Dr. Who and the Daleks
Dr. Who and the Daleks is a 1965 British science fiction film directed by Gordon Flemyng and written by Milton Subotsky, the first of two films based on the British science-fiction television series Doctor Who, it stars Peter Cushing as Dr. Who, Roberta Tovey as Susan, Jennie Linden as Barbara, Roy Castle as Ian, it was followed by Daleks' Invasion Earth 2150 A. D.. The story is based on the Doctor Who television serial The Daleks, produced by the BBC. Filmed in Technicolor, it is the first Doctor Who story to be made in colour and in a widescreen format; the film was not intended to form part of the ongoing story-lines of the television series. Elements from the programme are used, such as various characters, the Daleks and a police box time machine, albeit in re-imagined forms. Dr. Who, his granddaughters Susan and Barbara, Barbara's boyfriend Ian are accidentally transported to another planet by Dr. Who's latest invention, a time and space machine called Tardis. While exploring, the travellers see a city in the distance.
They find a small container of drugs which they take aboard Tardis. Wishing to investigate further, Dr. Who fakes a leak in a fluid link, a vital component of Tardis, to ensure that the group will go to the city to search for the mercury needed to refill the component. Once in the city they are captured by cyborg creatures which refer to themselves as "Daleks", who seize the fluid link for examination. Dr. Who realises that the group have contracted radiation sickness, that the drugs they discovered earlier may be their only hope of survival. While covertly observing the captives, the Daleks discuss their own plight, they are trapped inside their metal casings, within the city, by the radiation. They wish to leave so that they can claim the planet for themselves. Hearing the captives discussing the drugs, the Daleks make a proposal to them. If the humans bring the drugs they found to them, they will allow them enough to treat themselves. Susan goes. Reaching Tardis Susan collects the drugs and encounters Alydon, leader of the Thals, a species that fought the Daleks in an atomic war centuries previously.
Alydon gives Susan a second container of anti-radiation drugs to use if the Daleks fail to keep their promise. When Susan returns the Daleks discover the second drug supply, but allow the humans to treat themselves with it. Susan explains to her companions that, according to Alydon, the Thal crops have failed and they have come to the Dalek city, hoping to trade the anti-radiation drug formula for food. Again overhearing this conversation, the Daleks decide that they don’t need the Thals now that they have a sample of the drug, they get Susan to write a letter which they will leave for the Thals, stating that they will provide food, to be collected from the city, as an act of friendship. When Susan finishes the letter, the Daleks reveal that they plan to kill all of the Thals when they arrive; when a Dalek enters their cell the travellers manage to disable it. Once free, they are able to warn the Thals who are entering the city, escape with them into the jungle; the Daleks test the Thal anti-radiation drug but find that it causes disastrous side effects.
Thwarted, they decide to detonate a neutron bomb to increase the planet’s radiation to a level which the Thals cannot survive. Back at the Thal camp, Dr. Who realises that the travellers are trapped on the planet as the Daleks still have the fluid link, he will need the Thals’ help to recover it, he urges Alydon to fight the Daleks to save his species but he refuses, insisting that the Thals are now peaceful. In response, Dr. Who pretends to order Ian to take a Thal woman to the Daleks in exchange for the confiscated component. Horrified, Alydon attacks Ian realises that the Thals can fight for things they care about. Alydon, Dr. Who and Susan lead the Thals in an attack on the city, but the Daleks repel the assault and Dr. Who and Susan are recaptured. Meanwhile Ian, Barbara and a small group of Thals infiltrate the Dalek city from the rear. Once inside they join the rest of the Thals, who have mounted a frontal assault to rescue Dr. Who and Susan; the Thals and humans enter the control room, where the Daleks have started the bomb countdown.
During the ensuing struggle the Daleks inadvertently destroy their main control console, which kills them by cutting their power and stops the bomb detonation. Back in the jungle, with the fluid link recovered, the travellers depart in Tardis to return home. Amicus bought an option to make the story and two sequels from Terry Nation and the BBC for £500. Principal photography took six weeks; the film was produced on a budget of £180,000. Although the planet on which the action takes place is not named in the film, it is retroactively identified as Skaro in the sequel, matching the name given in the television series; the actor Barrie Ingham discussed the production in an interview in Australia in 1976 for the Doctor Who fanzine Zerinza. In 1995, a documentary about the two Dalek films, was released on video, it revealed details about the productions, spin-offs, publicity campaigns. It was included as an extra in many of the home media video releases of the two Dalek films; the Daleks were redesigned for the film.
