Thursday 10 May 2012

PETER CUSHING: 'DR TERROR'S HOUSE OF HORRORS' AMICUS FILMS (1965)


It really is no wonder that Amicus and Hammer Films made so much money overseas with promotional material like this! A superb PHOTOBUSTA from 'DR TERROR'S HOUSE OF HORRORS' Amicus (1965) Dir: Freddie Francis and Produced by the the magical writing and business skills of Milton Subotsky and Max Rosenberg!

Wednesday 9 May 2012

Tuesday 8 May 2012

PETER CUSHING CHRISTOPHER LEE 'THE CURSE OF FRANKENSTEIN' HAMMER FILMS 1957


SUPERB PHOTOBUSTA OF 'THE CURSE OF FRANKENSTEIN' PETER CUSHING AND CHRISTOPHER LEE (1957) Dir: TERENCE FISHER

PETER CUSHING CAROLINE MUNRO DOUG MCCLURE: AT THE EARTH'S CORE: REVIEW AND GALLERY


CAST:
Doug McClure (David Innes), Peter Cushing (Dr Abner Perry), Caroline Munro (Princess Dia), Cy Grant (Ra), Sean Lynch (Hoojah), Godfrey James (Ghak)

PRODUCTION:
Director – Kevin Connor, Screenplay – Milton Subotsky, Based on the Novel by Edgar Rice Burroughs, Producer – John Dark, Photography – Alan Hume, Music – Mike Vickers, Process Photography – Charles Staffell, Special Effects Supervisor – Ian Wingrove, Production Design – Maurice Carter. Production Company – Amicus/Lion International.



SYNOPSIS:
Dr Abner Perry, accompanied by his American financer, David Innes, is about to put to the test his latest invention, The Iron Mole, a huge drilling device. However, things don’t go according to plan and instead of safely burrowing out through the side of a Welsh mountain they find themselves in a subterranean world populated by prehistoric beasts and warring tribes, ruled over by the powerful telepathic Mahars. The task soon falls to our intrepid duo of saving the enslaved humans, and returning to dear old Blighty of course!



COMMENTARY:
A co-production between American International Pictures and Amicus, At The Earth’s Core is a cheap and cheerful adaptation of the Edgar Rice Burroughs novel, scripted by Amicus co-founder Milton Subotsky. It retains all the familiar elements of his books; heroic adventurers in a lost world, strange prehistoric beasts, enslaved tribesmen with odd names such as Gak and Ra, and not forgetting an alluring local girl for our hero to romance.

No stranger to this sort of thing is Doug McClure, he also appeared in two other Burroughs adaptations, The Land That Time Forgot and The People That Time Forgot – and he brings his usual ‘talents’ to the role of David, in other words a typically wooden hero who gets into scraps with various beasts and falls for the charms of a tribal beauty. He’s not exactly the best actor in the world but there is a likeable everyman quality about him. 


Contrasting with this man of action is Peter Cushing as Dr Abner Perry. Cushing always gave everything to his roles, regardless of the quality of the film, and in At The Earth’s Core he provides another memorable interpretation, investing Dr Perry with an eccentric, slightly pompous air, totally British through & through, always armed with his trusty umbrella. Apart from providing all the plot exposition and saying “David!” a lot he gets the best lines; commenting on the inhabitants of this primeval world, “They’re so excitable. Like all foreigners!”, then when faced with the mesmeric powers of the Mahars he proudly states, “ You can’t hypnotise me, I’m British!” 



Although there is an interesting psychedelic tone created for this lost world with the bright purple sky, funky giant mushrooms and a tribe that look like extras from the cast of Hair the most obvious flaw in this movie is its special fx, or rather lack of them. The intimidating monsters which confront our heroes are nothing more than men in rubber suits, and the whole film does feel like an episode of Doctor Who. As such there are few thrills to be had when, for example, David has to battle against the imposing horror of what appears to be a green rubber hippo, or save the delectable Dia from the wrath of a big plastic fire breathing frog.


The evil Mahars that rule over this strange world look like prehistoric parrots, hardly the most threatening of adversaries. However the film does have one very special effect, in the form of Caroline Munro as tribal princess Dia. Munro was often found in this sort of film and in this sort of role, and little wonder! Here she is in all her heaving bosomed, skimpy costumed glory, looking longingly at McClure who suddenly finds things are looking up in this alien world when he meets her. A commanding presence viewers may find their minds wandering to thoughts of her during the rather flat action scenes which are directed with seeming disinterest by Kevin Connor. He was responsible for McClure’s other adventures in the worlds of Burroughs and went on to direct Warlords Of Atlantis, a similarly themed Victorian sci-fi adventure that is arguably the best of the bunch.




