All language subtitles for The.Life.And.Deaths.Of.Christopher.Lee.2024.720p.NOW.WEB-DL.DDP5.1.H.264-FLUX.Hi

The following programme contains
violent scenes, sexual references,

and explores the
theme of racism.

(FOOTSTEPS APPROACHING)

Christopher Lee, tall,
handsome, elegant.

Very aristocratic.
A little stiff.

Slightly pompous. Imperious.

Stilted, a little
un-forthcoming.

He was a powerful individual.

Everyone will always
remember him as Dracula

because he was a
powerful Dracula.

Consistent aura around him, which
was of a certain kind of dignity

and a certain kind of scariness
and a certain kind of...

"Ooh, he must be scary
to meet," kind of thing.

People when they-sometimes they
say, "You always play villains,

you always play the bad guy,"

He said, "No, I play people.

Good and evil is a state of mind.
Depends on which side you are on."

He was, I think, soft as putty.

That's what's so
interesting about monsters,

that you gotta
remember, people forget,

but most monsters are victims.

(IMITATING LEE) How do you
do? I'm Christopher Lee.

How do you do? I'm
Christopher Lee.

How do you do? I'm
Christopher Lee.

How do you do? I'm
Christopher Lee.

How do you do? I'm
Christopher Lee.

On the 7th of June
in the year 2015,

I passed away at the age of 93.

To some, this might seem
like a defining moment,

but not me. Oh, no.

By then I had become
quite accustomed to dying.

You might even have called
it my stock-in-trade.

(JAUNTY MYSTERIOUS MUSIC)

(EXPLOSION, MUSIC STOPS)

'When I was born on
the 27th of May, 1922,

'I was a new chapter in the
story of the Italian aristocratic

'Carandini family.'
(MEDIEVAL FLUTE MUSIC)

'Records of the House of Carandini
stretch back to the 12th century.

'Here, you see our coat of arms
awarded to us in the 15th century

'by Frederick Barbarossa,
Emperor of the Holy Roman Empire.

'Our noble lineage could be traced
directly back to Charlemagne.

'But let's not
dally with detail.

'For as impressive a list
of soldiers, governors,

'senators, and clergymen the
Carandini tree may offer up,

'our time is short,
and our subject is me.

'Of this mighty family tree,
at the time of my birth,

'a sapling had been growing quite
admirably in London, for some years.

'My maternal grandfather
was the Count Carandini

'and my mother, his only child,

'the Contessa Estelle
Marie Carandini di Sarzano.

'My mother was an
Edwardian beauty

'and in her youth,
a muse to many.

'She was painted, sketched,
sculpted, and etched,

'desired by many,
but landed by one.

'Lieutenant Colonel Jeffrey Lee
of the King's Royal Rifle Corps,

'a hero of the Boer
War and the Great War,

'survivor of the Somme.'

Quite late on in life, I got
a book called, "Il Carandini"

and they looked like a lot
of rogues... (CHUCKLES)

sort of the Mafia of their day.

But you know, to get-
the cynical view is that

to keep a title for
700 years or something,

you've got to have killed
a lot of people. (CHUCKLES)

'I grew up in the shadow of
achievement and nobility.

'And as a child, wondered if
I would be able to live up

'to the remarkable lives of
those who had preceded me.

'I was, at heart, a wanderer.

'As was my Papa who
wandered away from us

'when I was just four-years-old,
never to return.'

His mother was very strict, and
he had a very uptight upbringing.

You know? So, he was a bit naive
in certain-in certain ways.

There I am. I look like
quite a normal boy, don't I?

And in many ways I was.

Equally anxious and arrogant,
but my childhood was unique.

We were sprung once more into high
society when my mother remarried.

My stepfather was a small
but exceedingly strong man

known as Ingle. He was
a banker and bon viveur.

'To celebrate their union, I was
swiftly dispatched to boarding school

'in the hope that they might whip me
into shape to be accepted into Eton.

'One could hardly describe
me as a star student,

'but the desire to please
consumed and overwhelmed me.

'So, it is perhaps no surprise that
I was to end up on the school stage.

'Mother, Ingle, and my sister
Xandra made the journey

'for the first night of the
school production of Henry V.

'And they all excitedly agreed
that a bright future in acting

'awaited the proud young boy
playing the eponymous lead.

'Sadly, that boy was not me.

'But I loved the stage and I was
an obstinate little so-and-so.'

Perhaps my time would've been better
spent on the study of mathematics,

for it was that, along with a
downturn in Ingle's finances

which would lead me away
from the path to Eton.

Instead, at 14, I was enrolled
in Wellington College.

Wellington was a
military establishment,

and, I suppose much like the rest
of the public schools of the day,

but with the addition
of endless polishing.

The smell of Brasso
haunts my nostrils still.

If you've got some sensitivity
and you've got a sort of,

for want of a better
word, an artistic soul,

and you're pushed through the
British public school system

as a male...

it can absolutely kill that.

There's such a strong ethic
in that schooling that,

about what it is or
is not to be a man.

And I think right down in his
heart, this is my intuition,

there's absolutely nothing
to bear this up, it's just...

it's just sense. He
was very feminine.