They had larger base sections, which made them taller and more imposing than the TV Daleks, which were only about five feet high. They had large, red dome lights and some were fitted with a two-jawed mechanical claw instead of a plunger, they had more colourful paint schemes. Standard Daleks had blue domes, skirt balls and fenders, gold collars. A Dalek leader was painted predominantly black and a s
Sir Michael John Gambon is an Irish-born British character actor who has worked in theatre and film. He was trained under Laurence Olivier and started his long work on stage in the National Theatre before retiring in 2015 due to memory loss, his most famous role is that of Professor Albus Dumbledore who Gambon played in the final six Harry Potter films after the death of Richard Harris who had played the role. His other films include, The Cook, the thief, His Wife, Her Lover, The Wings of the Dove, Sleepy Hollow, Gosford Park, Being Julia, Amazing Grace, The King's Speech, Quartet and Abdul, the Paddington films. Gambon has appeared in various television projects including, The Singing Detective and Daughters, Path to War, Angels in America, Emma, The Casual Vacancy, Churchill's Secret, The Hollow Crown, Little Women, he was knighted in 1998 for services to drama, has won four BAFTA TV Awards, three Olivier Awards and was awarded the Irish Film & Television Academy Lifetime Achievement Award in 2017 for his contribution to Irish film.
Gambon was born in Cabra, during World War II. His father, Edward Gambon, was an engineering operative, his mother, was a seamstress; as his father decided to seek work in the rebuilding of London, the family moved to Mornington Crescent in north London, when Gambon was six. His father had him made a British citizen, a decision that would allow Gambon to receive a substantive, rather than honorary, knighthood and CBE. Brought up as a strict Roman Catholic, he attended St Aloysius Boys' School in Somers Town and served at the altar, he moved to St Aloysius' College in Hornsey Lane, London, whose former pupils include actor Peter Sellers. He moved to North End and attended Crayford Secondary School, before leaving with no qualifications at fifteen, he gained an apprenticeship with Vickers Armstrong as a toolmaker. By the time he was 21, he was a qualified engineering technician, he kept the job for a further year, acquiring a fascination and passion for collecting antique guns, clocks and classic cars.
At age 24, Gambon wrote a letter to Micheál Mac Liammóir, the Irish theatre impresario who ran Dublin's Gate Theatre. It was accompanied by a CV describing a rich and wholly imaginary theatre career: he was taken on. Gambon made his professional stage debut in the Gate Theatre's 1962 production of Othello, playing "Second Gentleman", followed by a European tour. A year auditioning with the opening soliloquy from Richard III, he caught the eye of Laurence Olivier, recruiting promising actors for his new National Theatre Company. Gambon, along with Robert Stephens, Derek Jacobi and Frank Finlay, were hired as one of the "to be renowned" and played any number of small roles, appearing on cast lists as "Mike Gambon"; the company performed at the Old Vic, their first production being Hamlet, directed by Olivier and starring Peter O'Toole. Gambon played for four years in many NT productions, including named roles in The Recruiting Officer and The Royal Hunt of the Sun, working with directors William Gaskill and John Dexter.
After three years at the Old Vic, Olivier advised Gambon to gain experience in provincial rep. In 1967, he left the NT for the Birmingham Repertory Company, to give him his first crack at the title roles in Othello and Coriolanus, his rise to fame began in 1974 when Eric Thompson cast him as the melancholy vet in Alan Ayckbourn's The Norman Conquests at Greenwich. A speedy transfer to the West End established him as a comic actor, squatting at a crowded dining table on a tiny chair and agonising over a choice between black or white coffee. Back at the National, now on the South Bank, his next turning point was Peter Hall's premiere staging of Harold Pinter's Betrayal, a performance marked by subtlety – a production photograph shows him embracing Penelope Wilton with sensitive hands and long slim fingers, he is one of the few actors to have mastered the demands of the vast Olivier Theatre. As Simon Callow once said: "Gambon's iron lungs and overwhelming charisma are able to command a sort of operatic full-throatedness which triumphs over hard walls and long distances".
