Blackman was born in Plaistow, Newham, London. She was educated at Ealing Girl’s School in west London and trained as an actress at the Guildhall School of Music and Drama. Blackman’s film debut was a nonspeaking part in Fame is the Spur (1947), followed by Daughter of Darkness, a 1947 British film, with macabre overtones, released in January 1948, So Long at the Fair (1950) a British thriller directed by Terence Fisher, and the Titanic drama A Night to Remember (1958).
She played the role of the goddess Hera in one of my favourite movies, Jason and the Argonauts (1963). Starring Todd Armstrong as the titular mythical Greek hero in a story about his quest for the Golden Fleece. Directed by Don Chaffey in collaboration with stop motion animation expert Ray Harryhausen, the film is noted for its stop-motion creatures, and particularly the iconic fight with the skeletons. The score was composed by Bernard Hermann (Psycho), who also worked on other fantasy films with Harryhausen, such as Mysterious Island and The 7th Voyage of Sinbad.
Her most famous role was as Pussy Galore in Goldfinger (1964), the third film in the James Bond series. Pussy Galore was Goldfinger’s personal pilot and leader of an all-female team of pilots known as the Flying Circus. Based on the novel of the same name by Ian Fleming, the film stars Sean Connery as Bond, Gert Fröbe as the title character Auric Goldfinger, along with Shirley Eaton as Bond girl Jill Masterson, famous for her ‘covered in Gold paint death.’
Blackman was selected for the role of Pussy Galore because of her role in The Avengers and the script was rewritten to show Blackman’s judo abilities. The character’s name follows in the tradition of other Bond girls names that are double entendres: apparently concerned about censors, the producers thought about changing the character’s name to “Kitty Galore”, but they and Hamilton decided “if you were a ten-year old boy and knew what the name meant, you weren’t a ten-year old boy, you were a dirty little bitch. The American censor was concerned, but we got round that by inviting him and his wife out to dinner and [told him] we were big supporters of the Republican Party.” During promotion, Blackman took delight in embarrassing interviewers by repeatedly mentioning the character’s name. Whilst the American censors did not interfere with the name in the film, they refused to allow the name “Pussy Galore” to appear on promotional materials and for the US market she was subsequently referred to by the title ‘Miss Galore’ or ‘Goldfinger’s personal pilot’.
She made a few British horror films in the 70’s, Fright (1971), about a homicidal escapee from a mental asylum terrorises a babysitter who is looking after his son. To the Devil… A Daughter (1976), a Hammer horror film, directed by Peter Sykes and based on the novel of the same name by Dennis Wheatley. It starred Richard Widmark, Christopher Lee, Honor Blackman, Denholm Elliot, and a young Nastassja Kinski.
The black comedy, The Cat and the Canary (1979). Tale of the Mummy (“Talos – the Mummy”, Talos is the name) is a 1998 British-American horror film, directed by Russel Mulcahy, featuring Christopher Lee. More recently, she has had small roles in the films Bridget Jones’s Diary (2001) and Jack Brown and the Curse of the Crown (also 2001).
Sir Christopher Frank Carandini Lee, CBE, CStJ (born 27 May 1922) is an English actor and musician. Lee was born in Belgravia, Westminster, as the son of Lieutenant-Colonel Geoffrey Trollope Lee, of the 60th King’s Royal Rifle Corps, and his wife, Contessa Estelle Marie (née Carandini di Sarzano).
Notable roles include Francisco Scaramanga in the James Bond film, The Man with the Golden Gun (1974), Saruman in The Lord of the Rings film trilogy (2001–2003), and Count Dooku in the final two films of the Star Wars prequel trilogy (2002, 2005). He has collaborated with director Tim Burton in five films, most recently with Dark Shadows (2012).
Lee considers his most important role to be his portrayal of Pakistan’s founder Muhammad Ali Jinnah in the biopic Jinnah (1998); however, he considers his best role to be that of Lord Summerisle in the British cult classic The Wicker Man (1973), which he also believes to be his best film. Lee is well known for his deep, strong voice and imposing height. He has performed roles in 275 films since 1946 making him the Guinness World Record holder for most film acting roles ever. He was knighted for services to drama and charity in 2009, and received the BAFTA Fellowship in 2011.
In 1946, Lee gained a seven-year contract with the Rank Organisation. He made his film debut in Terence Young’s Gothic romance Corridor of Mirrors (1947). Throughout the next decade, he made nearly 30 films, playing mostly stock action characters.
Lee initially portrayed villains and became famous for his role as Count Dracula in a string of Hammer Horror films, however his first film for Hammer was The Curse of Frankenstein (1957), in which he played the Monster, with Peter Cushing as the Baron. A little later, Lee co-starred with Boris Karloff in the film Corridors of Blood (1958), but Lee’s own appearance as Frankenstein’s monster led to his first appearance as the Transylvanian vampire in the 1958 film Dracula (known as Horror of Dracula in the United States).
