Peter Cushing

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 in his home country for his leading performances in the Hammer Productions horror films from the 1950s to 1970s, while earning international prominence as Grand Moff Tarkin in ''Star Wars'' (1977).

Born in Kenley, Surrey, Cushing made his stage debut in 1935 and spent three years at a repertory theatre before moving to Hollywood to pursue a film career. After making his motion picture debut in the film '' The Man in the Iron Mask'' (1939), Cushing began to find modest success in American films before returning to England at the outbreak of the Second World War. Despite performing in a string of roles, including one as Osric in Laurence Olivier's film adaptation of ''Hamlet'' (1948), Cushing struggled greatly to find work during this period. His career was revitalised once he started to work in live television plays, and he soon became one of the most recognisable faces in British television. He earned particular acclaim for his lead performance as Winston Smith in a BBC adaptation of George Orwell's ''Nineteen Eighty-Four'' (1954).

Cushing gained worldwide fame for his appearances in 22 horror films from the Hammer studio, particularly for his role as Baron Frankenstein in six of their seven ''Frankenstein'' films, and Doctor Van Helsing in five ''Dracula'' films. Cushing often appeared alongside actor Christopher Lee, who became one of his closest friends, and occasionally with the American horror star Vincent Price. Cushing appeared in several other Hammer films, including '' The Abominable Snowman'' (1957), ''The Mummy'' and ''The Hound of the Baskervilles'' (both 1959), the last of which marked the first of the several occasions he portrayed the detective Sherlock Holmes. Cushing continued to perform in a variety of roles, although he was often typecast as a horror film actor. He played Dr. Who in '' Dr. Who and the Daleks'' (1965) and '' Daleks' Invasion Earth 2150 A.D.'' (1966) and gained the highest amount of visibility in his career with his part in the original ''Star Wars'' film. Cushing continued acting into the early 1990s and wrote two autobiographies.

Biography

Early life

Peter Wilton Cushing was born in Kenley, a district in the English county of Surrey, on 26 May 1913 to George Edward Cushing (1881–1956) and Nellie Marie (née King) Cushing (1882–1961). His father, a quantity 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.Cushing, Peter. ''Peter Cushing: An Autobiography and Past Forgetting'' (1999). Midnight Marquee. pp. 13—17. . Cushing's family consisted of several stage actors, including his paternal grandfather Henry William Cushing (who toured with Henry Irving),Barker, Dennis and Malcolm, Dennis (12 August 1994). "Horrormeister Cushing belonged to gentlemanly school of actors". ''The Gazette'': p. D2. his paternal aunt Maude Cushing (his father's sister) and his step-uncle Wilton Herriot, after whom Peter Cushing received his middle name.

The Cushing family lived in Dulwich during the First World War, but moved to Purley after the war ended in 1918. 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. In his infancy, Cushing twice developed pneumonia and once what was then known as "double pneumonia". Although he survived, the latter was often fatal during that period.Cushing, p. 28 During one Christmas in his youth, Cushing saw a stage production of ''Peter Pan'', which served as an early source of inspiration and interest in acting. Cushing loved dressing up and make believe from an early age, and later claimed he always wanted to be an actor, "perhaps without knowing at first."Cushing, p. 30 A fan of comics and toy collectibles in his youth, Cushing earned money by staging puppet shows for family members with his glove-puppets and toys.

He began his early education in Dulwich, South London, before attending the Shoreham Grammar School in Shoreham-by-Sea, on the Sussex coast between Brighton and Worthing. Prone to homesickness, he was miserable at the boarding school and spent only one term there before returning home. He attended the Purley County Grammar School, where he swam and played cricket and rugby. 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. Cushing harboured aspirations for the arts all throughout his youth, especially acting. His childhood inspiration was Tom Mix, an American film actor and star of many Western films. Star Wars Insider 37, "Peter Cushing: Charming to the Last" by Constantine Nasr D.J. Davies, the Purley County Grammar School physics 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 to paint 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 of Richard Brinsley Sheridan's comedy of manners play, '' The Rivals''.Cushing, p. 35—37

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 the Coulsdon and Purley Urban District Council's surveyor's office during the summer of 1933. 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 prospectives 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 as W. S. Gilbert's '' Pygmalion and Galatea'',Cushing, pp. 37—41 George Kelly's ''The Torch-Bearers'', and ''The Red Umbrella'', by Brenda Girvin and Monica Cosens.Cushing, pp. 45—49 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 newspaper ''The Stage'', but was turned down repeatedly due to his lack of professional experience in the theatre.

