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dweemeister · 6 months

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The Abominable Dr. Phibes (1971)

In the late 1950s and 1960s, American International Pictures (AIP) was a minor Hollywood studio with an outsized reputation. AIP, which made nothing but low-budget pictures and B-movies during its existence, focused on cornering the market for teenagers and young adults. Rather than making an endless string of superhero movies, AIP instead relied on its Beach Party series and related films (1963-1967) and inexpensive horror movies (usually involving producer/director Roger Corman). One of AIP’s mainstays for its coterie of horror films was none other than Vincent Price. A longtime character actor for 20th Century Fox, Price had only begun to regularly feature in horror films beginning with House of Wax (1953). From there, he became a regular on AIP’s Edgar Allan Poe adaptations (very loose adaptations, mind you) under Corman’s direction. No matter how dastardly Price’s characters schemes were in his numerous horror films, Price’s almost effortless charm always pored through, to the point that one cannot help but root for his schemes to succeed.

Though Roger Corman was not involved in The Abominable Dr. Phibes (Phibes rhymes with “bribes”), a portion of Price’s fans point to his performance here in the title role as the Vincent Price-iest of all. In this darkly comedic horror film directed by former production designer Robert Fuest (the 1961-1969 TV series The Avengers, director on 1970’s Wuthering Heights), the film’s deliberate campiness demands more absurd motivations, plot developments, and aesthetic choices than some viewers might be comfortable with. In short, this is not the ideal introduction to Vincent Price or AIP’s horror movies. To enjoy the first Phibes film is to be in on the joke, to accept the film’s inherent silliness.

The opening credits help set that mood. As they roll, Dr. Phibes (Price) ascends from beneath a flight of stairs, playing on organ Felix Mendelssohn’s “War March of the Priests” from Athalie. His only company in this fiendish lair are his tall, silent assistant Vulnavia (Virginia North) and his animatronic band, the Dr. Phibes Clockwork Wizards. Reported killed in a Switzerland car accident in 1921 alongside his wife Victoria, Phibes (who carries heavy facial scars and lost his speaking voice in the crash) is hellbent on seeking revenge against the British doctors who presided over Victoria’s failed surgery. Instead of going to therapy, Phibes murders the doctors instead. One after another, the doctors die in increasingly elaborate ways – each homicide inspired by one of the ten Plagues of Egypt as described in the Book of Exodus. After the third doctor dies, Scotland Yard finally begins connecting the dots under Inspector Harry Trout (Peter Jeffrey). Trout soon realizes that the deceased were all directed by Dr. Vesalius (Joseph Cotten). This revelation only begins to unearth Phibes’ wicked plot.

Elsewhere, Hugh Griffith plays a helpful Rabbi and Terry-Thomas plays one of the doctors. Derek Godfrey and John Cater play Inspector Trout’s superiors, Crow and Weaverly, respectively. Aubrey Woods, whom most know as Bill the Candy Man from Willy Wonka and the Chocolate Factory (1971), plays an eyewitness named Goldsmith.

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The screenplay by William Goldstein (who returned for the sequel), James Whiton (his only major writing credit), and Fuest, is no one’s idea of sensible, intelligently structured writing. The transitions between the scenes involving Phibes, his assistant, and the victims to Scotland Yard and Dr. Vesalius are untidy. Goldstein, Whiton, and Fuest attempt to make more of a mystery out of this film than they should, but it only serves to make the investigatory half of the film as a dumping ground of expository dialogue. The scenes with Phibes are the zanier, far more interesting parts of the screenplay – even though the character can no longer speaker (the writers engineer an inexplicable workaround, but this unlikely development can have a pass in the context of this bizarre work). For the scriptural scholars among us, some of the stylish killings of the unsuspecting doctors take liberties with the stated Ten Plagues of Egypt. Though perhaps unacceptable to those demanding strict adherence to the holy texts, the thematic divergences of those murders are still so cockamamie that most viewers probably do not mind.

