of the most recognisable faces in British television. He earned particular acclaim for his lead performance as Winston Smith in a BBC adaptation of George Orwell's Nineteen Eighty-Four (1954).
Cushing gained worldwide fame for his appearances in twenty-two horror films from the Hammer studio, particularly for his role as Baron Frankenstein in six of their seven Frankenstein films and Doctor Van Helsing in five Dracula films. Cushing often appeared alongside actor Christopher Lee, who became one of his closest friends, and occasionally with the American horror star Vincent Price. Cushing appeared in several other Hammer films, including The Abominable Snowman (1957), The Mummy and The Hound of the Baskervilles (both 1959), the last of which marked the first of the several occasions he portrayed the detective Sherlock Holmes. Cushing continued to perform in a variety of roles, although he was often typecast as a horror film actor. He played Dr. Who in Dr. Who and the Daleks (1965) and Daleks' Invasion Earth 2150 A.D. (1966) and became even better known through his part in the original Star Wars film. Cushing continued acting into the early to mid-1990s and wrote two autobiographies.
Early life
[edit]
Peter Wilton Cushing was born in Kenley, then a village in the English county of Surrey, on 26 May 1913 to George Edward Cushing (1881–1956) and Nellie Marie (née King) Cushing (1882–1961).[2] His father, a quantity surveyor, was a reserved and uncommunicative man whom Peter said he never got to know very well. His mother was the daughter of a carpet merchant and considered of a lower class than her husband.[3] Cushing's family consisted of several stage actors, including his paternal grandfather Henry William Cushing (who toured with Henry Irving),[4] his paternal aunt Maude Cushing (his father's sister) and his step-uncle Wilton Herriot, after whom Peter Cushing received his middle name.[3]
The Cushing family lived in Dulwich during the First World War, but moved to Purley after the war ended in 1918.[5] Although raised during wartime, Cushing was too young to understand or become greatly affected by it, and was shielded from the horrors of war by his mother, who encouraged him to play games under the kitchen table whenever the threat of possible bombings arose.[3] In his infancy, Cushing twice developed pneumonia and once what was then known as "double pneumonia". The latter was often fatal during that period, although he survived.[5] During one Christmas in his youth, Cushing saw a stage production of Peter Pan, which served as an early source of inspiration and interest in acting.[6] Cushing loved dressing up and make believe from an early age, and later claimed he always wanted to be an actor, "perhaps without knowing at first."[7] A fan of comics and toy collectibles in his youth, Cushing earned money by staging puppet shows for family members with his glove-puppets and toys.[8]
He began his early education in Dulwich, South London, before attending the Shoreham Grammar School in Shoreham-by-Sea, on the Sussex coast between Brighton and Worthing. Prone to homesickness, he was miserable at the boarding school and spent only one term there before returning home.[9] He attended the Purley County Grammar School, where he swam and played cricket and rugby.[5] With the exception of art, Cushing was a self-proclaimed poor student in most subjects and had little attention span for that which did not interest him. He got fair grades only through the help of his brother, a strong student who did his homework for him.[7] Cushing harboured aspirations for the arts all throughout his youth, especially acting. His childhood inspiration was Tom Mix, an American film actor and star of many Western films.[10] D.J. Davies, the Purley County Grammar School physics teacher who produced all the school's plays, recognised some acting potential in him and encouraged him to participate in the theatre, even allowing Cushing to skip class to paint sets. He played the lead in nearly every school production during his teenage years, including the role of Sir Anthony Absolute in a 1929 staging of Richard Brinsley Sheridan's comedy of manners play, The Rivals.[11]
Cushing wanted to enter the acting profession after school, but his father opposed the idea, despite the theatrical background of several of his family members. Instead, seizing upon Cushing's interest in art and drawing, he got his son a job as a surveyor's assistant in the drawing department of the Coulsdon and Purley Urban District Council's surveyor's office during the summer of 1933.[11] Cushing hated the job, where he remained for three years without promotion or advancement due to his lack of ambition in the profession. The only enjoyment he got out of it was drawing prospectives of proposed buildings, which were almost always rejected because they were too imaginative and expensive and lacked strong foundations, which Cushing disregarded as a "mere detail."
Thanks to his former teacher Davies, Cushing continued to appear in school productions during this time, as well as amateur plays such as W. S. Gilbert's Pygmalion and Galatea,[12] George Kelly's The Torch-Bearers, and The Red Umbrella, by Brenda Girvin and Monica Cosens.[13] Cushing often learned and practised his lines in an attic at work, under the guise that he was putting ordnance survey maps into order. He regularly applied for auditions and openings for roles he found in the arts-oriented newspaper The Stage, but was turned down repeatedly due to his lack of professional experience in the theatre.[12]
Career
[edit]
Early films and acting
[edit]
Cushing eventually applied for a scholarship at the Guildhall School of Music and Drama in London.[14] His first audition was before the actor Allan Aynesworth, who was so unimpressed with Cushing's manner of speech that he rejected him outright and insisted he not return until he improved his diction.[13][15] Cushing continued to pursue a scholarship, writing twenty-one letters to the school,[15] until actor and theatre manager Bill Fraser finally agreed to meet Cushing in 1935 simply so he could ask him in person to stop writing. During that meeting, Cushing was given a walk-on part as a courier in that night's production of J.B. Priestley's Cornelius. This marked his professional stage debut, although he had no lines and did little more than stand on stage behind other actors. Afterward, he was granted the scholarship and given odd jobs around the theatre, such as selling refreshments and working as an assistant stage manager.[13]
One of his earliest professional stage performances was in 1935 as Captain Randall in Ian Hay's The Middle Watch at the Connaught Theatre in Worthing.[16][17] By the end of the summer of 1936, Cushing accepted a job with the repertory theatre company Southampton Rep, working as assistant stage manager and performing in bit roles at the Grand Theatre in the Hampshire city.[13] He spent the next three years in an apprenticeship at Southampton Rep.,[10] auditioning for character roles both there and in other surrounding theatres, eventually amassing almost 100 individual parts.[13][18] While he was in Southampton, he met an 18-year-old fellow actor, Doreen Lawrence, and they were engaged to be married. Lawrence broke off the engagement, citing his frequent crying and bringing his parents on dates.[19]
Soon, he felt the urge to pursue a film career in the United States. In 1939, his father bought him a one-way ticket to Hollywood, where he moved with only £50 to his name.[10] Cushing met a Columbia Pictures employee named Larry Goodkind, who wrote him a letter of recommendation and directed him to acquaintances Goodkind knew at the company Edward Small Productions. Cushing visited the company, which was only a few days away from shooting The Man in the Iron Mask (1939), the James Whale-directed adaptation of the Alexandre Dumas tale based on the French legend of a prisoner during the reign of Louis XIV of France.[20] Cushing was hired as a stand-in for scenes that featured both characters played by Louis Hayward, who had the dual lead roles of King Louis XIV and Philippe of Gascony. Cushing played one part against Hayward in one scene, then the opposite part in another, and ultimately the scenes were spliced together in a split screen process that featured Hayward in both parts and left Cushing's work cut from the film altogether.[18] Although the job meant Cushing received no actual screen time, he was eventually cast in a bit part as the king's messenger, which made The Man in the Iron Mask his official film debut.[21] The small role involved sword-fighting and, although Cushing had no experience with fencing, he told Whale he was an excellent fencer to ensure he got the part. Cushing later said his unscreened scenes alongside Hayward were terrible performances, but that his experience on the film provided an excellent opportunity to learn and observe how filming on a studio set worked.[20]
Only a few days after filming on The Man in the Iron Mask was completed, Cushing was in the Schwab's Drug Store, a famous Sunset Boulevard hangout spot for actors, when he learned producer Hal Roach was seeking an English actor for a comedy film starring Laurel and Hardy. Cushing sought and was cast in the role. Cushing appeared only briefly in A Chump at Oxford (1940) and his scenes took just one week to film, but he was proud to work with whom he called "two of the greatest comedians the cinema has ever produced."[22] Around this time actor Robert Coote, who met Cushing during a cricket game, recommended to director George Stevens that Cushing might be good for a part in Stevens' upcoming film Vigil in the Night (1940). Adapted from a serial novella of the same name, it was a drama film about a nurse played by Carole Lombard working in a poorly-equipped country hospital. Stevens cast Cushing in the second male lead role of Joe Shand, the husband of the Lombard character's sister. Shooting ran from September to November 1939,[23] and the film was released in 1940, drawing Cushing's first semblance of attention and critical praise.[10]
Cushing continued to work in a few Hollywood engagements, including an uncredited role in the war film They Dare Not Love (1941), which reunited him with director James Whale. Cushing was cast (again uncredited) in one of a series of short films in an entry in the MGM series The Passing Parade, which focused on strange-but-true historical events. He appeared in the episode The Hidden Master (1940) as a young Clive of India, well before the soldier established the military and political supremacy of the East India Company. In the film, Clive tries to shoot himself twice but the gun misfires, then he fires a third time at a pitcher of water and the gun works perfectly. Clive takes this to be an omen that he should live, and he goes on to perform great feats in his life. Studio executives were pleased with Cushing's performance, and there was talk among Hollywood insiders grooming him for stardom.[24] Despite the promise, however, Cushing grew homesick and decided he wished to return to England. He moved to New York City in anticipation of his eventual return home, during which time he voiced a few radio commercials and joined a summer stock theatre company to raise money for his voyage back to England. He performed in such plays as Robert E. Sherwood's The Petrified Forest, Arnold Ridley's The Ghost Train, S. N. Behrman's Biography and a modern dress version of William Shakespeare's Macbeth. He was eventually noticed by a Broadway theatre talent scout,[25] and in 1941 he made his Broadway debut in the religious wartime drama The Seventh Trumpet. It received poor reviews, however, and ran for only eleven days.[18]
Return to England and theatrical work
[edit]
Cushing returned to England during the Second World War. Although some childhood injuries prevented him from serving on active duty,[10] a friend suggested he entertain the troops by performing as part of the Entertainments National Service Association.[15][26] In 1942, the Noël Coward play Private Lives was touring the military stations and hospitals in the British Isles, and the actor playing the lead role of Elyot Chase was called to service. Cushing agreed to take his place with very little notice or time to prepare, and earned a salary of ten pounds a week for the job.[27] During this tour he met Violet Hélène "Helen" Beck, a former dancer who was starring in the lead female role of Amanda Prynne.[14][28] They fell in love and were married on 10 April 1943.[29] Cushing eventually had to leave ENSA due to lung congestion, an ailment his wife helped him recover from.[15] The two had little money around this time, and Cushing had to collect from both National Assistance and the Actors' Benevolent Fund. Cushing struggled to find work during this period, with some plays he was cast in failing to even make it past rehearsals into theatres. Others closed after a few showings, like an ambitious five-hour stage adaptation of Leo Tolstoy's novel War and Peace that opened and closed in 1943 in London's Phoenix Theatre.[29]
Cushing recorded occasional radio spots and appeared in week-long stints as a featured player in London's Q Theatre, but otherwise work was difficult to come by.[18] He found a modest success in a 1945 production of Sheridan's The Rivals at Westminster's Criterion Theatre, which earned him enough money to pay off some growing debts.[30] The war years continued to prove difficult for him, however, and at one point he was forced to work designing ladies head-scarves at a Macclesfield-based silk manufacturer to make ends meet.[18] In the autumn of 1946, after the war ended, Cushing unsuccessfully auditioned for the part of Paul Verrall in a stage production of the play Born Yesterday that was being staged by famed actor and director Laurence Olivier. He was not cast because he insisted he could not perform in an American accent.[18] After Cushing attempted the accent and failed, Olivier replied, "Well, I appreciate you not wasting my time. I shall remember you."[31] Nearing middle age and finding it increasingly harder to make a living in acting, Cushing began to consider himself a failure.[10]
In 1947, when Laurence Olivier sought him out for his film adaptation of Shakespeare's Hamlet, Cushing's wife Helen pushed him to pursue a role.[10] Far from being deterred by Cushing's unsuccessful audition the year before, Olivier remembered the actor well and was happy to cast him,[10][18] but the only character left unfilled was the relatively small part of the foppish courtier Osric.[10] Cushing accepted the role, and Hamlet (1948) marked his British film debut.[21] One of Cushing's primary scenes involved Osric talking to Hamlet and Horatio while walking down a wide stone spiral stairway. The set provided technical difficulties, and all of Cushing's lines had to be post-synched. Cushing had recently undergone dental surgery and he was trying not to open his mouth widely for fear of spitting. When this hindered the post-synching process, Olivier leaned in close to Cushing's face and said, "Now drown me. It'll be a glorious death, so long as I can hear what you're saying."[32]
Hamlet won the Academy Award for Best Picture, and earned Cushing praise for his performance.[14] Also appearing in the film was Christopher Lee, who eventually became a close friend and frequent co-star with Cushing.[33] Cushing designed custom hand-scarves in honour of the Hamlet film, and as it was being exhibited across England, the scarves were eventually accepted as gifts by the Queen and her daughter Princess Elizabeth.[15] After Hamlet, both Peter and Helen Cushing accepted a personal invitation from Olivier to join Old Vic, Olivier's repertory theatre company, which embarked on a year-long tour of Australasia.[18] The tour, which lasted until February 1949, took them to Melbourne, Sydney, Brisbane, Hobart, Tasmania, Auckland, Wellington, Christchurch and Dunedin, and included performances of Richard Brinsley Sheridan's The School for Scandal, Shakespeare's Richard III, Thornton Wilder's The Skin of Our Teeth, Jean Anouilh's Antigone and Anton Chekhov's The Proposal.[34]
Success in television and major films
[edit]
Cushing struggled greatly to find work over the next few years, and became so stressed that he felt he was suffering from an extended nervous breakdown.[34] Nevertheless, he continued to appear in several small roles in radio, theatre and film.[10][35] Among them was the John Huston film Moulin Rouge (1952) in which he played a racing spectator named Marcel de la Voisier appearing with José Ferrer, who played the artist Henri de Toulouse-Lautrec.[21] During this discouraging period for Cushing, his wife encouraged him to seek roles in television, which was beginning to develop in England.[10] She suggested he write to all the producers listed in the Radio Times magazine seeking work in the medium. The move proved to be a wise one, as Cushing was hired to complement the cast of a string of major theatre successes that were being adapted to live television. The first was J.B. Priestley's Eden End, which was televised in December 1951. Over the next three years, he became one of the most active and favoured names in British television,[10][15][35] and was considered a pioneer in British television drama.[21][28]
He earned praise for playing the lead male role of Mr. Darcy in an early BBC Television serialisation of Jane Austen's Pride and Prejudice (1952).[36] Other successful television ventures during this time included Epitaph for a Spy, The Noble Spaniard, Beau Brummell,[35] Portrait by Peko,[37] and Anastasia, the latter of which won Cushing the Daily Mail National Television Award for Best Actor of 1953–54.[35] His largest television success from this period was the leading role of Winston Smith in Nineteen Eighty-Four, (1954) an adaptation by Nigel Kneale of George Orwell's novel of the same name about a totalitarian regime. The production proved to be controversial, resulting in death threats for director Rudolph Cartier and causing Cushing to be vilified for appearing in such "filth."[35] Parliament even considered a motion immediately after the first screening to ban the play's live repeat.[28][35] Nevertheless, a second televised production was filmed and aired, and Cushing eventually drew both critical praise and acting awards, further cementing his reputation as one of Britain's biggest television stars.[10] Cushing felt his first performance was much stronger than the second, but the second production is the only known surviving version.[38]
In the two years following Nineteen Eighty-Four, Cushing appeared in thirty-one television plays and two serials, and won Best Television Actor of the Year from the Evening Chronicle. He also won best actor awards from the Guild of Television Producers in 1955,[39] and from the British Academy of Film and Television Arts in 1956.[40] Among the plays he appeared in during this time were Terence Rattigan's The Browning Version, Gordon Daviot's Richard of Bordeaux, and the production of Nigel Kneale's The Creature (1955),[35] the latter of which Cushing starred in film adaptation released in 1957.[41] Despite this continued success in live television, Cushing found the medium too stressful and wished to return to film.[10] Cinematic roles proved somewhat difficult to find, however, as film producers were often resentful of television stars for drawing audiences away from the cinema.[42]
Nevertheless, he continued to work in some film roles during this period, including the adventure film The Black Knight (1954) opposite Alan Ladd.[39] For that film, he travelled to Spain and filmed scenes on location in the castles of Manzanares el Real and El Escorial.[43] He also starred in the film adaptation of the Graham Greene novel The End of the Affair (1955) as Henry Miles, an important civil servant and the cuckolded husband of Sarah Miles, played by Deborah Kerr.[21] Also around the same time, he appeared in Magic Fire (also 1955), an autobiographical film about the German composer Richard Wagner. Filmed on location in Munich, Cushing played Otto Wesendonck, the husband of poet Mathilde Wesendonck, who in the film is portrayed as having an affair with Wagner.[44]
Hammer Frankenstein films
[edit]
During a brief quiet period following Cushing's television work, he read in trade publications about Hammer, a low-budget production company seeking to adapt Mary Shelley's horror novel Frankenstein into a new film.[39] Cushing, who enjoyed the tale as a child,[10] had his agent John Redway inform the company of Cushing's interest in playing the protagonist, Baron Victor Frankenstein. The studio executives were anxious to have Cushing; in fact, Hammer co-founder James Carreras had been unsuccessfully courting Cushing for film roles in other projects even before his major success with Nineteen Eighty-Four. Cushing was about twenty years older than Baron Frankenstein as he appeared in the original novel, but that did not deter the filmmakers.[39] Cushing was cast in the lead role of The Curse of Frankenstein (1957), marking the first of twenty-two films he made for Hammer.[45] He later said that his career decisions entailed selecting roles where he knew that he would be accepted by the audience. "Who wants to see me as Hamlet? Very few. But millions want to see me as [Baron] Frankenstein, so that's the one I do."[46] The film critic Roger Ebert described Cushing's work in the Hammer films: "[Cushing is] the one in all those British horror films, standing between Vincent Price and Christopher Lee. His dialog usually runs along the lines of, 'But good heavens, man! The person you saw has been dead for more than two centuries!'"[47]
