Thursday, 22 February 2018

JOHN CARPENTER ON HAMMER CURSE AND REMEMBERING SIR JOHN MILLS AS DR JOHN WATSON


#TBT #THROWBACKTHURSDAY! Here's a clip we edited for Callum McKelvie's first Weekend Double feature, on Hammer films, The Curse of Frankenstein and Revenge of Frankenstein, with 'Halloween' director, John Carpenter sharing his thoughts on one of his all time favorite Hammer films... 🙂 It's great when established directors give credit to work that influenced them . . .Tim Burton and Martin Scorsese have all stepped up and doffed their caps...



TODAY WE MARK THE BIRTH of one, Lewis Ernest Watts Mills... or as we knew and loved him... Sir John Mills. He was without doubt, one of our most popular and beloved English actors and born today February 22nd 1908. In a career that stretched over eight decades, Mills appeared in over 120 films, debuting in 1932 in 'Midshipmaid Gob' right up until 2009 in 'The Snow Prince'. Many of his roles like Pip in 'Great Expectations' in 1946, Shorty Blake 'In Which We Serve' in 42, Captain Scott in 'Scott of the Antarctic' in 48 and the alcohol troubled Captain Anson in 'Ice Cold in Alex' in 58 would make him an internationally renowned star.


MILL APPEARED IN TWO FILMS with Peter Cushing, the first in 1976 entitled 'Trial by Combat' aka 'A Dirty Knight's Work' as Sir Edward Gifford. It was no more than a guest appearance, slotted in when another project on Cushing's slate fell through. The second though, was a much grander enterprise with Tyburn films and marked Cushing's return to the character of Sherlock Holmes...and Mills as Watson! They made a terrific team as a much older duo, so impressive was the chemistry that another Cushing /Mills / Sherlock film from Tyburn was planned entitled 'The Abbot's Cry', but was scuppered owing to Cushing's fragile health.


LIKE CUSHING, Mills was in his private life a sensitive romantic, in January 2001 at the age of 92, he and wife Mary, age 89, renewed their marriage vows at St. Mary's Church, next to their home, Hills House, in Denham, England. When they had wed 60 years earlier, he was denied a church service because he was serving in the Army during World War II. Happy Birthday, Sir John!





REMEMBER! IF YOU LIKE what you see here at our website, you'll  love our daily themed posts at our PCAS FACEBOOK FAN PAGE.  Just click that blue LINK and click LIKE when you get there, and help us . . Keep The Memory Alive!. The Peter Cushing Appreciation Society website, facebook fan page and youtube channel are managed, edited and written by Marcus Brooks, PCAS coordinator since 1979. PCAS is based in the UK and USA

Wednesday, 21 February 2018

FREE HI RES HAMMER FILMS CONTACT SHEET : COLLECTORS WEDNESDAY!


#PETERCUSHING #COLLECTORS Wednesday! OK This week I am sharing a rare black and white CONTACT SHEET from Hammer films 1973, The Satanic Rites of Dracula. As usual, this is our FREE weekly full hi res upload, as seen on our our PCAS FACEBOOK FAN PAGE  available for you today, for you to download. These NINETEEN exposures from the  Hammer films on set stills cameraman, feature shots taken during the shooting of two scenes from the film, the Vampire's in the Cellar scene, with Joanna Lumley and Valerie Van Ost and Van Helsing visiting Professor Julian Keeley played by Peter Cushing and Freddie Jones.


 HI RES CONTACT SHEET ABOVE: RIGHT CLICK AND COPY!

WHAT IS A CONTACT SHEET? A contact sheet is a positive print of all the negative images from one film, made by a contact printing process so that all the images are the same size as the negative. A contact sheet is a useful way of seeing which are the best images on a film so you can decide which ones to make enlargements from. During the production the unit photographer was responsible for capturing thousands of still shots while the movie cameras were running. Some of the photos would offer a different angle to the motion picture camera. In other cases, the photographer would stand next to a movie camera operator. And some of the shots would be behind the scenes with actors and directors. After the final production still shots were taken each day, the roles of film negatives were placed on contact sheets (created by laying the negatives on a piece of printing paper and exposing them to light to create a set of mini prints the same as the film frames) (IMAGE) The contact sheets were then forwarded to the publicity department. The Publicity Department could then view the full roll of 36 images at one time with a “ring” or magnifying glass. Publicity Department –The Publicity Department was, among other things, responsible for generating early publicity about a film, including providing information to magazines and publications. In addition, they were responsible for providing the Advertising Department with information necessary to create the film’s promotional materials. The publicity department would review the contact sheets and select images for specific purposes, such as creating a key set, keeping track and providing exclusive images to magazines and publications, and sending the advertising department information necessary to begin preparation of promotional materials.