Dr. Phibes’ murders would make Jigsaw from the Saw series (2004-present) proud. To be clear, The Abominable Dr. Phibes is not a slasher film (a subgenre that was beginning to find its foundations by the early 1970s), but it contains elements that would become slasher hallmarks – an individual committing several revenge killings due to a past event, a sort of catharsis (in later slasher movies, sexual gratification) in the act of killing, and unusual manners of murder. Instead of horrifying the viewer with the wanton death, it is Vincent Price’s performance that keeps The Abominable Dr. Phibes within the confines of comedic horror. Due to reasons that I do not wish to spoil, Price’s Phibes scarcely makes a facial expression aside from his default, neutral gaze. His gait is deliberate and steady. Without the possibility of any facial muscular contortions or Price’s trademark smirk, so much of Price’s performance is through his eyes. From his thousand-yard stares, contemptuous gazes, world weary looks, and bemused glances, Price provides an enormous amount of the film’s soul and tenor with so little of his body. This sounds like a silent film director’s dream, but Price’s performance is a commanding one, in any era. His Dr. Phibes may not be in full control of his movements (thanks to Trevor Crole-Rees’ excellent makeup design), but Price is always fully in control of his acting. No surprise to anyone who knows Price’s work – always dependable to provide his utmost effort, no matter how dire the material.

The screenplay, nevertheless, keeps some emotional distance between the audiences and the title character. Though the film’s absurdity allows the viewer to scrap their sense of morality while watching Phibes slaughter each of the doctors, Phibes’ psychology is inaccessible until the film’s second half. The filmmakers, by not prioritizing Phibes’ mindset as much as they could, continually frame him as the villain amid bumbling detectives, the privileged victims (ensuring that the viewer cares not too much about their deaths), and the prideful Dr. Vesalius (whose hubris erodes as the film progresses, revealing his desperate humanity).

If anybody could be considered a co-lead here, that would be Joseph Cotten as Dr. Vesalius. The underrated and undermentioned Cotten, not at all known for his horror work and more for his collaborations with Orson Welles (namely 1941’s Citizen Kane and 1942’s The Magnificent Ambersons), performs ably here. Cotten replaced Price’s friend, Peter Cushing (Grand Moff Tarkin in 1977’s Star Wars, a regular as Baron Frankenstein and Van Helsing in Hammer horror movies), after Cushing fell ill. Cushing would have been ideal in the role, but never does Cotten act as if the unconvincing dialogue is beneath him, even if he doesn’t attempt to hide his American accent. As Dr. Vesalius, Cotten wonderfully inhabits his character’s desperation as his colleagues meet their ends, as if prophesied.

Set designer Brian Eatwell (1973’s The Three Musketeers, 1976’s The Man Who Fell to Earth) runs rampant with his design to Phibes’ lair. A curious combination of art deco and the garishness of 1970s colors serves the film’s ludicrousness. I am not sure how livable Phibes’ abode is – there are nary any bedrooms or any other amenities depicted – but the central chamber could be an ideal place for a raucous, demented soiree. Vulnavia’s ever-changing wardrobe in each of her scenes is also a delight, thanks to costume designer Elsa Fennell (1964’s Goldfinger, 1971’s Diamonds Are Forever). Perhaps there isn’t too much of association between campy costumes and sets with heartrending motives for murder, but that is exactly what transpires in The Abominable Dr. Phibes.

In addition, a laughably anachronistic soundtrack of swing jazz and Great American Songbook standards dot the film. I was not prepared for the appearance of either Mendelssohn’s “War March of the Priests” nor the legendary song that rounds out the closing credits. Phibes’ introduction while playing the former on organ readies the viewer not to take everything that is about to unfold seriously. For the latter song (again, I dare not spoil this), a brilliant solo trumpet takes the easily recognizable melody and swings it. Lyrically, this song’s placement in the end credits is fitting for what happens to Phibes. But I could not help but laugh the moment I heard the opening notes – a fitting send-off to a gleefully daft movie.

When The Abominable Dr. Phibes arrived in theaters, its poster showed the mutilated Dr. Phibes appearing as if he is about to kiss a woman. Above them read the tagline: “Love means never having to say you’re ugly.” This was a reference to Love Story (1970), with its (in)famous tagline and in-movie quote: “Love means never having to say you’re sorry.” The marketing for The Abominable Dr. Phibes confused audiences – was it a romance? horror? parody? – and the film struggled initially before AIP retooled its advertising to market the film as a horror film. On its low budget, the film was successful enough to warrant AIP to greenlight a sequel, Dr. Phibes Rises Again (1972). That sequel marked the beginning of the end of Price’s association with AIP, due to conflicts over his pay (while AIP’s box office fortunes were dwindling), his lack of satisfaction with the scripts coming his way (not even Price wanted to star in two Dr. Goldfoot movies in two years), and AIP’s plans to replace him with Robert Quarry as their primary horror star.