At The Earth’s Core is, despite its cheap cheesy and rather amateur feel, still a mildly enjoyable movie which stays true to its literary pulp adventure roots. Its appeal is more than likely due to nostalgia as many a thirtysomething adult was weaned on such adventures on a wet Sunday afternoon. Modern audiences, brought up on a diet of big budget fx extravaganzas would find the whole thing pretty laughable. Despite its shortcomings the plot is basically sound, Burroughs could really tell a great yarn, even though all his stories were essentially variations on the same theme. Maybe the time is now right for modern filmmakers to plunder his novels and bring to the screen big budget versions of his many adventures.


REVIEW: Jason Cook
IMAGES: Marcus Brooks
SOURCE: HERE

Sunday 6 May 2012

'CAROLINE MUNRO AND CHRISTOPHER NEAME' PETER CUSHING'S CO STARS IN 'DRACULA AD 1972' QUALITY COLOUR PHOTOGRAPH


A BEAUTIFUL colour negative shot from Peter Cushing's 'DRACULA AD 1972' featuring CHRISTOPHER NEAME as Johnny Alucard and CAROLINE MUNRO as Laura Bellows. Can't she much of Caroline though... but if you'd LIKE to see more of her from this film, just click on the link below and see our 'Caroline Munro: 'Dracula AD 1972' Gallery' Some great photographs of one of Peter's most talented and attractive co stars: CLICK HERE!

PETER CUSHING: AMICUS PRESSBOOK: 'TALES FROM THE CRYPT' (1972)







ONE OF THE BETTER AMICUS PRESSBOOKS FROM THE 1970'S: 'TALES FROM THE CRYPT'
WITH AN ALL STAR CAST INCLUDING PETER CUSHING AS ARTHUR GRIMSDYKE IN HIS AWARD WINNING STORY 'POETIC JUSTICE' 


PETER CUSHING: 1960'S LOBBY CARDS 'THE SKULL' AND 'CAPTAIN CLEGG'



TWO GREAT EXAMPLES OF EURO LOBBY CARDS FROM THE 1960'S 'CAPTAIN CLEGG/ NIGHT CREATURES' AND 'THE SKULL'

Saturday 5 May 2012

PETER CUSHING SHANE BRIANT MADELINE SMITH: HAMMER FILMS: 'FRANKENSTEIN AND THE MONSTER FROM HELL' U.S. DVD REVIEW AND LOBBY CARDS GALLERY


Though their reign as the Empire of British horror had surely diminished by the time of its release in 1974, Hammer Film's FRANKENSTEIN AND THE MONSTER FROM HELL marked a return to their familiar gothic traditions. Not only did it mark the last performance of the gaunt and fancy-wigged Peter Cushing in his most famous role of Baron Frankenstein, it was also the last film directed by Terence Fisher, the man who pretty much made the series his own. Also back were Anthony Hinds doing the writing choirs (under his "John Elder" pen name), composer James Bernard, and a bevy of familiar Hammer supporting players (Patrick Troughton, Charles Lloyd Pack, Peter Madden, Sydney Bromley, etc.).


The plot has Simon Helder (Shane Briant), a young doctor inspired by the work of Victor Frankenstein, being sent to an asylum for practicing "sorcery." There he meets Dr. Carl Victor (Cushing), who apparently harbors secret information on the underhanded director Klauss (John Stratton), and is able to run the place his own way. Young Helder quickly realizes that Dr. Victor is actually Baron Frankenstein, who wants the outside world to believe he is dead. Helder knows that Frankenstein could never give up his experiments, so after doing some snooping, he discovers his secret laboratory and his latest project.

The Baron's new experiment is the hulking, ape-like Herr Schneider (David Prowse), a homicidal inmate whom Frankenstein has kept alive after a violent suicide attempt and has grafted on the hands of a recently deceased sculptor (Bernard Lee). Since Frankenstein's hands were badly burnt in the name of science, the shabby stitch-work was done by Sarah (Madeline Smith), a beautiful mute girl who is nicknamed "Angel" who assists him. When Simon tells the Baron that he is a surgeon, the problem is solved. Soon new eyes and a new brain are given to the creature (allowing this to be a gorefest as far as Hammer is concerned), but he ultimately runs amuck in the asylum.




