Peter Cushing | |
|---|---|
.jpg) Cushing inFrankenstein Must Be Destroyed (1969) | |
| Born | Peter Wilton Cushing (1913-05-26)26 May 1913 Kenley, Surrey, England |
| Died | 11 August 1994(1994-08-11) (aged 81) Canterbury, Kent, England |
| Resting place | Seasalter Old Church,Seasalter, Kent[1] |
| Alma mater | Guildhall School of Music and Drama |
| Occupation | Actor |
| Years active | 1935–1994 |
| Spouse | |
| Awards | British Academy Television Award for Best Actor (1956) |
Peter Wilton Cushing (26 May 1913 – 11 August 1994) was an English actor. His acting career spanned over six decades and included appearances in more than 100 films, as well as many television, stage and radio roles. He achieved recognition for his leading performances in theHammer Productions horror films from the 1950s to 1970s and asGrand Moff Tarkin inStar Wars (1977).
Born inKenley, Surrey, Cushing made his stage debut in 1935 and spent three years at arepertory theatre before moving to Hollywood to pursue a film career. After making his motion-picture debut in the filmThe Man in the Iron Mask (1939), Cushing began to find modest success in American films before returning to England at the outbreak of theSecond World War. Despite performing in a string of roles, including one asOsric inLaurence Olivier's film adaptation ofHamlet (1948), Cushing struggled to find work during this period. His career was revitalised once he started to work in livetelevision plays and he soon became one of the most recognisable faces inBritish television. He earned particular acclaim for his lead performance asWinston Smith ina BBC adaptation ofGeorge Orwell'sNineteen Eighty-Four (1954).
Cushing gained worldwide fame for his appearances in twenty-two horror films from the Hammer studio, particularly for his role asBaron Frankenstein in six of their sevenFrankenstein films andDoctor Van Helsing in fiveDracula films. Cushing often appeared alongside actorChristopher Lee, who became one of his closest friends, and occasionally with the American horror starVincent Price. Cushing appeared in several other Hammer films, includingThe Abominable Snowman (1957),The Mummy andThe Hound of the Baskervilles (both 1959), the last of which marked the first of the several occasions he portrayed the detectiveSherlock Holmes. Cushing continued to perform in a variety of roles, although he was often typecast as a horror film actor. He playedDr. Who inDr. Who and the Daleks (1965) andDaleks' Invasion Earth 2150 A.D. (1966), and became even better known through his part in the originalStar Wars film. Cushing continued acting into the early to mid-1990s and wrote two autobiographies.
Peter Wilton Cushing was born inKenley, then a village in the English county ofSurrey, on 26 May 1913 to George Edward Cushing (1881–1956) and Nellie Marie (née King) Cushing (1882–1961).[2] His father, aquantity surveyor, was a reserved and uncommunicative man whom Peter said he never got to know very well. His mother was the daughter of a carpet merchant and considered of a lower class than her husband.[3] Cushing's family consisted of several stage actors, including his paternal grandfather Henry William Cushing (who toured withHenry Irving),[4] his paternal aunt Maude Cushing (his father's sister) and his step-uncle Wilton Herriot, after whom Peter Cushing received his middle name.[3]
The Cushing family lived inDulwich during theFirst World War, but moved toPurley after the war ended in 1918.[5] Although raised during wartime, Cushing was too young to understand or become greatly affected by it, and was shielded from the horrors of war by his mother, who encouraged him to play games under the kitchen table whenever the threat of possible bombings arose.[3] In his infancy, Cushing twice developedpneumonia and once what was then known as "double pneumonia". The latter was often fatal during that period, although he survived.[5] During one Christmas in his youth, Cushing saw a stage production ofPeter Pan, which served as an early source of inspiration and interest in acting.[6] Cushing loved dressing up andmake believe from an early age, and later claimed he always wanted to be an actor, "perhaps without knowing at first."[7] A fan of comics and toy collectibles in his youth, Cushing earned money by stagingpuppet shows for family members with his glove-puppets and toys.[8]
He began his early education in Dulwich, South London, before attending theShoreham Grammar School inShoreham-by-Sea, on theSussex coast betweenBrighton andWorthing. Prone to homesickness, he was miserable at the boarding school and spent only one term there before returning home.[9] He attended thePurley County Grammar School, where he swam and playedcricket andrugby.[5] With the exception of art, Cushing was a self-proclaimed poor student in most subjects and had little attention span for that which did not interest him. He got fair grades only through the help of his brother, a strong student who did his homework for him.[7] Cushing harboured aspirations forthe arts all throughout his youth, especially acting. His childhood inspiration wasTom Mix, an American film actor and star of manyWestern films.[10] D.J. Davies, the Purley County Grammar Schoolphysics teacher who produced all the school's plays, recognised some acting potential in him and encouraged him to participate in the theatre, even allowing Cushing to skip class topaint sets. He played the lead in nearly every school production during his teenage years, including the role of Sir Anthony Absolute in a 1929 staging ofRichard Brinsley Sheridan'scomedy of manners play,The Rivals.[11]
Cushing wanted to enter the acting profession after school, but his father opposed the idea, despite the theatrical background of several of his family members. Instead, seizing upon Cushing's interest in art and drawing, he got his son a job as a surveyor's assistant in the drawing department of theCoulsdon and Purley Urban District Council's surveyor's office during the summer of 1933.[11] Cushing hated the job, where he remained for three years without promotion or advancement due to his lack of ambition in the profession. The only enjoyment he got out of it was drawing perspectives of proposed buildings, which were almost always rejected because they were too imaginative and expensive and lacked strong foundations, which Cushing disregarded as a "mere detail."