In the years since the film’s debut in cinemas, The Abominable Dr. Phibes has garnered a deserved cult status. There was no stopping Vincent Price from leaving AIP, but AIP – with their Robert Quarry plans not even a secret – somehow undervalued the actor who was their principal attraction through the 1960s. An essential in Price’s filmography, The Abominable Dr. Phibes defies genre conventions, genre categorization, and any semblance of rationality. For those looking for some bloody horror as the mercury drops, look no further than here. The first Dr. Phibes films guarantees murders with a wink and, though not a smile, an animatronic band playing hits that have yet to be composed.

My rating: 7/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog. Half-points are always rounded down.

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

#The Abominable Dr. Phibes #Robert Fuest #Vincent Price #Joseph Cotten #Peter Jeffrey #Virginia North #Hugh Griffith #Terry Thomas #Derek Godfrey #John Cater #Aubrey Woods #William Goldstein #James Whiton #Sean Bury #John Laurie #Trevor Crole-Rees #Maurice Kaufmann #TCM #My Movie Odyssey

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cinemaquiles · 25 days

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Gorgo, de 1961, o "parente britânico" esquecido de Godzilla e King Kong!

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perfettamentechic · 7 months

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21 settembre … ricordiamo …

21 settembre … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic

2022: Raju Srivastav, Satya Prakash Srivastav, conosciuto professionalmente come Raju Srivastava, Rajoo e spesso accreditato come Gajodharcomico e attore indiano. Negli anni ’80 iniziò ad apparire in piccoli ruoli di alcuni film di Bollywood. 1993 Srivastav sposò Shikha Srivastav, dalla quale ebbe due figli, un maschio e una femmina. Agosto 2022, mentre si allenava in palestra, Raju ha avuto un…

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abs0luteb4stard · 9 months

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W A T C H E D

#DIE! DIE! MY DARLING! (1965)#FANATIC (1965)#Tallulah Bankhead #Stefanie Powers #Peter Vaughan #Maurice Kaufmann #Yootha Joyce #Donald Sutherland #Gwendolyn Watts #Robert Dorning #Philip Gilbert #horror #thriller #WATCHING #HAMMER HORROR

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veryslowreader · 2 years

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The Clock Strikes Twelve by H. Russell Wakefield

We Shall See

#the clock strikes twelve #h. russell wakefield #we shall see #maurice kaufmann

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brokehorrorfan · 5 months

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The Quatermass Xperiment will be released on Blu-ray on December 12 via Kino Lorber. The 1955 British sci-fi horror film includes reversible artwork featuring its alternate US title, The Creeping Unknown.

Val Guest (The Day the Earth Caught Fire) directs from a script he co-wrote with Richard H. Landau (The Black Hole), based on the 1955 BBC serial from Nigel Kneale. Brian Donlevy, Richard Wordsworth, Jack Warner, David King-Wood, Margia Dean, and Maurice Kaufmann star.

Special features - including an interview with master of horror John Carpenter - are listed below.

Special features:

Audio commentary by film historian Gary Gerani (new)

Audio commentary by director Val Guest, moderated by film historian Marcus Hearn

Interview with filmmaker John Carpenter

Interview with director Val Guest

QX: From Reality to Fiction featurette

QX: Comparing the Versions featurette

Trailers From Hell with Ernest Dickerson

Alternate main title

Theatrical trailer

A spacecraft returns to Earth with a frightening surprise on board. Two of the ship's three astronauts have mysteriously vanished, while the third is sick with an unidentifiable illness. While doctors try to help the third man recover, an investigation takes place to figure out just what happened to his comrades. As it turns out, the survivor’s body has been taken over by an alien fungus that needs blood to survive. After the astronaut escapes from the hospital, he transforms into a monster, attacking everyone who gets in its way. Meanwhile, Scotland Yard detective Lomax (Jack Warner) and Professor Bernard Quatermass (Brian Donlevy), a determined scientist, attempt to track down the creature before it finds new victims.

Pre-order The Quatermass Xperiment.