This was to serve him in good stead in John Dexter's masterly staging of The Life of Galileo in 1980, the first Brecht to become a popular success. Hall called him "unsentimental and immensely powerful," and The Sunday Times called his performance "a decisive step in the direction of great tragedy... great acting," while fellow actors paid him the rare compliment of applauding him in the dressing room on the first night. Ralph Richardson dubbed him The Great Gambon, an accolade which stuck, although Gambon dismisses it as a circus slogan, but as Sheridan Morley perceptively remarked in 2000, when reviewing Nicholas Wright's Cressida: "Gambon's eccentricity on stage now begins to rival that of his great mentor Richardson". Like Richardson, interviews are given and raise more questions than they answer. Gambon is a private person, a "non-starry star" as Ayckbourn has called him. Off-stage he prefers to stay out of the limelight. While he has won screen acclaim, his ravaged King Lear at Stratford, while he was still in his early forties, formed a double act with a red-nosed Antony Sher as the Fool sitting on his master's knee like a ventriloquist's doll.
There were appearances in Pinter's Old Times at the Haymarket Theatre and Jonson's Volpone and the brutal sergeant in Pinter's Mountain Language. David Hare's Skylight, with Li
James Benjamin Blish was an American science fiction and fantasy writer. He is best known for his Cities in Flight novels, his series of Star Trek novelizations written with his wife, J. A. Lawrence, he is credited with creating the term gas giant to refer to large planetary bodies. Blish was a member of the Futurians, his first published stories appeared in Super Science Stories and Amazing Stories. Blish wrote literary criticism of science fiction using the pen-name William Atheling Jr, his other pen names included: Donald Laverty, John MacDougal, Arthur Lloyd Merlyn. Blish was born on 23 May 1921 at New Jersey. While in high school, Blish self-published a fanzine using a hectograph, called The Planeteer; the fanzine ran for six issues. Blish attended meetings of the Futurian Science Fiction Society in New York City during this period. Futurian members Damon Knight and C. M. Kornbluth became close friends, Blish's relationship with other members were bitter. A personal target was fellow member Judith Merril.
Merril would dismiss Blish's self-description of being a "paper fascist". She wrote in Better to Have Loved, "Of course was not fascist, antisemitic, or any of those terrible things, but every time he used the phrase, I saw red." Blish studied microbiology at Rutgers University, graduating in 1942. He was drafted into Army service, he served as a medical laboratory technician; the United States Army discharged him for refusing orders to clean a grease trap in 1944. Following discharge, Blish entered Columbia University as a masters student of zoology, he did not complete the program, opting to write fiction full-time. In 1947, he married a fellow Futurian, they divorced in 1963. Blish married artist J. A. Lawrence in 1968, moving to England that same year. From 1962 to 1968, Blish worked as a writer and critic. Much of his work for the institute went uncredited. Blish died on 30 July 1975 from complications related to lung cancer, he was buried in Oxford. The Bodleian Library at Oxford is the custodian of Blish's papers.
The library has a complete catalog of Blish's published works. Throughout the 1940s, Blish published most of his stories in the few pulp magazines still in circulation, his first story was sold to fellow Futurian Frederik Pohl for Super Science Stories, called "Emergency Refueling". Other stories were with little circulation. Blish's "Chaos, Co-Ordinated", co-written with Robert A. W. Lowndes, was sold to Astounding Science Fiction, appearing in the October 1946 issue, earning Blish national circulation for the first time. Blish was what Andrew Litpack called a "practical writer", he would revisit and expand on written stories. An example is "Sunken Universe" published in Super Science Stories in 1942; the story reappeared in Galaxy Science Fiction as "Surface Tension", in an altered form in 1952. The premise emphasised Blish's understanding of microbiology, featured microscopic humans engineered to live on a hostile planet's shallow pools of water; the story proved to be among Blish's more popular, was anthologized in The Science Fiction Hall of Fame, Volume One, 1929–1964, edited by Robert Silverberg.