Thanks to his former teacher Davies, Cushing continued to appear in school productions during this time, as well as amateur plays such asW. S. Gilbert'sPygmalion and Galatea,[12]George Kelly'sThe Torch-Bearers, andThe Red Umbrella, by Brenda Girvin and Monica Cosens.[13] Cushing often learned and practised his lines in an attic at work, under the guise that he was putting ordnance survey maps into order. He regularly applied for auditions and openings for roles he found in the arts-oriented newspaperThe Stage, but was turned down repeatedly due to his lack of professional experience in the theatre.[12]
Cushing eventually applied for a scholarship at theGuildhall School of Music and Drama in London.[14] His first audition was before the actorAllan Aynesworth, who was so unimpressed with Cushing's manner of speech that he rejected him outright and insisted he not return until he improved hisdiction.[13][15] Cushing continued to pursue a scholarship, writing twenty-one letters to the school,[15] until actor and theatre managerBill Fraser finally agreed to meet Cushing in 1935 simply so he could ask him in person to stop writing. During that meeting, Cushing was given a walk-on part as a courier in that night's production ofJ.B. Priestley'sCornelius. This marked his professional stage debut, although he had no lines and did little more than stand on stage behind other actors. Afterward, he was granted the scholarship and given odd jobs around the theatre, such as selling refreshments and working as an assistant stage manager.[13]
One of his earliest professional stage performances was in 1935 as Captain Randall in Ian Hay'sThe Middle Watch at theConnaught Theatre in Worthing.[16][17] By the end of the summer of 1936, Cushing accepted a job with therepertory theatre companySouthampton Rep, working as assistant stage manager and performing in bit roles at the Grand Theatre in theHampshire city.[13] He spent the next three years in an apprenticeship at Southampton Rep.,[10] auditioning for character roles both there and in other surrounding theatres, eventually amassing almost 100 individual parts.[13][18] While he was in Southampton, he met an 18-year-old fellow actor,Doreen Lawrence, and they were engaged to be married. Lawrence broke off the engagement, citing his frequent crying and bringing his parents on dates.[19]
Soon, he felt the urge to pursue a film career in the United States. In 1939, his father bought him a one-way ticket to Hollywood, where he moved with only £50 to his name.[10] Cushing met aColumbia Pictures employee named Larry Goodkind, who wrote him a letter of recommendation and directed him to acquaintances Goodkind knew at the companyEdward Small Productions. Cushing visited the company, which was only a few days away from shootingThe Man in the Iron Mask (1939), theJames Whale-directed adaptation of theAlexandre Dumastale based on theFrench legend of a prisoner during the reign ofLouis XIV of France.[20] Cushing was hired as astand-in for scenes that featured both characters played byLouis Hayward, who had thedual lead roles of King Louis XIV and Philippe ofGascony. Cushing played one part against Hayward in one scene, then the opposite part in another, and ultimately the scenes were spliced together in asplit screen process that featured Hayward in both parts and left Cushing's work cut from the film altogether.[18] Although the job meant Cushing received no actual screen time, he was eventually cast in a bit part as the king's messenger, which madeThe Man in the Iron Mask his official film debut.[21] The small role involvedsword-fighting and, although Cushing had no experience withfencing, he told Whale he was an excellent fencer to ensure he got the part. Cushing later said his unscreened scenes alongside Hayward were terrible performances, but that his experience on the film provided an excellent opportunity to learn and observe how filming on a studio set worked.[20]
Only a few days after filming onThe Man in the Iron Mask was completed, Cushing was in theSchwab's Drug Store, a famousSunset Boulevard hangout spot for actors, when he learned producerHal Roach was seeking an English actor for acomedy film starringLaurel and Hardy. Cushing sought and was cast in the role. Cushing appeared only briefly inA Chump at Oxford (1940) and his scenes took just one week to film, but he was proud to work with whom he called "two of the greatest comedians the cinema has ever produced."[22] Around this time actorRobert Coote, who met Cushing during a cricket game, recommended to directorGeorge Stevens that Cushing might be good for a part in Stevens' upcoming filmVigil in the Night (1940). Adapted from aserial novellaof the same name, it was adrama film about a nurse played byCarole Lombard working in a poorly-equipped country hospital. Stevens cast Cushing in the second male lead role of Joe Shand, the husband of the Lombard character's sister. Shooting ran from September to November 1939,[23] and the film was released in 1940, drawing Cushing's first semblance of attention and critical praise.[10]
Cushing continued to work in a few Hollywood engagements, including an uncredited role in thewar filmThey Dare Not Love (1941), which reunited him with director James Whale. Cushing was cast (again uncredited) in one of a series of short films in an entry in theMGM seriesThe Passing Parade, which focused on strange-but-true historical events. He appeared in the episodeThe Hidden Master (1940) as a youngClive of India, well before the soldier established the military and political supremacy of theEast India Company. In the film, Clive tries to shoot himself twice but the gun misfires, then he fires a third time at a pitcher of water and the gun works perfectly. Clive takes this to be an omen that he should live, and he goes on to perform great feats in his life. Studio executives were pleased with Cushing's performance, and there was talk among Hollywood insiders grooming him for stardom.[24] Despite the promise, however, Cushing grew homesick and decided he wished to return to England. He moved to New York City in anticipation of his eventual return home, during which time he voiced a fewradio commercials and joined asummer stock theatre company to raise money for his voyage back to England. He performed in such plays asRobert E. Sherwood'sThe Petrified Forest,Arnold Ridley'sThe Ghost Train,S. N. Behrman'sBiography and amodern dress version ofWilliam Shakespeare'sMacbeth. He was eventually noticed by a Broadway theatre talent scout,[25] and in 1941 he made his Broadway debut in the religious wartime dramaThe Seventh Trumpet. It received poor reviews, however, and ran for only eleven days.[18]
Cushing returned to England during the Second World War. Although some childhood injuries prevented him from serving on active duty,[10] a friend suggested he entertain the troops by performing as part of theEntertainments National Service Association.[15][26] In 1942, theNoël Coward playPrivate Lives was touring the military stations and hospitals in theBritish Isles, and the actor playing the lead role of Elyot Chase was called to service. Cushing agreed to take his place with very little notice or time to prepare, and earned a salary of ten pounds a week for the job.[27] During this tour he met Violet Hélène "Helen" Beck, a former dancer who was starring in the lead female role of Amanda Prynne.[14][28] They fell in love and were married on 10 April 1943.[29] Cushing eventually had to leave ENSA due tolung congestion, an ailment his wife helped him recover from.[15] The two had little money around this time, and Cushing had to collect from bothNational Assistance and the Actors' Benevolent Fund. Cushing struggled to find work during this period, with some plays he was cast in failing to even make it past rehearsals into theatres. Others closed after a few showings, like an ambitious five-hour stage adaptation ofLeo Tolstoy's novelWar and Peace that opened and closed in 1943 in London'sPhoenix Theatre.[29]
Cushing recorded occasional radio spots and appeared in week-long stints as a featured player in London'sQ Theatre, but otherwise work was difficult to come by.[18] He found a modest success in a 1945 production of Sheridan'sThe Rivals atWestminster'sCriterion Theatre, which earned him enough money to pay off some growing debts.[30] The war years continued to prove difficult for him, however, and at one point he was forced to work designing ladieshead-scarves at aMacclesfield-based silk manufacturer to make ends meet.[18] In the autumn of 1946, after the war ended, Cushing unsuccessfully auditioned for the part of Paul Verrall in a stage production of the playBorn Yesterday that was being staged by famed actor and directorLaurence Olivier. He was not cast because he insisted he could not perform in anAmerican accent.[18] After Cushing attempted the accent and failed, Olivier replied, "Well, I appreciate you not wasting my time. I shall remember you."[31] Nearing middle age and finding it increasingly harder to make a living in acting, Cushing began to consider himself a failure.[10]