Filmed in late 1972, Hammer's final Frankenstein entry is one of those films that has divided appreciation among fans, some who think it's masterful and others who deem it a low point. The ultra low budget does show in Scott MacGregor's claustrophobic sets, unconvincing miniatures, and the monster's get-up is obviously a pull-over mask designed by Eddie Knight (though the monster is unique in the annals of Frankenstein cinema). But Fisher's direction and Cushing's consummate performance (adding complete madness this time to the character) display a true dedication to this kind of cinema, and the confinement of the asylum only adds to the doomed, somber mood. Prowse, who essayed the role of the monster in HORROR OF FRANKENSTEIN, is able to give the part some empathy--more so than any other Frankenstein monster in the Hammer camp. FRANKENSTEIN AND THE MONSTER FROM HELL may be nothing groundbreaking, but it's certainly entertaining and a worthy end to an important chapter in British horror.


It's great to see that Paramount is the latest studio to unleash Hammer films on to the DVD market, but they have released the R-rated U.S. theatrical version which is missing some scenes only found thus far on an atrocious-looking Japanese laserdisc release from the early 90s. The footage not found on this DVD is as follows (those who haven't seen the film may want to view it first before reading this, as I'll reveal some plot points): a few seconds of a sequence where the Baron damns his useless hands and grasps an artery from the monster's wrist with his teeth, followed by his rinsing his mouth out with water; when Briant inserts the monster's eyeball, and Cushing says, "Pop it in," a brief side view of this procedure is replaced in the American version with a reaction shot of Madeline Smith; a second split-second shot of Bernard Lee's character's handless arms in his open coffin (looks to be the same exact brief shot as the first, so perhaps the Japanese just wanted to repeat the bloody sight); after the asylum director has his throat mutilated by the monster, the gushing of blood that comes from his neck is a split-second longer on the Japanese version, and; a few seconds more of the inmates tearing apart the monster during the climax, most notably missing in action is a shot where his guts are being squashed by someone's feet.


Quite simply, Paramount went back to the original negative for this transfer, and these scenes were never meant (or were demanded to be censored) for the U.S. version. Getting past that, Paramount's DVD of FRANKENSTEIN AND THE MONSTER FROM HELL looks terrific, and far better than ever before. The film is nicely presented in the original 1.85:1 aspect ratio with anamorphic enhancement. As usual, the studio has done an excellent transfer. Sharpness and detail are very solid, and dark scenes that were once hard to make out are now clear as day. The print source is free of any major blemishes, and the somewhat subdued (for Hammer) colors appear greatly corrected, as do the various fleshtones. The audio is the original mono--there is some audible hiss present, but dialogue is generally clear and James Bernard's score is adequately robust. Optional English subtitles are also included.


The DVD has one extra feature (no trailer), and it's big one. A running audio commentary with actress Madeline Smith (Sarah) and actor David Prowse (the monster) moderated by genre historian Jonathan Sothcott. The commentary is rather energetic and quite funny, as both actors are never at a loss for words or a story to tell. They have plenty to say about the film, Cushing, Fisher, and the other players--which eventually leads to anecdotes about some of the other films of the period that they were involved in. This is very fun stuff, remaining interesting until the end, and you'll hear a lot of scoops you've probably never heard before in written interviews.

REVIEW: George R. Reis
IMAGES: Marcus Brooks

'FRANKENSTEIN AND THE MONSTER FROM HELL' IS AWAITING A BLU RAY RELEASE IN THE UK SOMETIME THIS YEAR (2012) THE DVD REVIEWED ABOVE IS THE US DVD RELEASE AND CAN BE PURCHASED HERE: CLICK HERE!

Friday 4 May 2012

PETER CUSHING: 'EVERYTHING STOPS FOR TEA': REHEARSING 'BEAU BRUMMELL' BBC REHEARSAL ROOMS, ACTON, LONDON 1954

 

Peter Cushing rehearsing 'BEAU BRUMMELL' (BBC TX: 14th / 15th March, 1954) Drinking tea! Peter had quite simple tastes...Never happier than when he was, drinking tea, eating an apple and cheese and smoking Players cigarettes. But, of course NOT all at the same time...!


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