Peter Cushing Movies

Captain Gort (Bernard Lee) is an airline pilot who must answer to a Court of Inquiry after the crash of a Phoenix jet. Although he passes a battery of tests, pilot error is the determined cause of the accident. Sir Hobbes (George Sanders) is the Queen's council whose relentless prosecution helps blame Gort. When a second crash occurs, Gort is defended by Captain Judd (Peter Cushing), who is convinced that mechanical malfunctions, not the pilot, caused both crashes. ~ Dan Pavlides, All Movie Guide

In the 17th century, the arrogant, cruel Hugo Baskerville (David Oxley) brutalizes a servant and prepares to turn the man's daughter over to his equally depraved companions, but she escapes. When he catches up with the girl in a ruined abbey, he kills her and then is attacked and killed himself by a huge hound that is never seen. The audience then learns that this story is being told in flashback to Sherlock Holmes (Peter Cushing) and Dr. Watson (Andre Morell) by Dr. Richard Mortimer (Francis DeWolff). He was the physician and friend to the late Sir Charles Baskerville, who recently died -- apparently of fright -- on the Devonshire moors near that same ruined abbey. Holmes is very skeptical, but agrees to meet Sir Henry Baskerville (Christopher Lee), who has just arrived in London to claim the estate. Sir Henry is cold and aloof but becomes convinced he's in danger when he's almost bitten by a tarantula. Holmes insists that he not go to Baskerville Hall alone, so Holmes sends Watson to Devonshire with Sir Henry.

In Devonshire, Sir Henry and Watson learn that an escaped convict, Selden, is at large on the moor. Watson meets local Bishop Frankland (Miles Malleson), and later on the moor, Baskerville's neighbors, Stapleton (Ewen Solon) and his daughter, Cecile (Marla Landi). Watson is almost trapped in one of the many bogs that dot the moors, but he escapes. Later, leaving Sir Henry stricken with a mild heart attack at the hall, Watson ventures again onto the moors, and to his surprise, discovers Sherlock Holmes there. Holmes has been hiding and watching for developments. They hear the howl of the hound, and are too late to prevent the huge beast from killing a man they take for Sir Henry. But back at Baskerville Hall, they find Sir Henry alive and well: the dead man was the convict Selden, dressed in some old clothes of Sir Henry's. At the ruined abbey, they find evidence that a strange rite has been performed.

When Holmes visits Frankland for information, he learns that someone has stolen the bishop's tarantula. (He's an amateur naturalist.) Meanwhile, near Baskerville Hall, Sir Henry meets Cecile, and they are attracted to one another. Holmes, Mortimer and Stapleton descend into a disused tin mine in search of evidence, but a cave-in almost traps Holmes. That evening, when Sir Henry goes to meet Cecile on the moors, he learns that she actually hates him, and that the hound is now on his trail. Holmes and Watson arrive almost too late to save him, but Holmes kills the hound and reveals it's an ordinary, if large, dog in a mask. The villain is a descendant of Sir Hugo's from "the wrong side of the sheets"; he and his daughter were determined to use the legend of the Hound to kill those standing between them and Baskerville Hall.
No movie version of Sir Arthur Conan Doyle's most famous novel follows its source very closely, and this colorful Hammer film is no exception. An extra killer is added, events are compressed, and even the novel's most famous line -- "they were the tracks of an enormous hound!" -- is omitted. The film also suffers at times from a budget too low for its ambitions and by extraneous elements aimed at making it more like a Hammer movie, such as the unexplained "rite." However, the movie has a brisk pace and particularly strong characters. Lee, initially icy and arrogant -- perhaps to remind us of Sir Hugo -- thaws into a likable person romantic enough to fall in love, atypically for Lee. Andre Morell is one of the most solid and realistic Watsons ever; there's nothing whatever of the harrumphing Nigel Bruce, no comedy elements to the role at all. He's straightforward, heroic in his own right. But the triumph of the film
was the casting of Peter Cushing as Sherlock Holmes. Cushing's Holmes is vivid, dynamic and arrogant; the actor does not even attempt to make Holmes likable, but instead plays the character exactly as Doyle wrote him. It's a performance of steely integrity and terrific skill, one of the greatest Holmes performances ever. Cushing later played Holmes in a television series, and became as identified with the role in England as Basil Rathbone was in the United States. Cushing returned once again to the role late in life, in the TV movie The Masks of Death, as well as writing about Holmes for several books. ~ Bill Warren, All Movie Guide