In 1947, when Laurence Olivier sought him out for his film adaptation ofShakespeare'sHamlet, Cushing's wife Helen pushed him to pursue a role.[10] Far from being deterred by Cushing's unsuccessful audition the year before, Olivier remembered the actor well and was happy to cast him,[10][18] but the only character left unfilled was the relatively small part of the foppishcourtierOsric.[10] Cushing accepted the role, andHamlet (1948) marked his British film debut.[21] One of Cushing's primary scenes involved Osric talking toHamlet andHoratio while walking down a wide stone spiral stairway. The set provided technical difficulties, and all of Cushing's lines had to be post-synched. Cushing had recently undergone dental surgery and he was trying not to open his mouth widely for fear of spitting. When this hindered the post-synching process, Olivier leaned in close to Cushing's face and said, "Now drown me. It'll be a glorious death, so long as I can hear what you're saying."[32]
Hamlet won theAcademy Award for Best Picture, and earned Cushing praise for his performance.[14] Also appearing in the film wasChristopher Lee, who eventually became a close friend and frequent co-star with Cushing.[33] Cushing designed custom hand-scarves in honour of theHamlet film, and as it was being exhibited across England, the scarves were eventually accepted as gifts bythe Queen and her daughterPrincess Elizabeth.[15] AfterHamlet, both Peter and Helen Cushing accepted a personal invitation from Olivier to joinOld Vic, Olivier's repertory theatre company, which embarked on a year-long tour ofAustralasia.[18] The tour, which lasted until February 1949, took them toMelbourne, Sydney,Brisbane,Hobart,Tasmania,Auckland,Wellington,Christchurch andDunedin, and included performances of Richard Brinsley Sheridan'sThe School for Scandal, Shakespeare'sRichard III,Thornton Wilder'sThe Skin of Our Teeth,Jean Anouilh'sAntigone andAnton Chekhov'sThe Proposal.[34]
Cushing struggled greatly to find work over the next few years, and became so stressed that he felt he was suffering from an extendednervous breakdown.[34] Nevertheless, he continued to appear in several small roles in radio, theatre and film.[10][35] Among them was theJohn Huston filmMoulin Rouge (1952) in which he played a racing spectator named Marcel de la Voisier appearing withJosé Ferrer, who played the artistHenri de Toulouse-Lautrec.[21] During this discouraging period for Cushing, his wife encouraged him to seek roles in television, which was beginning to develop in England.[10] She suggested he write to all the producers listed in theRadio Times magazine seeking work in the medium. The move proved to be a wise one, as Cushing was hired to complement the cast of a string of major theatre successes that were being adapted tolive television. The first was J.B. Priestley'sEden End, which was televised in December 1951. Over the next three years, he became one of the most active and favoured names in British television,[10][15][35] and was considered a pioneer in British television drama.[21][28]
He earned praise for playing the lead male role ofMr. Darcy in an earlyBBC Television serialisation ofJane Austen'sPride and Prejudice (1952).[36] Other successful television ventures during this time includedEpitaph for a Spy,The Noble Spaniard,Beau Brummell,[35]Portrait by Peko,[37] andAnastasia, the latter of which won Cushing theDaily Mail National Television Award for Best Actor of 1953–54.[35] His largest television success from this period was the leading role ofWinston Smith inNineteen Eighty-Four, (1954) an adaptation byNigel Kneale ofGeorge Orwell'snovel of the same name about atotalitarian regime. The production proved to be controversial, resulting in death threats for directorRudolph Cartier and causing Cushing to be vilified for appearing in such "filth."[35]Parliament even considered a motion immediately after the first screening to ban the play's live repeat.[28][35] Nevertheless, a second televised production was filmed and aired, and Cushing eventually drew both critical praise and acting awards, further cementing his reputation as one ofBritain's biggest television stars.[10] Cushing felt his first performance was much stronger than the second, but the second production is the only known surviving version.[38]
In the two years followingNineteen Eighty-Four, Cushing appeared in thirty-one television plays and two serials, and won Best Television Actor of the Year from theEvening Chronicle. He also won best actor awards from theGuild of Television Producersin 1955,[39] and from theBritish Academy of Film and Television Arts in 1956.[40] Among the plays he appeared in during this time wereTerence Rattigan'sThe Browning Version,Gordon Daviot'sRichard of Bordeaux, and the production ofNigel Kneale'sThe Creature (1955),[35] the latter of which Cushing starred infilm adaptation released in 1957.[41] Despite this continued success in live television, Cushing found the medium too stressful and wished to return to film.[10] Cinematic roles proved somewhat difficult to find, however, as film producers were often resentful of television stars for drawing audiences away from the cinema.[42]
Nevertheless, he continued to work in some film roles during this period, including theadventure filmThe Black Knight (1954) oppositeAlan Ladd.[39] For that film, he travelled to Spain and filmed sceneson location in the castles ofManzanares el Real andEl Escorial.[43] He also starred in the film adaptation of theGraham Greene novelThe End of the Affair (1955) as Henry Miles, an important civil servant and thecuckolded husband of Sarah Miles, played byDeborah Kerr.[21] Also around the same time, he appeared inMagic Fire (also 1955), an autobiographical film about the German composerRichard Wagner. Filmed on location inMunich, Cushing played Otto Wesendonck, the husband of poetMathilde Wesendonck, who in the film is portrayed as having an affair with Wagner.[44]
_-_Must_I%253F.png)
During a brief quiet period following Cushing's television work, he read intrade publications aboutHammer, a low-budget production company seeking to adaptMary Shelley'shorror novelFrankenstein into a new film.[39] Cushing, who enjoyed the tale as a child,[10] had his agent John Redway inform the company of Cushing's interest in playing the protagonist,Baron Victor Frankenstein. The studio executives were anxious to have Cushing; in fact, Hammer co-founderJames Carreras had been unsuccessfully courting Cushing for film roles in other projects even before his major success withNineteen Eighty-Four. Cushing was about twenty years older than Baron Frankenstein as he appeared in the original novel, but that did not deter the filmmakers.[39] Cushing was cast in the lead role ofThe Curse of Frankenstein (1957), marking the first of twenty-two films he made for Hammer.[45] He later said that his career decisions entailed selecting roles where he knew that he would be accepted by the audience. "Who wants to see me asHamlet? Very few. But millions want to see me as [Baron] Frankenstein, so that's the one I do."[46] The film criticRoger Ebert described Cushing's work in the Hammer films: "[Cushing is] the one in all those British horror films, standing between Vincent Price and Christopher Lee. His dialog usually runs along the lines of, 'But good heavens, man! The person you saw has been dead for more than two centuries!'"[47]
UnlikeFrankenstein (1931) produced byUniversal, the Hammer films revolved mainly around Victor Frankenstein, rather thanhis monster.[48] ScreenwriterJimmy Sangster wrote the protagonist as an ambitious, egotistical and coldly intellectual scientist who despised his contemporaries.[39] Unlike the character from the novel and past film versions, Cushing's Baron Frankenstein commits vicious crimes to attain his goals, including the murder of a colleague to obtain a brain for his creature.[48]The Curse of Frankenstein also featured Christopher Lee, who playedFrankenstein's monster.[21] Cushing and Lee became extremely close friends, and remained so for the rest of Cushing's life. They first met on the set of the film, where Lee was still wearing the monster make-up prepared byPhil Leakey. Hammer Studios' publicity department put out a story that when Cushing first encountered Lee without the make-up on, he screamed in terror.[49]