Early career

Cushing eventually applied for a scholarship at the Guildhall School of Music and Drama in London."Horror actor Peter Cushing dead at age 81"
(12 August 1994). ''Bangor Daily News''. p. C10. His first audition was before the actor Allan Aynesworth, who was so unimpressed with Cushing's manner of speech that he rejected him outright and insisted he not return until he improved his diction.Payne, Graham (June 1958). "The star who never grew up". ''New Zealand Home Journal''. Cushing continued to pursue a scholarship, writing exactly twenty-one letters to the school, until actor and theatre manager Bill 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 of J.B. Priestley's ''Cornelius''. 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.

One of his earliest professional stage performances was in 1935 as Captain Randall in Ian Hay's ''The Middle Watch'' at the Connaught Theatre in Worthing."Horror-film actor Peter Cushing dies at 81, Played variety of roles – From Sherlock Holmes to Baron Frankenstein" (12 August 1994). '' Salt Lake Tribune'': p. A5. By the end of the summer of 1936, Cushing accepted a job with the repertory theatre company Southampton Rep, working as assistant stage manager and performing in bit roles at the Grand Theatre in the Hampshire city. He spent the next three years in an apprenticeship at Southampton Rep., auditioning for character roles both there and in other surrounding theatres, eventually amassing almost 100 individual parts.Earnshaw, p. 3 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.

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. Cushing met a Columbia Pictures employee named Larry Goodkind, who wrote him a letter of recommendation and directed him to acquaintances Goodkind knew at the company Edward Small Productions. Cushing visited the company, which was only a few days away from shooting '' The Man in the Iron Mask'' (1939), the James Whale-directed adaptation of the Alexandre Dumas tale based on the French legend of a prisoner during the reign of Louis XIV of France.Cushing, pp. 56—58 Cushing was hired as a stand-in for scenes that featured both characters played by Louis Hayward, who had the dual lead roles of King Louis XIV and Philippe of Gascony. Cushing played one part against Hayward in one scene, then the opposite part in another, and ultimately the scenes were spliced together in a split screen process that featured Hayward in both parts and left Cushing's work cut from the film altogether. Although the job meant Cushing received no actual screen time, he was eventually cast in a bit part as the king's messenger, which made ''The Man in the Iron Mask'' his official film debut.Monush, Barry (2003). ''The Encyclopedia of Hollywood Film Actors: From the Silent Era to 1965'' (1 vol.). Berkeley, California: Applause Books. p. 166. . The small role involved sword-fighting and, although Cushing had no experience with fencing, 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.

Only a few days after filming on ''The Man in the Iron Mask'' was completed, Cushing was in the Schwab's Drug Store, a famous Sunset Boulevard hangout spot for actors, when he learned producer Hal Roach was seeking an English actor for a comedy film starring Laurel and Hardy. Cushing sought and was cast in the role. Cushing appeared only briefly in ''A 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."Cushing, p. 60 Around this time actor Robert Coote, who met Cushing during a cricket game, recommended to director George Stevens that Cushing might be good for a part in Stevens' upcoming film ''Vigil in the Night'' (1940). Adapted from a serial novella of the same name, it was a drama film about a nurse played by Carole 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, and the film was released in 1940, drawing Cushing's first semblance of attention and critical praise.