While on a dig in Egypt, British archaeologist John Banning (Peter Cushing) desecrates the tomb of Princess Ananka, awakening her mummified lover (Christopher Lee). With revenge on his mind, the mummy follows Banning and the rest of his group back to England, but becomes quite taken with Banning's wife (Yvonne Furneaux), who resembles the princess quite closely. ~ John Bush, All Movie Guide

This Hammer Studios classic is far closer to the letter (and spirit) of the Bram Stoker novel than the Bela Lugosi version of Dracula. The premise finds the infamous count journeying from his native Transylvania to England, where he takes a headfirst plunge into the London nightlife, and begins to rack up victim after victim. In the process, Dracula also runs into his arch-nemesis, Van Helsing (Peter Cushing), which ignites a battle of wills between the two. Heavily censored in Britain when released (with the goriest moments truncated), this outing was restored by the BFI in the mid-late 2000s. It put Lee and Cushing on the map and paved the way for many sequels starring the two, and for many non-Dracula follow-ups with these actors as well. ~ Hal Erickson, All Movie Guide

Time Without Pity carried the name "Joseph Losey" on the credits -- the first time in three years that the blacklisted director was permitted to use his own name on a film. This British-made suspense film was based on a play by Emlyn Williams. Michael Redgrave stars an anguished father whose son (Alec McCowan) is accused of murder. With time running out, Redgrave struggles to prove his son innocent of the charge. The paranoia prevalent in Time Without Pity can be attributed to Losey's own experience at the hands of the HUAC, though this element never gets out of artistic control. ~ Hal Erickson, All Movie Guide

This is a so-so early Hammer horror film from Nigel Kneale, who also wrote The Quatermass Experiment. Forrest Tucker and botanist Peter Cushing lead an expedition to the Himalayan Mountains (actually the Pyrenees, but who's complaining?) in search of the legendary Yeti. Several mysterious locals tell them to stay away with the sort of cryptic warnings found only in horror movies, but they carry on regardless. As expected, the furry beast is alive and well and mangles the explorers one by one until the predictable final showdown. The monster isn't shown very often and looks silly when it finally shows up, but there is a fair amount of atmosphere, and the stars are always fun to watch. Director Val Guest's career continued to slide from its 1940's highs until, by the '70s, he was making leering nonsense like The Au Pair Girls. ~ Robert Firsching, All Movie Guide

The short life and quick death of Alexander the Great is recounted in this literate historical epic. Decked out in a blonde wig, Richard Burton stars as the Grecian warrior who conquered the known world while only in his twenties, then wept because there were no more worlds left to conquer. While the film's 141 minutes are occasionally bogged down by near-existential dialogue sequences (What doth it profit a man etc. etc.), the battle sequences are among the best and most accurate ever filmed. Fredric March and Danielle Darieux costar as Alexander's parents Philip of Macedonia and Olympius, Claire Bloom does what she can with the nothing role of Alexander's wife Barsine, and Michael Hordern and Harry Andrews are cast as Demosthenes and Darrius, respectively. Lensed in Spain and Italy, Alexander the Great conquered no new worlds at the box-office, perhaps because Richard Burton, brilliant though he was, hadn't yet attained "saleability". ~ Hal Erickson, All Movie Guide

Alan Ladd once more journeyed to England to make a film for Columbia's British counterpart (Warwick Studios), and the result was the lively swashbuckler The Black Knight. Ladd plays John, a young swordmaker who aspires to join the Knights of the Round Table. Unfortunately, he is falsely accused of cowardice and banished from his community. Thanks to the secret tutelage of one of Arthur's knights, John is able to train himself in the art of combat, and soon reemerges as the vengeance-seeking Black Knight. In this guise, he is able to bring a group of traitors to justice, rout a band of invading Saracens, and rescue his lady love Linet (Patricia Medina) from certain doom. Anthony Bushell, who was soon to completely forsake acting in favor of producing and directing, costars as King Arthur, while the villains of the piece are essayed by Peter Cushing and future Dr. Who Patrick Troughton. ~ Hal Erickson, All Movie Guide

Moulin Rouge is the story of 19th century French artist Henri de Toulouse-Lautrec, portrayed by José Ferrer. The film records his frustration over his physical handicap (the growth in his legs was stunted by a childhood accident), his efforts to "lose" himself in Paris' bawdy Montmartre district, and his career as a painter, which brought him money only when he turned out advertising posters--but what posters! Toulouse-Lautrec's drinking and debauchery lead to his early death, which in the hands of director John Huston is staged (brilliantly) in the manner of a musical comedy finale. This is the film in which Zsa Zsa Gabor actually acts, in the role of demimonde entertainer Jane Avril. As a bonus, the film's musical score (by Georges Auric) managed to hit the Top Ten charts in the U.S. When this immensely successful film was released to television in the late '50s, Moulin Rouge proved to be one of the strongest-ever incentives to purchase a color TV set. ~ Hal Erickson, All Movie Guide