Unlike Frankenstein (1931) produced by Universal, the Hammer films revolved mainly around Victor Frankenstein, rather than his monster.[48] Screenwriter Jimmy Sangster wrote the protagonist as an ambitious, egotistical and coldly intellectual scientist who despised his contemporaries.[39] Unlike the character from the novel and past film versions, Cushing's Baron Frankenstein commits vicious crimes to attain his goals, including the murder of a colleague to obtain a brain for his creature.[48] The Curse of Frankenstein also featured Christopher Lee, who played Frankenstein's monster.[21] Cushing and Lee became extremely close friends, and remained so for the rest of Cushing's life. They first met on the set of the film, where Lee was still wearing the monster make-up prepared by Phil Leakey. Hammer Studios' publicity department put out a story that when Cushing first encountered Lee without the make-up on, he screamed in terror.[49]
Cushing so valued preparation for his role that he insisted on being trained by a surgeon to learn how to wield a scalpel authentically.[28] Shot in dynamic colour with a £65,000-budget, the film became known for its heavy usage of gore and sexual content.[10] As a result, while the film did well at the box-office with its target audience, it drew mixed to negative reviews from the critics. Most, however, were complimentary of Cushing's performance,[50] claiming it added a layer of distinction and credibility to the film.[51] Many felt Cushing's performance helped create the archetypal mad scientist character.[28] Picturegoer writer Margaret Hinxman, who was not complimentary of Lee's performance, praised Cushing and wrote of the film: "Although this shocker may not have created much of a monster, it may well have created something more lasting: a star!"[50] Donald F. Glut, a writer and filmmaker who wrote a book about the portrayals of Frankenstein, said the inner warmth of Cushing's off-screen personality was apparent on-screen even despite the horrific elements of Frankenstein, which helped add a layer of likability to the character.[52]
The Curse of Frankenstein was an overnight success, bringing both Cushing and Lee worldwide fame.[21][53] The two men continued to work together in many films for Hammer, and their names became synonymous with the company. Cushing reprised the role of Baron Victor Frankenstein in five sequels.[21] In the first, The Revenge of Frankenstein (1958), his protagonist is sentenced to death by guillotine, but he flees and hides under the alias Doctor Victor Stein.[21] He returned for The Evil of Frankenstein (1963), where the Baron has a carnival hypnotist resurrect his monster's inactive brain,[54] and Frankenstein Created Woman (1967), in which the Frankenstein's monster is a woman played by Playboy magazine centrefold model Susan Denberg. Cushing played the lead role twice more in Frankenstein Must Be Destroyed (1969) and Frankenstein and the Monster from Hell (1974).[21] The former film portrays Frankenstein as a far more ruthless character than had been seen before, and features a scene in which Cushing's Frankenstein rapes the character played by Veronica Carlson. Neither Carlson nor Cushing wanted to do the scene, filmed despite director Terence Fisher's objections, and the controversial sequence was edited out of the film for its American release.[55] In Frankenstein and the Monster from Hell, Cushing portrayed Frankenstein as having gone completely mad, in a fitting coda to the earlier films.[56][57]
Hammer Dracula films
[edit]
When Hammer sought to adapt Bram Stoker's classic vampire novel Dracula, they cast Cushing to play the vampire's adversary Doctor Van Helsing. Cushing envisioned the character as an idealist warrior for the greater good, and studied the original book carefully and adapted several of Van Helsing's characteristics from the books into his performance, including the repeated gesture of raising his index finger to emphasise an important point.[58] Cushing said one of the biggest challenges during filming was not missing whenever he struck a prop stake with a mallet and drove it into a vampire's heart.[59] Dracula was released in 1958, with Cushing once again starring opposite Lee, who played the title character, although Cushing was given top billing.[60] During filming, Cushing himself suggested the staging for the final confrontation scene, in which Van Helsing leaps onto a large library table, opens window curtains to weaken Dracula with sunlight, then uses two candlesticks as a makeshift crucifix to drive the vampire into the sunlight.[10] As with the Frankenstein film, critics largely disliked Dracula because of its violence and sexual content, deeming it inferior to the 1931 Universal version.[61]
In 1959, Cushing agreed to reprise the role of Van Helsing in the sequel, The Brides of Dracula (1960). Before filming began, however, Cushing said he had reservations about the screenplay written by Jimmy Sangster and Peter Bryan. As a result, playwright Edward Percy was brought in to make modifications to the script, though the rewrites pushed filming into early 1960 and brought additional costs to the production.[62] For the sequel, Dracula: Prince of Darkness (1966), which marked Lee's return to the title role for the first time since 1958, Cushing granted permission for archival footage featuring him to be used in the opening scene, a reprisal of the climax from the first Dracula film. In exchange, Hammer's James Carreras thanked Cushing by paying for extensive roofing repair work that had recently been done on Cushing's recently purchased Whitstable home.[63] Cushing appeared in Dracula A.D. 1972 (1972), a Hammer modernisation of the Dracula story set in the then-present day. Lee once again starred as Dracula. In the opening scene, Cushing portrays the nineteenth century Van Helsing as he did in the previous films, and the character is killed after battling Dracula. Thereafter the action jumps ahead to 1972, and Cushing plays the original character's grandson for the bulk of the movie.[21] Cushing performed many of his own stunts in Dracula A.D. 1972, which included tumbling off a haywagon during a fight with Dracula. Christopher Neame, who also starred in the film, said he was particularly impressed with Cushing's agility and fitness, considering his age.[64] Cushing and Lee both reprised their respective roles in the sequel The Satanic Rites of Dracula (1974), which was known in the United States as Count Dracula and his Vampire Bride.[21] Around the same time, Cushing played the original nineteenth-century Van Helsing in The Legend of the 7 Golden Vampires (also 1974), a co-production between Hammer Studios and the Shaw Brothers Studio, which brought Chinese martial arts into the Dracula story.[21] In that film, Cushing's Van Helsing travels to the Chinese city Chongqing, where Count Dracula is heading a vampire cult.[65]
Other Hammer roles
[edit]
Although most well known for his roles in the Frankenstein and Dracula films, Cushing appeared in a wide variety of other Hammer productions during this time. Both he and his wife feared that he would become typecast into horror roles, but he continued to take them because they guaranteed regular work.[42][66] He appeared in the horror film The Abominable Snowman (1957), a Hammer adaptation of a BBC Nigel Kneale television play The Creature (1955) which Cushing had also starred in. He portrayed an English botanist searching the Himalayas for the legendary Yeti.[41] Director Val Guest said he was particularly impressed with Cushing's preparation and ability to plan which props to best use to enhance his performance, so much so that Cushing started to become known as "Props Peter".[67] Cushing and Lee appeared together in the Hammer horror The Mummy (1959), with Cushing as the archaeologist John Banning and Lee as the antagonist Kharis.[10] Cushing saw a promotional poster for The Mummy that showed Lee's character with a large hole in his chest, allowing a beam of light to pass through his body. There was no reference to such an injury in the film script, and when he asked the publicity department why it was on the poster, they said it was simply meant to serve as a shocking image to promote the movie. During filming, he asked director Terence Fisher for permission to drive a harpoon through the mummy's body during a fight scene to explain the poster image. Fisher agreed, and the scene was used in the film.[68]
Around the same time, he portrayed the detective Sherlock Holmes in the Hammer production of The Hound of the Baskervilles (also 1959), an adaptation of Sir Arthur Conan Doyle's novel of the same name.[21] He again co-starred opposite Lee, who portrayed the aristocratic Sir Henry Baskerville.[33] A huge fan of Sherlock Holmes, Cushing was highly anxious to play the character,[69] and reread the novels in anticipation of the role.[70] Hammer decided to heighten the source novel's horror elements, which upset the estate of Conan Doyle, but Cushing himself voiced no objection to the creative licence because he felt the character of Holmes himself remained intact. However, when producer Anthony Hinds proposed removing the character's deerstalker, Cushing insisted they remain because audiences associated Holmes with his headgear and pipes.[71] He prepared extensively for the role, studying the novel and taking notes in his script. He scrutinised the costumes and screenwriter Peter Bryan's script, often altering words or phrases.[72] Lee later claimed to be awestruck by Cushing's ability to incorporate many different props and actions into his performance simultaneously, whether reading, smoking a pipe, drinking whiskey, filing through papers, or other things while portraying Holmes.[73] In later years, Cushing considered his Holmes performance one of the finest accomplishments of his career.[69] He drew generally mixed reviews: Film Daily called it a "tantalising performance" and Time Out's David Pirie called it "one of his very best performances",[74] while the Monthly Film Bulletin called him "tiresomely mannered and too lightweight" and BBC Television's Barry Norman said he "didn't quite capture the air of know-all arrogance that was the great detective's hallmark".[75] The Hound of the Baskervilles was originally conceived as the first in a series of Sherlock Holmes films, but no sequels were made.[68]
Immediately upon completion of The Hound of the Baskervilles, Cushing was offered the lead role in the Hammer film The Man Who Could Cheat Death (1959), a remake of The Man in Half Moon Street (1945). He turned it down, in part because he did not like the script by Jimmy Sangster, and the lead role was taken instead by Anton Diffring. Cushing next appeared for Hammer when he played the Sheriff of Nottingham in the adventure film Sword of Sherwood Forest (1960), which starred Richard Greene as the outlaw Robin Hood.[21] It was filmed on location in County Wicklow in the Republic of Ireland.[76] The next year, Cushing starred as an Ebenezer Scrooge-like manager of a bank being robbed in the Hammer thriller film Cash on Demand (1961). He considered this among the favourites of his films,[21] and some critics believed it to be among his best performances, although it was one of the least-seen films from his career.[10] He appeared in the Hammer film Captain Clegg (1962), known in the United States as Night Creatures. Cushing starred as Parson Blyss, the local reverend of an 18th-century English coastal town believed to be hiding his smuggling activities with reports of ghosts.[21] The film was roughly based on the Doctor Syn novels by Russell Thorndike. Cushing read Thorndike to prepare for the role and made suggestions to make-up artist Roy Ashton about Blyss' costume and hairstyle.[77] He and director Peter Graham Scott did not get along well during filming and at one point, when the two were having a disagreement on set, Cushing turned to cameraman Len Harris and said, "Take no notice, Len. We've done enough of these now to know what we're doing."[77]
Cushing and Lee appeared together in the horror film The Gorgon (1964) about the female snake-haired Gorgon character from Greek mythology and in She (1965), about a lost realm ruled by the immortal queen Ayesha, played by Ursula Andress. Cushing later appeared in The Vampire Lovers (1970), an erotic Hammer horror film about a lesbian vampire, adapted in part from the Sheridan Le Fanu novella Carmilla.[10] The next year he was set to star in a sequel, Lust for a Vampire (1971), but had to drop out because his wife was ill and Ralph Bates substituted.[68] However, Cushing was able to star in Twins of Evil (also 1971), a prequel of sorts to The Vampire Lovers, as Gustav Weil, the leader of a group of religious puritans trying to stamp out witchcraft and satanism.[78] Among his final Hammer roles was Fear in the Night (1972), where he played a one-armed school headmaster apparently terrorising the protagonist, played by Judy Geeson.[79]
Non-Hammer film work
[edit]
Although best known for his Hammer performances from the 1950s to the 1970s, Cushing worked in a variety of other roles during this time, and actively sought roles outside the horror genre to diversify his work.[10] In an interview published in ABC Film Review in November 1964, Cushing stated, "People look at me as if I were some sort of monster, but I can't think why. In my macabre pictures, I have either been a monster-maker or a monster-destroyer, but never a monster. Actually, I'm a gentle fellow. Never harmed a fly. I love animals, and when I'm in the country I'm a keen bird-watcher." In an interview published in 1966, he added, "I do get terribly tired with the neighbourhood kids telling me 'My mum says she wouldn't want to meet you in a dark alley'." He continued to perform in occasional stage productions, such as Robert E. MacEnroe's The Silver Whistle at Westminster's Duchess Theatre in 1956.[80] Around the same time, he appeared in the film Alexander the Great (1956) as the Athenian General Memnon of Rhodes.[44] In 1959, Cushing originally planned to appear in the lead role of William Fairchild's play The Sound of Murder, while shooting a film at the same time. The hectic schedule became overbearing for Cushing, who had to drop out of the play and resolved to never again attempt a film and play simultaneously.[81]
He appeared in the biographical epic film John Paul Jones (1959), in which Robert Stack played the title role of the American naval fighter in the American Revolutionary War.[21] Cushing became very ill with dysentery during filming and lost a considerable amount of weight as a result.[82] Cushing played Robert Knox in The Flesh and the Fiends (1960), based on the true story of the doctor who purchased human corpses for research from the serial killer duo Burke and Hare.[21] Cushing had previously stated Knox was one of his role models in developing his portrayal of Baron Frankenstein.[83] The film was called Mania in its American release. Cushing appeared in several films released in 1961, including Fury at Smugglers' Bay, an adventure film about pirates scavenging ships off the English coastline;[84] The Hellfire Club, where he played a lawyer helping a young man expose a cult;[85] and The Naked Edge, a British-American thriller about a woman who suspects her husband framed another man for murder. The latter film starred Deborah Kerr, Cushing's co-star from The End of the Affair, and Gary Cooper, one of Cushing's favourite actors.[84] In 1965, Cushing appeared in the Ben Travers farce play Thark at Westminster's Garrick Theatre. It was his final stage performance for a decade, but he continued to stay active in film and television during this period.[86]
Cushing took the lead role in two science fiction films by AARU Productions based on the British television series, Doctor Who. Although Cushing's protagonist was derived from television scripts used for First Doctor serials, his portrayal of the character differed in the fact that Cushing's Dr. Who was a human being, whereas the original Doctor as portrayed on TV by William Hartnell was extraterrestrial.[87] Cushing played the role in Dr. Who and the Daleks (1965) and Daleks' Invasion Earth 2150 A.D. (1966).[21]
Cushing later starred in the fifteen-episode BBC television series Sherlock Holmes, once again reprising his role as the title character with Nigel Stock as Watson, though only six episodes now survive. The episodes aired in 1968. Douglas Wilmer had previously played Holmes for the BBC,[88] but he turned down the part in this series due to the extremely demanding filming schedule. Fourteen days of rehearsal was originally scheduled for each episode, but they were cut down to ten days for economic reasons. Many actors turned down the role as a result, but Cushing accepted,[89] and the BBC believed his Hammer Studios persona would bring what they called a sense of "lurking horror and callous savagery" to the series.[88] Production lasted from May to December,[90] and Cushing adopted a strict regimen of training, preparation and exercise.[91] He tried to keep his performance identical to his portrayal of Holmes from The Hound of the Baskervilles.[92] Although the series proved popular, Cushing felt he could not give his best performance under the hectic schedule, and he was not pleased with the final result.[90][93]
Cushing appeared in a handful of horror films by the independent Amicus Productions, including Dr. Terror's House of Horrors (1965), as a man who could see into the future using Tarot cards;[94] The Skull (1965), as a professor who became possessed by a spiritual force embodied within a skull;[95] and Torture Garden (1967), as a collector of Edgar Allan Poe relics who is robbed and murdered by a rival.[96] Cushing also appeared in non-Amicus horror films like Island of Terror (1966) and The Blood Beast Terror (1968), in both of which he investigates a series of mysterious deaths. He appeared in Corruption (1968), a film that was billed as so horrific that "no woman will be admitted alone" into theatres to see it.[97] Cushing played a surgeon who attempts to restore the beauty of his wife (played by Sue Lloyd), whose face is horribly scarred in an accident.[98]
In July 1969, Cushing appeared as the straight man in The Morecambe & Wise Show, the British comedy series. In the skit, Cushing portrayed King Arthur, while the other two gave comedic portrayals of characters like Merlin and the knights of the Round Table. Cushing continued to make occasional cameos in the series over the next decade, portraying himself desperately attempting to collect a payment for his previous acting appearance on the show.[99] Cushing and Lee made cameos as their old roles of Frankenstein and Dracula in the comedy One More Time (1970), which starred Peter Lawford and Sammy Davis Jr.[100] The single scene took only one morning of filming, which Cushing agreed to after Davis asked him to do it as a favour.[63] The next year, Cushing appeared in I, Monster (1971),[10] which was adapted from Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde, alongside Lee as the Jekyll/Hyde figure. Later that year he was set to appear in Blood from the Mummy's Tomb (1971), an adaptation of the Bram Stoker novel The Jewel of Seven Stars. He was forced to withdraw from the film to care for his wife, and was ultimately replaced by Andrew Keir.[101]
In 1971, Cushing contacted the Royal National Institute for the Blind and offered to provide voice acting for some of their audiobooks. They immediately accepted, and among the works Cushing recorded was The Return of Sherlock Holmes, a collection of thirteen one-hour stories.[103] He appeared alongside Vincent Price in Dr. Phibes Rises Again! (1972), a sequel to The Abominable Dr. Phibes, and then co-starred with Price again in the film Madhouse (1974).[14] He once again starred with longtime collaborator Christopher Lee in Horror Express (1972). Cushing continued to appear in several Amicus Productions films during this period, including Tales from the Crypt (1972), From Beyond the Grave (1973),[104] And Now the Screaming Starts! (1973),[65] and The Beast Must Die (1974).[105]
For Tales from the Crypt, an anthology film made up of several horror segments, Cushing was offered the part of a ruthless businessman but did not like the part and turned down the role. Instead, Cushing asked to play Arthur Grymsdyke,[106] a kind, working-class widower who gets along well with the local children, but falls subject to a smear campaign by his snobbish neighbours. Eventually, the character is driven to commit suicide, but returns from the grave to seek revenge against his tormentors.[107] After Cushing was cast in the role, several changes were made to the script at his suggestion. Originally, all of the character's lines were spoken aloud to himself, but Cushing suggested he speak to a framed photo of his deceased wife instead, and director Freddie Francis agreed.[106] Cushing used the emotions from the recent loss of his wife to add authenticity to the widower character's grieving.[107] Make-up artist Roy Ashton designed the costume and make-up Cushing wore when he rose from the dead,[107] but the actor helped Ashton develop the costume, and donned a pair of false teeth that he previously used in a disguise during the Sherlock Holmes television series.[108] His performance in Tales from the Crypt won him the Best Male Actor award at the 1971 French Convention of Fantasy Cinema in France.[106]
In 1975, Cushing was anxious to return to the stage, where he had not performed in ten years. Around this time he learned that Helen Ryan, an actress who impressed him in a televised play about King Edward VII, was planning to run the Horseshoe Theatre in Basingstoke with her husband, Guy Slater. Cushing wrote to the couple and suggested they stage The Heiress, a play by Ruth and Augustus Goetz, with Cushing himself in the lead role. Ryan and Slater agreed, and Cushing later said performing the part was his most pleasant experience since his wife had died four years earlier.[86] Cushing also starred in several horror films released in 1975. Among them were Land of the Minotaur, where he played Baron Corofax, the evil leader of a Satanic cult opposed by a priest played by Donald Pleasence.[109] Another was The Ghoul, where he played a former priest hiding his cannibalistic son in an attic. That film marked the first Cushing worked for producer Kevin Francis, who worked in minor jobs at Hammer and had long aspired to work with Cushing, whom he admired deeply. They went on to make two other films together, Legend of the Werewolf (1975) and The Masks of Death (1984) with the actor playing Sherlock Holmes once more.[110] Cushing appeared in the television film The Great Houdini (1976) as Sir Arthur Conan Doyle, the creator of Sherlock Holmes.[87][103] Cushing wrote the forewords to two books about the detective: Peter Haining's Sherlock Holmes Scrapbook (1974) and Holmes of the Movies: The Screen Career of Sherlock Holmes (1976), by David Stuart Davies.[111] Cushing also appeared in the horror film The Uncanny (1977).[112]