Key Set Creation - After a review by the publicity department, the better images were picked to become part of a key set. The selected images are numbered by placing an assigned number by the studio for that particular film, called the production number, and then a dash and the assigned individual still number. THIS is called the Production Code number.


ABOVE: Our Collectors Wednesday post from TWO weeks ago,  posted here and at our  PCAS FACEBOOK FAN PAGE.. It was a pretty cool concept, but was ultimately ruined by Facebbok  quashing the post...thanks facebook!

The selected stills were then printed and placed into the key set binder. The rejects are skipped over and left unnumbered. The negatives and contact sheets were then filed. These may be pulled at a later date when someone wants something different. By the end of the shooting, this 'key set' would normally be hundreds of the better still shots to be used in a variety of ways by the publicity department. The stills used in this 'key set' would have numbers put on the still to help the publicity department identify and keep up with the different stills. They were kept in large bound books that could be used at any time for reference.


Exclusive Use – Major magazines and publications would quite often want exclusive photos to do an article on the upcoming film. This was a tremendous way for the film to get FREE publicity. To accommodate them, the publicity department would put a hold on numerous stills and send over a group for the editor to choose from. Once the exclusives were picked, the tags would be removed from those images not selected so they could be used for other purposes



I BELIEVE, Tom Edwards was the stills photographer on Satanic Rites. He had a very good eye for a great shot, and worked on other Cushing Hammer films like, 'Frankenstein and the Monster from Hell'. As I have mentioned before, each cell, photograph here would make a great pic for your collection, printed off would look great in a frame, the high res would also make a great poster too. The majority of the shots on this contact sheet, have rarely been officially published, as often just one or two from this studio contact sheet would have been chosen for press packs and promotion. I hope you like what I have shared so far? Have fun 🙂 Marcus





REMEMBER! IF YOU LIKE what you see here at our website, you'll  love our daily themed posts at our PCAS FACEBOOK FAN PAGE.  Just click that blue LINK and click LIKE when you get there, and help us . . Keep The Memory Alive!. The Peter Cushing Appreciation Society website, facebook fan page and youtube channel are managed, edited and written by Marcus Brooks, PCAS coordinator since 1979. PCAS is based in the UK and USA

Tuesday, 20 February 2018

WIN INDICATORS HAMMER FILMS BLU RAY BOX SET VOLUME TWO HERE TODAY!

 
#TOOCOOLTUESDAY! It's THAT time again. You know the rules by now. ONLY send your answers using the MESSAGE button, no entries on the thread below. Many Many thanks to Indicator and GOOD LUCK to everyone, this BOX SET is a smasher! GOOD LUCK!

Release date: 19 February 2018
Limited Blu-ray Edition (World premieres on Blu-ray)

HAMMER VOLUME TWO: CRIMINAL INTENT : THE SNORKEL (Guy Green, 1958)
NEVER TAKE SWEETS FROM A STRANGER (Cyril Frankel, 1960) : THE FULL TREATMENT (Val Guest, 1960) : CASH ON DEMAND (Quentin Lawrence, 1961)
Release date: 19 February 2018 Limited Blu-ray Edition (World premieres on Blu-ray)

Four classic thrillers from the vaults of Hammer Films released on Blu-ray for the very first time, including premiere presentations of the complete, uncensored UK theatrical release versions of Val Guest’s The Full Treatment and Cyril Frankel’s Never Take Sweets from a Stranger and a host of new and exclusive extra features. This stunning Limited Blu-ray Edition Box Set from Indicator is strictly limited to 6,000 numbered units.