In this drama, which blends romance with suspense, Prince Kurt von Rotenberg (George Brent) is attempting to flee his native Austria one step ahead of German troops. In his travels, he meets Marta Keller (Martha Scott), and amidst the chaos that surrounds them, the two fall in love, even though she is already engaged to another. Kurt and Marta set their sights on Czechoslovakia, but they lose track of each other along the way, and in time Kurt decides to make a profound sacrifice for the woman he loves -- when he learns that Marta's fiancé has been captured by Nazi troops, Kurt offers to turn himself in to German authorities in exchange for his release. They Dare Not Love proved to be the last feature film credited to British director James Whale, though he did not in fact complete the project; midway through the shooting, Whale was replaced by Charles Vidor. Lloyd Bridges and Peter Cushing both appear in minor roles. ~ Mark Deming, All Movie Guide

Musical comedy favorite Elsie Janis, who gained renown in WW1 as "The Sweetheart of the AEF", returned to the screen after a long absence in Republic's Women in War. The story is the old chestnut about two volunteer Red Cross nurses, Pamela (Wendy Barrie) and Gail (Mae Clarke), both in love with dashing aviator Larry (Patric Knowles). The producers brought the storyline up-to-date by plunking it in the middle of the London Blitz, German air raids and all. As a result, Women in War was one of the first Hollywood productions to recreate the Nazi bombing of London, which it did with commendable credibility. Top-billed Elsie Janis plays O'Neill, "den mother" of the volunteer nurses; surprisingly, she is afforded no singing opportunities, but manages to light up the screen all the same. ~ Hal Erickson, All Movie Guide

Back at Hal Roach Studios for the first time since 1938's Block-Heads, Stan Laurel and Oliver Hardy star in the uneven but generally rewarding A Chump at Oxford. The boys are cast as street-sweepers who hope to better their lot in life by attending night school. Fate intervenes when Stan and Ollie are instrumental in the capture of a bank robber, whereupon they are rewarded by the bank's grateful president (Forbes Murray) with an all-expenses-paid education at England's Oxford University. Arriving on the venerable old campus dressed in Eton jackets, our heroes are pounced upon by a group of prankish students and subjected to all manner of practical jokes. After spending most of the night trying to escape from a maze, Stan and Ollie are installed in their "new quarters"-which turns out to be the bedroom of the Dean (Wilfred Lucas). This sort of collegiate nonsense comes to an end when it is discovered that simple-minded Stan is actually Lord Paddington, the brainiest student and finest athlete that ever attended Oxford. According to Meredith the valet (Forrester Harvey), His Lordship wandered away from the university upon being rendered an amnesiac by a blow on the head. An accidental tap on the noggin restores Stan to his aristocratic Lord Paddington status, whereupon he beats up a crowd of bullying students and deposits them one by one in a nearby ditch. Though Ollie is aghast to learn that Stan-er, His Lordship-has no recollection of their previous friendship, he decides to stay on at Oxford as Paddington's manservant. After having been humiliated once too often by his vain and condescending employer, Ollie angrily packs his bags and prepares to head for home, when yet another bop on His Lordship's skull causes him to revert to lovable, bumbling old Stan again. Originally intended as a four-reeler (running approximately 45 minutes), A Chump at Oxford was completed in the spring of 1939, whereupon Laurel and Hardy were loaned out to producer Boris Morros to star in The Flying Deuces. When shooting was finished on the latter film, the team was summoned back to Roach to film a 2-reel "prologue" for Oxford, bringing the film's running time up to 63 minutes. The new footage consisted of a reworking of the boys' 1928 comedy From Soup to Nuts, with temporary servants Stan and Ollie unintentionally wrecking a dinner party held by Mr. and Mrs. Vandevere (played by veteran L&H supporting players James Finlayson and Anita Garvin). The patchwork stucture of A Chump at Oxford works against its overall effectiveness, but the scenes in which Stan Laurel undergoes a complete change of character as the genius-level Lord Paddington more than make up for the film's earlier shortcomings. One of the students (the tall, mustachioed one) is played by Peter Cushing, in his second Hollywood film appearance. ~ Hal Erickson, All Movie Guide