Star Wars
[edit]
Film director George Lucas approached Cushing with the hopes of casting the actor in his upcoming space fantasy film, Star Wars. Since the film's primary antagonist Darth Vader wore a mask throughout the entire film and his face was never visible, Lucas felt that a strong human villain character was necessary. This led him to write the character of Grand Moff Tarkin: a high-ranking Imperial governor and commander of the planet-destroying battlestation, the Death Star. Lucas felt a talented actor was needed to play the role and said Cushing was his first choice.[113] However, Cushing has claimed that Lucas originally approached him to play the Jedi Master Obi-Wan Kenobi and only decided to cast him as Tarkin instead after the two met. He said he would have preferred to play Kenobi rather than Tarkin but could not have done so because he was to be filming other movie roles when Star Wars was shooting, and Tarkin's scenes took less time to film than those of the larger Kenobi role. Although not a particular fan of science fiction, Cushing accepted the part because he believed his audience would love Star Wars and enjoy seeing him in the film.[10]
Cushing joined the cast in May 1976, and his scenes were filmed at Elstree Studios in Borehamwood.[10] Along with Alec Guinness, who was ultimately cast as Kenobi, he was among the best-known actors at the time to appear in Star Wars, as the rest of the cast were then relatively unknown.[114] As a result, he was paid a larger daily salary than most of his fellow cast, earning £2,000 per day compared to weekly salaries of $1,000 for Mark Hamill, $850 for Carrie Fisher, and $750 for Harrison Ford, who played protagonists Luke Skywalker, Princess Leia Organa, and Han Solo, respectively.[113] When Cushing smoked between shots, he wore a white glove so the make-up artists would not have to deal with nicotine stains on his fingers. Like Guinness, he had difficulty with some of the technical jargon in his dialogue and claimed he did not understand all of the words he was speaking. Nevertheless, he worked hard to master the lines so that they sounded natural and his character appeared intelligent and confident.[115]
Cushing got along well with the entire cast, especially his old co-star David Prowse, who played Darth Vader, and Carrie Fisher, who was appearing in her first major role as Princess Leia Organa.[10] The scene in which Tarkin and Organa appear together on the Death Star, just before the destruction of the planet Alderaan, was the first scene with major dialogue that Fisher filmed for Star Wars.[115] Cushing consciously attempted to define their characters as opposite representations of good and evil, and he purposely stood in the shadows so the light shone on Fisher's face. Fisher said she liked Cushing so much that it was difficult to act as though she hated Tarkin,[10] and she had to substitute somebody else in her mind to muster the feelings. Although one of her lines referred to Tarkin's "foul stench," she said the actual actor smelled like "linen and lavender," something Cushing attributed to his tendency to wash and brush his teeth thoroughly before filming because of his self-consciousness about bad breath.[115]
During the filming of Star Wars, Cushing was provided with a pair of boots far too small to accommodate his size twelve feet. This caused a great deal of pain for him during shooting, but the costume designers did not have enough time to get him another pair. As a result, he asked Lucas to film as many shots of him as possible from the waist up and, after the director agreed, Cushing wore slippers during the scenes where his feet were not visible.[116][117][118][119][120] During rehearsals, Lucas originally planned for Tarkin and Vader to use a giant screen filled with computerised architectural representations of hallways to monitor the whereabouts of Skywalker, Solo, and Organa. Although the idea was abandoned before filming began, Cushing and Prowse rehearsed those scenes in a set built by computer animation artist Larry Cuba.[121] The close-up shots of Cushing aboard the Death Star, shown right before the battlestation is destroyed, were actually extra footage taken from previously shot scenes with Cushing that did not make the final film. During production, Lucas decided to add those shots, along with second unit footage of the Death Star gunners preparing to fire, to add more suspense to the film's space battle scenes.[122]
When Star Wars was first released in 1977, most preliminary advertisements touted Cushing's Tarkin as the primary antagonist of the film, not Vader;[123] Cushing was extremely pleased with the final film, and he claimed his only disappointment was that Tarkin was killed and could not appear in the sequels. The film gave him the highest amount of visibility of his entire career and helped inspire younger audiences to watch his older films.[10][124][125]
For the film Rogue One (2016), CGI and digitally-repurposed-archive footage[126][127] were used to insert Cushing's likeness from the original movie over the face of actor Guy Henry.[128] Henry provided the on-set capture and voice work with the reference material augmented and mapped over his performance like a digital body-mask. Cushing's estate owners were heavily involved with the creation, which took place more than twenty years after Cushing died.[129] This extensive use of CGI to "resurrect" an actor who had died many years earlier created a great deal of controversy about the ethics of using a deceased actor's likeness.[130][131][132] Joyce Broughton, Cushing's former secretary, had approved recreating Cushing in the film. After attending the London premiere, she was reportedly "taken aback" and "dazzled" with the effect of seeing him on screen again.[133]
Later career
[edit]
Toward the end of his career, Cushing performed in films and roles critics widely considered below his talent.[10] Director John Carpenter approached him to appear in the horror film Halloween (1978) as Samuel Loomis, the psychiatrist of murderer Michael Myers, but Cushing turned down the role. It was also turned down by Christopher Lee, and eventually went to Donald Pleasence, another of Cushing's former co-stars.[134] Cushing appeared alongside his old co-stars Christopher Lee and Vincent Price in House of the Long Shadows (1983), a horror-parody film featuring Desi Arnaz, Jr. as an author trying to write a gothic novel in a deserted Welsh mansion.[41]
Cushing appeared in the television film The Masks of Death (1984), marking both the last time he played detective Sherlock Holmes and the final performance for which he received top billing.[10] He appeared alongside actor John Mills as Watson, and the two were noted by critics for their strong chemistry and camaraderie. As both actors were in their seventies, screenwriter N.J. Crisp and executive producer Kevin Francis both in turn sought to portray them as two old-fashioned men in a rapidly changing world. Cushing's biographer Tony Earnshaw said Cushing's performance in The Masks of Death was arguably the actor's best interpretation of the role, calling it "the culmination of a life-time as a Holmes fan, and more than a quarter of a century of preparation to play the most complex of characters".[135] The final notable roles of Cushing's career were in the comedy Top Secret! (1984), the fantasy film Sword of the Valiant (also 1984) and the adventure film Biggles: Adventures in Time (1986).[10] In 1986, he appeared on the British television show Jim'll Fix It, hosted by Jimmy Savile, in which it was arranged for the wishes of guests to be granted. Cushing wished for a strain of rose to be named after his late wife, and it was arranged for the Helen Cushing Rose to be grown at the Wheatcroft Rose Garden in Edwalton, Nottinghamshire.[119]
During this period, Cushing was honoured by the British Film Institute, which invited him in 1986 to give a lecture at the National Film Theatre. He also staged An Evening with Peter Cushing at St. Edmund's Public School in Canterbury to raise money for the local Cancer Care Unit. In 1987, a watercolour painting Cushing painted was accepted by Prince Edward and auctioned at a charity event he organised to raise funds for The Duke of Edinburgh's Award Scheme.[136] Also that year, a sketch Cushing drew of Sherlock Holmes was accepted as the official logo of the Northern Musgraves Sherlock Holmes Society.[137]
Cushing wrote two autobiographies, Peter Cushing: An Autobiography (1986) and Past Forgetting: Memoirs of the Hammer Years (1988).[21] Cushing wrote the books as what he called "a form of therapy to stop me going stark, raving mad" following the loss of his wife. His old friend and co-star John Mills encouraged him to publish his memoirs as a way of overcoming the reclusive state Cushing had placed himself into following her death.[124] In 1989 he was made an Officer of the Order of the British Empire for his contributions to the British film industry.[138] Cushing also wrote a children's book called The Bois Saga, a story based on the history of England. Published in 1994, it was originally written specifically for the daughter of Cushing's long-time secretary and friend Joyce Broughton, to help her overcome reading problems resulting from her dyslexia. It was Broughton who encouraged Cushing to have the book published.[139] His final acting job was narrating, along with Christopher Lee, the Hammer Films documentary Flesh and Blood: The Hammer Heritage of Horror (1994), which was recorded only a few weeks before his death.[45] Produced by American writer and director Ted Newsom, his contribution was recorded in Canterbury, near his home.[citation needed] Lee recognised Cushing's health was fading and did his best to keep his friend's spirits up, but Lee later claimed he had a premonition that it would be the last time he saw Cushing alive, which proved to be true.[73]
Personal life
[edit]
Cushing had a variety of interests outside acting, including collecting and battling model soldiers, of which he owned over five thousand.[140] He hand-painted many and used the Little Wars rule set by H. G. Wells for miniature wargaming.[141] He also loved games and practical jokes,[15] and enjoyed drawing and painting watercolours, the latter of which he did especially often in his later years.[45]
After his wife's death, Cushing visited several churches and spoke to religious ministers, but was dissatisfied by their reluctance to discuss death and the afterlife, and never joined an organized religion. He nevertheless maintained a belief in both God and an afterlife.[99][142] He was an ardent vegetarian for most of his life who served as a patron with the Vegetarian Society from 1987 until his death.[143] He also had a great interest in ornithology and wildlife in general.[28] He suffered from nyctophobia from early in his life, but in his later years overcame this by forcing himself to take walks outside after midnight.[144]
Cushing was known among his colleagues for his gentle and gentlemanly demeanour, as well as his professionalism and rigorous preparation as an actor.[21] He once said that he learned his parts "from cover to cover" before filming began.[145] His co-stars and colleagues often spoke of his politeness, charm, old-fashioned manners and sense of humour.[10] While working, he actively provided feedback and suggestions on other elements beyond his performance, such as dialogue and wardrobe. At times, this put him at odds with writers and producers; Hammer Studios producer Anthony Hinds once declared him a "fusspot [and] terrible fusser about his wardrobe and everything, but never a difficult man."[71]
Although he appeared in both television and stage productions, Cushing preferred the medium of film, which allowed his perfectionist nature to work out the best performance possible.[10] He did not enjoy the repetitive nature of stage performances, and once compared it to a painter being forced to paint the same picture every day.[92] Cushing himself was not a particular fan of horror or science fiction films, but he tended to choose roles not based on whether he enjoyed them, but whether he felt his audience would enjoy him in them.[10] However, Cushing was very proud of his experiences with the Hammer films, and never resented becoming known as a horror actor.[4] He always took the roles seriously and never portrayed them in a campy or tongue-in-cheek style because he felt it would be insulting to his audience.[10][42][68]
On 10 April 1943, Cushing married Violet Hélène Beck, sister of Reginald Beck.[14][28][29][146]
In 1971 Cushing's wife died of emphysema. Cushing often said he felt his life had ended when hers did,[10] and he was so crushed that when his first autobiography was published in 1986, it made no mention of his life after her death.[28] In 1972, he was quoted in the Radio Times as having said, "Since Helen passed on I can't find anything; the heart, quite simply, has gone out of everything. Time is interminable, the loneliness is almost unbearable and the only thing that keeps me going is the knowledge that my dear Helen and I will be reunited again some day. To join Helen is my only ambition. You have my permission to publish that ... really, you know, dear boy, it's all just killing time. Please say that."[147]
In his autobiography, Cushing implies that he attempted suicide on the night of his wife's death by running up and down stairs in the vain hope that it would induce a heart attack. He later stated that this had simply been a hysterical response borne out of grief, and that he had not purposely attempted to end his life; a poem left by Helen had implored him not to die until he had lived his life to the full.[142]
The effects of his wife's death proved to be as much physical as mental. For his role in Dracula A.D. 1972, Cushing (who was 58) had originally been cast as the father of Stephanie Beacham's character, but had aged so visibly and lost so much weight that the script was hastily rewritten to make him her grandfather: it was done again in the last Dracula film from Hammer, The Satanic Rites of Dracula.[148] In a silent tribute to Helen, a shot of Van Helsing's desk includes a photograph of her. He repeated the role of the man who lost family in other horror films, including Asylum (1972), The Creeping Flesh (1973), and The Ghoul (1975).
Death and legacy
[edit]
In May 1982, Cushing was diagnosed with prostate cancer.[149] He was rushed to the Kent and Canterbury Hospital when his left eye had swollen to nearly three times its normal size, a side effect of the cancer. Doctors determined he had twelve to eighteen months to live, and that his left eye might be lost. To their surprise, however, Cushing recovered well enough to be released from the hospital,[150] and although his health continued to gradually decline, Cushing lived another twelve years without any operative treatment or chemotherapy. During this period, he lived with Joyce Broughton and her family at their homes in Hartley, Kent.[151] In August 1994, Cushing entered himself into Pilgrims Hospice in Canterbury, where he died on 11 August at 81 years old.[14][152] In accordance with his wishes, Cushing had a low-profile funeral with family and friends, although hundreds of fans and well-wishers came to Canterbury to pay their respects. In January 1995, a memorial service was held in The Actors' Church in Covent Garden, with addresses given by Christopher Lee, Kevin Francis, Ron Moody and James Bree.[153]
In total, Cushing appeared in more than 100 films throughout his career.[4][42]
In an interview included on the DVD release of The Hound of the Baskervilles (1959), Lee said of his friend's death:
I don't want to sound gloomy, but at some point of your lives, every one of you will notice that you have in your life one person, one friend whom you love and care for very much. That person is so close to you that you are able to share some things only with him. For example, you can call that friend, and from the very first maniacal laugh or some other joke you will know who is at the other end of that line. We used to do that with him so often. And then when that person is gone, there will be nothing like that in your life ever again.[154]
Several filmmakers and actors have claimed to be influenced by Peter Cushing, including actor Doug Bradley, who played Pinhead in the Hellraiser horror films,[155] and John Carpenter, who directed such films as Halloween (1978), Escape from New York (1981) and The Thing (1982).[10] Director Tim Burton and actor Johnny Depp both said the portrayal of Ichabod Crane in Sleepy Hollow was intended to resemble that of Cushing's old horror film performances.[156][157]
In 2008, fourteen years after his death, Cushing's image was used in a set of stamps issued by the Royal Mail honouring Hammer Studios films on the fiftieth anniversary of the release of Dracula.[152] In 2013, Cushing was honoured by the Royal Mail as one of ten people selected for their "Great Britons" commemorative postage stamp issue.[158]
Filmography
[edit]
Film
[edit]
Title Year Role Note The Man in the Iron Mask 1939 Second Officer Playing opposite Louis Hayward to facilitate the double exposure scenes, with a small role of his own Laddie 1940 Robert Pryor A Chump at Oxford Student Vigil in the Night Joe Shand Women in War Captain Evans Uncredited The Howards of Virginia Leslie Stephens Uncredited They Dare Not Love 1941 Sub-Lieutenant Blackler Uncredited Hamlet 1948 Osric Moulin Rouge 1952 Marcel de la Voisier The Black Knight 1954 Sir Palamides The End of the Affair 1955 Henry Miles Magic Fire Otto Wesendonk Alexander the Great 1956 General Memnon Time Without Pity 1957 Jeremy Clayton The Curse of Frankenstein Victor Frankenstein First lead role The Abominable Snowman Dr. Rollason Violent Playground 1958 Priest Dracula Doctor Van Helsing The Revenge of Frankenstein Doctor Victor Stein The Hound of the Baskervilles 1959 Sherlock Holmes John Paul Jones Captain Richard Pearson The Mummy John Banning The Flesh and the Fiends 1960 Dr. Robert Knox Released in U.S. as Mania[159] Cone of Silence Captain Clive Judd Released in U.S. as Trouble in the Sky[160] The Brides of Dracula Doctor Van Helsing Suspect Professor Sewell Sword of Sherwood Forest Sheriff of Nottingham The Hellfire Club 1961 Merryweather Fury at Smugglers' Bay Squire Trevenyan The Naked Edge Mr. Evan Wrack Cash on Demand Harry Fordyce Captain Clegg 1962 Parson Blyss Alternative title: Night Creatures The Devil's Agent (Cushing's scenes were deleted); co-stars Christopher Lee[161] The Man Who Finally Died 1963 Dr. Peter von Brecht The Evil of Frankenstein 1964 Victor Frankenstein The Gorgon Dr. Namaroff Dr. Terror's House of Horrors 1965 'Dr. Terror' / Dr. W. R. Schreck She Major Holly The Skull Christopher Maitland Dr. Who and the Daleks Dr. Who Island of Terror 1966 Dr. Brian Stanley Daleks' Invasion Earth 2150 A.D. Dr. Who Frankenstein Created Woman 1967 Baron Frankenstein Night of the Big Heat Dr. Vernon Stone Torture Garden Lancelot Canning (segment 4: "The Man Who Collected Poe") Some May Live John Meredith The Blood Beast Terror 1968 Detective Inspector Quennell Alternate title: The Vampire-Beast Craves Blood[162] Corruption Sir John Rowan Frankenstein Must Be Destroyed 1969 Baron Frankenstein Incense for the Damned 1970 Dr. Walter Goodrich Alternative title: Bloodsuckers Scream and Scream Again Major Heinrich Benedek One More Time Baron Frankenstein Uncredited The Vampire Lovers General von Spielsdorf The House That Dripped Blood 1971 Philip Grayson (segment 2: "Waxworks") Twins of Evil Gustav Weil I, Monster Frederick Utterson Tales from the Crypt 1972 Arthur Edward Grimsdyke (segment 3: "Poetic Justice") Dracula A.D. 1972 Lawrence Van Helsing and Lorrimer Van Helsing Dr. Phibes Rises Again Captain Asylum Mr. Smith (Segment 2: "The Weird Tailor") Fear in the Night Michael Carmichael Horror Express Dr. Wells Nothing But the Night 1973 Sir Mark Ashley The Creeping Flesh Emmanuel Hildern And Now the Screaming Starts! Dr. Pope The Satanic Rites of Dracula Lorrimer Van Helsing Shatter 1974 Rattwood From Beyond the Grave Antique Shop Proprietor Frankenstein and the Monster from Hell Baron Frankenstein The Beast Must Die Dr. Christopher Lundgren Madhouse Herbert Flay The Legend of the 7 Golden Vampires Professor Van Helsing Tender Dracula MacGregor Legend of the Werewolf 1975 Professor Paul The Ghoul Dr. Lawrence Medalla Sitges en Plata de Ley Award for Best Actor Trial by Combat 1976 Sir Edward Gifford Alternative title: Dirty Knights Work At the Earth's Core Dr. Abner Perry This film was "riffed" on 14 April 2017 as part of the Season One (episode 14) release of Mystery Science Theater 3000: The Return on Netflix. Land of the Minotaur Baron Corofax Alternative title: The Devil's Men Star Wars 1977 Grand Moff Tarkin Nominated: Saturn Award for Best Supporting Actor Shock Waves SS Commander Alternative title: Almost Human The Uncanny Wilbur The Standard Baron von Hackenberg Son of Hitler 1978 Heinrich Haussner Arabian Adventure 1979 Wazir Al Wuzara A Touch of the Sun Commissioner Potts Alternative title: No Secrets! Misterio en la isla de los monstruos 1981 William T. Kolderup Alternative title: Mystery on Monster Island Black Jack Sir Thomas Bedford Alternative title: Asalto al casino House of the Long Shadows 1983 Sebastian Grisbane Caixa de Catalunya Award for Best Actor
