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 James Whale in Man in the Iron Mask (1939), but it wasn’t until Terence Fisher‘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 Christopher Lee. 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.
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 Boris Karloff and Bela Lugosi, 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 Donald Pleasance). 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
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None have attained the compact rawness of that 1968 yardstick, however. Duane Jones became a cult icon as the doomed protagonist Ben. Previously an English professor, Jones was the first African-American to have a starring role in a horror feature (the script does not specify Ben’s ethnicity). Judith O’Dea, as Barbara, is the eternal victim ( in Savini’s remake, the character is recast as a feminist femme fatale). Together, they hole up in a farmhouse and fight off the marching dead, but are inevitably at the mercy of hayseeds with guns. The shot-on-the-cheap crudeness and novice acting actually add to the mundane horror. It was riveting enough to create an entirely new genre, but predictably, its unique qualities have eluded pale imitations.
David (Darth Vader) Prowse plays the monster, and he is as encased in his rubbery, hairy ape-like latex as he was in black armor. Prowse attempts to inject sympathy into his monster, much the same way that Freddie Jone’s monster did in the superb 
In between the 1932 and 1999 films, Hammer Studios predictably took a stab at the character. They spared no expense in soliciting the talents of Terence Fisher, along with top stars 
In Dracula Has Risen From the Grave, the vampire approaches Zena (Barbara Ewing) in the forest. Zena nearly spills out of her top and the vampire removes one extra snap for increased spillage. The attention is so drawn to the stripping that the narrative is second thought. Later, when Veronica Carlson is seduced by Dracula, her Victorian doll falls from her bed, awkwardly symbolizing the loss of innocence.