Lee returned to the role of Dracula in Hammer’s Dracula: Prince of Darkness in 1965. This film set the standard for most of the Dracula sequels in the sense that half the film’s running time was spent on telling the story of Dracula’s resurrection and the character’s appearances were brief. His roles in the films Dracula Has Risen from the Grave (1968), Taste the Blood of Dracula (1969), and Scars of Dracula (1970) all gave the Count very little to do, but were all commercially successful.
Lee’s other work for Hammer included The Mummy (1959). Lee portrayed Rasputin in Rasputin, the Mad Monk and Sir Henry Baskerville (to Cushing’s Sherlock Holmes) in The Hound of the Baskervilles (1959). Lee later played Holmes himself in 1962’s Sherlock Holmes and the Deadly Necklace, and returned to Holmes films with Billy Wilder’s British-made The Private Life of Sherlock Holmes (1970), in which he plays Sherlock’s smarter brother, Mycroft. Lee played a leading role in the German film The Puzzle of the Red Orchid (1962), speaking German, which he had learned during his education in Switzerland.
He was responsible for bringing acclaimed occult author Dennis Wheatley to Hammer. The Devil Rides Out (1967), is generally considered to be one of Hammer’s crowning achievements. According to Lee, Wheatley was so pleased with it that he offered the actor the film rights to his remaining black magic novels free of charge. However, the second film, To the Devil a Daughter (1976), was fraught with production difficulties and was disowned by its author. Although financially successful, it was Hammer’s last horror film and marked the end of Lee’s long association with the studio that brought him fame.
Like Cushing, Lee also appeared in horror films for other companies during the 20-year period from 1957 to 1977. Other films in which Lee performed include the series of Fu Manchu films made between 1965 and 1969, in which he starred as the villain in heavy oriental make-up; I, Monster (1971), in which he played Jekyll and Hyde; The Creeping Flesh (1972); and his personal favourite, The Wicker Man (1973), in which he played Lord Summerisle. Lee was attracted to the latter role by screenwriter Anthony Shaffer and allegedly gave his services for free, as the budget was so small.
Fisher was one of the most prominent horror directors of the second half of the 20th century. He was the first to bring gothic horror alive in full colour, and the sexual overtones and explicit horror in his films, while mild by modern standards, were unprecedented in his day. His first major gothic horror film was ‘The Curse of Frankenstein’ (1957), which launched Hammer’s long association with the genre and made British actors Peter Cushing and Christopher Lee into leading horror stars of the era.
Fisher’s career and Hammer would become inextricably linked. When Hammer decided in the mid-1950s to remodel itself as a horror factory, Fisher became its main director. He was part of the team that produced all the ‘classic’ Hammer horrors – including the aforementioned The Curse of Frankenstein (1957), as well as ‘Dracula’ (1958), ‘The Mummy’ (1959), ‘The Hound of the Baskervilles’ (1959) and ‘The Curse of the Werewolf’ (1961).
Given the low budgets involved and the breakneck production schedules, the quality of these films was inevitably uneven, but some of them, and especially Dracula, were remarkable achievements, albeit ones that were not generally feted by critics at the time of their initial appearance. After the box-office failure of The Phantom of the Opera (1962), Fisher worked less often for Hammer, although his later Hammer films arguably comprise his best work, reflecting as they do both a technical maturity and a willingness to innovate. Although Fisher is regularly accused of representing a conservative moralistic force within British horror, films like ‘Frankenstein Created Woman’ (1967) and ‘The Devil Rides Out’ (1968) show a tentative and questioning attitude to social authority and morality.
It is only in recent years that Fisher has become recognised as an auteur in his own right. His films are characterised by a blend of fairy-tale, myth and sexuality. They may have drawn heavily on Christian themes, and there is usually a hero who defeats the powers of darkness by a combination of faith in God and reason, in contrast to other characters, who are either blindly superstitious or bound by a cold, godless rationalism (as noted by critic Paul Leggett in Terence Fisher: Horror, Myth and Religion, 2001). For a detailed discussion of Fisher’s works, see The Charm of Evil: The Films of Terence Fisher by Wheeler Winston Dixon.
Hammer Films and their television series have been a staple of visual delight for all ages for over seventy years and we owe it all to the late William Hinds who started the company in its humble beginnings during 1934.
Hammer’s movies contained a dynamic recipe of elements that included vampires, werewolves and unknown entities that creep around in the night that intelligent scientists, swashbuckling adventurers and Everyman heroes faced, combined with this writer’s personal favorite – saucy, scantily dressed buxom women.
Check out this Starburst Magazine interview with Simon Oakes and Nigel Sinclair of Exclusive Media, the duo behind the new Hammer Film, The Woman In Black.