(shared with Vincent Price, Christopher Lee & John Carradine) Top Secret! 1984 Bookstore Proprietor Swedish Bookstore scene, filmed in reverse with Val Kilmer Sword of the Valiant Seneschal – Gaspar Biggles: Adventures in Time 1986 Air Commodore William Raymond (final film role)
Television
[edit]
Title Year Role Note Pride and Prejudice 1952 Mr. Darcy TV mini-series (all 6 episodes) Epitaph for a Spy 1953 Josef Vadassey TV mini-series (all 6 episodes) You are There Rudolf Hess Season 1, episode 20: "The Escape of Rudolf Hess" BBC Sunday-Night Theatre 1951–1957 Charles Appleby
Cyril Beverly
Simpson
Antoine Vanier
Piotr Petrovsky
Seppi Fredericks
Prince Mikhail Alexandrovitch Ouratieff
Beau Brummell
Winston Smith
Dr. John Rollason
Prime Minister
Mr. Manningham Season 2, episode 48: "Eden End (I)"
Season 3, episode 15: "Bird in Hand"
Season 4, episode 5: "Number Three"
Season 4, episode 25: "The Road"
Season 4, episode 28: "Anastasia"
Season 4, episode 34: "Portrait by Peko"
Season 5, episode 4: "Tovarich"
Season 5, episode 11: "Beau Brummell"
Season 5, episode 50: "Nineteen Eighty-Four"
Season 6, episode 5: "The Creature"
Season 6, episode 10: "The Moment of Truth"
Season 8, episode 2: "Gaslight" Drama 61-67 1962 Frederick James Parsons Season 2, episode 7: "Drama '62: Peace with Terror" ITV Television Playhouse Fred Parsons Season 8, episode 3: "Peace with Terror" The Spread of the Eagle 1963 Cassius TV mini-series Comedy Playhouse Albert Fawkes Season 3, episode 6 "The Plan" Story Parade 1964 Elijah Baley Episode: "The Caves of Steel" (unknown season) Thirty-Minute Theatre 1965 Leonard Season 1, episode 5: "Monica" The Avengers 1967 Paul Beresford Episode: "Return of the Cybernauts" (season 5, episode 17 or season 6, episode 1) Sherlock Holmes 1968 Sherlock Holmes All 16 episodes from season 2:
"The Second Stain"
"The Dancing Men"
"A Study in Scarlet"
"The Hound of the Baskervilles (Part 1)"
"The Hound of the Baskervilles (Part 2)"
"The Boscombe Valley Mystery"
"The Greek Interpreter"
"The Naval Treaty"
"Thor Bridge"
"The Musgrave Ritual"
"Black Peter"
"Wisteria Lodge"
"Shoscombe Old Place"
"The Solitary Cyclist"
"The Sign of Four"
"The Blue Carbuncle" Orson Welles Great Mysteries 1973 Count Gerard De Merret Season 1, episode 4: "La Grande Breteche" The Zoo Gang 1974 Judge Gautier Season 1, episode 5: "The Counterfeit Trap" Space: 1999 1976 Raan Season 1, episode 7: "Missing Link" Looks Familiar 1 episode – dated 2 February 1976 The New Avengers Von Claus Season 1, episode 1: "The Eagle's Nest" Hammer House of Horror 1980 Martin Blueck Season 1, episode 7: "The Silent Scream" Tales of the Unexpected 1983 Von Baden Season 6, episode 8: "The Vorpal Blade"
Television films
[edit]
Title Year Role Note When We Are Married 1951 Gerald Forbes If This Be Error 1952 Nick Grant Asmodée Blaise Lebel The Silver Swan Lord Henriques Rookery Nook 1953 Clive Popkiss The Noble Spaniard Duke of Hermanos A Social Success Henry Robbins The Face of Love 1954 Mardian Thersites[163] Richard of Bordeaux 1955 Richard II The Browning Version Andrew Crocker-Harris Home at Seven 1957 David Preston The Winslow Boy 1958 Sir Robert Morton Uncle Harry Uncle Harry The Great Houdini 1976 Sir Arthur Conan Doyle A Tale of Two Cities 1980 Dr. Alexander Manette Helen Keller: The Miracle Continues 1984 Professor Charles Copeland The Masks of Death Sherlock Holmes
Short films
[edit]
Title Year Note Role The Hidden Master 1940 Robert Clive of India (Uncredited role) Dreams 1940 First Dreamer It Might Be You 1946 The Doctor
Other credits
[edit]
Title Year Role Note Late Night Line-Up 1965 Himself Four separately recorded interviews, (with Michael Dean (broadcaster), Rudolf Cartier, and Yvonne Mitchell) about the 1954 tv. production of Nineteen Eighty-Four The Morecambe & Wise Show 1969–1980 Himself Long running gag involving being owed payment BBC Wildlife Spectacular 1971 Himself – Presenter Dieter & Andreas 1986 Grateful acknowledgment Wogan 1986–1988 Himself Regular guest House of the Long Shadows... Revisited 2012 Dedicated to Rogue One 2016 Grand Moff Tarkin Special acknowledgment;
Posthumous release;
CGI recreation used for likeness Bad Batch 2021 Grand Moff Tarkin Animated Recreation
Sources
[edit]
This article incorporates text from a free content work. Licensed under CC BY-SA 3.0 (license statement/permission). Text taken from Peter Cushing, Wookieepedia, Wikia.
References
[edit]
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Fury at Smugglers' Bay : Michèle Mercier, Bernard Lee, John Fraser, Peter Cushing, June Thorburn, Miles Malleson, Liz Fraser, William Franklyn, George Coulouris, Katherine Kath, John Gilling: Amazon.c
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Fury at Smugglers' Bay : Michèle Mercier, Bernard Lee, John Fraser, Peter Cushing, June Thorburn, Miles Malleson, Liz Fraser, William Franklyn, George Coulouris, Katherine Kath, John Gilling: Amazon.com.be: Movies & TV
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https://www.amazon.com.be/-/en/Mich%C3%A8le-Mercier/dp/B0BJL7GHFW
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Видео Fury at Smugglers' Bay (1961)🔸
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Fury at Smugglers' Bay is a 1961 British adventure drama film. It features Peter Cushing, Bernard Lee, Michèle Mercier, John Fraser, William Franklyn, Miles Malleson, and George Coulouris.
Pirate wreckers ravage a small seaside community while the ineffectual local squire tries to discourage his son's romance with a smuggler's pretty daughter.
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Fury at Smugglers' Bay is a 1961 British adventure drama film. It features Peter Cushing, Bernard Lee, Michèle Mercier, John Fraser, William Franklyn, Miles Malleson, and George Coulouris. Pirate wreckers ravage a small seaside community while the ineffectual local squire tries to discourage his son's romance with a smuggler's pretty daughter.
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https://en.wikipedia.org/wiki/Peter_Cushing
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Peter Cushing
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https://en.wikipedia.org/wiki/Peter_Cushing
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English actor (1913–1994)
Peter Wilton Cushing (26 May 1913 – 11 August 1994) was an English actor. His acting career spanned over six decades and included appearances in more than 100 films, as well as many television, stage and radio roles. He achieved recognition for his leading performances in the Hammer Productions horror films from the 1950s to 1970s, and as Grand Moff Tarkin in Star Wars (1977).
Born in Kenley, Surrey, Cushing made his stage debut in 1935 and spent three years at a repertory theatre before moving to Hollywood to pursue a film career. After making his motion-picture debut in the film The Man in the Iron Mask (1939), Cushing began to find modest success in American films before returning to England at the outbreak of the Second World War. Despite performing in a string of roles, including one as Osric in Laurence Olivier's film adaptation of Hamlet (1948), Cushing struggled to find work during this period. His career was revitalised once he started to work in live television plays, and he soon became one of the most recognisable faces in British television. He earned particular acclaim for his lead performance as Winston Smith in a BBC adaptation of George Orwell's Nineteen Eighty-Four (1954).
Cushing gained worldwide fame for his appearances in twenty-two horror films from the Hammer studio, particularly for his role as Baron Frankenstein in six of their seven Frankenstein films and Doctor Van Helsing in five Dracula films. Cushing often appeared alongside actor Christopher Lee, who became one of his closest friends, and occasionally with the American horror star Vincent Price. Cushing appeared in several other Hammer films, including The Abominable Snowman (1957), The Mummy and The Hound of the Baskervilles (both 1959), the last of which marked the first of the several occasions he portrayed the detective Sherlock Holmes. Cushing continued to perform in a variety of roles, although he was often typecast as a horror film actor. He played Dr. Who in Dr. Who and the Daleks (1965) and Daleks' Invasion Earth 2150 A.D. (1966) and became even better known through his part in the original Star Wars film. Cushing continued acting into the early to mid-1990s and wrote two autobiographies.
Early life
[edit]
Peter Wilton Cushing was born in Kenley, then a village in the English county of Surrey, on 26 May 1913 to George Edward Cushing (1881–1956) and Nellie Marie (née King) Cushing (1882–1961).[2] His father, a quantity surveyor, was a reserved and uncommunicative man whom Peter said he never got to know very well. His mother was the daughter of a carpet merchant and considered of a lower class than her husband.[3] Cushing's family consisted of several stage actors, including his paternal grandfather Henry William Cushing (who toured with Henry Irving),[4] his paternal aunt Maude Cushing (his father's sister) and his step-uncle Wilton Herriot, after whom Peter Cushing received his middle name.[3]
The Cushing family lived in Dulwich during the First World War, but moved to Purley after the war ended in 1918.[5] Although raised during wartime, Cushing was too young to understand or become greatly affected by it, and was shielded from the horrors of war by his mother, who encouraged him to play games under the kitchen table whenever the threat of possible bombings arose.[3] In his infancy, Cushing twice developed pneumonia and once what was then known as "double pneumonia". The latter was often fatal during that period, although he survived.[5] During one Christmas in his youth, Cushing saw a stage production of Peter Pan, which served as an early source of inspiration and interest in acting.[6] Cushing loved dressing up and make believe from an early age, and later claimed he always wanted to be an actor, "perhaps without knowing at first."[7] A fan of comics and toy collectibles in his youth, Cushing earned money by staging puppet shows for family members with his glove-puppets and toys.[8]
He began his early education in Dulwich, South London, before attending the Shoreham Grammar School in Shoreham-by-Sea, on the Sussex coast between Brighton and Worthing. Prone to homesickness, he was miserable at the boarding school and spent only one term there before returning home.[9] He attended the Purley County Grammar School, where he swam and played cricket and rugby.[5] With the exception of art, Cushing was a self-proclaimed poor student in most subjects and had little attention span for that which did not interest him. He got fair grades only through the help of his brother, a strong student who did his homework for him.[7] Cushing harboured aspirations for the arts all throughout his youth, especially acting. His childhood inspiration was Tom Mix, an American film actor and star of many Western films.[10] D.J. Davies, the Purley County Grammar School physics teacher who produced all the school's plays, recognised some acting potential in him and encouraged him to participate in the theatre, even allowing Cushing to skip class to paint sets. He played the lead in nearly every school production during his teenage years, including the role of Sir Anthony Absolute in a 1929 staging of Richard Brinsley Sheridan's comedy of manners play, The Rivals.[11]
Cushing wanted to enter the acting profession after school, but his father opposed the idea, despite the theatrical background of several of his family members. Instead, seizing upon Cushing's interest in art and drawing, he got his son a job as a surveyor's assistant in the drawing department of the Coulsdon and Purley Urban District Council's surveyor's office during the summer of 1933.[11] Cushing hated the job, where he remained for three years without promotion or advancement due to his lack of ambition in the profession. The only enjoyment he got out of it was drawing prospectives of proposed buildings, which were almost always rejected because they were too imaginative and expensive and lacked strong foundations, which Cushing disregarded as a "mere detail."
Thanks to his former teacher Davies, Cushing continued to appear in school productions during this time, as well as amateur plays such as W. S. Gilbert's Pygmalion and Galatea,[12] George Kelly's The Torch-Bearers, and The Red Umbrella, by Brenda Girvin and Monica Cosens.[13] Cushing often learned and practised his lines in an attic at work, under the guise that he was putting ordnance survey maps into order. He regularly applied for auditions and openings for roles he found in the arts-oriented newspaper The Stage, but was turned down repeatedly due to his lack of professional experience in the theatre.[12]
Career
[edit]
Early films and acting
[edit]
Cushing eventually applied for a scholarship at the Guildhall School of Music and Drama in London.[14] His first audition was before the actor Allan Aynesworth, who was so unimpressed with Cushing's manner of speech that he rejected him outright and insisted he not return until he improved his diction.[13][15] Cushing continued to pursue a scholarship, writing twenty-one letters to the school,[15] until actor and theatre manager Bill Fraser finally agreed to meet Cushing in 1935 simply so he could ask him in person to stop writing. During that meeting, Cushing was given a walk-on part as a courier in that night's production of J.B. Priestley's Cornelius. This marked his professional stage debut, although he had no lines and did little more than stand on stage behind other actors. Afterward, he was granted the scholarship and given odd jobs around the theatre, such as selling refreshments and working as an assistant stage manager.[13]
One of his earliest professional stage performances was in 1935 as Captain Randall in Ian Hay's The Middle Watch at the Connaught Theatre in Worthing.[16][17] By the end of the summer of 1936, Cushing accepted a job with the repertory theatre company Southampton Rep, working as assistant stage manager and performing in bit roles at the Grand Theatre in the Hampshire city.[13] He spent the next three years in an apprenticeship at Southampton Rep.,[10] auditioning for character roles both there and in other surrounding theatres, eventually amassing almost 100 individual parts.[13][18] While he was in Southampton, he met an 18-year-old fellow actor, Doreen Lawrence, and they were engaged to be married. Lawrence broke off the engagement, citing his frequent crying and bringing his parents on dates.[19]
Soon, he felt the urge to pursue a film career in the United States. In 1939, his father bought him a one-way ticket to Hollywood, where he moved with only £50 to his name.[10] Cushing met a Columbia Pictures employee named Larry Goodkind, who wrote him a letter of recommendation and directed him to acquaintances Goodkind knew at the company Edward Small Productions. Cushing visited the company, which was only a few days away from shooting The Man in the Iron Mask (1939), the James Whale-directed adaptation of the Alexandre Dumas tale based on the French legend of a prisoner during the reign of Louis XIV of France.[20] Cushing was hired as a stand-in for scenes that featured both characters played by Louis Hayward, who had the dual lead roles of King Louis XIV and Philippe of Gascony. Cushing played one part against Hayward in one scene, then the opposite part in another, and ultimately the scenes were spliced together in a split screen process that featured Hayward in both parts and left Cushing's work cut from the film altogether.[18] Although the job meant Cushing received no actual screen time, he was eventually cast in a bit part as the king's messenger, which made The Man in the Iron Mask his official film debut.[21] The small role involved sword-fighting and, although Cushing had no experience with fencing, he told Whale he was an excellent fencer to ensure he got the part. Cushing later said his unscreened scenes alongside Hayward were terrible performances, but that his experience on the film provided an excellent opportunity to learn and observe how filming on a studio set worked.[20]
Only a few days after filming on The Man in the Iron Mask was completed, Cushing was in the Schwab's Drug Store, a famous Sunset Boulevard hangout spot for actors, when he learned producer Hal Roach was seeking an English actor for a comedy film starring Laurel and Hardy. Cushing sought and was cast in the role. Cushing appeared only briefly in A Chump at Oxford (1940) and his scenes took just one week to film, but he was proud to work with whom he called "two of the greatest comedians the cinema has ever produced."[22] Around this time actor Robert Coote, who met Cushing during a cricket game, recommended to director George Stevens that Cushing might be good for a part in Stevens' upcoming film Vigil in the Night (1940). Adapted from a serial novella of the same name, it was a drama film about a nurse played by Carole Lombard working in a poorly-equipped country hospital. Stevens cast Cushing in the second male lead role of Joe Shand, the husband of the Lombard character's sister. Shooting ran from September to November 1939,[23] and the film was released in 1940, drawing Cushing's first semblance of attention and critical praise.[10]
Cushing continued to work in a few Hollywood engagements, including an uncredited role in the war film They Dare Not Love (1941), which reunited him with director James Whale. Cushing was cast (again uncredited) in one of a series of short films in an entry in the MGM series The Passing Parade, which focused on strange-but-true historical events. He appeared in the episode The Hidden Master (1940) as a young Clive of India, well before the soldier established the military and political supremacy of the East India Company. In the film, Clive tries to shoot himself twice but the gun misfires, then he fires a third time at a pitcher of water and the gun works perfectly. Clive takes this to be an omen that he should live, and he goes on to perform great feats in his life. Studio executives were pleased with Cushing's performance, and there was talk among Hollywood insiders grooming him for stardom.[24] Despite the promise, however, Cushing grew homesick and decided he wished to return to England. He moved to New York City in anticipation of his eventual return home, during which time he voiced a few radio commercials and joined a summer stock theatre company to raise money for his voyage back to England. He performed in such plays as Robert E. Sherwood's The Petrified Forest, Arnold Ridley's The Ghost Train, S. N. Behrman's Biography and a modern dress version of William Shakespeare's Macbeth. He was eventually noticed by a Broadway theatre talent scout,[25] and in 1941 he made his Broadway debut in the religious wartime drama The Seventh Trumpet. It received poor reviews, however, and ran for only eleven days.[18]
Return to England and theatrical work
[edit]
Cushing returned to England during the Second World War. Although some childhood injuries prevented him from serving on active duty,[10] a friend suggested he entertain the troops by performing as part of the Entertainments National Service Association.[15][26] In 1942, the Noël Coward play Private Lives was touring the military stations and hospitals in the British Isles, and the actor playing the lead role of Elyot Chase was called to service. Cushing agreed to take his place with very little notice or time to prepare, and earned a salary of ten pounds a week for the job.[27] During this tour he met Violet Hélène "Helen" Beck, a former dancer who was starring in the lead female role of Amanda Prynne.[14][28] They fell in love and were married on 10 April 1943.[29] Cushing eventually had to leave ENSA due to lung congestion, an ailment his wife helped him recover from.[15] The two had little money around this time, and Cushing had to collect from both National Assistance and the Actors' Benevolent Fund. Cushing struggled to find work during this period, with some plays he was cast in failing to even make it past rehearsals into theatres. Others closed after a few showings, like an ambitious five-hour stage adaptation of Leo Tolstoy's novel War and Peace that opened and closed in 1943 in London's Phoenix Theatre.[29]
Cushing recorded occasional radio spots and appeared in week-long stints as a featured player in London's Q Theatre, but otherwise work was difficult to come by.[18] He found a modest success in a 1945 production of Sheridan's The Rivals at Westminster's Criterion Theatre, which earned him enough money to pay off some growing debts.[30] The war years continued to prove difficult for him, however, and at one point he was forced to work designing ladies head-scarves at a Macclesfield-based silk manufacturer to make ends meet.[18] In the autumn of 1946, after the war ended, Cushing unsuccessfully auditioned for the part of Paul Verrall in a stage production of the play Born Yesterday that was being staged by famed actor and director Laurence Olivier. He was not cast because he insisted he could not perform in an American accent.[18] After Cushing attempted the accent and failed, Olivier replied, "Well, I appreciate you not wasting my time. I shall remember you."[31] Nearing middle age and finding it increasingly harder to make a living in acting, Cushing began to consider himself a failure.[10]
In 1947, when Laurence Olivier sought him out for his film adaptation of Shakespeare's Hamlet, Cushing's wife Helen pushed him to pursue a role.[10] Far from being deterred by Cushing's unsuccessful audition the year before, Olivier remembered the actor well and was happy to cast him,[10][18] but the only character left unfilled was the relatively small part of the foppish courtier Osric.[10] Cushing accepted the role, and Hamlet (1948) marked his British film debut.[21] One of Cushing's primary scenes involved Osric talking to Hamlet and Horatio while walking down a wide stone spiral stairway. The set provided technical difficulties, and all of Cushing's lines had to be post-synched. Cushing had recently undergone dental surgery and he was trying not to open his mouth widely for fear of spitting. When this hindered the post-synching process, Olivier leaned in close to Cushing's face and said, "Now drown me. It'll be a glorious death, so long as I can hear what you're saying."[32]
