Tag Archives: John Gilling


Although Peter Cushing passed this mortal coil in 1994, he made a recent, posthumous appearance—albeit a digital one—in what is probably his most famous non-Hammer role as Grand Moff Tarkin in Star Wars: Rogue One. His debut film performance was, aptly enough, for Universal horror icon in Man in the Iron Mask (1939), but it wasn’t until ‘s 1957’s Curse Of Frankenstein for Hammer Studios that Cushing secured his iconic niche. Unlike the Universal Frankenstein series, Fisher focused on the doctor himself, as opposed to the monster. With his frosty blue eyes, silver-tongued elocution, and gaunt frame, bringing a fervent athleticism to his early performances, Cushing was ideally cast.

Echoing John Huston’s brilliant deduction that Humphrey Bogart’s villainous screen qualities could be transposed to those of a protagonist in The Maltese Falcon, Terence Fisher next cast Cushing as the quintessential Van Helsing in Hammer’s Horror Of Dracula (1958), opposite his long-time onscreen foil . These dual roles, Frankenstein and Van Helsing, cemented Cushing as a horror genre star. It was typecasting that kept his services in demand, and for which he was grateful.

still from The Hound of the Baskervilles (1959)He also made an excellent Sherlock Holmes in Fisher’s 1959 version of The Hound of the Baskervilles, again cast opposite Lee. It’s possibly the best screen adaptation of Sir Arthur Conan Doyle’s famous novel, and one of Hammer studio’s finest hours. Cushing brings an irreproachable, authentically physical fire-and-ice quality to the role. The film is relatively faithful to the novel, which will surprise those expecting Fisher to transform it into a horror opus—although it has his trademark red-blooded pacing and brooding atmosphere. Lee, as Sir Henry, may not be as exquisitely cast, but brings flair to the character. Someone must have forgotten to tell Fisher, Cushing, cinematographer Jack Asher, set designer Bernard Robinson, and composer James Bernard that this was an overly familiar story, because they approach it with a refreshing sense of discovery. Lee recalls his genuine affection for his late co-star in an interview included on the DVD. Unlike their Universal Horror predecessors and , Cushing and Lee became best of friends. Co-starring opposite each other in twenty-four films, their chemistry was undeniable, and although they did substantial solo work, their names are practically synonymous.

Cushing was cast as the infamous Dr. Knox for Britain’s Shepparton Studio in Flesh And The Fiends (1960, written and directed by John Gilling). Similar to his Victor Frankenstein, Cushing’s Knox is obsessed by his work. His is an icy, stern, brash, one-eyed doctor, but not without a degree of introspective sympathy, in sharp contrast to the deplorable Burke and Hare (as portrayed here by George Rose and ). As with many “mad doctor” films, Knox is driven to immoral extremes by a medically regressive climate. The cast, which includes an Continue reading PETER CUSHING SIX PACK: THE HOUND OF THE BASKERVILLES, FLESH AND THE FIENDS, THE SKULL, TWINS OF EVIL,THE CREEPING FLESH, AND THE GHOUL


The 1966 horror, science fiction, and exploitation slate may be most infamous for what many claim is the worst film of all time: Manos: The Hands of Fate. It’s also the year that made her last Italian Gothic, An Angel for Satan (which we’ll cover later in a Steele retrospective). William “One-Shot” Beaudine was responsible for back-to-back western horrors: Billy The Kid Meets Dracula and Jesse James Meets Frankenstein’s Daughter. Michael Hoey banked on Marilyn-imitator Mamie Van Doren to lift Navy vs. The Night Monsters (it didn’t work) while and made futile attempts to salvage films started by others: Queen of Blood and The She-Beast, respectively. Hy Averback tooted his horror horn to warn us of hooked killer Patrick O’Neil in Chamber of  Horrors and Freddie Francis had us screaming about Deadly Bees. Considerably better was ‘s Kill, Baby Kill. It was and Hammer-related films, however, that owned the year’s genre product.

officially resurrected the Count in Dracula: Prince of Darkness, with and Barbara Shelley trading saliva in Anthony Hinds’ screenplay (written under his usual pseudonym John Elder). Fisher jumped ship and headed to Universal (momentarily) for Island of Terror, starring Lee and , but directed with little enthusiasm.

Lee, Shelly, and Hinds teamed again that same year for Don Sharp’s Rasputin: The Mad Monk, which is effective trash as only Hammer could deliver. Hinds’ previous writing credits include Brides of Dracula (1960), Curse of the Werewolf (1961) and Kiss of the Vampire (1963). 1966 was a busy year for him, having also scripted The Reptile (see below). Hinds continued writing for Hammer up until their cult TV series, “Hammer House Of Horrors” (1980).

Still from Rasputin, the Mad Monk (1966)The leftover sets from Prince of Darkness must have affected Lee because he delivers one of his best performance as Rasputin. He is perfectly cast. The film  opens moodily in a pub with a local doctor departing after having dismissed any chances of survival for the innkeeper’s wife. Moments later, Rasputin enters, put his hands on the ill woman and, through the intensity of his look alone, immediately heals her. Now a hero of sorts, Rasputin engages in drunken song and dance with the locals and takes off to have his way with the innkeeper’s daughter in the barn. Interrupted by the girl’s fiancée, Rasputin cuts off the poor man’s hand. When the locals turn into an angry mob, Rasputin escapes via horseback and returns to his monastery. Shocked to discover that Rasputin is a monk, the locals take their grievances to the bishop. As defiant as ever, Continue reading 1966 EXPLOITATION TRIPLE FEATURE: RASPUTIN THE MAD MONK, THE REPTILE, THE PLAGUE OF THE ZOMBIES