The world of microscopic humans continued in "The Thing in the Attic" in 1954, "Watershed" the following year. The fourth entry, "A Time to Survive", was published by The Magazine of Fantasy & Science Fiction in 1957; the stories were collected, edited together, released as the fixup The Seedling Stars from Gnome Press. John Clute said of all of Blish's "deeply felt work" explored "confronting the Faustian man"; the Encyclopedia of Science Fiction asserts that it was not until the 1950s, the Okie sequence of stories beginning their run, "did it become clear would become a writer of unusual depth". The stories were loosely based on the Okie migration following the Dust Bowl of the 1930s, were influenced by Oswald Spengler's two part Der Untergang des Abendlandes; the stories detail the life of the Okies, humans who migrate throughout space looking for work in vast city-ships, powered by spindizzies, a type of anti-gravity engine. The premise and plot reflected Blish's feelings on the state of western civilization, his personal politics.
The first two stories, "Okie", "Bindlestiff", were published in 1950, by Astounding. "Sargasso of Lost Cities" appeared in Two Complete Science-Adventure Books in April 1953. "Earthman, Come Home" followed a few months published by Astounding. In 1955, Blish collected the four stories together into an omnibus titled Earthman, Come Home, published by Putman. More stories followed: In 1956, They Shall Have Stars, which edited together "Bridge" and "At Death’s End", in 1958, Blish released The Triumph of Time. Four years he published a new Okies novel, A Life for the Stars; the Okies sequence was published as Cities In Flight. Clute notes, "the brilliance of Cities in Flight does not lie in the assemblage of its parts, but in the momentum of the ideas embodied in it." Blish continued to rework older stories, did so for one of his best known works, A Case of Conscience. The novel originated as a novella published in an issue of If, in 1953; the story follows a Jesuit priest, Ramon Ruiz-Sanchez, who visits the planet Lithia as a technical member of an expedition.
While on the planet they discover a race of bipedal reptilians that have perfected mor
It's Trad, Dad!
It's Trad, Dad!, known in the U. S. as Ring-A-Ding Rhythm, is a musical comedy featuring performances by a variety of jazz bands and rock-and-roll singers. The film was one of the first put out by Amicus Productions, a company known predominantly for horror films, it was director Richard Lester's first feature film. Craig and Helen are teenagers who enjoy the latest trend of traditional jazz along with their friends; the local mayor and a group of adults dislike the trend, move to have the jukebox in the coffee shop silenced. With the help of a character who functions as an omniscient narrator and Helen journey to a TV studio to find a disc jockey and organize a show to gain popularity for the music, they get to see Pete Murray and persuade him to attend and arrange for several jazz bands to perform. Upon hearing the news of the upcoming performance, the mayor decides to stop the performers' bus by any means necessary; when the show is scheduled to start and Helen find that their disc-jockey and musicians have not yet arrived, so they perform themselves and are well-received by the crowd.
The bands' bus manages to evade a series of obstacles set up by the local police, they arrive and put on the show for the BBC television cameras. The film ends with everyone enjoying the music, including the mayor, persuaded to take the credit for having arranged a successful show; the film predominantly comprises musical numbers, including performances by the principal actors Helen Shapiro and Craig Douglas themselves. However, unlike traditional "musicals" the songs have little to do with the movie plot; the other performers shown in the Cast list were popular acts from both the U. K. and U. S. It's Trad, Dad! on IMDb It's Trad, Dad! at Rotten Tomatoes It's Trad, Dad! at AllMovie It's Trad, Dad! at the TCM Movie Database It's Trad, Dad! at the American Film Institute Catalog
The Terrornauts is a 1967 science fiction film produced by Amicus Productions. It went out on a double feature; this double bill has been called "the two worst films the company produced". The film is based on The Wailing Asteroid by Murray Leinster, adapted for screen by John Brunner. Project Star Talk is based at a UK radio telescope site, its mission is to listen for radio signals from other intelligences. Dr. Joe Burke is the head of the project assisted by his small team consisting of electronics expert Ben Keller and office manager Sandy Lund. Due to the lack of success reported by the Site Manager, Dr. Henry Shore, Project Star Talk is given 90 days in order to report positive results. While waiting for a response, Dr. Burke tells of his father's discovery at an archaeological dig in France of a cube that gave him strange dreams as a boy, inspiring him to become an astronomer. During this period an accountant, Mr. Yellowlees is sent to look over the project's accounts; as luck would have it, a repeating signal is received by the project, but the signal is only coming from a small asteroid with no atmosphere in the outer Solar System.