Hamlet won the Academy Award for Best Picture, and earned Cushing praise for his performance.[14] Also appearing in the film was Christopher Lee, who eventually became a close friend and frequent co-star with Cushing.[33] Cushing designed custom hand-scarves in honour of the Hamlet film, and as it was being exhibited across England, the scarves were eventually accepted as gifts by the Queen and her daughter Princess Elizabeth.[15] After Hamlet, both Peter and Helen Cushing accepted a personal invitation from Olivier to join Old Vic, Olivier's repertory theatre company, which embarked on a year-long tour of Australasia.[18] The tour, which lasted until February 1949, took them to Melbourne, Sydney, Brisbane, Hobart, Tasmania, Auckland, Wellington, Christchurch and Dunedin, and included performances of Richard Brinsley Sheridan's The School for Scandal, Shakespeare's Richard III, Thornton Wilder's The Skin of Our Teeth, Jean Anouilh's Antigone and Anton Chekhov's The Proposal.[34]
Success in television and major films
[edit]
Cushing struggled greatly to find work over the next few years, and became so stressed that he felt he was suffering from an extended nervous breakdown.[34] Nevertheless, he continued to appear in several small roles in radio, theatre and film.[10][35] Among them was the John Huston film Moulin Rouge (1952) in which he played a racing spectator named Marcel de la Voisier appearing with José Ferrer, who played the artist Henri de Toulouse-Lautrec.[21] During this discouraging period for Cushing, his wife encouraged him to seek roles in television, which was beginning to develop in England.[10] She suggested he write to all the producers listed in the Radio Times magazine seeking work in the medium. The move proved to be a wise one, as Cushing was hired to complement the cast of a string of major theatre successes that were being adapted to live television. The first was J.B. Priestley's Eden End, which was televised in December 1951. Over the next three years, he became one of the most active and favoured names in British television,[10][15][35] and was considered a pioneer in British television drama.[21][28]
He earned praise for playing the lead male role of Mr. Darcy in an early BBC Television serialisation of Jane Austen's Pride and Prejudice (1952).[36] Other successful television ventures during this time included Epitaph for a Spy, The Noble Spaniard, Beau Brummell,[35] Portrait by Peko,[37] and Anastasia, the latter of which won Cushing the Daily Mail National Television Award for Best Actor of 1953–54.[35] His largest television success from this period was the leading role of Winston Smith in Nineteen Eighty-Four, (1954) an adaptation by Nigel Kneale of George Orwell's novel of the same name about a totalitarian regime. The production proved to be controversial, resulting in death threats for director Rudolph Cartier and causing Cushing to be vilified for appearing in such "filth."[35] Parliament even considered a motion immediately after the first screening to ban the play's live repeat.[28][35] Nevertheless, a second televised production was filmed and aired, and Cushing eventually drew both critical praise and acting awards, further cementing his reputation as one of Britain's biggest television stars.[10] Cushing felt his first performance was much stronger than the second, but the second production is the only known surviving version.[38]
In the two years following Nineteen Eighty-Four, Cushing appeared in thirty-one television plays and two serials, and won Best Television Actor of the Year from the Evening Chronicle. He also won best actor awards from the Guild of Television Producers in 1955,[39] and from the British Academy of Film and Television Arts in 1956.[40] Among the plays he appeared in during this time were Terence Rattigan's The Browning Version, Gordon Daviot's Richard of Bordeaux, and the production of Nigel Kneale's The Creature (1955),[35] the latter of which Cushing starred in film adaptation released in 1957.[41] Despite this continued success in live television, Cushing found the medium too stressful and wished to return to film.[10] Cinematic roles proved somewhat difficult to find, however, as film producers were often resentful of television stars for drawing audiences away from the cinema.[42]
Nevertheless, he continued to work in some film roles during this period, including the adventure film The Black Knight (1954) opposite Alan Ladd.[39] For that film, he travelled to Spain and filmed scenes on location in the castles of Manzanares el Real and El Escorial.[43] He also starred in the film adaptation of the Graham Greene novel The End of the Affair (1955) as Henry Miles, an important civil servant and the cuckolded husband of Sarah Miles, played by Deborah Kerr.[21] Also around the same time, he appeared in Magic Fire (also 1955), an autobiographical film about the German composer Richard Wagner. Filmed on location in Munich, Cushing played Otto Wesendonck, the husband of poet Mathilde Wesendonck, who in the film is portrayed as having an affair with Wagner.[44]
Hammer Frankenstein films
[edit]
During a brief quiet period following Cushing's television work, he read in trade publications about Hammer, a low-budget production company seeking to adapt Mary Shelley's horror novel Frankenstein into a new film.[39] Cushing, who enjoyed the tale as a child,[10] had his agent John Redway inform the company of Cushing's interest in playing the protagonist, Baron Victor Frankenstein. The studio executives were anxious to have Cushing; in fact, Hammer co-founder James Carreras had been unsuccessfully courting Cushing for film roles in other projects even before his major success with Nineteen Eighty-Four. Cushing was about twenty years older than Baron Frankenstein as he appeared in the original novel, but that did not deter the filmmakers.[39] Cushing was cast in the lead role of The Curse of Frankenstein (1957), marking the first of twenty-two films he made for Hammer.[45] He later said that his career decisions entailed selecting roles where he knew that he would be accepted by the audience. "Who wants to see me as Hamlet? Very few. But millions want to see me as [Baron] Frankenstein, so that's the one I do."[46] The film critic Roger Ebert described Cushing's work in the Hammer films: "[Cushing is] the one in all those British horror films, standing between Vincent Price and Christopher Lee. His dialog usually runs along the lines of, 'But good heavens, man! The person you saw has been dead for more than two centuries!'"[47]
Unlike Frankenstein (1931) produced by Universal, the Hammer films revolved mainly around Victor Frankenstein, rather than his monster.[48] Screenwriter Jimmy Sangster wrote the protagonist as an ambitious, egotistical and coldly intellectual scientist who despised his contemporaries.[39] Unlike the character from the novel and past film versions, Cushing's Baron Frankenstein commits vicious crimes to attain his goals, including the murder of a colleague to obtain a brain for his creature.[48] The Curse of Frankenstein also featured Christopher Lee, who played Frankenstein's monster.[21] Cushing and Lee became extremely close friends, and remained so for the rest of Cushing's life. They first met on the set of the film, where Lee was still wearing the monster make-up prepared by Phil Leakey. Hammer Studios' publicity department put out a story that when Cushing first encountered Lee without the make-up on, he screamed in terror.[49]
Cushing so valued preparation for his role that he insisted on being trained by a surgeon to learn how to wield a scalpel authentically.[28] Shot in dynamic colour with a £65,000-budget, the film became known for its heavy usage of gore and sexual content.[10] As a result, while the film did well at the box-office with its target audience, it drew mixed to negative reviews from the critics. Most, however, were complimentary of Cushing's performance,[50] claiming it added a layer of distinction and credibility to the film.[51] Many felt Cushing's performance helped create the archetypal mad scientist character.[28] Picturegoer writer Margaret Hinxman, who was not complimentary of Lee's performance, praised Cushing and wrote of the film: "Although this shocker may not have created much of a monster, it may well have created something more lasting: a star!"[50] Donald F. Glut, a writer and filmmaker who wrote a book about the portrayals of Frankenstein, said the inner warmth of Cushing's off-screen personality was apparent on-screen even despite the horrific elements of Frankenstein, which helped add a layer of likability to the character.[52]
The Curse of Frankenstein was an overnight success, bringing both Cushing and Lee worldwide fame.[21][53] The two men continued to work together in many films for Hammer, and their names became synonymous with the company. Cushing reprised the role of Baron Victor Frankenstein in five sequels.[21] In the first, The Revenge of Frankenstein (1958), his protagonist is sentenced to death by guillotine, but he flees and hides under the alias Doctor Victor Stein.[21] He returned for The Evil of Frankenstein (1963), where the Baron has a carnival hypnotist resurrect his monster's inactive brain,[54] and Frankenstein Created Woman (1967), in which the Frankenstein's monster is a woman played by Playboy magazine centrefold model Susan Denberg. Cushing played the lead role twice more in Frankenstein Must Be Destroyed (1969) and Frankenstein and the Monster from Hell (1974).[21] The former film portrays Frankenstein as a far more ruthless character than had been seen before, and features a scene in which Cushing's Frankenstein rapes the character played by Veronica Carlson. Neither Carlson nor Cushing wanted to do the scene, filmed despite director Terence Fisher's objections, and the controversial sequence was edited out of the film for its American release.[55] In Frankenstein and the Monster from Hell, Cushing portrayed Frankenstein as having gone completely mad, in a fitting coda to the earlier films.[56][57]
Hammer Dracula films
[edit]
When Hammer sought to adapt Bram Stoker's classic vampire novel Dracula, they cast Cushing to play the vampire's adversary Doctor Van Helsing. Cushing envisioned the character as an idealist warrior for the greater good, and studied the original book carefully and adapted several of Van Helsing's characteristics from the books into his performance, including the repeated gesture of raising his index finger to emphasise an important point.[58] Cushing said one of the biggest challenges during filming was not missing whenever he struck a prop stake with a mallet and drove it into a vampire's heart.[59] Dracula was released in 1958, with Cushing once again starring opposite Lee, who played the title character, although Cushing was given top billing.[60] During filming, Cushing himself suggested the staging for the final confrontation scene, in which Van Helsing leaps onto a large library table, opens window curtains to weaken Dracula with sunlight, then uses two candlesticks as a makeshift crucifix to drive the vampire into the sunlight.[10] As with the Frankenstein film, critics largely disliked Dracula because of its violence and sexual content, deeming it inferior to the 1931 Universal version.[61]
In 1959, Cushing agreed to reprise the role of Van Helsing in the sequel, The Brides of Dracula (1960). Before filming began, however, Cushing said he had reservations about the screenplay written by Jimmy Sangster and Peter Bryan. As a result, playwright Edward Percy was brought in to make modifications to the script, though the rewrites pushed filming into early 1960 and brought additional costs to the production.[62] For the sequel, Dracula: Prince of Darkness (1966), which marked Lee's return to the title role for the first time since 1958, Cushing granted permission for archival footage featuring him to be used in the opening scene, a reprisal of the climax from the first Dracula film. In exchange, Hammer's James Carreras thanked Cushing by paying for extensive roofing repair work that had recently been done on Cushing's recently purchased Whitstable home.[63] Cushing appeared in Dracula A.D. 1972 (1972), a Hammer modernisation of the Dracula story set in the then-present day. Lee once again starred as Dracula. In the opening scene, Cushing portrays the nineteenth century Van Helsing as he did in the previous films, and the character is killed after battling Dracula. Thereafter the action jumps ahead to 1972, and Cushing plays the original character's grandson for the bulk of the movie.[21] Cushing performed many of his own stunts in Dracula A.D. 1972, which included tumbling off a haywagon during a fight with Dracula. Christopher Neame, who also starred in the film, said he was particularly impressed with Cushing's agility and fitness, considering his age.[64] Cushing and Lee both reprised their respective roles in the sequel The Satanic Rites of Dracula (1974), which was known in the United States as Count Dracula and his Vampire Bride.[21] Around the same time, Cushing played the original nineteenth-century Van Helsing in The Legend of the 7 Golden Vampires (also 1974), a co-production between Hammer Studios and the Shaw Brothers Studio, which brought Chinese martial arts into the Dracula story.[21] In that film, Cushing's Van Helsing travels to the Chinese city Chongqing, where Count Dracula is heading a vampire cult.[65]
Other Hammer roles
[edit]
Although most well known for his roles in the Frankenstein and Dracula films, Cushing appeared in a wide variety of other Hammer productions during this time. Both he and his wife feared that he would become typecast into horror roles, but he continued to take them because they guaranteed regular work.[42][66] He appeared in the horror film The Abominable Snowman (1957), a Hammer adaptation of a BBC Nigel Kneale television play The Creature (1955) which Cushing had also starred in. He portrayed an English botanist searching the Himalayas for the legendary Yeti.[41] Director Val Guest said he was particularly impressed with Cushing's preparation and ability to plan which props to best use to enhance his performance, so much so that Cushing started to become known as "Props Peter".[67] Cushing and Lee appeared together in the Hammer horror The Mummy (1959), with Cushing as the archaeologist John Banning and Lee as the antagonist Kharis.[10] Cushing saw a promotional poster for The Mummy that showed Lee's character with a large hole in his chest, allowing a beam of light to pass through his body. There was no reference to such an injury in the film script, and when he asked the publicity department why it was on the poster, they said it was simply meant to serve as a shocking image to promote the movie. During filming, he asked director Terence Fisher for permission to drive a harpoon through the mummy's body during a fight scene to explain the poster image. Fisher agreed, and the scene was used in the film.[68]
Around the same time, he portrayed the detective Sherlock Holmes in the Hammer production of The Hound of the Baskervilles (also 1959), an adaptation of Sir Arthur Conan Doyle's novel of the same name.[21] He again co-starred opposite Lee, who portrayed the aristocratic Sir Henry Baskerville.[33] A huge fan of Sherlock Holmes, Cushing was highly anxious to play the character,[69] and reread the novels in anticipation of the role.[70] Hammer decided to heighten the source novel's horror elements, which upset the estate of Conan Doyle, but Cushing himself voiced no objection to the creative licence because he felt the character of Holmes himself remained intact. However, when producer Anthony Hinds proposed removing the character's deerstalker, Cushing insisted they remain because audiences associated Holmes with his headgear and pipes.[71] He prepared extensively for the role, studying the novel and taking notes in his script. He scrutinised the costumes and screenwriter Peter Bryan's script, often altering words or phrases.[72] Lee later claimed to be awestruck by Cushing's ability to incorporate many different props and actions into his performance simultaneously, whether reading, smoking a pipe, drinking whiskey, filing through papers, or other things while portraying Holmes.[73] In later years, Cushing considered his Holmes performance one of the finest accomplishments of his career.[69] He drew generally mixed reviews: Film Daily called it a "tantalising performance" and Time Out's David Pirie called it "one of his very best performances",[74] while the Monthly Film Bulletin called him "tiresomely mannered and too lightweight" and BBC Television's Barry Norman said he "didn't quite capture the air of know-all arrogance that was the great detective's hallmark".[75] The Hound of the Baskervilles was originally conceived as the first in a series of Sherlock Holmes films, but no sequels were made.[68]
Immediately upon completion of The Hound of the Baskervilles, Cushing was offered the lead role in the Hammer film The Man Who Could Cheat Death (1959), a remake of The Man in Half Moon Street (1945). He turned it down, in part because he did not like the script by Jimmy Sangster, and the lead role was taken instead by Anton Diffring. Cushing next appeared for Hammer when he played the Sheriff of Nottingham in the adventure film Sword of Sherwood Forest (1960), which starred Richard Greene as the outlaw Robin Hood.[21] It was filmed on location in County Wicklow in the Republic of Ireland.[76] The next year, Cushing starred as an Ebenezer Scrooge-like manager of a bank being robbed in the Hammer thriller film Cash on Demand (1961). He considered this among the favourites of his films,[21] and some critics believed it to be among his best performances, although it was one of the least-seen films from his career.[10] He appeared in the Hammer film Captain Clegg (1962), known in the United States as Night Creatures. Cushing starred as Parson Blyss, the local reverend of an 18th-century English coastal town believed to be hiding his smuggling activities with reports of ghosts.[21] The film was roughly based on the Doctor Syn novels by Russell Thorndike. Cushing read Thorndike to prepare for the role and made suggestions to make-up artist Roy Ashton about Blyss' costume and hairstyle.[77] He and director Peter Graham Scott did not get along well during filming and at one point, when the two were having a disagreement on set, Cushing turned to cameraman Len Harris and said, "Take no notice, Len. We've done enough of these now to know what we're doing."[77]
Cushing and Lee appeared together in the horror film The Gorgon (1964) about the female snake-haired Gorgon character from Greek mythology and in She (1965), about a lost realm ruled by the immortal queen Ayesha, played by Ursula Andress. Cushing later appeared in The Vampire Lovers (1970), an erotic Hammer horror film about a lesbian vampire, adapted in part from the Sheridan Le Fanu novella Carmilla.[10] The next year he was set to star in a sequel, Lust for a Vampire (1971), but had to drop out because his wife was ill and Ralph Bates substituted.[68] However, Cushing was able to star in Twins of Evil (also 1971), a prequel of sorts to The Vampire Lovers, as Gustav Weil, the leader of a group of religious puritans trying to stamp out witchcraft and satanism.[78] Among his final Hammer roles was Fear in the Night (1972), where he played a one-armed school headmaster apparently terrorising the protagonist, played by Judy Geeson.[79]
Non-Hammer film work
[edit]
Although best known for his Hammer performances from the 1950s to the 1970s, Cushing worked in a variety of other roles during this time, and actively sought roles outside the horror genre to diversify his work.[10] In an interview published in ABC Film Review in November 1964, Cushing stated, "People look at me as if I were some sort of monster, but I can't think why. In my macabre pictures, I have either been a monster-maker or a monster-destroyer, but never a monster. Actually, I'm a gentle fellow. Never harmed a fly. I love animals, and when I'm in the country I'm a keen bird-watcher." In an interview published in 1966, he added, "I do get terribly tired with the neighbourhood kids telling me 'My mum says she wouldn't want to meet you in a dark alley'." He continued to perform in occasional stage productions, such as Robert E. MacEnroe's The Silver Whistle at Westminster's Duchess Theatre in 1956.[80] Around the same time, he appeared in the film Alexander the Great (1956) as the Athenian General Memnon of Rhodes.[44] In 1959, Cushing originally planned to appear in the lead role of William Fairchild's play The Sound of Murder, while shooting a film at the same time. The hectic schedule became overbearing for Cushing, who had to drop out of the play and resolved to never again attempt a film and play simultaneously.[81]
He appeared in the biographical epic film John Paul Jones (1959), in which Robert Stack played the title role of the American naval fighter in the American Revolutionary War.[21] Cushing became very ill with dysentery during filming and lost a considerable amount of weight as a result.[82] Cushing played Robert Knox in The Flesh and the Fiends (1960), based on the true story of the doctor who purchased human corpses for research from the serial killer duo Burke and Hare.[21] Cushing had previously stated Knox was one of his role models in developing his portrayal of Baron Frankenstein.[83] The film was called Mania in its American release. Cushing appeared in several films released in 1961, including Fury at Smugglers' Bay, an adventure film about pirates scavenging ships off the English coastline;[84] The Hellfire Club, where he played a lawyer helping a young man expose a cult;[85] and The Naked Edge, a British-American thriller about a woman who suspects her husband framed another man for murder. The latter film starred Deborah Kerr, Cushing's co-star from The End of the Affair, and Gary Cooper, one of Cushing's favourite actors.[84] In 1965, Cushing appeared in the Ben Travers farce play Thark at Westminster's Garrick Theatre. It was his final stage performance for a decade, but he continued to stay active in film and television during this period.[86]