Cushing so valued preparation for his role that he insisted on being trained by a surgeon to learn how to wield ascalpel authentically.[28] Shot in dynamic colour with a £65,000-budget, the film became known for its heavy usage of gore and sexual content.[10] As a result, while the film did well at the box-office with its target audience, it drew mixed to negative reviews from the critics. Most, however, were complimentary of Cushing's performance,[50] claiming it added a layer of distinction and credibility to the film.[51] Many felt Cushing's performance helped create thearchetypalmad scientist character.[28]Picturegoer writer Margaret Hinxman, who was not complimentary of Lee's performance, praised Cushing and wrote of the film: "Although this shocker may not have created much of a monster, it may well have created something more lasting: a star!"[50]Donald F. Glut, a writer and filmmaker who wrote a book about the portrayals ofFrankenstein, said the inner warmth of Cushing's off-screen personality was apparent on-screen even despite the horrific elements of Frankenstein, which helped add a layer of likability to the character.[52]
The Curse of Frankenstein was an overnight success, bringing both Cushing and Lee worldwide fame.[21][53] The two men continued to work together in many films for Hammer, and their names became synonymous with the company. Cushing reprised the role of Baron Victor Frankenstein in five sequels.[21] In the first,The Revenge of Frankenstein (1958), his protagonist is sentenced to death byguillotine, but he flees and hides under the alias Doctor Victor Stein.[21] He returned forThe Evil of Frankenstein (1963), where the Baron has a carnivalhypnotist resurrect his monster's inactive brain,[54] andFrankenstein Created Woman (1967), in which the Frankenstein's monster is a woman played byPlayboy magazinecentrefold modelSusan Denberg. Cushing played the lead role twice more inFrankenstein Must Be Destroyed (1969) andFrankenstein and the Monster from Hell (1974).[21] The former film portrays Frankenstein as a far more ruthless character than had been seen before, and features a scene in which Cushing's Frankenstein rapes the character played byVeronica Carlson. Neither Carlson nor Cushing wanted to do the scene, filmed despite directorTerence Fisher's objections, and the controversial sequence was edited out of the film for its American release.[55] InFrankenstein and the Monster from Hell, Cushing portrayed Frankenstein as having gone completely mad, in a fitting coda to the earlier films.[56][57]
_-_Peter_Cushing.png)
When Hammer sought to adaptBram Stoker's classicvampire novelDracula, they cast Cushing to play the vampire's adversaryDoctor Van Helsing. Cushing envisioned the character as an idealist warrior for the greater good, and studied the original book carefully and adapted several of Van Helsing's characteristics from the books into his performance, including the repeated gesture of raising his index finger to emphasise an important point.[58] Cushing said one of the biggest challenges during filming was not missing whenever he struck a prop stake with a mallet and drove it into a vampire's heart.[59]Dracula was released in 1958, with Cushing once again starring opposite Lee, who played thetitle character, although Cushing was giventop billing.[60] During filming, Cushing himself suggested the staging for the final confrontation scene, in which Van Helsing leaps onto a large library table, opens window curtains to weaken Dracula with sunlight, then uses two candlesticks as a makeshift crucifix to drive the vampire into the sunlight.[10] As with theFrankenstein film, critics largely dislikedDracula because of its violence and sexual content, deeming it inferior to the 1931Universal version.[61]
In 1959, Cushing agreed to reprise the role of Van Helsing in the sequel,The Brides of Dracula (1960). Before filming began, however, Cushing said he had reservations about the screenplay written by Jimmy Sangster and Peter Bryan. As a result, playwrightEdward Percy was brought in to make modifications to the script, though the rewrites pushed filming into early 1960 and brought additional costs to the production.[62] For the sequel,Dracula: Prince of Darkness (1966), which marked Lee's return to the title role for the first time since 1958, Cushing granted permission for archival footage featuring him to be used in the opening scene, a reprisal of the climax from the firstDracula film. In exchange, Hammer's James Carreras thanked Cushing by paying for extensive roofing repair work that had recently been done on Cushing's recently purchasedWhitstable home.[63] Cushing appeared inDracula A.D. 1972 (1972), a Hammer modernisation of the Dracula story set in the then-present day. Lee once again starred as Dracula. In the opening scene, Cushing portrays the nineteenth century Van Helsing as he did in the previous films, and the character is killed after battling Dracula. Thereafter the action jumps ahead to 1972, and Cushing plays the original character's grandson for the bulk of the movie.[21] Cushing performed many of his own stunts inDracula A.D. 1972, which included tumbling off a haywagon during a fight with Dracula.Christopher Neame, who also starred in the film, said he was particularly impressed with Cushing's agility and fitness, considering his age.[64] Cushing and Lee both reprised their respective roles in the sequelThe Satanic Rites of Dracula (1974), which was known in the United States asCount Dracula and his Vampire Bride.[21] Around the same time, Cushing played the original nineteenth-century Van Helsing inThe Legend of the 7 Golden Vampires (also 1974), a co-production between Hammer Studios and theShaw Brothers Studio, which broughtChinese martial arts into the Dracula story.[21] In that film, Cushing's Van Helsing travels to the Chinese cityChongqing, where Count Dracula is heading a vampire cult.[65]
Although most well known for his roles in theFrankenstein andDracula films, Cushing appeared in a wide variety of other Hammer productions during this time. Both he and his wife feared that he would becometypecast into horror roles, but he continued to take them because they guaranteed regular work.[42][66] He appeared in the horror filmThe Abominable Snowman (1957), a Hammer adaptation of a BBC Nigel Kneale television playThe Creature (1955) which Cushing had also starred in. He portrayed an English botanist searching theHimalayas for the legendaryYeti.[41] DirectorVal Guest said he was particularly impressed with Cushing's preparation and ability to plan which props to best use to enhance his performance, so much so that Cushing started to become known as "Props Peter".[67] Cushing and Lee appeared together in the Hammer horrorThe Mummy (1959), with Cushing as the archaeologist John Banning and Lee as the antagonistKharis.[10] Cushing saw a promotional poster forThe Mummy that showed Lee's character with a large hole in his chest, allowing a beam of light to pass through his body. There was no reference to such an injury in the film script, and when he asked the publicity department why it was on the poster, they said it was simply meant to serve as a shocking image to promote the movie. During filming, he asked director Terence Fisher for permission to drive a harpoon through the mummy's body during a fight scene to explain the poster image. Fisher agreed, and the scene was used in the film.[68]
Around the same time, he portrayed the detectiveSherlock Holmes in the Hammer production ofThe Hound of the Baskervilles (also 1959), an adaptation ofSir Arthur Conan Doyle'snovel of the same name.[21] He again co-starred opposite Lee, who portrayed the aristocratic Sir Henry Baskerville.[33] A huge fan of Sherlock Holmes, Cushing was highly anxious to play the character,[69] and reread the novels in anticipation of the role.[70] Hammer decided to heighten the source novel's horror elements, which upset the estate of Conan Doyle, but Cushing himself voiced no objection to the creative licence because he felt the character of Holmes himself remained intact. However, when producerAnthony Hinds proposed removing the character'sdeerstalker, Cushing insisted they remain because audiences associated Holmes with his headgear and pipes.[71] He prepared extensively for the role, studying the novel and taking notes in his script. He scrutinised the costumes and screenwriter Peter Bryan's script, often altering words or phrases.[72] Lee later claimed to be awestruck by Cushing's ability to incorporate many different props and actions into his performance simultaneously, whether reading, smoking a pipe, drinking whiskey, filing through papers, or other things while portraying Holmes.[73] In later years, Cushing considered his Holmes performance one of the finest accomplishments of his career.[69] He drew generally mixed reviews:Film Daily called it a "tantalising performance" andTime Out's David Pirie called it "one of his very best performances",[74] while theMonthly Film Bulletin called him "tiresomely mannered and too lightweight" andBBC Television's Barry Norman said he "didn't quite capture the air of know-all arrogance that was the great detective's hallmark".[75]The Hound of the Baskervilles was originally conceived as the first in a series of Sherlock Holmes films, but no sequels were made.[68]
_trailer_-_Peter_Cushing_2.png)