#the quatermass xperiment #val guest #nigel kneal #horror #british horror #50s horror #1950s horror #brian donlevy #the quatermass experiment #dvd #gift #kino lorber #jack warner #50s sci fi #1950s sci fi #john carpenter

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thequietabsolute · 8 months

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Top Artists — Medium Term (6 months)

Felbm

Radiohead

Bonnie "Prince" Billy

Kate Bush

Nick Drake

Midlake

Paul Simon

Simon & Garfunkel

Slowdive

Boards of Canada

Canary Room

The Beatles

Fionn Regan

Beach House

Leonard Cohen

hemlock

Vashti Bunyan

Clara Mann

Bob Dylan

The Smiths

ABBA

Grouper

David Bowie

The Clientele

Jessica Pratt

Olovson

Bill Callahan

Laura Marling

Rachel Grimes

Chet Baker

Belle and Sebastian

Sibylle Baier

Aldous Harding

Cocteau Twins

Acetone

Connan Mockasin

Fleetwood Mac

Cornelia Murr

John Martyn

Julie London

Sea Oleena

Sufjan Stevens

Meg Baird

Shannon Lay

Van Morrison

Pink Floyd

Caroline Says

Sun Kil Moon

Maxine Funke

Fairport Convention

that spotify stats page

Top Tracks — Long Term (years)

Calla — Canary Room

4 Lieder, Op. 27, TrV 170: IV. Morgen! — Richard Strauss, Jonas Kaufmann, Helmut Deutsch

6 Melodies, Op. 4 - 6 melodies, Op. 5: Allegretto — Fanny Mendelssohn, Beatrice Rauchs

Long Before Us — Rachel Grimes

Sandalwood I — Jonny Greenwood

Stabat Mater: 1. Stabat Mater — Giovanni Battista Pergolesi, Emma Kirkby, James Bowman, Academy of Ancient Music, Christopher Hogwood

Thaïs / Act 2: Méditation — Jules Massenet, Joshua Bell, Royal Philharmonic Orchestra, Andrew Litton

Songs My Mother Taught Me, Op. 55 No. 4 — Antonín Dvořák, Alisa Weilerstein, Anna Polonsky

Elegy No. 1 in D Major — Giovanni Bottesini, Andrew Burashko, Joel Quarrington

The Carnival of the Animals, R. 125: XIII. The Swan (Arr. for Cello and Piano) — Camille Saint-Saëns, Yo-Yo Ma, Kathryn Stott

Julie With - 2004 Digital Remaster — Brian Eno

wallingford bossa — hemlock

Fantasiestücke, Op. 73: No. 1, Zart und mit Ausdruck — Robert Schumann, Sol Gabetta, Hélène Grimaud

By This River - 2004 Digital Remaster — Brian Eno

Just When You Need Yourself Most — Oberhofer

Gianni Schicchi: O mio babbino caro — Giacomo Puccini, Renée Fleming, London Philharmonic Orchestra, Sir Charles Mackerras

Bleecker Street — Simon & Garfunkel

House of Woodcock — Jonny Greenwood

Shaker — Acetone

All The Time — Acetone

Jazz Suite No. 2: VI. Waltz II — Dmitri Shostakovich, Royal Concertgebouw Orchestra, Riccardo Chailly

Rimsky-Korsakov: Scheherazade, Op. 35: II. The Kalendar Prince (Excerpt) — Nikolai Rimsky-Korsakov, Riccardo Muti, Philadelphia Orchestra

Christine — Canary Room

Me at the Museum, You in the Wintergardens — Tiny Ruins

Valse sentimentale, Op. 51, No. 6 — Pyotr Ilyich Tchaikovsky, Josef Sakonov, London Festival Orchestra

Piano Concerto No. 5 in E-Flat Major, Op. 73 "Emperor": II. Adagio un poco mosso — Ludwig van Beethoven, Wilhelm Kempff, Berliner Philharmoniker, Ferdinand Leitner

Deux Arabesques, L. 66, CD 74: I. Première Arabesque — Claude Debussy, Jean-Efflam Bavouzet

Green Bus — The Innocence Mission

Lucida — Thomas Bartlett

Introduction et Allegro, M. 46 — Maurice Ravel, Oxalys

Two Thousand and Seventeen — Four Tet

When It Rains — Felbm

Lake Effect — Canary Room

Candy Says — The Velvet Underground

Serenade for Strings in C Major, Op. 48, TH 48: II. Valse — Pyotr Ilyich Tchaikovsky, Zagreb Philharmonic Orchestra, Dmitri Kitayenko

Schumann: Davidsbündlertänze, Op. 6, Heft II: No. 14, Zart und singend — Robert Schumann, Jonathan Biss

Magnolia — J.J. Cale

day one — hemlock

Return From The Ice — Acetone

Requiem in D minor, K.626: 6. Benedictus — Wolfgang Amadeus Mozart, Anne Sofie von Otter, Barbara Bonney, Hans Peter Blochwitz, Willard White, English Baroque Soloists, John Eliot Gardiner