Cushing took the lead role in two science fiction films by AARU Productions based on the British television series, Doctor Who. Although Cushing's protagonist was derived from television scripts used for First Doctor serials, his portrayal of the character differed in the fact that Cushing's Dr. Who was a human being, whereas the original Doctor as portrayed on TV by William Hartnell was extraterrestrial.[87] Cushing played the role in Dr. Who and the Daleks (1965) and Daleks' Invasion Earth 2150 A.D. (1966).[21]
Cushing later starred in the fifteen-episode BBC television series Sherlock Holmes, once again reprising his role as the title character with Nigel Stock as Watson, though only six episodes now survive. The episodes aired in 1968. Douglas Wilmer had previously played Holmes for the BBC,[88] but he turned down the part in this series due to the extremely demanding filming schedule. Fourteen days of rehearsal was originally scheduled for each episode, but they were cut down to ten days for economic reasons. Many actors turned down the role as a result, but Cushing accepted,[89] and the BBC believed his Hammer Studios persona would bring what they called a sense of "lurking horror and callous savagery" to the series.[88] Production lasted from May to December,[90] and Cushing adopted a strict regimen of training, preparation and exercise.[91] He tried to keep his performance identical to his portrayal of Holmes from The Hound of the Baskervilles.[92] Although the series proved popular, Cushing felt he could not give his best performance under the hectic schedule, and he was not pleased with the final result.[90][93]
Cushing appeared in a handful of horror films by the independent Amicus Productions, including Dr. Terror's House of Horrors (1965), as a man who could see into the future using Tarot cards;[94] The Skull (1965), as a professor who became possessed by a spiritual force embodied within a skull;[95] and Torture Garden (1967), as a collector of Edgar Allan Poe relics who is robbed and murdered by a rival.[96] Cushing also appeared in non-Amicus horror films like Island of Terror (1966) and The Blood Beast Terror (1968), in both of which he investigates a series of mysterious deaths. He appeared in Corruption (1968), a film that was billed as so horrific that "no woman will be admitted alone" into theatres to see it.[97] Cushing played a surgeon who attempts to restore the beauty of his wife (played by Sue Lloyd), whose face is horribly scarred in an accident.[98]
In July 1969, Cushing appeared as the straight man in The Morecambe & Wise Show, the British comedy series. In the skit, Cushing portrayed King Arthur, while the other two gave comedic portrayals of characters like Merlin and the knights of the Round Table. Cushing continued to make occasional cameos in the series over the next decade, portraying himself desperately attempting to collect a payment for his previous acting appearance on the show.[99] Cushing and Lee made cameos as their old roles of Frankenstein and Dracula in the comedy One More Time (1970), which starred Peter Lawford and Sammy Davis Jr.[100] The single scene took only one morning of filming, which Cushing agreed to after Davis asked him to do it as a favour.[63] The next year, Cushing appeared in I, Monster (1971),[10] which was adapted from Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde, alongside Lee as the Jekyll/Hyde figure. Later that year he was set to appear in Blood from the Mummy's Tomb (1971), an adaptation of the Bram Stoker novel The Jewel of Seven Stars. He was forced to withdraw from the film to care for his wife, and was ultimately replaced by Andrew Keir.[101]
In 1971, Cushing contacted the Royal National Institute for the Blind and offered to provide voice acting for some of their audiobooks. They immediately accepted, and among the works Cushing recorded was The Return of Sherlock Holmes, a collection of thirteen one-hour stories.[103] He appeared alongside Vincent Price in Dr. Phibes Rises Again! (1972), a sequel to The Abominable Dr. Phibes, and then co-starred with Price again in the film Madhouse (1974).[14] He once again starred with longtime collaborator Christopher Lee in Horror Express (1972). Cushing continued to appear in several Amicus Productions films during this period, including Tales from the Crypt (1972), From Beyond the Grave (1973),[104] And Now the Screaming Starts! (1973),[65] and The Beast Must Die (1974).[105]
For Tales from the Crypt, an anthology film made up of several horror segments, Cushing was offered the part of a ruthless businessman but did not like the part and turned down the role. Instead, Cushing asked to play Arthur Grymsdyke,[106] a kind, working-class widower who gets along well with the local children, but falls subject to a smear campaign by his snobbish neighbours. Eventually, the character is driven to commit suicide, but returns from the grave to seek revenge against his tormentors.[107] After Cushing was cast in the role, several changes were made to the script at his suggestion. Originally, all of the character's lines were spoken aloud to himself, but Cushing suggested he speak to a framed photo of his deceased wife instead, and director Freddie Francis agreed.[106] Cushing used the emotions from the recent loss of his wife to add authenticity to the widower character's grieving.[107] Make-up artist Roy Ashton designed the costume and make-up Cushing wore when he rose from the dead,[107] but the actor helped Ashton develop the costume, and donned a pair of false teeth that he previously used in a disguise during the Sherlock Holmes television series.[108] His performance in Tales from the Crypt won him the Best Male Actor award at the 1971 French Convention of Fantasy Cinema in France.[106]
In 1975, Cushing was anxious to return to the stage, where he had not performed in ten years. Around this time he learned that Helen Ryan, an actress who impressed him in a televised play about King Edward VII, was planning to run the Horseshoe Theatre in Basingstoke with her husband, Guy Slater. Cushing wrote to the couple and suggested they stage The Heiress, a play by Ruth and Augustus Goetz, with Cushing himself in the lead role. Ryan and Slater agreed, and Cushing later said performing the part was his most pleasant experience since his wife had died four years earlier.[86] Cushing also starred in several horror films released in 1975. Among them were Land of the Minotaur, where he played Baron Corofax, the evil leader of a Satanic cult opposed by a priest played by Donald Pleasence.[109] Another was The Ghoul, where he played a former priest hiding his cannibalistic son in an attic. That film marked the first Cushing worked for producer Kevin Francis, who worked in minor jobs at Hammer and had long aspired to work with Cushing, whom he admired deeply. They went on to make two other films together, Legend of the Werewolf (1975) and The Masks of Death (1984) with the actor playing Sherlock Holmes once more.[110] Cushing appeared in the television film The Great Houdini (1976) as Sir Arthur Conan Doyle, the creator of Sherlock Holmes.[87][103] Cushing wrote the forewords to two books about the detective: Peter Haining's Sherlock Holmes Scrapbook (1974) and Holmes of the Movies: The Screen Career of Sherlock Holmes (1976), by David Stuart Davies.[111] Cushing also appeared in the horror film The Uncanny (1977).[112]
Star Wars
[edit]
Film director George Lucas approached Cushing with the hopes of casting the actor in his upcoming space fantasy film, Star Wars. Since the film's primary antagonist Darth Vader wore a mask throughout the entire film and his face was never visible, Lucas felt that a strong human villain character was necessary. This led him to write the character of Grand Moff Tarkin: a high-ranking Imperial governor and commander of the planet-destroying battlestation, the Death Star. Lucas felt a talented actor was needed to play the role and said Cushing was his first choice.[113] However, Cushing has claimed that Lucas originally approached him to play the Jedi Master Obi-Wan Kenobi and only decided to cast him as Tarkin instead after the two met. He said he would have preferred to play Kenobi rather than Tarkin but could not have done so because he was to be filming other movie roles when Star Wars was shooting, and Tarkin's scenes took less time to film than those of the larger Kenobi role. Although not a particular fan of science fiction, Cushing accepted the part because he believed his audience would love Star Wars and enjoy seeing him in the film.[10]
Cushing joined the cast in May 1976, and his scenes were filmed at Elstree Studios in Borehamwood.[10] Along with Alec Guinness, who was ultimately cast as Kenobi, he was among the best-known actors at the time to appear in Star Wars, as the rest of the cast were then relatively unknown.[114] As a result, he was paid a larger daily salary than most of his fellow cast, earning £2,000 per day compared to weekly salaries of $1,000 for Mark Hamill, $850 for Carrie Fisher, and $750 for Harrison Ford, who played protagonists Luke Skywalker, Princess Leia Organa, and Han Solo, respectively.[113] When Cushing smoked between shots, he wore a white glove so the make-up artists would not have to deal with nicotine stains on his fingers. Like Guinness, he had difficulty with some of the technical jargon in his dialogue and claimed he did not understand all of the words he was speaking. Nevertheless, he worked hard to master the lines so that they sounded natural and his character appeared intelligent and confident.[115]
Cushing got along well with the entire cast, especially his old co-star David Prowse, who played Darth Vader, and Carrie Fisher, who was appearing in her first major role as Princess Leia Organa.[10] The scene in which Tarkin and Organa appear together on the Death Star, just before the destruction of the planet Alderaan, was the first scene with major dialogue that Fisher filmed for Star Wars.[115] Cushing consciously attempted to define their characters as opposite representations of good and evil, and he purposely stood in the shadows so the light shone on Fisher's face. Fisher said she liked Cushing so much that it was difficult to act as though she hated Tarkin,[10] and she had to substitute somebody else in her mind to muster the feelings. Although one of her lines referred to Tarkin's "foul stench," she said the actual actor smelled like "linen and lavender," something Cushing attributed to his tendency to wash and brush his teeth thoroughly before filming because of his self-consciousness about bad breath.[115]
During the filming of Star Wars, Cushing was provided with a pair of boots far too small to accommodate his size twelve feet. This caused a great deal of pain for him during shooting, but the costume designers did not have enough time to get him another pair. As a result, he asked Lucas to film as many shots of him as possible from the waist up and, after the director agreed, Cushing wore slippers during the scenes where his feet were not visible.[116][117][118][119][120] During rehearsals, Lucas originally planned for Tarkin and Vader to use a giant screen filled with computerised architectural representations of hallways to monitor the whereabouts of Skywalker, Solo, and Organa. Although the idea was abandoned before filming began, Cushing and Prowse rehearsed those scenes in a set built by computer animation artist Larry Cuba.[121] The close-up shots of Cushing aboard the Death Star, shown right before the battlestation is destroyed, were actually extra footage taken from previously shot scenes with Cushing that did not make the final film. During production, Lucas decided to add those shots, along with second unit footage of the Death Star gunners preparing to fire, to add more suspense to the film's space battle scenes.[122]
When Star Wars was first released in 1977, most preliminary advertisements touted Cushing's Tarkin as the primary antagonist of the film, not Vader;[123] Cushing was extremely pleased with the final film, and he claimed his only disappointment was that Tarkin was killed and could not appear in the sequels. The film gave him the highest amount of visibility of his entire career and helped inspire younger audiences to watch his older films.[10][124][125]
For the film Rogue One (2016), CGI and digitally-repurposed-archive footage[126][127] were used to insert Cushing's likeness from the original movie over the face of actor Guy Henry.[128] Henry provided the on-set capture and voice work with the reference material augmented and mapped over his performance like a digital body-mask. Cushing's estate owners were heavily involved with the creation, which took place more than twenty years after Cushing died.[129] This extensive use of CGI to "resurrect" an actor who had died many years earlier created a great deal of controversy about the ethics of using a deceased actor's likeness.[130][131][132] Joyce Broughton, Cushing's former secretary, had approved recreating Cushing in the film. After attending the London premiere, she was reportedly "taken aback" and "dazzled" with the effect of seeing him on screen again.[133]
Later career
[edit]
Toward the end of his career, Cushing performed in films and roles critics widely considered below his talent.[10] Director John Carpenter approached him to appear in the horror film Halloween (1978) as Samuel Loomis, the psychiatrist of murderer Michael Myers, but Cushing turned down the role. It was also turned down by Christopher Lee, and eventually went to Donald Pleasence, another of Cushing's former co-stars.[134] Cushing appeared alongside his old co-stars Christopher Lee and Vincent Price in House of the Long Shadows (1983), a horror-parody film featuring Desi Arnaz, Jr. as an author trying to write a gothic novel in a deserted Welsh mansion.[41]
Cushing appeared in the television film The Masks of Death (1984), marking both the last time he played detective Sherlock Holmes and the final performance for which he received top billing.[10] He appeared alongside actor John Mills as Watson, and the two were noted by critics for their strong chemistry and camaraderie. As both actors were in their seventies, screenwriter N.J. Crisp and executive producer Kevin Francis both in turn sought to portray them as two old-fashioned men in a rapidly changing world. Cushing's biographer Tony Earnshaw said Cushing's performance in The Masks of Death was arguably the actor's best interpretation of the role, calling it "the culmination of a life-time as a Holmes fan, and more than a quarter of a century of preparation to play the most complex of characters".[135] The final notable roles of Cushing's career were in the comedy Top Secret! (1984), the fantasy film Sword of the Valiant (also 1984) and the adventure film Biggles: Adventures in Time (1986).[10] In 1986, he appeared on the British television show Jim'll Fix It, hosted by Jimmy Savile, in which it was arranged for the wishes of guests to be granted. Cushing wished for a strain of rose to be named after his late wife, and it was arranged for the Helen Cushing Rose to be grown at the Wheatcroft Rose Garden in Edwalton, Nottinghamshire.[119]
During this period, Cushing was honoured by the British Film Institute, which invited him in 1986 to give a lecture at the National Film Theatre. He also staged An Evening with Peter Cushing at St. Edmund's Public School in Canterbury to raise money for the local Cancer Care Unit. In 1987, a watercolour painting Cushing painted was accepted by Prince Edward and auctioned at a charity event he organised to raise funds for The Duke of Edinburgh's Award Scheme.[136] Also that year, a sketch Cushing drew of Sherlock Holmes was accepted as the official logo of the Northern Musgraves Sherlock Holmes Society.[137]
Cushing wrote two autobiographies, Peter Cushing: An Autobiography (1986) and Past Forgetting: Memoirs of the Hammer Years (1988).[21] Cushing wrote the books as what he called "a form of therapy to stop me going stark, raving mad" following the loss of his wife. His old friend and co-star John Mills encouraged him to publish his memoirs as a way of overcoming the reclusive state Cushing had placed himself into following her death.[124] In 1989 he was made an Officer of the Order of the British Empire for his contributions to the British film industry.[138] Cushing also wrote a children's book called The Bois Saga, a story based on the history of England. Published in 1994, it was originally written specifically for the daughter of Cushing's long-time secretary and friend Joyce Broughton, to help her overcome reading problems resulting from her dyslexia. It was Broughton who encouraged Cushing to have the book published.[139] His final acting job was narrating, along with Christopher Lee, the Hammer Films documentary Flesh and Blood: The Hammer Heritage of Horror (1994), which was recorded only a few weeks before his death.[45] Produced by American writer and director Ted Newsom, his contribution was recorded in Canterbury, near his home.[citation needed] Lee recognised Cushing's health was fading and did his best to keep his friend's spirits up, but Lee later claimed he had a premonition that it would be the last time he saw Cushing alive, which proved to be true.[73]
Personal life
[edit]
Cushing had a variety of interests outside acting, including collecting and battling model soldiers, of which he owned over five thousand.[140] He hand-painted many and used the Little Wars rule set by H. G. Wells for miniature wargaming.[141] He also loved games and practical jokes,[15] and enjoyed drawing and painting watercolours, the latter of which he did especially often in his later years.[45]
After his wife's death, Cushing visited several churches and spoke to religious ministers, but was dissatisfied by their reluctance to discuss death and the afterlife, and never joined an organized religion. He nevertheless maintained a belief in both God and an afterlife.[99][142] He was an ardent vegetarian for most of his life who served as a patron with the Vegetarian Society from 1987 until his death.[143] He also had a great interest in ornithology and wildlife in general.[28] He suffered from nyctophobia from early in his life, but in his later years overcame this by forcing himself to take walks outside after midnight.[144]
Cushing was known among his colleagues for his gentle and gentlemanly demeanour, as well as his professionalism and rigorous preparation as an actor.[21] He once said that he learned his parts "from cover to cover" before filming began.[145] His co-stars and colleagues often spoke of his politeness, charm, old-fashioned manners and sense of humour.[10] While working, he actively provided feedback and suggestions on other elements beyond his performance, such as dialogue and wardrobe. At times, this put him at odds with writers and producers; Hammer Studios producer Anthony Hinds once declared him a "fusspot [and] terrible fusser about his wardrobe and everything, but never a difficult man."[71]
Although he appeared in both television and stage productions, Cushing preferred the medium of film, which allowed his perfectionist nature to work out the best performance possible.[10] He did not enjoy the repetitive nature of stage performances, and once compared it to a painter being forced to paint the same picture every day.[92] Cushing himself was not a particular fan of horror or science fiction films, but he tended to choose roles not based on whether he enjoyed them, but whether he felt his audience would enjoy him in them.[10] However, Cushing was very proud of his experiences with the Hammer films, and never resented becoming known as a horror actor.[4] He always took the roles seriously and never portrayed them in a campy or tongue-in-cheek style because he felt it would be insulting to his audience.[10][42][68]
On 10 April 1943, Cushing married Violet Hélène Beck, sister of Reginald Beck.[14][28][29][146]
In 1971 Cushing's wife died of emphysema. Cushing often said he felt his life had ended when hers did,[10] and he was so crushed that when his first autobiography was published in 1986, it made no mention of his life after her death.[28] In 1972, he was quoted in the Radio Times as having said, "Since Helen passed on I can't find anything; the heart, quite simply, has gone out of everything. Time is interminable, the loneliness is almost unbearable and the only thing that keeps me going is the knowledge that my dear Helen and I will be reunited again some day. To join Helen is my only ambition. You have my permission to publish that ... really, you know, dear boy, it's all just killing time. Please say that."[147]
In his autobiography, Cushing implies that he attempted suicide on the night of his wife's death by running up and down stairs in the vain hope that it would induce a heart attack. He later stated that this had simply been a hysterical response borne out of grief, and that he had not purposely attempted to end his life; a poem left by Helen had implored him not to die until he had lived his life to the full.[142]
The effects of his wife's death proved to be as much physical as mental. For his role in Dracula A.D. 1972, Cushing (who was 58) had originally been cast as the father of Stephanie Beacham's character, but had aged so visibly and lost so much weight that the script was hastily rewritten to make him her grandfather: it was done again in the last Dracula film from Hammer, The Satanic Rites of Dracula.[148] In a silent tribute to Helen, a shot of Van Helsing's desk includes a photograph of her. He repeated the role of the man who lost family in other horror films, including Asylum (1972), The Creeping Flesh (1973), and The Ghoul (1975).