Cushing continued to work in a few Hollywood engagements, including an uncredited role in the war film '' They 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 the MGM series '' The Passing Parade'', which focused on strange-but-true historical events. He appeared in the episode ''The Hidden Master'' (1940) as a young Clive of India, well before the soldier established the military and political supremacy of the East 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. 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 few radio commercials and joined a summer stock theatre company to raise money for his voyage back to England. He performed in such plays as Robert E. Sherwood's ''The Petrified Forest'', Arnold Ridley's '' The Ghost Train'', S. N. Behrman's ''Biography'' and a modern dress version of William Shakespeare's ''Macbeth''. He was eventually noticed by a Broadway theatre talent scout, and in 1941 he made his Broadway debut in the religious wartime drama ''The Seventh Trumpet''. It received poor reviews, however, and ran for only eleven days.

Return to England

Cushing returned to England during the Second World War. Although some childhood injuries prevented him from serving on active duty, a friend suggested he entertain the troops by performing as part of the Entertainments National Service Association. In 1942, the Noël Coward play '' Private Lives'' was touring the military stations and hospitals in the British 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. During this tour he met Violet Hélène "Helen" Beck, a former dancer who was starring in the lead female role of Amanda Prynne."Obituary: Peter Cushing OBE"
(Autumn 1994). ''The Vegetarian''. They fell in love and were married on 10 April 1943.Cushing, p. 81 Cushing eventually had to leave ENSA due to lung congestion, an ailment his wife helped him recover from. The two had little money around this time, and Cushing had to collect from both National 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 of Leo Tolstoy's novel ''War and Peace'' that opened and closed in 1943 in London's Phoenix Theatre.

Cushing recorded occasional radio spots and appeared in week-long stints as a featured player in London's Q Theatre, but otherwise work was difficult to come by. He found a modest success in a 1945 production of Sheridan's ''The Rivals'' at Westminster's Criterion Theatre, which earned him enough money to pay off some growing debts. The war years continued to prove difficult for him, however, and at one point he was forced to work designing ladies head-scarves at a Macclesfield-based silk manufacturer to make ends meet. In the autumn of 1946, after the war ended, Cushing unsuccessfully auditioned for the part of Paul Verrall in a stage production of the play '' Born Yesterday'' that was being staged by famed actor and director Laurence Olivier. He was not cast because he insisted he could not perform in an American accent. After Cushing attempted the accent and failed, Olivier replied, "Well, I appreciate you not wasting my time. I shall remember you." Nearing middle age and finding it increasingly harder to make a living in acting, Cushing began to consider himself a failure.

In 1947, when Laurence Olivier sought him out for his film adaptation of Shakespeare's ''Hamlet'', Cushing's wife Helen pushed him to pursue a role. Far from being deterred by Cushing's unsuccessful audition the year before, Olivier remembered the actor well and was happy to cast him, but the only character left unfilled was the relatively small part of the foppish courtier Osric. Cushing accepted the role, and ''Hamlet'' (1948) marked his British film debut. One of Cushing's primary scenes involved Osric talking to Hamlet and Horatio 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."

''Hamlet'' won the Academy Award for Best Picture, and earned Cushing praise for his performance. Also appearing in the film was Christopher Lee, who eventually became a close friend and frequent co-star with Cushing.Monush, p. 419 Cushing designed custom hand-scarves in honour of the ''Hamlet'' film, and as it was being exhibited across England, the scarves were eventually accepted as gifts by the Queen and her daughter Princess Elizabeth. After ''Hamlet'', both Peter and Helen Cushing accepted a personal invitation from Olivier to join Old Vic, Olivier's repertory theatre company, which embarked on a year-long tour of Australasia. The tour, which lasted until February 1949, took them to Melbourne, Sydney, Brisbane, Hobart, Tasmania, Auckland, Wellington, Christchurch and Dunedin, and included performances of Richard Brinsley Sheridan's ''The School for Scandal'', Shakespeare's ''Richard III'', Thornton Wilder's ''The Skin of Our Teeth'', Jean Anouilh's ''Antigone'' and Anton Chekhov's '' The Proposal''.Cushing, pp. 92—95

Success in television

Cushing struggled greatly to find work over the next few years, and became so stressed that he felt he was suffering from an extended nervous breakdown. Nevertheless, he continued to appear in several small roles in radio, theatre and film.Earnshaw, Tony (2001). ''An Actor, and a Rare One''. Lanham, Maryland: The Scarecrow Press, Inc. p. 4. . Among them was the John Huston film ''Moulin Rouge'' (1952) in which he played a racing spectator named Marcel de la Voisier appearing with José Ferrer, who played the artist Henri de Toulouse-Lautrec. During this discouraging period for Cushing, his wife encouraged him to seek roles in television, which was beginning to develop in England. She suggested he write to all the producers listed in the ''Radio 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 to live television. The first was J.B. Priestley's '' Eden 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, and was considered a pioneer in British television drama.