River — Terry Reid

Where Should I Meet You? — Canary Room

This Night Has Opened My Eyes - 2011 Remaster — The Smiths

Brother — Vashti Bunyan

Cello Suite No. 1 in G Major, BWV 1007: I. Prélude — Johann Sebastian Bach, Yo-Yo Ma

Sweeten Your Eyes — The Clientele

Knickerbocker Holiday: September Song (Arr. by Paul Bateman) — Kurt Weill, Daniel Hope, Jacques Ammon, Zürcher Kammerorchester

Funicular — Felbm

Piano Sonata No. 12 in F Major, K. 332: II. Adagio — Wolfgang Amadeus Mozart, Jenő Jandó

Sensuela — Column

#how it's looking #on Spotify shuffle of one of either two favoured huge mixtapes at least #music #n.

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djmusicbest · 1 month

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Dilemma Chart by AIO

- Artists: AIO DATE CREATED: 2024-03-26 GENRES: Melodic House & Techno, Techno (Peak Time / Driving) Tracklist : 1. AIO - Dilemma(Original Mix) 2. AIO - Dilemma(André Winter Remix) 3. AIO - Late Phase(Original Mix) 4. Spada - I Lose My Mind(Original Mix) 5. Maurice Mino, Tom Cordes - Solid Fuel Booster(Original Mix) 6. Lautaro Ibañez - Darkside(Original Mix) 7. Kolja Broxi - Journey(Original Mix) 8. Kaufmann (DE) - Snorkel Combat(Original Mix) 9. Artur Achziger, Tom Cordes - Desire for the Unknown(Original Mix) 10. Unknown Concept - Close Call(Greenwolve Remix) 11. Kolja Broxi - Nebula(David Phoenix Remix) 12. Moritz Sachse, NEPØ - Sounds Of The Riff(Original Mix) 13. AIO - Late Phase(Clap Codex & Sabura Remix) 14. Kolja Broxi - Nebula(Jack Smart Remix) 15. AIO - Late Phase(Luis M Remix) 16. Oliver Huntemann - Rotten(Alex Stein Remix) 17. Kolja Broxi - Nebula(Krypta Remix) 18. Marco Miranda - Passenger(Original Mix) 19. Kolja Broxi - Nebula(Original Read the full article

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muznew · 1 month

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Dilemma Chart by AIO

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docrotten · 9 months

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GORGO (1961) – Episode 157 – Decades Of Horror: The Classic Era

“I came to let him go back to the sea where he belongs. Maybe to save your silly skins for you!” Yes, young sir. Save their silly skins, please, sir? Join this episode’s Grue-Crew – Chad Hunt, Daphne Monary-Ernsdorff, Doc Rotten, and Jeff Mohr – as they travel across the pond (rather than across the Pacific) for some sweet kaiju-in-the-UK with Gorgo (1961).

Decades of Horror: The Classic Era Episode 157 – Gorgo (1961)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

ANNOUNCEMENT Decades of Horror The Classic Era is partnering with THE CLASSIC SCI-FI MOVIE CHANNEL, THE CLASSIC HORROR MOVIE CHANNEL, and WICKED HORROR TV CHANNEL Which all now include video episodes of The Classic Era! Available on Roku, AppleTV, Amazon FireTV, AndroidTV, Online Website. Across All OTT platforms, as well as mobile, tablet, and desktop. https://classicscifichannel.com/; https://classichorrorchannel.com/; https://wickedhorrortv.com/

Greedy sailors capture a giant lizard off the coast of Ireland and sell it to a London circus. Then its mother shows up.

Director: Eugène Lourié

Writers: Robert L. Richards (credited as John Loring), Daniel James (credited as Daniel Hyatt)

Selected Cast:

Bill Travers as Joe Ryan

William Sylvester as Sam Slade

Vincent Winter as Sean

Christopher Rhodes as McCartin

Joseph O’Conor as Prof. Hendricks

Bruce Seton as Prof. Flaherty

Martin Benson as Dorkin

Maurice Kaufmann as Radio Reporter (as Maurice Kauffman)

Basil Dignam as Admiral

Barry Keegan as Mate

Tommy Duggan as 1st Naval Officer (as Thomas Duggan)

Howard Lang as 1st Colonel

Dervis Ward as Bosun

Mick Dillon as Gorgo (uncredited)

Dave Wilding as Gorgo (uncredited)

Bob Bura as Gorgo (uncredited)

John Wood as Sandwich-Board Man (uncredited)

Gorgo features Doc’s favorite non-Japanese sea monster and you have to love the film’s, “No, the monster is not the main monster,” twist. How many times have you seen that trope in films? The Grue Crew can’t think of an example prior to Gorgo, but, perhaps, some of the Grue Believers know better. At any rate, it’s another Classic Era episode where nary an evisceration is seen. There is, however, much squashing and squishing.

