PETER CUSHING: A Tribute to Christopher Lee
The ninth issue of Cinefantastique featured a career article devoted to Christopher Lee, way back in the fall of 1973. Peter Cushing wrote this heartfelt introduction for his good friend, although they were only to make three more films together. Luckily Ted Newsome brought them together one last time for his documentary on Hammer films, Flesh and Blood, shortly before Mr. Cushing died in 1994.
In May 1972 Christopher Lee and I made a psychological thriller entitled Nothing But the Night. It was our 18th film together, a partnership spanning some fifteen years. It was fitting that this “Coming of Age Anniversary” should be celebrated by the first film under his own banner—Charlemagne Productions, Ltd.
One of the greatest compliments any actor can be paid is to hear people say, “It all looks so easy.” It is not.
To reach this stage in his career and maintain his position and enormous popularity has cost him much in hard work, dogged determination, resolution and sheer drive, sometimes in the face of ruthless competition and misunderstandings, apart from facing and learning all the technical difficulties presented in the art of film acting—yet still making it look “all too easy.” The art which conceals art.
Of commanding stature (some 6 foot, 4 inches tall), he uses his physical presence to great advantage, moving with grace and authority. Some are awed when first meeting him in person, but they would do well to know that beneath this outward aloofness and dignity lies a very human being: sensitive, warm, and oft times suffering from nerves which he goes to great lengths to conceal.
Among his accomplishment—perhaps unknown to his public—he is a Greek scholar, he possesses a magnificent bass singing voice, a wonderful knack for impersonation, has command of at least six languages, is an expert swordsman and a superb amateur golfer. Couple all this with a delicious sense of humor and wit—plus a deep personal kindness—then you will be getting somewhat closer to the real personality of this truly remarkable man.
He holds strong views about the business in general and, in particular about the misuse of the word “horror” as applied to some of his films, rightly preferring the more subtle and correct term “fantasy,” for that, indeed, is what they are.
Unstintingly, Christopher gives his public one hundred percent of himself and his talent, but full use has not yet been made of his range. Knowing him as I do, it will not remain hidden under a bushel forever.
I am privileged to count him as a dear friend as well as a valued and respected professional colleague.