Immediately upon completion ofThe Hound of the Baskervilles, Cushing was offered the lead role in the Hammer filmThe Man Who Could Cheat Death (1959), a remake ofThe Man in Half Moon Street (1945). He turned it down, in part because he did not like the script by Jimmy Sangster, and the lead role was taken instead byAnton Diffring. Cushing next appeared for Hammer when he played theSheriff of Nottingham in the adventure filmSword of Sherwood Forest (1960), which starredRichard Greene as the outlawRobin Hood.[21] It was filmed on location inCounty Wicklow in theRepublic of Ireland.[76] The next year, Cushing starred as anEbenezer Scrooge-like manager of a bank being robbed in the Hammerthriller filmCash on Demand (1961). He considered this among the favourites of his films,[21] and some critics believed it to be among his best performances, although it was one of the least-seen films from his career.[10] He appeared in the Hammer filmCaptain Clegg (1962), known in the United States asNight Creatures. Cushing starred as Parson Blyss, the local reverend of an 18th-century English coastal town believed to be hiding his smuggling activities with reports of ghosts.[21] The film was roughly based on theDoctor Syn novels byRussell Thorndike. Cushing read Thorndike to prepare for the role and made suggestions tomake-up artistRoy Ashton about Blyss' costume and hairstyle.[77] He and directorPeter Graham Scott did not get along well during filming and at one point, when the two were having a disagreement on set, Cushing turned to cameraman Len Harris and said, "Take no notice, Len. We've done enough of these now to know what we're doing."[77]
Cushing and Lee appeared together in the horror filmThe Gorgon (1964) about the female snake-hairedGorgon character fromGreek mythology and inShe (1965), about a lost realm ruled by the immortal queen Ayesha, played byUrsula Andress. Cushing later appeared inThe Vampire Lovers (1970), an erotic Hammer horror film about a lesbian vampire, adapted in part from theSheridan Le Fanu novellaCarmilla.[10] The next year he was set to star in a sequel,Lust for a Vampire (1971), but had to drop out because his wife was ill andRalph Bates substituted.[68] However, Cushing was able to star inTwins of Evil (also 1971), a prequel of sorts toThe Vampire Lovers, as Gustav Weil, the leader of a group of religiouspuritans trying to stamp outwitchcraft andsatanism.[78] Among his final Hammer roles wasFear in the Night (1972), where he played a one-armed school headmaster apparently terrorising the protagonist, played byJudy Geeson.[79]
Although best known for his Hammer performances from the 1950s to the 1970s, Cushing worked in a variety of other roles during this time, and actively sought roles outside the horror genre to diversify his work.[10] In an interview published inABC Film Review in November 1964, Cushing stated, "People look at me as if I were some sort of monster, but I can't think why. In my macabre pictures, I have either been a monster-maker or a monster-destroyer, but never a monster. Actually, I'm a gentle fellow. Never harmed a fly. I love animals, and when I'm in the country I'm a keenbird-watcher." In an interview published in 1966, he added, "I do get terribly tired with the neighbourhood kids telling me 'My mum says she wouldn't want to meet you in a dark alley'." He continued to perform in occasional stage productions, such as Robert E. MacEnroe'sThe Silver Whistle at Westminster'sDuchess Theatre in 1956.[80] Around the same time, he appeared in the filmAlexander the Great (1956) as theAthenian GeneralMemnon of Rhodes.[44] In 1959, Cushing originally planned to appear in the lead role of William Fairchild's playThe Sound of Murder, while shooting a film at the same time. The hectic schedule became overbearing for Cushing, who had to drop out of the play and resolved to never again attempt a film and play simultaneously.[81]
He appeared in the biographicalepic filmJohn Paul Jones (1959), in whichRobert Stack played thetitle role of the American naval fighter in theAmerican Revolutionary War.[21] Cushing became very ill withdysentery during filming and lost a considerable amount of weight as a result.[82] Cushing playedRobert Knox inThe Flesh and the Fiends (1960), based on the true story of the doctor who purchased human corpses for research from theserial killer duoBurke and Hare.[21] Cushing had previously stated Knox was one of his role models in developing his portrayal of Baron Frankenstein.[83] The film was calledMania in its American release. Cushing appeared in several films released in 1961, includingFury at Smugglers' Bay, an adventure film about pirates scavenging ships off the English coastline;[84]The Hellfire Club, where he played a lawyer helping a young man expose a cult;[85] andThe Naked Edge, a British-American thriller about a woman who suspects her husband framed another man for murder. The latter film starred Deborah Kerr, Cushing's co-star fromThe End of the Affair, andGary Cooper, one of Cushing's favourite actors.[84] In 1965, Cushing appeared in theBen Traversfarce playThark at Westminster'sGarrick Theatre. It was his final stage performance for a decade, but he continued to stay active in film and television during this period.[86]
Cushing took the lead role in twoscience fiction films by AARU Productions based on the British television series,Doctor Who. Although Cushing's protagonist was derived from television scripts used forFirst Doctor serials, his portrayal of the character differed in the fact that Cushing'sDr. Who was a human being, whereas the original Doctor as portrayed on TV byWilliam Hartnell was extraterrestrial.[87] Cushing played the role inDr. Who and the Daleks (1965) andDaleks' Invasion Earth 2150 A.D. (1966).[21]
Cushing later starred in the fifteen-episode BBC television seriesSherlock Holmes, once again reprising his role as the title character withNigel Stock as Watson, though only six episodes now survive. The episodes aired in 1968.Douglas Wilmer had previously played Holmes for the BBC,[88] but he turned down the part in this series due to the extremely demanding filming schedule. Fourteen days of rehearsal was originally scheduled for each episode, but they were cut down to ten days for economic reasons. Many actors turned down the role as a result, but Cushing accepted,[89] and the BBC believed his Hammer Studios persona would bring what they called a sense of "lurking horror and callous savagery" to the series.[88] Production lasted from May to December,[90] and Cushing adopted a strict regimen of training, preparation and exercise.[91] He tried to keep his performance identical to his portrayal of Holmes fromThe Hound of the Baskervilles.[92] Although the series proved popular, Cushing felt he could not give his best performance under the hectic schedule, and he was not pleased with the final result.[90][93]
Cushing appeared in a handful of horror films by the independentAmicus Productions, includingDr. Terror's House of Horrors (1965), as a man who could see into the future usingTarot cards;[94]The Skull (1965), as a professor who became possessed by a spiritual force embodied within a skull;[95] andTorture Garden (1967), as a collector ofEdgar Allan Poe relics who is robbed and murdered by a rival.[96] Cushing also appeared in non-Amicus horror films likeIsland of Terror (1966) andThe Blood Beast Terror (1968), in both of which he investigates a series of mysterious deaths. He appeared inCorruption (1968), a film that was billed as so horrific that "no woman will be admitted alone" into theatres to see it.[97] Cushing played a surgeon who attempts to restore the beauty of his wife (played bySue Lloyd), whose face is horribly scarred in an accident.[98]
In July 1969, Cushing appeared as thestraight man inThe Morecambe & Wise Show, the British comedy series. In the skit, Cushing portrayedKing Arthur, while the other two gave comedic portrayals of characters likeMerlin and the knights of theRound Table. Cushing continued to make occasional cameos in the series over the next decade, portraying himself desperately attempting to collect a payment for his previous acting appearance on the show.[99] Cushing and Lee made cameos as their old roles of Frankenstein and Dracula in the comedyOne More Time (1970), which starredPeter Lawford andSammy Davis Jr.[100] The single scene took only one morning of filming, which Cushing agreed to after Davis asked him to do it as a favour.[63] The next year, Cushing appeared inI, Monster (1971),[10] which was adapted fromRobert Louis Stevenson'sStrange Case of Dr Jekyll and Mr Hyde, alongside Lee as the Jekyll/Hyde figure. Later that year he was set to appear inBlood from the Mummy's Tomb (1971), an adaptation of the Bram Stoker novelThe Jewel of Seven Stars. He was forced to withdraw from the film to care for his wife, and was ultimately replaced byAndrew Keir.[101]