INDICATOR LIMITED BLU-RAY EDITION SPECIAL FEATURES:
HD restorations of all four films
Original Mono audio
New title-specific documentaries exploring aspects of each film
Audio commentary with film historian Michael Brooke and author Johnny Mains on The Snorkel
The Snorkel original script ending: reconstruction of the finale of Jimmy's Sangster's screenplay
Two presentations of Never Take Sweets from a Stranger: with the original UK titles; and with the alternative US Never Take Candy from a Stranger titles
Never Take Sweets from a Stranger introduction by actor and filmmaker Matthew Holness
Two presentations of The Full Treatment: the uncensored UK theatrical cut; and the censored US version with alternative Stop Me Before I Kill! titles
Audio commentary with film historians Jonathan Rigby and David Miller on Cash on Demand
New and exclusive interviews with cast and crew members, including actors Janina Faye (Never Take Sweets from a Stranger) and Lois Daine (Cash on Demand), props master Peter Allchorne (The Snorkel) and second assistant director Hugh Harlow (The Snorkel)
Appreciations of composers Elisabeth Lutyens (Never Take Sweets from a Stranger) and Francis Chagrin (The Snorkel) by David Huckvale, author of Hammer Film Scores and the Musical Avant-Garde
Hammer’s Women: Betta St John (2018): Diabolique magazine’s editor-in-chief Kat Ellinger offers an appreciation of the American actress, singer and dancer
Hammer’s Women: Gwen Watford (2018): British cinema expert Dr Laura Mayne explores the life and career of the prolific English film, stage and television actress
Hammer’s Women: Diane Cilento (2018): Dr Melanie Williams, author of Female Stars of British Cinema, explores the life and career of the Australian theatre and film actress and author
Hammer’s Women: Lois Daine (2018): critic and author Becky Booth on the popular English film and television actress
Archival documentaries, interviews and featurettes
Original trailers
Image galleries: extensive promotional and on-set photography, poster art and marketing materials
Exclusive booklets for each film, with new essays by Kat Ellinger, Julian Upton and Kim Newman, archival interview materials, contemporary reviews, and full film credits
New and improved English subtitles for the deaf and hard-of-hearing
World Blu-ray premieres of all four films
Limited Edition Box Set of 6,000 numbered copies.

AVAILABLE FOR ORDER TODAY: NOW! HERE!




TODAY WE REMEMBER Robert Quarry, a great actor best known for his roles in a number of horror films in the 70’s such as 'Count Yorga Vampire' (1970) and its sequel 'The Return Of Count Yorga' (1971) , 'Dr. Philbes Rises Again' (1973) and 'Madhouse' (1974) with Peter Cushing and Vincent Price . . Quarry was also featured in guest spots on such TV shows as "Studio 57," "The Lone Ranger," "Hallmark Hall of Fame," "Mike Hammer," "The Fugitive," "Perry Mason," "Ironside," "Cannon," "The Rockford Files," and "Buck Rogers in the 25th Century."


OUTSIDE OF HIS WORK in movies and television, Robert also had a highly distinguished stage career. Quarry acted in Broadway productions of "As You Like It," "The Taming of the Shrew," "Richard III," and "Gramercy Ghost." He acted alongside Cloris Leachman in "Design for Living" at the Stage Society in Los Angeles and in 1966 went on tour with a traveling roadshow production of "Who's Afraid of Virginia Woolf?". 


HE REGULARLY studied his craft at the Actors Lab in Hollywood. Blessed with an IQ of 168, Quarry was a Life master at bridge. In addition, Robert studied cooking at the Cardon Bleu School in Manhattan and was the author of the best-selling cookbook "Wonderfully Simple Recipes for Simply Wonderful Food." Robert Quarry died at age 83 on February 20, 2009 in Woodland Hills, California.


 



REMEMBER! IF YOU LIKE what you see here at our website, you'll  love our daily themed posts at our PCAS FACEBOOK FAN PAGE.  Just click that blue LINK and click LIKE when you get there, and help us . . Keep The Memory Alive!. The Peter Cushing Appreciation Society website, facebook fan page and youtube channel are managed, edited and written by Marcus Brooks, PCAS coordinator since 1979. PCAS is based in the UK and USA

Monday, 19 February 2018

#PETERCUSHING MOMENT OF TERROR MONDAY! LEGEND OF THE WEREWOLF : HUNT IN THE SEWERS OF PARIS!



#MOMENTOFTERRORMONDAY! Carrying on....from the werewolf themed  films featured in yesterday's Weekend Double Feature here at the website, I've pulled the final moments from 'Legend of the Werewolf' (1975) for this weeks, #CUSHINGMOMENTOFTERROR MONDAY!. As most of us here know, it's one half of a pair of films, that #PeterCushing made with Tyburn films in the mid 1970's... a nice little thriller / horror film made in the style of films that were made twenty years or so, BEFORE this one. At the time this film was made, the film industry in the UK was in pieces, despite CEO Kevin Francis making a few features with his company Tyburn, plans to produce other movies, were shelved and the two Tyburn terrors, both starring #PeterCushing, still awaiting a legit dvd or blu ray release, becoming maybe two of the 'most wanted' on most PC's fans film wish list.



 CATCH UP WITH THIS REVIEW AND GALLERY FROM 
THE PCAS ARCHIVES : HERE!


REMEMBER! IF YOU LIKE what you see here at our website, you'll  love our daily themed posts at our PCAS FACEBOOK FAN PAGE.  Just click that blue LINK and click LIKE when you get there, and help us . . Keep The Memory Alive!. The Peter Cushing Appreciation Society website, facebook fan page and youtube channel are managed, edited and written by Marcus Brooks, PCAS coordinator since 1979. PCAS is based in the UK and USA

Sunday, 18 February 2018

A HOWLING DOUBLE BILL WEEKEND : CALLUM MCKELVIE ON SUNDAY CLIPS GIFS STILLS AND WHOLE MOVIE!


