Hammer history… Peter Cushing in His Own Words, Cinema Museum

I normally come to this place to watch silent films many from the collection of Oscar-winning film archivist Kevin Brownlow who, through his interviews with silent film -makers in the sixties and seventies, helped to resurrect interest in this crucial period of cinema history. Kevin met with everyone from Pickford and Gish to Keaton, Chapin and Gish along with von Sternberg, Clarence Brown and King Vidor: he recorded the voices of those soon to be lost and preserved vital primary sources for future historians.

Derek Fowlds was one of the performers recorded for Richard Edward’s documentary on Peter Cushing and sadly it was one of his last filming engagements as he passed away in January. The cinematic world in which Cushing and Fowlds worked was vastly different from the silent period and yet it too is passing into history with many of the participants now heading into old age – as are we all. Documenting the era is, I would argue, as relevant as any film history and, whilst I’m not comparing Lust for a Vampire with Sunrise, I’m also not comparing The Roping Fool with The Hound of the Baskervilles or Peter Cushing’s ground-breaking performance as Winston Smith in the BBC’s 1984 (1954) with the work of George K Arthur. It's always been horses for courses and we love it!

It’s always important to remove the film-makers from their pigeon holes as “genre” and recognise their broader careers and skillset; many Hammer and other films of this time were made quickly – six weeks with no weekends – and on tiny budgets and they could do this because the teams all knew what they were doing; cast and crew all professionals to the core.

Richard Edwards and Peter Cushing in 1986

Judy Jarvis (nee Matheson) for example describes herself as a jobbing actor and she had a wide range of stage experience and formal training alongside the likes of Dame Helen Mirren enabling her to make the most of her iconic burning at the stake in Lust. She played off Cushing and was able to channel her genuine response to his fearsome change into character in the required sequence. Before these moments the older actor’s only concern had been for her and it was one of many examples of his soulful professionalism.

Cushing was undoubtedly a high-level performer and, having begun work in the late thirties, he only gradually attained top billing after years of smaller roles – you can see him briefly in Olivier’s Hamlet (1948) during the Prince’s fatal duel. Today he is remembered chiefly for his horror roles, playing perhaps the best Sherlock this side of Basil Rathbone (or, Eille Norwood if you want it silent and approved by the author!) and, depending on your age, Star Wars. Now, thanks to an interview Edwards recorded in the 80’s, we can also see that he was a decent impressionist too; not the best Frankie Howerd but passable!

Derek Fowlds

Edwards has been able to digitally recover his old C90 and he has combined Cushing’s career-long commentary with contributions from those who worked with him including Fowlds, Jarvis, Madeleine Smith, Valery Leon and others. Narrated by Jenny Hanley, the documentary includes many actorly tales and paints a picture of a committed and creatively generous individual, a man of faith and steadfast friendships too who mourned the loss of his wife as intensely as any living thing could bear and yet who still found vital purpose in his work.

There’s a precious recording of Christopher Lee filmed on VHS by Morris Bright MBE, now MD of Elstree, who talks of his close friendship with Cushing – perhaps it’s not too surprising to find that van Helsing and the Count got on so well?

Fowlds testimony, so close to his own passing, was especially poignant. He worked with Cushing on Frankenstein Created Woman (1967) and even though it was another short shoot, learned a lot from the older actor. Years later when enjoying the success of Yes, Minister, Derek got a letter from Peter praising his work on the series and saying how proud he was to be able to say they worked together. Fowlds kept it framed and on the wall of his office as indeed you would!

Maurice Bright, Richard Edwards and Brian Reynolds

Derek was supposed to have been here for tonight’s screening and his absence was felt even more during the post-screening Q&A. Maurice Bright hosted with a lively line in mischievous questioning for the first panel featuring not just Richard Edwards but also Brian Reynolds who, along with his fellow Elstree Runner, Phil Campbell, wrote Running Scared, tales of their time working on Hammer and other films at the studio.

Up next where the three leading ladies, described by Maurice as The Vampire Lovies and, as usual, they were delightful company, relishing the opportunity to talk about this period of their careers and much more besides. More than anything else of course, there was a lot of love for the evening’s main subject and all three attested to Peter Cushing’s influence, however brief on them. Valery Leon had only a day with the actor on Blood from the Mummy's Tomb before he had to leave the production after his wife’s diagnosis with emphysema.

Madeleine Smith worked with Cushing before and after the tragedy of his wife’s death and told of the physical impact of his grief but also his dedication to a profession that literally kept him going. Working hard, supporting those around you and creating lasting entertainment; it’s a terrific legacy and it’s good to understand the motivations and ethics that drove the man.

The Vampire Lovies

Richard Edwards also gave us a brief preview of another film he has almost completed; an extended interview with Derek Fowlds conducted last Autumn alongside his Cushing interview. I’ve a lasting image of Derek’s youthful smile as he walks down his “Hall of Fame”, posters of a life in film, television and theatre. Another visual testament to treasure.

You can watch Peter Cushing: In His Own Words on Amazon Prime.

Further details of Edwards’ films are available on his production company, Rabbit and Snail Films, website.

Running Scared is currently sold out but there are copies available on second hand sites and at events like tonights. Details are on the Peveril Publishing website.