Here is the conclusion to Christopher Gullo's fascinating article on Peter Cushing and his roles in the Amicus films. Be sure to go to www.petercushing.co.uk to check out the book that Mr. Gullo wrote about Cushing and his life.
“Half the evil in this world is caused by confusing the written word with reality”--Peter Cushing as Doctor Pope (And Now the Screaming Starts, 1972 film).
And Now the Screaming Starts is an effectively creepy and atmospheric production. Oakley Court, the gothic mansion in the film, was commonly used by Hammer studios as well. The veteran cast moves the story along well, including Patrick Magee as the family physician and Herbert Lom as Henry Fengriffen, the bringer of the curse. The mechanical star of the film, the disembodied hand, is a relatively hideous little contraption, turning up time and time again to horrify young Catherine. Amicus had used a similar crawling hand in their first anthology venture, Dr. Terror’s House of Horrors, in the Christopher Lee segment fittingly entitled ‘Disembodied Hand’. Clues as to the curse are given away slowly to the viewer that heightens the suspense; the film also features perhaps the finest period costumes in the horror genre. Cushing’s character, Doctor Pope, is almost Sherlockian in his approach to the situation at the Fengriffen estate, for he states during his arrival, “Curiosity is necessary in my line of work.” He also attempts to analyze Catherine and Charles’ past in order to present a rational explanation for the ongoing events. This film was also the first time that Cushing would don a blonde curly wig which he referred to as making him look like Helen Hayes.
“The only way to conquer your fear of the past is to face it, even relive it if you have to”--Peter Cushing as Herbert Flay (Madhouse, 1973 film).
Madhouse (a.k.a. The Revenge of Dr. Death) would be the first film in which Cushing and fellow horror star Vincent Price would share equal time. They had previously worked together in Scream and Scream Again although they did not share any scenes nor meet during the filming. The film is really a tribute to Vincent Price; many of his previous films are spliced in to sub for old Dr. Death epics including The Haunted Palace, Tales of Terror, The Raven and The Pit and the Pendulum. In fact, special participation credit is given to Boris Karloff and Basil Rathbone, two of Price’s colleagues in The Raven and Tales of Terror. Also appearing in the film is Robert Quarry, whom AIP had been grooming as their new horror star. Even though the plot is nothing terrific, the interaction of Price and Cushing make the film worthwhile. The two veterans play off each other with ease and one wishes that they could have done more films together. The role of Paul Toombes was certainly no stretch for Price, but a horror actor playing a horror actor was an interesting idea despite being previously done by Boris Karloff in Targets. But the plot of having Toombes unsure of being the real Dr. Death fades rather quickly. After a short amount of guesswork, Cushing is the obvious culprit while doing the most with his character, such as sporting pancake white vampire makeup at a party during the film.
“The love of money is the root of all evil”--Peter Cushing as the proprietor (From Beyond the Grave, 1973 film).
From Beyond the Grave, a clever and frightening anthology, would also mark the second time Cushing served to help link together the different segments. Compared against Dr. Terror’s House of Horrors, the first anthology by Amicus, From Beyond the Grave manages to equal if not best its predecessor. Cushing’s role as the proprietor shines throughout the film. With a mustache and bushy eyebrows, Cushing’s proprietor is a seemingly benevolent old man whose possessed antiques rightfully dole out justice to those who would take advantage of him. Unlike Amicus’s Tales from the Crypt and Vault of Horror, the linking antique shop storyline is just as interesting as the segments, for the viewer is never sure what exactly will happen to the ill-fated customers. Cushing’s comments right before the segments are insightful thoughts as to what might happen to the customers: “Naughty, shouldn’t have done that.”
“Finally when the transmogrification is complete, the urge to eat human flesh is uncontrollable. Its appetite must be assuaged”--Peter Cushing as Dr. Christopher Lundgren (The Beast Must Die, 1973 film).
With a plot similar to The Most Dangerous Game, Amicus' The Beast Must Die is an entertaining romp that encourages audience participation. The film combines blaxploitation with horror, a sort of Shaft meets a werewolf with Calvin Lockhart as a poor man's private eye who provides all the action and most of the over-the-top acting. Amicus was probably hoping to strike gold again with another black actor as they did with William Marshall in Blacula. However, The Beast Must Die is graced by some excellent actors, most notably Cushing, Anton Diffring (Circus of Horrors, The Man Who Could Cheat Death) and Charles Gray (The Devil Rides Out), all of whom interact wonderfully and create a much more involved picture than allowed by the script. Cushing's Dr. Christopher Lundgren is portrayed as a virtual walking encyclopedia of all things related to werewolves; even his appearance resembles a wolf. In the film's publicity, Cushing revealed that he directed the make-up man to give him the appropriate 'werewolfy' appearance in order for his character to seem suspicious-looking. The film also features a one minute "werewolf break" in which the audience is challenged to identify which of the guests is the 'beast that must die.'
“It will bore through solid rock at a rate of seventy-eight feet per minute!”--Peter Cushing as Dr. Abner Perry (At the Earth’s Core, 1976 film).
Unlike Shatter, his last disappointing film for Hammer studios, rival Amicus studios provided Cushing with the opportunity to end their relationship with a bang. At the Earth’s Core was meant to appeal to the younger crowds and is a colorful and exhilarating film with plenty of action and comedic bits. Cushing’s character somewhat resembles his past incarnations for Amicus as Dr. Who, but here he invests Perry with a comedic overtone, shooting off one-liners and using his limber body for sight gags. Publicity pointed out that Cushing’s character was greatly different from many of those he had portrayed in films and added “Cushing is best known internationally in countless “horror” and “terror” movies as the creator of Frankenstein and numerous other roles whose macabre overtones are strikingly at variance with his quiet, well-mannered appearance off the set”.
Peter Cushing & His Amicus Films by Christopher Gullo - Part Three