OUR FINAL Cushing-double feature this week is intended to go against the grain somewhat. The Curse of Frankenstein and The Revenge of Frankenstein were thematically, visually and stylistically linked being the first two entries in a series. The Skull and The Creeping Flesh on the other hand, despite being years apart shared the same director and had very similar thematic interests. Today’s final double bill features two films that both belong to the same sub-genre but apart from that are stylistically and thematically different. It is those differences I want to discuss and those differences that I feel make The Beast Must Die (1974) and Legend of the Werewolf (1975) the perfect ‘werewolf’ double feature.


DESPITE BEING THE ONLY TWO Werewolf movies Cushing made (well unless you count the segment in 1964’s Dr Terrors House of Horrors that he’s not in) there’s very little to connect these two films. The Beast Must Die is in reality more of an action thriller, attempting to ride the ‘Blaxploitation’ wave that was occurring at the time. Thus the film is accompanied by a ‘funky’ soundtrack and numerous action set-pieces.




TELLING THE STORY of Calvin Lockhart’s obsessive hunter Tom Newcliffe, the plot follows his gathering of five individuals at his home. Early on he reveals that he believes one of the gathered number to be a werewolf and he is determined to hunt the creature down. The film is the same manner as a contemporary thriller but mixed with an Agatha Christie like sensibility. Legend of the Werewolf on the other hand (along with the excellent The Ghoul) is one of a number of Tyburn films that were deliberate throwbacks to the early years of Hammer . A period piece, the film reverts to the traditional ‘werewolf as tragic figure’ mould and has a number of similarities to 1961’s The Curse of the Werewolf.




SO IF INDEED, other than both featuring a werewolf and Peter Cushing, there is very little to connect these two films, why would I suggest watching them as a double bill? Well put simply that is the reason. Two films from the dying days of the British horror boom, they demonstrate remarkably different approaches to the crisis. Both use the Werewolf myth (why that monster in particular I have no idea) but it is the difference in treatment of this well-known monster that makes these two films interesting.







THE BEAST MUST DIE looks across the pond to the American thrillers being produced at the time and thus chooses to rely less on the horrific and more on action. I did a larger piece on The Beast Must Die sometime back and it’s a film which though certainly entertaining, few would call outright successful. However when watched back-to-back with Legend of the Werewolf, I actually found myself gaining much greater appreciation for Beast. Now I want to point out that I adore Legend but when viewed in the context of the time it was made, it appears a very odd move to do something that relies as much on old tropes and conventions as this film does. 



IN THE FACE OF MUCH DARKER and more visceral horror’s along the lines of The Exorcist, Night of the Living Dead and Texas Chainsaw Massacre it seems a bizarre move to emulate the early years of Hammer, a studio who by this point was on its last legs. Watched devoid of any of this context, Legend is a rip roaring gothic melodrama in the style of old. Watched within this context it’s a fitting tribute to the main figures within Hammer but can only really be viewed as something of poorly judged exercise in nostalgia, looking back to the past, when the present was taking the genre in new and exciting directions.



THE BEAST MUST DIE on the other hand is a similar misfire, but all the more enjoyable for the brave attempts to try and escape the rut that most of its British Horror contemporaries had entered. Unfortunately poor production values and a script that stretches its thing plot far beyond its means, doom what could have been a powerful early 70’s thriller. As it is Beast stands as a fascinating artefact of the bizarre ways that the giants of British Horror cinema were attempting to cope with the ‘new wave’.



 
 
I REALISE THAT throughout this piece I’ve sounded incredibly negative towards these two films, truth be told both are incredibly enjoyable. Which is the best? Well without doubt Legend but Beast has its moments too. Before starting this double bill I suggest watching the third instalment of Mark Gatiss’s excellent A History of Horror which contextualises the environment in which these two films were made and shows what they had to compete with. As it is, Cushing’s two entries into the werewolf sub-genre make an excellent pairing, demonstrating two different approaches to dwindling box office returns on British Horror films. 





REMEMBER! IF YOU LIKE what you see here at our website, you'll  love our daily themed posts at our PCAS FACEBOOK FAN PAGE.  Just click that blue LINK and click LIKE when you get there, and help us . . Keep The Memory Alive!. The Peter Cushing Appreciation Society website, facebook fan page and youtube channel are managed, edited and written by Marcus Brooks, PCAS coordinator since 1979. PCAS is based in the UK and USA
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