Death and legacy
[edit]
In May 1982, Cushing was diagnosed with prostate cancer.[149] He was rushed to the Kent and Canterbury Hospital when his left eye had swollen to nearly three times its normal size, a side effect of the cancer. Doctors determined he had twelve to eighteen months to live, and that his left eye might be lost. To their surprise, however, Cushing recovered well enough to be released from the hospital,[150] and although his health continued to gradually decline, Cushing lived another twelve years without any operative treatment or chemotherapy. During this period, he lived with Joyce Broughton and her family at their homes in Hartley, Kent.[151] In August 1994, Cushing entered himself into Pilgrims Hospice in Canterbury, where he died on 11 August at 81 years old.[14][152] In accordance with his wishes, Cushing had a low-profile funeral with family and friends, although hundreds of fans and well-wishers came to Canterbury to pay their respects. In January 1995, a memorial service was held in The Actors' Church in Covent Garden, with addresses given by Christopher Lee, Kevin Francis, Ron Moody and James Bree.[153]
In total, Cushing appeared in more than 100 films throughout his career.[4][42]
In an interview included on the DVD release of The Hound of the Baskervilles (1959), Lee said of his friend's death:
I don't want to sound gloomy, but at some point of your lives, every one of you will notice that you have in your life one person, one friend whom you love and care for very much. That person is so close to you that you are able to share some things only with him. For example, you can call that friend, and from the very first maniacal laugh or some other joke you will know who is at the other end of that line. We used to do that with him so often. And then when that person is gone, there will be nothing like that in your life ever again.[154]
Several filmmakers and actors have claimed to be influenced by Peter Cushing, including actor Doug Bradley, who played Pinhead in the Hellraiser horror films,[155] and John Carpenter, who directed such films as Halloween (1978), Escape from New York (1981) and The Thing (1982).[10] Director Tim Burton and actor Johnny Depp both said the portrayal of Ichabod Crane in Sleepy Hollow was intended to resemble that of Cushing's old horror film performances.[156][157]
In 2008, fourteen years after his death, Cushing's image was used in a set of stamps issued by the Royal Mail honouring Hammer Studios films on the fiftieth anniversary of the release of Dracula.[152] In 2013, Cushing was honoured by the Royal Mail as one of ten people selected for their "Great Britons" commemorative postage stamp issue.[158]
Filmography
[edit]
Film
[edit]
Title Year Role Note The Man in the Iron Mask 1939 Second Officer Playing opposite Louis Hayward to facilitate the double exposure scenes, with a small role of his own Laddie 1940 Robert Pryor A Chump at Oxford Student Vigil in the Night Joe Shand Women in War Captain Evans Uncredited The Howards of Virginia Leslie Stephens Uncredited They Dare Not Love 1941 Sub-Lieutenant Blackler Uncredited Hamlet 1948 Osric Moulin Rouge 1952 Marcel de la Voisier The Black Knight 1954 Sir Palamides The End of the Affair 1955 Henry Miles Magic Fire Otto Wesendonk Alexander the Great 1956 General Memnon Time Without Pity 1957 Jeremy Clayton The Curse of Frankenstein Victor Frankenstein First lead role The Abominable Snowman Dr. Rollason Violent Playground 1958 Priest Dracula Doctor Van Helsing The Revenge of Frankenstein Doctor Victor Stein The Hound of the Baskervilles 1959 Sherlock Holmes John Paul Jones Captain Richard Pearson The Mummy John Banning The Flesh and the Fiends 1960 Dr. Robert Knox Released in U.S. as Mania[159] Cone of Silence Captain Clive Judd Released in U.S. as Trouble in the Sky[160] The Brides of Dracula Doctor Van Helsing Suspect Professor Sewell Sword of Sherwood Forest Sheriff of Nottingham The Hellfire Club 1961 Merryweather Fury at Smugglers' Bay Squire Trevenyan The Naked Edge Mr. Evan Wrack Cash on Demand Harry Fordyce Captain Clegg 1962 Parson Blyss Alternative title: Night Creatures The Devil's Agent (Cushing's scenes were deleted); co-stars Christopher Lee[161] The Man Who Finally Died 1963 Dr. Peter von Brecht The Evil of Frankenstein 1964 Victor Frankenstein The Gorgon Dr. Namaroff Dr. Terror's House of Horrors 1965 'Dr. Terror' / Dr. W. R. Schreck She Major Holly The Skull Christopher Maitland Dr. Who and the Daleks Dr. Who Island of Terror 1966 Dr. Brian Stanley Daleks' Invasion Earth 2150 A.D. Dr. Who Frankenstein Created Woman 1967 Baron Frankenstein Night of the Big Heat Dr. Vernon Stone Torture Garden Lancelot Canning (segment 4: "The Man Who Collected Poe") Some May Live John Meredith The Blood Beast Terror 1968 Detective Inspector Quennell Alternate title: The Vampire-Beast Craves Blood[162] Corruption Sir John Rowan Frankenstein Must Be Destroyed 1969 Baron Frankenstein Incense for the Damned 1970 Dr. Walter Goodrich Alternative title: Bloodsuckers Scream and Scream Again Major Heinrich Benedek One More Time Baron Frankenstein Uncredited The Vampire Lovers General von Spielsdorf The House That Dripped Blood 1971 Philip Grayson (segment 2: "Waxworks") Twins of Evil Gustav Weil I, Monster Frederick Utterson Tales from the Crypt 1972 Arthur Edward Grimsdyke (segment 3: "Poetic Justice") Dracula A.D. 1972 Lawrence Van Helsing and Lorrimer Van Helsing Dr. Phibes Rises Again Captain Asylum Mr. Smith (Segment 2: "The Weird Tailor") Fear in the Night Michael Carmichael Horror Express Dr. Wells Nothing But the Night 1973 Sir Mark Ashley The Creeping Flesh Emmanuel Hildern And Now the Screaming Starts! Dr. Pope The Satanic Rites of Dracula Lorrimer Van Helsing Shatter 1974 Rattwood From Beyond the Grave Antique Shop Proprietor Frankenstein and the Monster from Hell Baron Frankenstein The Beast Must Die Dr. Christopher Lundgren Madhouse Herbert Flay The Legend of the 7 Golden Vampires Professor Van Helsing Tender Dracula MacGregor Legend of the Werewolf 1975 Professor Paul The Ghoul Dr. Lawrence Medalla Sitges en Plata de Ley Award for Best Actor Trial by Combat 1976 Sir Edward Gifford Alternative title: Dirty Knights Work At the Earth's Core Dr. Abner Perry This film was "riffed" on 14 April 2017 as part of the Season One (episode 14) release of Mystery Science Theater 3000: The Return on Netflix. Land of the Minotaur Baron Corofax Alternative title: The Devil's Men Star Wars 1977 Grand Moff Tarkin Nominated: Saturn Award for Best Supporting Actor Shock Waves SS Commander Alternative title: Almost Human The Uncanny Wilbur The Standard Baron von Hackenberg Son of Hitler 1978 Heinrich Haussner Arabian Adventure 1979 Wazir Al Wuzara A Touch of the Sun Commissioner Potts Alternative title: No Secrets! Misterio en la isla de los monstruos 1981 William T. Kolderup Alternative title: Mystery on Monster Island Black Jack Sir Thomas Bedford Alternative title: Asalto al casino House of the Long Shadows 1983 Sebastian Grisbane Caixa de Catalunya Award for Best Actor
(shared with Vincent Price, Christopher Lee & John Carradine) Top Secret! 1984 Bookstore Proprietor Swedish Bookstore scene, filmed in reverse with Val Kilmer Sword of the Valiant Seneschal – Gaspar Biggles: Adventures in Time 1986 Air Commodore William Raymond (final film role)
Television
[edit]
Title Year Role Note Pride and Prejudice 1952 Mr. Darcy TV mini-series (all 6 episodes) Epitaph for a Spy 1953 Josef Vadassey TV mini-series (all 6 episodes) You are There Rudolf Hess Season 1, episode 20: "The Escape of Rudolf Hess" BBC Sunday-Night Theatre 1951–1957 Charles Appleby
Cyril Beverly
Simpson
Antoine Vanier
Piotr Petrovsky
Seppi Fredericks
Prince Mikhail Alexandrovitch Ouratieff
Beau Brummell
Winston Smith
Dr. John Rollason
Prime Minister
Mr. Manningham Season 2, episode 48: "Eden End (I)"
Season 3, episode 15: "Bird in Hand"
Season 4, episode 5: "Number Three"
Season 4, episode 25: "The Road"
Season 4, episode 28: "Anastasia"
Season 4, episode 34: "Portrait by Peko"
Season 5, episode 4: "Tovarich"
Season 5, episode 11: "Beau Brummell"
Season 5, episode 50: "Nineteen Eighty-Four"
Season 6, episode 5: "The Creature"
Season 6, episode 10: "The Moment of Truth"
Season 8, episode 2: "Gaslight" Drama 61-67 1962 Frederick James Parsons Season 2, episode 7: "Drama '62: Peace with Terror" ITV Television Playhouse Fred Parsons Season 8, episode 3: "Peace with Terror" The Spread of the Eagle 1963 Cassius TV mini-series Comedy Playhouse Albert Fawkes Season 3, episode 6 "The Plan" Story Parade 1964 Elijah Baley Episode: "The Caves of Steel" (unknown season) Thirty-Minute Theatre 1965 Leonard Season 1, episode 5: "Monica" The Avengers 1967 Paul Beresford Episode: "Return of the Cybernauts" (season 5, episode 17 or season 6, episode 1) Sherlock Holmes 1968 Sherlock Holmes All 16 episodes from season 2:
"The Second Stain"
"The Dancing Men"
"A Study in Scarlet"
"The Hound of the Baskervilles (Part 1)"
"The Hound of the Baskervilles (Part 2)"
"The Boscombe Valley Mystery"
"The Greek Interpreter"
"The Naval Treaty"
"Thor Bridge"
"The Musgrave Ritual"
"Black Peter"
"Wisteria Lodge"
"Shoscombe Old Place"
"The Solitary Cyclist"
"The Sign of Four"
"The Blue Carbuncle" Orson Welles Great Mysteries 1973 Count Gerard De Merret Season 1, episode 4: "La Grande Breteche" The Zoo Gang 1974 Judge Gautier Season 1, episode 5: "The Counterfeit Trap" Space: 1999 1976 Raan Season 1, episode 7: "Missing Link" Looks Familiar 1 episode – dated 2 February 1976 The New Avengers Von Claus Season 1, episode 1: "The Eagle's Nest" Hammer House of Horror 1980 Martin Blueck Season 1, episode 7: "The Silent Scream" Tales of the Unexpected 1983 Von Baden Season 6, episode 8: "The Vorpal Blade"
Television films
[edit]
Title Year Role Note When We Are Married 1951 Gerald Forbes If This Be Error 1952 Nick Grant Asmodée Blaise Lebel The Silver Swan Lord Henriques Rookery Nook 1953 Clive Popkiss The Noble Spaniard Duke of Hermanos A Social Success Henry Robbins The Face of Love 1954 Mardian Thersites[163] Richard of Bordeaux 1955 Richard II The Browning Version Andrew Crocker-Harris Home at Seven 1957 David Preston The Winslow Boy 1958 Sir Robert Morton Uncle Harry Uncle Harry The Great Houdini 1976 Sir Arthur Conan Doyle A Tale of Two Cities 1980 Dr. Alexander Manette Helen Keller: The Miracle Continues 1984 Professor Charles Copeland The Masks of Death Sherlock Holmes
Short films
[edit]
Title Year Note Role The Hidden Master 1940 Robert Clive of India (Uncredited role) Dreams 1940 First Dreamer It Might Be You 1946 The Doctor
Other credits
[edit]
Title Year Role Note Late Night Line-Up 1965 Himself Four separately recorded interviews, (with Michael Dean (broadcaster), Rudolf Cartier, and Yvonne Mitchell) about the 1954 tv. production of Nineteen Eighty-Four The Morecambe & Wise Show 1969–1980 Himself Long running gag involving being owed payment BBC Wildlife Spectacular 1971 Himself – Presenter Dieter & Andreas 1986 Grateful acknowledgment Wogan 1986–1988 Himself Regular guest House of the Long Shadows... Revisited 2012 Dedicated to Rogue One 2016 Grand Moff Tarkin Special acknowledgment;
Posthumous release;
CGI recreation used for likeness Bad Batch 2021 Grand Moff Tarkin Animated Recreation
Sources
[edit]
This article incorporates text from a free content work. Licensed under CC BY-SA 3.0 (license statement/permission). Text taken from Peter Cushing, Wookieepedia, Wikia.
References
[edit]
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Fury at Smugglers Bay DVD – Renown Films
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Description
Fury at Smugglers Bay DVD
Adventure. No of discs: 1. Colour. Year: 1961. Total Running Time: approx 83 mins.
Director: John Gilling.
Cast: Peter Cushing, Bernard Lee, Michèle Mercier, John Fraser, William Franklyn, George Coulouris, Liz Fraser, June Thorburn and Miles Malleson.
Pirate wreckers ravage a small seaside community in 18th century Cornwall, while the local squire attempts to discourage his son’s romance with a smuggler’s pretty daughter, whose
father, a petty thief, has been sentenced to a penal colony at the insistence of Black John, a vicious smuggler who is blackmailing the squire. The daughter asks for help from a local highwayman, an honourable thief who watches over those he has robbed to ensure their safe return home. The rich atmosphere and continuous action keep the plot moving, with nightly shoreline battles between the fisher folk and the wreckers, who light fires on the beach to draw ships into the rocks.
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Tour Operator Regione Campania
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Agenzia di Viaggi con sede in Pompei, operante in tutta la Campania, hotels tra i più rinomati delle località turistiche di Pompei, Sorrento, Positano, Capri, Ischia, Caserta
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Fury at Smugglers Bay
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2014-01-18T08:30:48+00:00
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Fury at Smugglers' Bay is a 1961 British adventure film produced, written and directed by John Gilling and starring Peter Cushing, Bernard Lee, Michle Mercier and John Fraser. The plot revolves around smuggling in Cornwall. Studio sequences were filmed at Twickenham Film Studios in west London with
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/favicon.ico
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Alchetron.com
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https://alchetron.com/Fury-at-Smugglers-Bay
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Nisha Rathode
(Editor)
I love writing and learning new things in order to better educate those in need. I also enjoy hackathons and adventures around the world.
Fury at Smugglers Bay
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5.8
/
10
1
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Alchetron
5.8
1 Ratings
100908070605140302010
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Rate This
5.8
Director
John Gilling
Genre
Adventure Film
Writer
John Gilling
Language
English
5.6/10
IMDb
Cinematography
Harry Waxman
Duration
82 min
Country
United Kingdom
Release date
Cast
Peter Cushing
,
John Fraser
,
Bernard Lee
,
Michèle Mercier
,
June Thorburn
,
William Franklyn
Similar movies
Related John Gilling movies
Fury at Smugglers' Bay is a 1961 British adventure film produced, written and directed by John Gilling and starring Peter Cushing, Bernard Lee, Michèle Mercier and John Fraser. The plot revolves around smuggling in Cornwall. Studio sequences were filmed at Twickenham Film Studios in west London with the external sequences representing the coast of Cornwall actually being shot at Abereiddy on the north Pembrokeshire coast in south-west Wales.
Contents
Cast
Critical reception
References
Cast
Peter Cushing as Squire Trevenyan
Bernard Lee as Black John
Michèle Mercier as Louise Lejeune
John Fraser as Christopher Trevenyan
William Franklyn as The Captain
George Coulouris as François Lejeune
Liz Fraser as Betty
June Thorburn as Jenny Trevenyan
Katherine Kath as Maman
Maitland Moss as Tom, the butler
Tommy Duggan as Red Friars
Christopher Carlos as The Tiger, a pirate
Miles Malleson as Duke of Avon
Alan Browning as 2nd Highwayman
Critical reception
In the Radio Times, David Parkinson gave the film three out of five stars, and noted, "as Cushing suggested in his memoirs, this 1790s adventure is tantamount to an English western, with a saloon brawl, sword-wielding showdowns and a last-minute rescue. However, the peripheral characters are more subtly shaded, with Miles Malleson's comic nobleman and George Coulouris's abused outsider being particularly well realised."