Despite this, Dr. Burke spends the balance of his grant to equip the telescope with a powerful transmitter to contact the source of the signals; the night of the transmission, Mr. Yellowlees and Mrs. Jones who runs the tea trolley, stay to witness this historic event; the signal reaches the asteroid. The asteroid has on it a huge installation that receives the radio signal and answers it with a spaceship sent riding down the radio beam to the point of transmission; when the spacecraft arrives at Project Star Talk, it picks up the transmitter shed and carries it, the project staff and the 2 witnesses to the alien installation. The telescope staff's leader believes, despite eyewitnesses that the transmitter shed exploded, killing the Star Talk team. Upon arrival at the asteroid, the team is greeted by a robot that takes them through a series of tests. After each test, they are provided with rewards such as food for the intelligence test, a weapon for the motivation test and a "Knowledge Cube" for the knowledge test.
After a tour of a control room, they are brought to a chamber with a small platform and a figure in a chair, who happens to be the long dead caretaker of the base. As they head back to the control room, Ben bumps Sandy onto the platform and she is "transposed" in a puff of smoke to a distant planet peopled by savages who try to kill her. Dr. Burke follows Sandy to the planet armed with the gun, effects a rescue before she is killed, discovers the secret of the Knowledge Cubes in the process. Dr. Burke plugs into the cube, the horrible secret is revealed, the planet of savages is the home of the survivors of an interstellar war, fast approaching Earth, the Star Talk team are the only ones who can use the advanced weapons of the installation to stop an invading enemy fleet from destroying Planet Earth; the team searches frantically through the huge library of cubes for the instructions to use the weapons of the fort but are unsuccessful. As the enemy fleet comes into range, the robot delivers.
The battle is joined but the Star Talk team has a hard time hitting the aliens with missiles so with the cubes' instruction, the fortress's engines are started and they rise off the asteroid to intercept the aliens, who nearing defeat crash into the fortress. Dr. Burke sets the "Transposer plates" for Earth and the Star Talk team, Mr. Yellowlees and Mrs. Jones are transposed to the archaeological dig in France where Dr. Burke's father found the cube so long ago. While they congratulate one another on their luck, a French Gendarme arrives just in time to arrest them for trespassing. Simon Oates... Dr. Joe Burke Zena Marshall... Sandy Lund Charles Hawtrey... Joshua Yellowlees Patricia Hayes... Mrs. Jones Stanley Meadows... Ben Keller Max Adrian... Dr. Henry Shore Frank Barry... Burke as a child Richard Carpenter... Danny Leonard Cracknell... Nick André Maranne... Gendarme Frank Forsyth... Uncle Robert Jewell... Robot Operator The Terrornauts on IMDb http://www.planet-9.de/luke/screenshots/terrornauts The Terrornauts Theatrical Trailer on YouTube The Wailing Asteroid public domain audiobook at LibriVox
Milton Subotsky was an American film and television writer and producer. In 1964, he founded Amicus Productions with Max J. Rosenberg. Amicus means "friendship" in Latin. Together, they produced a number of low-budget science fiction and horror films in the United Kingdom. Subotsky was born to a family of Jewish immigrants. During World War II, he served in the Signal Corps, in which he wrote and edited technical training films. After the war, he began a career as a writer and producer during the 1950s "Golden Age" of television. In 1954, he produced the TV series Junior Science, he graduated to film producing Rock, Rock, for which he composed nine songs. Subotsky moved to England, he was a regular juror on Juke Box Jury on BBC Television in the early 1960s. In 1964, with fellow expatriate producer Max J. Rosenberg, Subotsky formed the company Amicus Productions. Based at Shepperton Studios, they produced such films as Dr. Terror's House of Horrors, Dr. Who and the Daleks, Daleks' Invasion Earth 2150 A.
