POSTING EVERYDAY AT OUR WEBSITE AND THE UK PETER CUSHING APPRECIATION SOCIETY FACEBOOK FAN PAGE
Peter Cushing had a career that spanned over six decades and over ninety
films. He is fondly remembered as "the gentleman of horror" that
brought to life both the creator of evil, Baron Frankenstein, and the
destroyer of evil, Professor Van Helsing. He was also perhaps the
greatest Sherlock Holmes ever to grace the screen. Peter Cushing was
honoured with an OBE in 1989 for his services to the film...
industry. Interestingly he was also a dedicated artist, and was taught
to paint under the guidance of British artist Edward Seago. Some of his
works have sold for in excess of £12,000.
Peter Cushing trained at London's
Guildhall School of Music and Drama and began his career in prewar
Hollywood in The Man in the Iron Mask (US, d. James Whale, 1939) and
made several films there before starting in Britain with Hamlet (1948),
as a vividly exquisite Osric.
In the early 50s, he worked mainly in
the theatre (he was in Laurence Olivier's 1951 St James Theatre season),
had a TV triumph in Nineteen Eighty-Four (d. Rudolph Cartier, 1954),
and was very moving as Deborah Kerr's cuckolded husband in The End of
the Affair (d. Edward Dmytryk, 1954).
His film career took off when he played
the eponymous over-reacher in Hammer's The Curse of Frankenstein (d.
Terence Fisher, 1957), establishing him at once as a cult hero of the
horror film aficionados, with Christopher Lee as the monster. These two
names, along with director Terence Fisher, now evoke the output of this
most successful British studio. As well as playing the Baron half a
dozen times, he also memorably incarnated Dr Van Helsing in several
reprises of the Dracula myth, including the wonderfully stylish The
Brides of Dracula (d. Fisher, 1960).

His chiselled features, refined, even
ascetic speech and bearing, his intense belief in the scientific
mumbo-jumbo he was given to say, are now so firmly embedded in the
public mind that it is an effort of will to remember that he played many
other roles, including Sherlock Holmes. It is arguable, though, that
his most incisive performance is as the thin-lipped bank manager under
fearful strain in the excellent B thriller, Cash on Demand (d. Quentin
Lawrence, 1961).