He earned praise for playing the lead male role of Mr. Darcy in an early BBC Television serialisation of Jane Austen's ''Pride and Prejudice'' (1952). Other successful television ventures during this time included ''Epitaph for a Spy'', ''The Noble Spaniard'', ''Beau Brummell'', ''Portrait by Peko'',Cushing, p. 140 and ''Anastasia'', the latter of which won Cushing the ''Daily Mail'' National Television Award for Best Actor of 1953–54. His largest television success from this period was the leading role of Winston Smith in ''Nineteen Eighty-Four'', (1954) an adaptation by Nigel Kneale of George Orwell's novel of the same name about a totalitarian regime. The production proved to be controversial, resulting in death threats for director Rudolph Cartier and causing Cushing to be vilified for appearing in such "filth." Parliament even considered a motion immediately after the first screening to ban the play's live repeat. 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 of Britain's biggest television stars. Cushing felt his first performance was much stronger than the second, but the second production is the only known surviving version.

In the two years following ''Nineteen Eighty-Four'', Cushing appeared in thirty-one television plays and two serials, and won Best Television Actor of the Year from the ''Evening Chronicle''. He also won best actor awards from the Guild of Television Producers in 1955,Meikle, p. 37 and from the British Academy of Film and Television Arts in 1956. Among the plays he appeared in during this time were Terence Rattigan's '' The Browning Version'', Gordon Daviot's '' Richard of Bordeaux'', and the production of Nigel Kneale's ''The Creature'' (1955), the latter of which Cushing starred in film adaptation released in 1957.Meikle, Denis (2008). ''A History of Horrors: The Rise and Fall of the House of Hammer''. Lanham, Maryland: The Scarecrow Press, Inc. p. 46. . Despite this continued success in live television, Cushing found the medium too stressful and wished to return to film. Cinematic roles proved somewhat difficult to find, however, as film producers were often resentful of television stars for drawing audiences away from the cinema.''Wogan'' (24 February 1988). Cushing, Peter. White City, London: BBC One.

Nevertheless, he continued to work in some film roles during this period, including the adventure film '' The Black Knight'' (1954) opposite Alan Ladd. For that film, he travelled to Spain and filmed scenes on location in the castles of Manzanares el Real and El Escorial. He also starred in the film adaptation of the Graham Greene novel '' The End of the Affair'' (1955) as Henry Miles, an important civil servant and the cuckolded husband of Sarah Miles, played by Deborah Kerr. Also around the same time, he appeared in ''Magic Fire'' (also 1955), an autobiographical film about the German composer Richard Wagner. Filmed on location in Munich, Cushing played Otto Wesendonck, the husband of poet Mathilde Wesendonck, who in the film is portrayed as having an affair with Wagner.Cushing, p. 119

Hammer Frankenstein films

During a brief quiet period following Cushing's television work, he read in trade publications about Hammer, a low-budget production company seeking to adapt Mary Shelley's horror novel ''Frankenstein'' into a new film. Cushing, who enjoyed the tale as a child, 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-founder James Carreras had been unsuccessfully courting Cushing for film roles in other projects even before his major success with ''Nineteen 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. Cushing was cast in the lead role of '' The Curse of Frankenstein'' (1957), marking the first of twenty-two films he made for Hammer.Higham, Nick (11 August 1994). ''BBC News''. BBC, London. 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 as Hamlet? Very few. But millions want to see me as aronFrankenstein, so that's the one I do." The film critic Roger Ebert described Cushing's work in the Hammer films: " ushing isthe 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!'"