References
Fury at Smugglers' Bay Wikipedia
(Text) CC BY-SA
Fury at Smugglers Bay IMDb Fury at Smugglers Bay themoviedb.org
Similar Topics
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Fury at Smugglers' Bay (1961)
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It is the end of the 18th century and smuggling is considered to be a legitimate spare-time occupation for most fishermen around the British shores. But when a gang of cut-throats, led by the infamous Black John (Bernard Lee) begins to lure ships onto the rocks of Smugglers Bay, and murdering their crews for the sake of loot, the fishermen begin to fear for their livelihoods. In desperation, they appeal to the local magistrate Squire Trevenyan (Peter Cushing).
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I guess John Gilling really wanted to make this picture, since he wrote it, directed it, and produced it under his own production company. That's a lot of effort to realize a personal vision on the big screen but it's just a low-key adventure story about some pirates and smugglers. Peter Cushing is the stern and taciturn squire of the village, being blackmailed by a a wild and rough Bernard Lee, quite a different role than the one he is best known for as "M" in the original Bond series. The beautiful Michèle Mercier is the love interest for the Squire's son, but none of the characters really drew me in. Instead there's a romantic highwayman who feels somewhat peripheral…
Nowhere near as good as Captain Clegg, Fury at Smuggler's Bay is a little too stuffy to be entertaining. Sure, some swash is buckled and Cushing is dependable as always, but Bernard Lee seems woefully miscast. This one scrapes by on the action alone. It was clearly a passion project for the director, who also wrote and produced, but he lacks the vision to make this a more adventurous night at the pictures.
I'm now struggling as I want to watch more previously unseen Peter Cushing but having difficulty finding his films online. YouTube is a mixed bag and streaming is hopeless.
Watched Online.
I'm sort of disappointed with this because it promised a lot.
You've got Peter Cushing, but he's barely used.
You've also got Bernard (M) Lee as the villain, which is fun to see him play against type, yet somehow is very boring.
Finally, you've got the beautiful Michèle Mercier and she too is terribly wasted in this.
I love pirate/smuggler movies, so believe me when I say this isn't worth your time.
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Cathode Ray Tube: BRITISH CULT CLASSICS: The Plague of the Zombies / Blu
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[] |
[] |
[
""
] | null |
[
"View my complete profile",
"Frank Collins"
] | null |
Film and television review blog
|
https://www.cathoderaytube.co.uk/favicon.ico
|
https://www.cathoderaytube.co.uk/2012/06/british-cult-classics-plague-of-zombies.html
|
THE BLACK ARCHIVE: WARRIORS' GATE (2019)
"Merits attention from Doctor Who fans interested in the development of a script by going deep into the story’s genesis and shifts in tone, and the infamous production difficulties which plagued it. The glimpses of Steve Gallagher’s original scripts are fascinating, as are the changes made to them by seemingly everyone from directors to producers to cast members." We Are Cult. 17 June 2019.
DOCTOR WHO: THE ELEVENTH HOUR (2014)
"Whether you’re a fan of the show under Moffat or not, it offers an intriguing, insightful look at all aspects of the series" 7/10 - Starburst, January 2014
DOCTOR WHO: THE PANDORICA OPENS (2010)
"A worthy addition to serious texts on Doctor Who" - Doctor Who Magazine 431, February 2011
"an impressive work, imbued with so much analytical love and passion, and is an absolute must-read for any fan" N. Blake - Amazon 4/5 stars
"...mixes the intellectual and the emotional very well...it's proper media criticism" 9/10 - The Medium Is Not Enough
"... an up-to-date guide that isn’t afraid to shy away from the more controversial aspects of the series" 8/10 - Total SciFi Online
"...well-informed new angles on familiar episodes... this is a great read from start to finish" - Bertie Fox - Amazon 4/5 stars
"Frank Collins has produced a book that is fiercely idiosyncratic, displays a wide-ranging intellect the size of a planet, but which is also endearingly open and inclusive in its desire to share its expansive knowledge..." 4/5 - Horrorview.com
|
||||||
6656
|
dbpedia
|
3
| 0 |
https://www.imdb.com/title/tt0057085/
|
en
|
Die Bucht der Schmuggler (1961)
|
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1961-10-13T00:00:00
|
Die Bucht der Schmuggler: Directed by John Gilling. With Peter Cushing, John Fraser, Bernard Lee, Michèle Mercier. Pirate wreckers ravage a small seaside community while the ineffectual local squire tries to discourage his son's romance with a smuggler's pretty daughter.
|
en
|
IMDb
|
https://www.imdb.com/title/tt0057085/
|
This entertaining adventure drama about smuggling in late 18th century is somehow betrayed by its low budget, more evident in the ship wrecking scenes, under furious storms. It tells the story of a British coastal town laden with taxes, where almost everybody has turn to smuggling to make ends meet. The action never stops with good rhythm and precise dialogue, and the enjoyment is evident in the actors' faces. All the cast is very effective, with Peter Cushing as a magistrate with a secret that haunts him, Bernard Lee as the villain before playing M to Sean Connery's James Bond, John Fraser as a dashing young swordsman and William Franklyn as a highwayman that becomes a hero. With pretty Michèle Mercier as the love interest, June Thorburn as Cushing's daughter and Liz Fraser in one of her best early roles as waitress-spy, this is one of John Gilling's best contributions to period drama.
|
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6656
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dbpedia
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http://laurasmiscmusings.blogspot.com/2017/03/tonights-movie-jamaica-inn-1939-at.html
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Laura's Miscellaneous Musings: Tonight's Movie: Jamaica Inn (1939) at the Pacific Design Center
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Fury at Smugglers' Bay 1961
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1961-01-01T00:00:00
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High resolution British dvd movie cover image for Fury at Smugglers' Bay (1961). The image measures 1515 * 2151 pixels and is 3304 kilobytes large.
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https://www.cinematerial.com/movies/fury-at-smugglers-bay-i57085/p/ff90aa2a
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Explore:
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Fury at Smugglers Bay
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Fury at Smugglers' Bay (1961)
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It is the end of the 18th century and smuggling is considered to be a legitimate spare-time occupation for most fishermen around the British shores. But when a gang of cut-throats, led by the infamous Black John (Bernard Lee) begins to lure ships onto the rocks of Smugglers Bay, and murdering their crews for the sake of loot, the fishermen begin to fear for their livelihoods. In desperation, they appeal to the local magistrate Squire Trevenyan (Peter Cushing).
|
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|
https://letterboxd.com/film/fury-at-smugglers-bay/
|
I guess John Gilling really wanted to make this picture, since he wrote it, directed it, and produced it under his own production company. That's a lot of effort to realize a personal vision on the big screen but it's just a low-key adventure story about some pirates and smugglers. Peter Cushing is the stern and taciturn squire of the village, being blackmailed by a a wild and rough Bernard Lee, quite a different role than the one he is best known for as "M" in the original Bond series. The beautiful Michèle Mercier is the love interest for the Squire's son, but none of the characters really drew me in. Instead there's a romantic highwayman who feels somewhat peripheral…
Nowhere near as good as Captain Clegg, Fury at Smuggler's Bay is a little too stuffy to be entertaining. Sure, some swash is buckled and Cushing is dependable as always, but Bernard Lee seems woefully miscast. This one scrapes by on the action alone. It was clearly a passion project for the director, who also wrote and produced, but he lacks the vision to make this a more adventurous night at the pictures.
I'm now struggling as I want to watch more previously unseen Peter Cushing but having difficulty finding his films online. YouTube is a mixed bag and streaming is hopeless.
Watched Online.
I'm sort of disappointed with this because it promised a lot.
You've got Peter Cushing, but he's barely used.
You've also got Bernard (M) Lee as the villain, which is fun to see him play against type, yet somehow is very boring.
Finally, you've got the beautiful Michèle Mercier and she too is terribly wasted in this.
I love pirate/smuggler movies, so believe me when I say this isn't worth your time.
|
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Die Bucht der Schmuggler
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Cornwall, im 18. Jahrhundert: Ein kleines Fischerdorf dessen Bucht immer wieder von Schmugglern heimgesucht wird. Die Bewohner des Örtchens sehen den Schmuggel als Lebensunterhalt und sogar gutes Recht an, doch seit einiger Zeit wird ihnen das Leben von Piraten unter Anführung von "Black John" schwer gemacht. Der sorgt nämlich dafür das das Leuchtfeuer gelöscht und dadurch Schiffe an die Klippen navigiert werden. Dann werden sie beraubt und überlebende Schiffbrüchige zudem erschossen. Und jederman weiß auch das "Black John" dahintersteckt. Doch der zuständige Herzog Trevenyan der mehr oder weniger im Dorf das Sagen hat wird erpresst und kann so nicht eingreifen...
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de
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The Movie Database
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https://www.themoviedb.org/movie/239400-fury-at-smugglers-bay
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You need to be logged in to continue. Click here to login or here to sign up.
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6656
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dbpedia
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https://www.allmovie.com/movie/fury-at-smugglers-bay-am95725
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Music Search, Recommendations, Videos and Reviews
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AllMusic provides comprehensive music info including reviews and biographies. Get recommendations for new music to listen to, stream or own.
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AllMusic
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6656
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dbpedia
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https://www.imdb.com/title/tt0057085/reviews
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Die Bucht der Schmuggler (1961)
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Die Bucht der Schmuggler (1961) on IMDb: Movies, TV, Celebs, and more...
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6656
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https://petercushingblog.blogspot.com/2012/01/bay-watch-peter-cushings-1961-fury-at.html
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en
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PETERCUSHINGBLOG.BLOGSPOT.COM (PCASUK): 'BAY WATCH!' PETER CUSHING'S 1961 'FURY AT SMUGGLERS BAY' DVD REVIEW
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[
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en
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https://petercushingblog.blogspot.com/favicon.ico
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https://petercushingblog.blogspot.com/2012/01/bay-watch-peter-cushings-1961-fury-at.html
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Fair Use
One of the rights accorded to the owner of copyright is the right to reproduce or to authorize others to reproduce the work in copies. This right is subject to certain limitations found in sections 107 through 118 of the copyright law (title 17, U. S. Code). One of the more important limitations is the doctrine of “fair use.” The doctrine of fair use has developed through a substantial number of court decisions over the years and has been codified in section 107 of the copyright law.
Section 107 contains a list of the various purposes for which the reproduction of a particular work may be considered fair, such as criticism, comment, news reporting, teaching, scholarship, and research. Section 107 also sets out four factors to be considered in determining whether or not a particular use is fair:
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6656
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dbpedia
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https://myrarefilms.co.uk/product/fury-at-smugglers-bay-1961/
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en
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1961 / Dick Turpin: Highwayman
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2024-06-18T16:17:26+00:00
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Fury At Smugglers' Bay - 1961 / Dick Turpin: Highwayman - 1956
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en
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My Rare Films
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https://myrarefilms.co.uk/product/fury-at-smugglers-bay-1961/
|
Description
Fury At Smugglers’ Bay – 1961 / Dick Turpin: Highwayman – 1956
1. Feared highwayman Dick Turpin relieves the rich of their wealth in eighteenth century England
Stars: Philip Friend, Diane Hart, Allan Cuthbertson
Quality: 7.5/10, 25 minutes in Hammerscope
Dir: David Paltenghi
The Highwayman song sung by Dennis Hale
2. In Fury At Smugglers’ Bay, Pirate wreckers ravage a small seaside community while the ineffectual local squire tries to discourage his son’s romance with a smuggler’s pretty daughter
Stars: Peter Cushing, William Franklyn, John Fraser, Bernard Lee, Michèle Mercier, June Thorburn, Liz Fraser, George Coulouris, Miles Malleson
Quality: 9/10, ws
Dir: John Gilling
Genre: British Adventure, Hammer short film
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https://www.rottentomatoes.com/m/fury_at_smugglers_bay
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Fury at Smugglers Bay
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An English squire's (Peter Cushing) son (John Fraser) exposes a pirate (Bernard Lee) and his gang of 19th-century shipwreckers.
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en
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https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico
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Rotten Tomatoes
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https://www.rottentomatoes.com/m/fury_at_smugglers_bay
|
Let's keep in touch!
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http://booksteveslibrary.blogspot.com/2013/05/peter-cushing-at-100-night.html
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en
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BOOKSTEVE'S LIBRARY: Peter Cushing at 100
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Peter Cushing, who would have turned 100 this week were he still amongst us, was an actor I came to appreciate for his ...
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http://booksteveslibrary.blogspot.com/2013/05/peter-cushing-at-100-night.html
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https://renownfilms.co.uk/product/fury-at-smugglers-bay/
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Fury at Smugglers Bay DVD – Renown Films
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https://renownfilms.co.uk/product/fury-at-smugglers-bay/
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Description
Fury at Smugglers Bay DVD
Adventure. No of discs: 1. Colour. Year: 1961. Total Running Time: approx 83 mins.
Director: John Gilling.
Cast: Peter Cushing, Bernard Lee, Michèle Mercier, John Fraser, William Franklyn, George Coulouris, Liz Fraser, June Thorburn and Miles Malleson.
Pirate wreckers ravage a small seaside community in 18th century Cornwall, while the local squire attempts to discourage his son’s romance with a smuggler’s pretty daughter, whose
father, a petty thief, has been sentenced to a penal colony at the insistence of Black John, a vicious smuggler who is blackmailing the squire. The daughter asks for help from a local highwayman, an honourable thief who watches over those he has robbed to ensure their safe return home. The rich atmosphere and continuous action keep the plot moving, with nightly shoreline battles between the fisher folk and the wreckers, who light fires on the beach to draw ships into the rocks.
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Fury at Smugglers' Bay
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https://en.wikipedia.org/wiki/Fury_at_Smugglers'_Bay
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Critical reception
In the Radio Times, David Parkinson gave the film three out of five stars, and noted, "as Cushing suggested in his memoirs, this 1790s adventure is tantamount to an English western, with a saloon brawl, sword-wielding showdowns and a last-minute rescue. However, the peripheral characters are more subtly shaded, with Miles Malleson's comic nobleman and George Coulouris's abused outsider being particularly well realised." [3]
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Account Suspended
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This Account has been suspended.
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Fury at Smugglers' Bay
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Directed by
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Produced by
John Gilling
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Written by
John Gilling
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Cinematography
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Edited by
John Victor-Smith
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Production company
John Gilling Enterprises
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Distributed by
Regal Films International (UK)
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Release date
March 1961 (UK)
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Running time
92 mins
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Country
United Kingdom
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English
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Budget budget
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6656
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dbpedia
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2
| 63 |
https://www.derekwinnert.com/fury-at-smugglers-bay-1960-peter-cushing-john-fraser-bernard-lee-william-franklyn-june-thorburn-miles-malleson-michele-mercier-george-coulouris-liz-fraser-classic-movie-revie/
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en
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Fury at Smugglers’ Bay *** (1961, Peter Cushing, John Fraser, Bernard Lee, William Franklyn, June Thorburn, Miles Malleson, Michèle Mercier, George Coulouris, Liz Fraser) – Classic Movie Review 4175
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2016-08-15T09:20:37+00:00
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Writer-director John Gilling’s fun 1961 period adventure stars Peter Cushing as a Cornish squire who tries to keep the smugglers at bay. Gilling’s British sea saga about a gang of shipwreckers’ rei…
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https://www.derekwinnert.com/wp-content/themes/suburbia/images/favico.ico
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Derek Winnert
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https://www.derekwinnert.com/fury-at-smugglers-bay-1960-peter-cushing-john-fraser-bernard-lee-william-franklyn-june-thorburn-miles-malleson-michele-mercier-george-coulouris-liz-fraser-classic-movie-revie/
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Writer-director John Gilling’s fun 1961 period adventure stars Peter Cushing as a Cornish squire who tries to keep the smugglers at bay.
Gilling’s British sea saga about a gang of shipwreckers’ reign of terror in 1790 is bright, lively and colourful. It is propelled by the jovial acting turns from Cushing, young Fraser as Cushing’s son Christopher Trevenyan, Lee as the chief pirate Black John and William Franklyn as a daring highwayman known as The Captain, as well as Gilling’s sprightly direction with a fast pace and a good smuggling atmosphere.
All that brightens this close relative of Jamaica Inn, and it’s no worse than Hitchcock’s movie Jamaica Inn, based on Daphne Du Maurier’s novel.
Squire Trevenyan has three main problems to overcome. (1) Black John knows Trevenyan’s darkest secret so what can the Squire do against the pirate’s ship wrecking and smuggling spree? (2) Then his son Christopher falls in love with Louise Lejeune (Michèle Mercier), the pretty daughter of a smuggling local merchant. (3) And finally there is the pesky villain called The Captain hwo is robbing any stagecoach that travels through his Cornish territory.
Also in the cast are June Thorburn as Jenny Trevenyan, Miles Malleson as the Duke of Avon, George Coulouris as François Lejeune, Liz Fraser, Tom Duggan, Katherine Kath, Humphrey Heathcote, Maitland Moss, Christopher Carlos, Alan Browning, Patrick Diamond, James Liggat, Bob Simmons and Jouma.
© Derek Winnert 2016 Classic Movie Review 4175
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6656
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dbpedia
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2
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https://imusic.co/movies/5060425354190/fury-at-smugglers-bay-2022-fury-at-smugglers-bay-dvd
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en
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Fury at Smugglers Bay (DVD) (2022)
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During the late 18th century, smuggling has become standard practice for fishermen around the British coast. When a band of pirates, led by Black John (Bernard Lee), begin luring ships to their doom at Smuggler's Bay, the local community beg squire Trevenyan (Peter Cushing) to bring an end to the wanton pillaging and murder. The squire, however, has issues of his own, not least of all Black John, who has knowledge of Trevenyan's past that could be used against him should he attempt to bring the pirate to justice.
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https://imusic.co/movies/5060425354190/fury-at-smugglers-bay-2022-fury-at-smugglers-bay-dvd
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During the late 18th century, smuggling has become standard practice for fishermen around the British coast. When a band of pirates, led by Black John (Bernard Lee), begin luring ships to their doom at Smuggler's Bay, the local community beg squire Trevenyan (Peter Cushing) to bring an end to the wanton pillaging and murder. The squire, however, has issues of his own, not least of all Black John, who has knowledge of Trevenyan's past that could be used against him should he attempt to bring the pirate to justice.
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