In 1971, Cushing contacted theRoyal National Institute for the Blind and offered to providevoice acting for some of their audiobooks. They immediately accepted, and among the works Cushing recorded wasThe Return of Sherlock Holmes, a collection of thirteen one-hour stories.[103] He appeared alongsideVincent Price inDr. Phibes Rises Again! (1972), a sequel toThe Abominable Dr. Phibes, and then co-starred with Price again in the filmMadhouse (1974).[14] He once again starred with longtime collaborator Christopher Lee inHorror Express (1972). Cushing continued to appear in several Amicus Productions films during this period, includingTales from the Crypt (1972),From Beyond the Grave (1973),[104]And Now the Screaming Starts! (1973),[65] andThe Beast Must Die (1974).[105]
ForTales from the Crypt, ananthology film made up of several horror segments, Cushing was offered the part of a ruthless businessman but did not like the part and turned down the role. Instead, Cushing asked to play Arthur Grymsdyke,[106] a kind, working-class widower who gets along well with the local children, but falls subject to asmear campaign by his snobbish neighbours. Eventually, the character is driven to commit suicide, but returns from the grave to seek revenge against his tormentors.[107] After Cushing was cast in the role, several changes were made to the script at his suggestion. Originally, all of the character's lines were spoken aloud to himself, but Cushing suggested he speak to a framed photo of his deceased wife instead, and directorFreddie Francis agreed.[106] Cushing used the emotions from the recent loss of his wife to add authenticity to the widower character's grieving.[107] Make-up artistRoy Ashton designed the costume and make-up Cushing wore when he rose from the dead,[107] but the actor helped Ashton develop the costume, and donned a pair of false teeth that he previously used in a disguise during theSherlock Holmes television series.[108] His performance inTales from the Crypt won him the Best Male Actor award at the 1971 French Convention of Fantasy Cinema in France.[106]
In 1975, Cushing was anxious to return to the stage, where he had not performed in ten years. Around this time he learned that Helen Ryan, an actress who impressed him in a televised play aboutKing Edward VII, was planning to run the Horseshoe Theatre inBasingstoke with her husband, Guy Slater. Cushing wrote to the couple and suggested they stageThe Heiress, a play byRuth and Augustus Goetz, with Cushing himself in the lead role. Ryan and Slater agreed, and Cushing later said performing the part was his most pleasant experience since his wife had died four years earlier.[86] Cushing also starred in several horror films released in 1975. Among them wereLand of the Minotaur, where he played Baron Corofax, the evil leader of a Satanic cult opposed by a priest played byDonald Pleasence.[109] Another wasThe Ghoul, where he played a former priest hiding hiscannibalistic son in an attic. That film marked the first Cushing worked for producerKevin Francis, who worked in minor jobs at Hammer and had long aspired to work with Cushing, whom he admired deeply. They went on to make two other films together,Legend of the Werewolf (1975) andThe Masks of Death (1984) with the actor playing Sherlock Holmes once more.[110] Cushing appeared in the television filmThe Great Houdini (1976) as Sir Arthur Conan Doyle, the creator of Sherlock Holmes.[87][103] Cushing wrote the forewords to two books about the detective:Peter Haining'sSherlock Holmes Scrapbook (1974) andHolmes of the Movies: The Screen Career of Sherlock Holmes (1976), byDavid Stuart Davies.[111] Cushing also appeared in the horror filmThe Uncanny (1977).[112]
Film directorGeorge Lucas approached Cushing with the hopes of casting the actor in his upcoming spacefantasy film,Star Wars. Since the film's primary antagonistDarth Vader wore a mask throughout the entire film and his face was never visible, Lucas felt that a strong human villain character was necessary. This led him to write the character ofGrand Moff Tarkin: a high-ranking Imperial governor and commander of the planet-destroying battlestation, theDeath Star. Lucas felt a talented actor was needed to play the role and said Cushing was his first choice.[113] However, Cushing has claimed that Lucas originally approached him to play the Jedi MasterObi-Wan Kenobi and only decided to cast him as Tarkin instead after the two met. He said he would have preferred to play Kenobi rather than Tarkin but could not have done so because he was to be filming other movie roles whenStar Wars was shooting, and Tarkin's scenes took less time to film than those of the larger Kenobi role. Although not a particular fan of science fiction, Cushing accepted the part because he believed his audience would loveStar Wars and enjoy seeing him in the film.[10]
Cushing joined the cast in May 1976, and his scenes were filmed atElstree Studios inBorehamwood.[10] Along withAlec Guinness, who was ultimately cast as Kenobi, he was among the best-known actors at the time to appear inStar Wars, as the rest of the cast were then relatively unknown.[114] As a result, he was paid a larger daily salary than most of his fellow cast, earning£2,000 per day compared to weekly salaries of $1,000 forMark Hamill, $850 forCarrie Fisher, and $750 forHarrison Ford, who played protagonistsLuke Skywalker,Princess Leia Organa, andHan Solo, respectively.[113] When Cushing smoked between shots, he wore a white glove so the make-up artists would not have to deal with nicotine stains on his fingers. Like Guinness, he had difficulty with some of the technical jargon in his dialogue and claimed he did not understand all of the words he was speaking. Nevertheless, he worked hard to master the lines so that they sounded natural and his character appeared intelligent and confident.[115]
Cushing got along well with the entire cast, especially his oldFrankenstein and the Monster from Hell co-starDavid Prowse, who played Darth Vader, and Carrie Fisher, who was appearing in her first major role as Princess Leia Organa.[10] The scene in which Tarkin and Organa appear together on the Death Star, just before the destruction of the planet Alderaan, was the first scene with major dialogue that Fisher filmed forStar Wars.[115] Cushing consciously attempted to define their characters as opposite representations of good and evil, and he purposely stood in the shadows so the light shone on Fisher's face. Fisher said she liked Cushing so much that it was difficult to act as though she hated Tarkin,[10] and she had to substitute somebody else in her mind to muster the feelings. Although one of her lines referred to Tarkin's "foul stench," she said the actual actor smelled like "linen andlavender," something Cushing attributed to his tendency to wash and brush his teeth thoroughly before filming because of his self-consciousness aboutbad breath.[115]
During the filming ofStar Wars, Cushing was provided with a pair of boots far too small to accommodate his size twelve feet. This caused a great deal of pain for him during shooting, but the costume designers did not have enough time to get him another pair. As a result, he asked Lucas to film as many shots of him as possible from the waist up and, after the director agreed, Cushing woreslippers during the scenes where his feet were not visible.[116][117][118][119][120] During rehearsals, Lucas originally planned for Tarkin and Vader to use a giant screen filled with computerised architectural representations of hallways to monitor the whereabouts of Skywalker, Solo, and Organa. Although the idea was abandoned before filming began, Cushing and Prowse rehearsed those scenes in a set built by computer animation artistLarry Cuba.[121] The close-up shots of Cushing aboard the Death Star, shown right before the battlestation is destroyed, were actually extra footage taken from previously shot scenes with Cushing that did not make the final film. During production, Lucas decided to add those shots, along withsecond unit footage of the Death Star gunners preparing to fire, to add more suspense to the film's space battle scenes.[122]
WhenStar Wars was first released in 1977, most preliminary advertisements touted Cushing's Tarkin as the primary antagonist of the film, not Vader;[123] Cushing was extremely pleased with the final film, and he claimed his only disappointment was that Tarkin was killed and could not appear in the sequels. The film gave him the highest amount of visibility of his entire career and helped inspire younger audiences to watch his older films.[10][124][125]