Unlike ''Frankenstein'' (1931) produced by Universal, the Hammer films revolved mainly around Victor Frankenstein, rather than his monster.O'Flinn, Paul (1983). "Production and Reproduction: The Case of Frankenstein". ''Literature and History''. 9.2: 194—213. Screenwriter Jimmy Sangster wrote the protagonist as an ambitious, egotistical and coldly intellectual scientist who despised his contemporaries. 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. ''The Curse of Frankenstein'' also featured Christopher Lee, who played Frankenstein's monster. 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 by Phil Leakey. Hammer Studios' publicity department put out a story that when Cushing first encountered Lee without the make-up on, he screamed in terror.

Cushing so valued preparation for his role that he insisted on being trained by a surgeon to learn how to wield a scalpel authentically. Shot in dynamic colour with a £65,000-budget, the film became known for its heavy usage of gore and sexual content. 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,Meikle, p. 42 claiming it added a layer of distinction and credibility to the film. Many felt Cushing's performance helped create the archetypal mad scientist character. '' 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!" Donald F. Glut, a writer and filmmaker who wrote a book about the portrayals of ''Frankenstein'', 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.

''The Curse of Frankenstein'' was an overnight success, bringing both Cushing and Lee worldwide fame. 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. In the first, '' The Revenge of Frankenstein'' (1958), his protagonist is sentenced to death by guillotine, but he flees and hides under the alias Doctor Victor Stein. He returned for '' The Evil of Frankenstein'' (1963), where the Baron has a carnival hypnotist resurrect his monster's inactive brain, and '' Frankenstein Created Woman'' (1967), in which the Frankenstein's monster is a woman played by ''Playboy'' magazine centrefold model Susan Denberg. Cushing played the lead role twice more in '' Frankenstein Must Be Destroyed'' (1969) and '' Frankenstein and the Monster from Hell'' (1974). 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 by Veronica Carlson. Neither Carlson nor Cushing wanted to do the scene, filmed despite director Terence Fisher's objections, and the controversial sequence was edited out of the film for its American release. In ''Frankenstein and the Monster from Hell'', Cushing portrayed Frankenstein as having gone completely mad, in a fitting coda to the earlier films.

Hammer Dracula films

When Hammer sought to adapt Bram Stoker's classic vampire novel ''Dracula'', they cast Cushing to play the vampire's adversary Doctor 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. 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.Cushing, p. 147 ''Dracula'' was released in 1958, with Cushing once again starring opposite Lee, who played the title character, although Cushing was given top billing. 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. As with the ''Frankenstein'' film, critics largely disliked ''Dracula'' because of its violence and sexual content, deeming it inferior to the 1931 Universal version.

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, playwright Edward 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. 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 first ''Dracula'' 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 purchased Whitstable home.Cushing, p. 149 Cushing appeared in '' Dracula 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. Cushing performed many of his own stunts in ''Dracula 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. Cushing and Lee both reprised their respective roles in the sequel '' The Satanic Rites of Dracula'' (1974), which was known in the United States as ''Count Dracula and his Vampire Bride''. Around the same time, Cushing played the original nineteenth century Van Helsing in ''The Legend of the 7 Golden Vampires'' (also 1974), a co-production between Hammer Studios and the Shaw Brothers Studio, which brought Chinese martial arts into the Dracula story. In that film, Cushing's Van Helsing travels to the Chinese city Chungking, where Count Dracula is heading a vampire cult.Allon, Yoram; Cullen, Del; and Patterson, Hannah (2002). ''The Wallflower Critical Guide to Contemporary British and Irish Directors''. London: Wallflower Press. p. 21. .

Other Hammer roles

Although most well known for his roles in the ''Frankenstein'' and ''Dracula'' films, Cushing appeared in a wide variety of other Hammer productions during this time. Both he and his wife feared Cushing would become typecast into horror roles, but he continued to take them because they guaranteed regular work. He appeared in the horror film '' The Abominable Snowman'' (1957), a Hammer adaptation of a BBC Nigel Kneale television play ''The Creature'' (1955) which Cushing had also starred in. He portrayed an English botanist searching the Himalayas for the legendary Yeti