At the time of this writing, Gorgo is available for streaming from Tubi, Pluto TV, and others, along with a variety of PPV options. The film is also available as a Blu-ray disc from VCI Video. A 4K Ultra HD version is due for release on August 29, 2023, from Vinegar Syndrome.

Gruesome Magazine’s Decades of Horror: The Classic Era records a new episode every two weeks. Up next in their very flexible schedule, as chosen by Chad, is Universal’s House of Dracula (1945). Calling all Universal Horror monsters! Well, maybe not all.

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans: leave them a message or leave a comment on the Gruesome Magazine YouTube channel, the site, or email the Decades of Horror: The Classic Era podcast hosts at [email protected]

To each of you from each of them, “Thank you so much for watching and listening!”

Check out this episode!

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spacesitespeed · 2 years

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Honor blackman

She was also a prominent supporter of the Liberal Democrats. She was a signed supporter of Republic, The Campaign for an Elected Head of State, the UK campaign to replace the monarchy with a republic. She married twice: Bill Sankey (1946 – 1956) and the British actor Maurice Kaufmann (1963 – 1975), with whom she appeared in the film Fright (1971) they adopted two children, Barnaby and Lottie.

After her appearance in Goldfinger, Blackman recorded a full album of songs entitled Everything I've Got. The actress many other credits include 1963s Jason and the Argonauts. She was sworn in as a juror under the name 'Honor Kaufmann'.īlackman was featured, alongside Chris Tarrant, in the show Lose A Million.Ī song she recorded with Patrick Macnee during 1964, "Kinky Boots", was a surprise hit, peaking at #5, in 1990 after it was played incessantly by BBC Radio 1 breakfast show presenter Simon Mayo. Honor Blackman, James Bonds Pussy Galore and The Avengers actress, dies at 94. The series was designed to explore the jury system. In 2007, she participated in the BBC TV project The Verdict, as one of 12 well known figures forming a jury to hear a fictional rape case. She also, in September 2004, briefly joined the Coronation Street cast in a storyline about wife swapping. Blackman took a guest role on Midsomer Murders as ex-racing driver Isobel Hewitt in the episode A Talent for Life. Honor Blackman Where The Upper Hand cast are now - EastEnders favourite and tragic Bond girl death Honor Blackman didnt want to be seen as bimbo, says. From 1990 to 1995 she appeared as Laura West on The Upper Hand. In 1986, she played the role of Professor Lasky in the Doctor Who serial The Trial of a Time Lord. It was an inside joke, as Blackman was filming Goldfinger at the time. honor blackman everything ive gothonor blackman leatherhonor blackman fighthonor blackman singshonor blackman interviewhonor blackman goldfingerhonor blackm. Then, reading the inscription, he says, in a puzzled voice, "Whatever can she be doing at Fort Knox.?". "A card from Mrs Gale!", Steed exclaims in delight. In a 1965 episode of The Avengers, titled "Too Many Christmas Trees", John Steed received his Christmas cards, one of which was from Cathy. She left the show at the end of September 2007. In April 2007 she took over the role of Fraulein Schneider from Olivier Award-winning actress Sheila Hancock, in Cabaret at the Lyric Theatre in London's West End. Her show Word Of Honor, premiered in October 2006. From 2005 to 2006 she toured the country as Mrs Higgins in My Fair Lady. She spent most of 1987 at the Fortune Theatre. Later in life, she had small roles in the films Bridget Jones Diary and Hot Gold. She also did an overdub for an actress in the same film providing the voice for the character of Medea. She played the role of Hera in Jason and the Argonauts (1963). She trained as an actress at the Guildhall School of Music and Drama in London, after persuading her father that an appropriate birthday gift would be acting lessons.īlackman's films include: Quartet and So Long at the Fair with Dirk Bogarde, Life at the Top with Laurence Harvey, The Virgin and the Gypsy, Shalako with Sean Connery and Brigitte Bardot and Something Big with Dean Martin. Blackman was born in West Ham, London to a statistician father.

#Honor blackman

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