For the filmRogue One (2016),CGI and digitally-repurposed-archive footage[126][127] were used to insert Cushing's likeness from the original movie over the face of actorGuy Henry.[128] Henry provided the on-set capture and voice work with the reference material augmented and mapped over his performance like a digital body-mask. Cushing's estate owners were heavily involved with the creation, which took place more than twenty years after Cushing died.[129] This extensive use of CGI to "resurrect" an actor who had died many years earlier created a great deal of controversy about the ethics of using a deceased actor's likeness.[130][131][132] Joyce Broughton, Cushing's former secretary, had approved recreating Cushing in the film. After attending the London premiere, she was reportedly "taken aback" and "dazzled" with the effect of seeing him on screen again.[133]
Toward the end of his career, Cushing performed in films and roles critics widely considered below his talent.[10] DirectorJohn Carpenter approached him to appear in the horror filmHalloween (1978) asSamuel Loomis, the psychiatrist of murdererMichael Myers, but Cushing turned down the role. It was also turned down byChristopher Lee, and eventually went toDonald Pleasence, another of Cushing's former co-stars.[134] Cushing appeared alongside his old co-stars Christopher Lee andVincent Price inHouse of the Long Shadows (1983), a horror-parody film featuringDesi Arnaz Jr. as an author trying to write a gothic novel in a deserted Welsh mansion.[41]
Cushing appeared in the television filmThe Masks of Death (1984), marking both the last time he played detective Sherlock Holmes and the final performance for which he received top billing.[10] He appeared alongside actorJohn Mills as Watson, and the two were noted by critics for their strong chemistry and camaraderie. As both actors were in their seventies, screenwriterN.J. Crisp and executive producer Kevin Francis both in turn sought to portray them as two old-fashioned men in a rapidly changing world. Cushing's biographer Tony Earnshaw said Cushing's performance inThe Masks of Death was arguably the actor's best interpretation of the role, calling it "the culmination of a life-time as a Holmes fan, and more than a quarter of a century of preparation to play the most complex of characters".[135] The final notable roles of Cushing's career were in the comedyTop Secret! (1984), the fantasy filmSword of the Valiant (also 1984) and the adventure filmBiggles: Adventures in Time (1986).[10] In 1986, he appeared on the British television showJim'll Fix It, hosted byJimmy Savile, in which it was arranged for the wishes of guests to be granted. Cushing wished for a strain of rose to be named after his late wife, and it was arranged for the Helen Cushing Rose to be grown at the Wheatcroft Rose Garden inEdwalton, Nottinghamshire.[119]
During this period, Cushing was honoured by theBritish Film Institute, which invited him in 1986 to give a lecture at theNational Film Theatre. He also stagedAn Evening with Peter Cushing at St. Edmund's Public School inCanterbury to raise money for the local Cancer Care Unit. In 1987, awatercolour painting Cushing painted was accepted byPrince Edward and auctioned at a charity event he organised to raise funds forThe Duke of Edinburgh's Award Scheme.[136] Also that year, a sketch Cushing drew of Sherlock Holmes was accepted as the official logo of the Northern Musgraves Sherlock Holmes Society.[137]
Cushing wrote two autobiographies,Peter Cushing: An Autobiography (1986) andPast Forgetting: Memoirs of the Hammer Years (1988).[21] Cushing wrote the books as what he called "a form of therapy to stop me going stark, raving mad" following the loss of his wife. His old friend and co-star John Mills encouraged him to publish his memoirs as a way of overcoming the reclusive state Cushing had placed himself into following her death.[124] In 1989 he was made anOfficer of the Order of the British Empire for his contributions to the British film industry.[138] Cushing also wrote a children's book calledThe Bois Saga, a story based on the history of England. Published in 1994, it was originally written specifically for the daughter of Cushing's long-time secretary and friend Joyce Broughton, to help her overcome reading problems resulting from herdyslexia. It was Broughton who encouraged Cushing to have the book published.[139] His final acting job was narrating, along with Christopher Lee, the Hammer Films documentaryFlesh and Blood: The Hammer Heritage of Horror (1994), which was recorded only a few weeks before his death.[45] Produced by American writer and director Ted Newsom, his contribution was recorded inCanterbury, near his home.[citation needed] Lee recognised Cushing's health was fading and did his best to keep his friend's spirits up, but Lee later claimed he had a premonition that it would be the last time he saw Cushing alive, which proved to be true.[73]
Cushing had a variety of interests outside acting, including collecting and battlingmodel soldiers, of which he owned over five thousand.[140] He hand-painted many and used theLittle Wars rule set byH. G. Wells forminiature wargaming.[141] He also loved games andpractical jokes,[15] and enjoyed drawing and painting watercolours, the latter of which he did often in his later years.[45]
After his wife's death, Cushing visited several churches and spoke to religious ministers, but was dissatisfied by their reluctance to discuss death and the afterlife, and never joined an organized religion. He nevertheless maintained a belief in bothGod and anafterlife.[99][142] He was an ardent vegetarian for most of his life who served as a patron with theVegetarian Society from 1987 until his death.[143] He also had a great interest inornithology and wildlife in general.[28] He suffered fromnyctophobia from early in his life, but in his later years overcame this by forcing himself to take walks outside after midnight.[144]
Cushing was known among his colleagues for his gentle and gentlemanly demeanour, as well as his professionalism and rigorous preparation as an actor.[21] He once said that he learned his parts "from cover to cover" before filming began.[145] His co-stars and colleagues often spoke of his politeness, charm, old-fashioned manners and sense of humour.[10] While working, he actively provided feedback and suggestions on other elements beyond his performance, such as dialogue and wardrobe. At times, this put him at odds with writers and producers; Hammer Studios producer Anthony Hinds once declared him a "fusspot [and] terrible fusser about his wardrobe and everything, but never a difficult man."[71]
Although he appeared in both television and stage productions, Cushing preferred the medium of film, which allowed his perfectionist nature to work out the best performance possible.[10] He did not enjoy the repetitive nature of stage performances, and once compared it to a painter being forced to paint the same picture every day.[92] Cushing himself was not a particular fan of horror or science fiction films, but he tended to choose roles not based on whether he enjoyed them, but whether he felt his audience would enjoy him in them.[10] However, Cushing was very proud of his experiences with the Hammer films, and never resented becoming known as a horror actor.[4] He always took the roles seriously and never portrayed them in acampy ortongue-in-cheek style because he felt it would be insulting to his audience.[10][42][68]
On 10 April 1943, Cushing marriedViolet Hélène Beck, sister ofReginald Beck.[14][28][29][146]
In 1971, Cushing's wife died ofemphysema. Cushing often said he felt his life had ended when hers did,[10] and he was so crushed that when his first autobiography was published in 1986, it made no mention of his life after her death.[28] In 1972, he was quoted in theRadio Times as having said, "Since Helen passed on I can't find anything; the heart, quite simply, has gone out of everything. Time is interminable, the loneliness is almost unbearable and the only thing that keeps me going is the knowledge that my dear Helen and I will be reunited again some day. To join Helen is my only ambition. You have my permission to publish that ... really, you know, dear boy, it's all just killing time. Please say that."[147]
In his autobiography, Cushing implies that he attempted suicide on the night of his wife's death by running up and down stairs in the vain hope that it would induce aheart attack. He later stated that this had simply been a hysterical response borne out of grief, and that he had not purposely attempted to end his life; a poem left by Helen had implored him not to die until he had lived his life to the full.[142]
The effects of his wife's death proved to be as much physical as mental. For his role inDracula A.D. 1972, Cushing (who was 58) had originally been cast as the father ofStephanie Beacham's character, but had aged so visibly and lost so much weight that the script was hastily rewritten to make him her grandfather: it was done again in the last Dracula film from Hammer,The Satanic Rites of Dracula.[148] In a silent tribute to Helen, a shot ofVan Helsing's desk includes a photograph of her. He repeated the role of the man who lost family in other horror films, includingAsylum (1972),The Creeping Flesh (1973), andThe Ghoul (1975).