D. Torture Garden and Scream Again, The House That Dripped Blood, Tales from The Crypt, From Beyond the Grave and The Land That Time Forgot. Amicus was disestablished in 1975, but Subotsky continued producing. Around this time he formed "Sorcery Productions, Ltd." with Frank Duggan. At some point Andrew Donally joined the company. Numerous well-publicised projects did not go into production; these include adaptations of Lin Carter's "Thongor" stories, a live-action version of Stan Lee's The Incredible Hulk, film adaptations of stories that appeared in James Warren's comic magazines Creepy and Eerie, a co-production with former James Bond film producer Harry Saltzman on Saltzman's troubled "shrunken man" epic The Micronauts. Unable to purchase film rights to Robert E. Howard's Conan the Barbarian stories, Subotsky instead bought the rights to Carter's "Thongor" stories in 1976. Subotsky himself adapted Carter's 1965 novel The Wizard of Lemuria. United Artists agreed to bankroll the project – now called Thongor in the Valley of Demons – in 1978, but subsequently withdrew for unspecified reasons.
Sword & Sorcery's first film project to get off the ground was Dominique. In 1980, they co-produced the TV series The Martian Chronicles, adapted from the short story collection by Ray Bradbury. During the making of this miniseries and Donally parted ways. Subotsky co-produced several adaptations of Stephen King novels, including Maximum Overdrive, Sometimes They Come Back. and Lawnmower Man Director's Cut was dedicated to his memory. Subotsky died of heart disease in 1991, at the age of 69, his widow, Dr Fiona Subotsky, is a prominent London psychiatrist, an historian of psychiatry. Milton Subotsky on IMDb
Peter Wilton Cushing, OBE was an English actor best known for his roles in the Hammer Productions horror films of the 1950s, 1960s, 1970s, as well as his performance as Grand Moff Tarkin in Star Wars. Spanning over six decades, his acting career included appearances in more than 100 films, as well as many television and radio roles. Born in Kenley, 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 1939 film The Man in the Iron Mask, 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, Cushing struggled to find work during this period and began to consider himself a failure, his career was revitalized once he started to work in live television plays, he soon became one of the most recognizable faces in British television.
He earned particular acclaim for his lead performance in a 1954 adaptation of George Orwell's Nineteen Eighty-Four. Cushing gained worldwide fame for his appearances in twenty-two horror films by the independent Hammer Productions for his role as Baron Frankenstein in six of their seven Frankenstein films, Doctor Van Helsing in five Dracula films. Cushing appeared alongside actor Christopher Lee, who became one of his closest friends, with the American horror star Vincent Price. Cushing appeared in several other Hammer films, including The Abominable Snowman, The Mummy and The Hound of the Baskervilles, the last of which marked the first of many times he portrayed the famous detective Sherlock Holmes throughout his career. Cushing continued to perform a variety of roles, although he was typecast as a horror film actor, he played Dr. Who in Dr. Who and the Daleks and Daleks' Invasion Earth 2150 A. D. and gained the highest amount of visibility in his career in 1977, when he appeared as Grand Moff Tarkin in the first Star Wars film.
Cushing continued acting into his years, wrote two autobiographies. He was lovingly devoted to his wife of twenty-eight years, Helen Cushing, who died in 1971. Cushing died in 1994 of prostate cancer. Peter Wilton Cushing was born in Kenley, a district in the English county of Surrey, on 26 May 1913 to George Edward Cushing and Nellie Marie Cushing, his mother had so hoped for a daughter that for the first few years of his life, she would dress Peter in girls' frocks, let his hair grow in long curls and tie them in bows of pink ribbon, so others would mistake him for a girl. His father, a quantity surveyor from an upper-class family, was a reserved and uncommunicative man who Peter claimed he never got to know well, his mother considered of a lower class than her husband. Cushing's family consisted of several stage actors, including his paternal grandfather Henry William Cushing, his paternal aunt Maude Ashton 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 affected by it, 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 known as "double pneumonia." Although he survived, the latter was fatal during that period. 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 playing pretend from an early age, claimed he always wanted to be an actor, "perhaps without knowing at first." 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, an affluent area of 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 Secondary School, where he 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 acting, his childhood inspiration was an American film actor and star of many Western films. D. J. Davies, the Purley County Secondary School physics teacher who produced all the school's plays, recognized some acting potential in him and encouraged him to participate in the theatre 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 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