In May 1982, Cushing was diagnosed withprostate cancer.[149] He was rushed to theKent and Canterbury Hospital where his doctors determined he had twelve to eighteen months to live; however, Cushing recovered well enough to be released from the hospital,[150] and although his health continued to gradually decline, Cushing lived another twelve years without any operative treatment orchemotherapy. During this period, he lived with Joyce Broughton and her family at their homes inHartley, Kent.[151] In August 1994, Cushing entered himself into Pilgrims Hospice in Canterbury, where he died on 11 August at 81 years old.[14][152] In accordance with his wishes, Cushing had a low-profile funeral with family and friends, although hundreds of fans and well-wishers came to Canterbury to pay their respects. In January 1995, a memorial service was held inThe Actors' Church inCovent Garden, with addresses given byChristopher Lee, Kevin Francis,Ron Moody andJames Bree.[153]
In total, Cushing appeared in more than 100 films throughout his career.[4][42]
In an interview included on the DVD release ofThe Hound of the Baskervilles (1959), Lee said of his friend's death:
I don't want to sound gloomy, but at some point of your lives, every one of you will notice that you have in your life one person, one friend whom you love and care for very much. That person is so close to you that you are able to share some things only with him. For example, you can call that friend, and from the very first maniacal laugh or some other joke you will know who is at the other end of that line. We used to do that with him so often. And then when that person is gone, there will be nothing like that in your life ever again.[154]
Several filmmakers and actors have cited Cushing as an influence, includingDoug Bradley, who playedPinhead in theHellraiser horror films,[155] and John Carpenter, who directed such films asHalloween (1978),Escape from New York (1981) andThe Thing (1982).[10] DirectorTim Burton and actorJohnny Depp both said the portrayal ofIchabod Crane inSleepy Hollow was intended to resemble that of Cushing's old horror film performances.[156][157]
In 2008, fourteen years after his death, Cushing's image was used in aset of stamps issued by theRoyal Mail honouring Hammer Studios films on the fiftieth anniversary of the release ofDracula.[152] In 2013, Cushing was honoured by the Royal Mail as one of ten people selected for their"Great Britons" commemorative postage stamp issue.[158]
| Year | Title | Role | Note |
|---|---|---|---|
| 1952 | Pride and Prejudice | Mr. Darcy | TV mini-series(all 6 episodes) |
| 1953 | Epitaph for a Spy | Josef Vadassey | TV mini-series(all 6 episodes) |
| You are There | Rudolf Hess | Season 1, episode 20: "The Escape of Rudolf Hess" | |
| 1951–1957 | BBC Sunday-Night Theatre | Charles Appleby Cyril Beverly Simpson Antoine Vanier Piotr Petrovsky Seppi Fredericks Prince Mikhail Alexandrovitch Ouratieff Beau Brummell Winston Smith Dr. John Rollason Prime Minister Mr. Manningham | Season 2, episode 48: "Eden End (I)" Season 3, episode 15: "Bird in Hand" Season 4, episode 5: "Number Three" Season 4, episode 25: "The Road" Season 4, episode 28: "Anastasia" Season 4, episode 34: "Portrait by Peko" Season 5, episode 4: "Tovarich" Season 5, episode 11: "Beau Brummell" Season 5, episode 50: "Nineteen Eighty-Four" Season 6, episode 5: "The Creature" Season 6, episode 10: "The Moment of Truth" Season 8, episode 2: "Gaslight" |
| 1962 | Drama 61-67 | Frederick James Parsons | Season 2, episode 7: "Drama '62: Peace with Terror" |
| ITV Television Playhouse | Fred Parsons | Season 8, episode 3: "Peace with Terror" | |
| 1963 | The Spread of the Eagle | Cassius | TV mini-series |
| Comedy Playhouse | Albert Fawkes | Season 3, episode 6 "The Plan" | |
| 1964 | Story Parade | Elijah Baley | Episode: "The Caves of Steel"(unknown season) |
| 1965 | Thirty-Minute Theatre | Leonard | Season 1, episode 5: "Monica" |
| 1967 | The Avengers | Paul Beresford | Episode: "Return of the Cybernauts"(season 5, episode 17 or season 6, episode 1) |
| 1968 | Sherlock Holmes | Sherlock Holmes | All 16 episodes from season 2: "The Second Stain" "The Dancing Men" "A Study in Scarlet" "The Hound of the Baskervilles (Part 1)" "The Hound of the Baskervilles (Part 2)" "The Boscombe Valley Mystery" "The Greek Interpreter" "The Naval Treaty" "Thor Bridge" "The Musgrave Ritual" "Black Peter" "Wisteria Lodge" "Shoscombe Old Place" "The Solitary Cyclist" "The Sign of Four" "The Blue Carbuncle" |
| 1973 | Orson Welles Great Mysteries | Count Gerard De Merret | Season 1, episode 4: "La Grande Breteche" |
| 1974 | The Zoo Gang | Judge Gautier | Season 1, episode 5: "The Counterfeit Trap" |
| 1976 | Space: 1999 | Raan | Season 1, episode 7: "Missing Link" |
| Looks Familiar | 1 episode – dated 2 February 1976 | ||
| The New Avengers | Von Claus | Season 1, episode 1: "The Eagle's Nest" | |
| 1980 | Hammer House of Horror | Martin Blueck | Season 1, episode 7: "The Silent Scream" |
| 1983 | Tales of the Unexpected | Von Baden | Season 6, episode 8: "The Vorpal Blade" |
| Year | Title | Role | Note |
|---|---|---|---|
| 1951 | When We Are Married | Gerald Forbes | |
| 1952 | If This Be Error | Nick Grant | |
| Asmodée | Blaise Lebel | ||
| The Silver Swan | Lord Henriques | ||
| 1953 | Rookery Nook | Clive Popkiss | |
| The Noble Spaniard | Duke of Hermanos | ||
| A Social Success | Henry Robbins | ||
| 1954 | The Face of Love | Mardian Thersites[163] | |
| 1955 | Richard of Bordeaux | Richard II | |
| The Browning Version | Andrew Crocker-Harris | ||
| 1957 | Home at Seven | David Preston | |
| 1958 | The Winslow Boy | Sir Robert Morton | |
| Uncle Harry | Uncle Harry | ||
| 1976 | The Great Houdini | Sir Arthur Conan Doyle | |
| 1980 | A Tale of Two Cities | Dr. Alexander Manette | |
| 1984 | Helen Keller:The Miracle Continues | Professor Charles Copeland | |
| The Masks of Death | Sherlock Holmes |
| Year | Title | Note | Role |
|---|---|---|---|
| 1940 | The Hidden Master | Robert Clive of India | (Uncredited role) |
| 1940 | Dreams | First Dreamer | |
| 1946 | It Might Be You | The Doctor |
| Year | Title | Role | Note |
|---|---|---|---|
| 1965 | Late Night Line-Up | Himself | Four separately recorded interviews, (withMichael Dean (broadcaster),Rudolf Cartier, andYvonne Mitchell) about the 1954 tv. production ofNineteen Eighty-Four |
| 1969–1980 | The Morecambe & Wise Show | Himself | Long running gag involving being owed payment |
| 1971 | BBC Wildlife Spectacular | Himself – Presenter | |
| 1986 | Dieter & Andreas | Grateful acknowledgment | |
| 1986–1988 | Wogan | Himself | Regular guest |
| 2012 | House of the Long Shadows... Revisited | Dedicated to | |
| 2016 | Rogue One | Grand Moff Tarkin | Special acknowledgment; Posthumous release; CGI recreation used for likeness |
| 2021 | Bad Batch | Grand Moff Tarkin | Animated Recreation |
This article incorporates text from afree content work. Licensed under CC BY-SA 3.0 (license statement/permission). Text taken fromPeter Cushing, Wookieepedia, Wikia.
Many debates have raged on the ethics of these characters being digitally placed in the film and if Industrial Light & Magic (the Star Wars visual effects company) even pulled it off. Certainly, the computerized characters look stunningly lifelike, but still kind of creepy in an uncanny valley sort of way.