And... very sensitive.

And I feel that he didn't quite know
how to express that side of him.

'What awaited me as I
aged out of Wellington,

'was likely an
Oxbridge education

'followed by a career in
international diplomacy.

'I was practically bred for it.

'By this stage, my French, German
and Russian were already rather good.

'But something happened.

'Ingle went bust, bankrupt,
to the sum of £25,000.

'He left my mother and
faded into the distance.'

I never knew his
father, my grandfather,

and I never knew
his step-father.

Both those father figures had sort
of disappeared out of his life,

and that explains quite
a lot about him as well,

because he didn't
have a father around.

It was his mother's
influence that he took away

into the world much more.

'At 19-years-old,
unsure of my future,

'I found myself in Paris.

'Early one morning a friend
dragged me to Versailles.

'There was something
he wanted me to see.

'We arrived to an open square,
steadily filling with people.

'Dawn broke over the scene

'and I realised that the
focus of the amassed crowd

'was Madame Guillotine.

'In that instant, a
man was marched out,

'Eugen Weidmann.

'He had murdered six
people in cold blood.

'Within 30 seconds

'he had been whisked off his
feet, bound, punched in the gut,

'placed on the monstrous contraption
and adjusted into position.

'The blade fell and I
failed to look away.

'I was sickened to my soul.

'I watched the gleeful crowd
clamour to dip their handkerchiefs

'into his warm blood
as a grizzly souvenir.'

He had witnessed
the last execution

in France with a guillotine.

So, he was obsessed
with executions.

And he kept execution
memorabilia.

"This is the rope that was used
to hang, I don't know who."

(BOTH CHUCKLE) "Who
gave you that?"

"That was Pierpoint,
gave it to me.

I'm gonna leave it in
my will to Roger Moore."

I remember that he wrote,

"I am leaving you the rope
that was used to hang...

King I-Don't-Know-What that my
friend Pierpoint passed over to me.

I would like you to have it."

I don't think
Roger Moore got it.

I now suspected my friend was
trying to dispel my naivete

and ready me for the
brutalities of war.

Because within weeks
the party was over

and all of a sudden,
the Germans were coming.

I returned to London.

'On the 3rd of September,
Chamberlain declared we were at war.

'Keen to reveal myself a hero,

'I immediately reported
to the war office,

'who had no apparent
need for me.'

So, I took a job in the city

and grew accustomed to the
noises of the war at home.

(EXPLOSIONS)

And then, I heard
something even worse.

I heard that my wayward Papa was in
hospital with a terminal diagnosis.

He was barely 60.

It was, I suppose, to honour him

that I swiftly decided
again to enlist

and join the war abroad.

(SHIP HORN BLARES)
(SEAGULL CAWING)

'I couldn't face the army,
so I took to the skies.'

(DRAMATIC MUSIC)

'Six weeks by sea and
one by train brought us

'to flight training in
Rhodesia, far from enemy fire.

'South Africa was paradise.

'Behind the controls of an open
cockpit Tiger Moth, I felt alive!

'In the shimmering heat
haze of a dusty afternoon,

'we would stall, spin,
and loop our paths

'to becoming
fully-fledged pilots.

'During my final
accompanied flight,

'my head filled with fire and
I went blind in my left eye.

'I was diagnosed with an
unreliable optic nerve.

'My dreams of flight
were put paid to.

Following this, I rather expected
my war to be a dull clerical affair

but then I found myself in
an operational squadron,

and my role was that of... spy.

'Five missions a
day was our average

'and with our robust
fighter bombers, the P-40s,

'we outclassed the German
Luftwaffe every time.

'Well, except once.

'We were in Tunisia,

'and I was standing on the airstrip
assessing the skies first-hand.

'As I turned around, I was faced
with a sheer wall of flame.

'Above it, four German ME-109s
heading directly for me.

'I sprinted, completely exposed,

'looking for somewhere
to dive for cover.

'The bombs couldn't have been
more than 150 yards away.

'I could feel the heat
singe my neck hair.

'The final bomb
landed within range,

'and the blast rent asunder
the ground behind me.

'The debris created was
as if fired by shotgun,

'targeted almost
entirely to my buttocks.

'Within 10 minutes,

'I was being debriefed in
both senses of the word.

'I could not sit
down for two days.

'And had I been able, I suspect I
would not have been permitted to.

'This raid was my failing.

'I would not fail again.'

As the war ended, there was
still important work to be done.

My next posting was to serve
with the Central Registry

of War Crimes and
Security Suspects.

A position which
sounds almost clerical

but became known somewhat
more grandly as Nazi Hunter.

The adventures I had during this
period remain highly classified.

I could relate to
you a story or two,

but sadly I would
have to kill you.

And we don't want that, do we?

There is some mystery
attached to his work

during the war and
immediately after it.

A lot of that I think, has to
do with the Official Secrets Act

and the fact that Lee
himself was, you know,

not willing to open up about
it to any great degree.

And I think it has actually
created a great deal of confusion.

I know a bit.

Because he spoke perfect
German, perfect French,

and perfect Italian, he was
involved with a lot of sabotage

and working with partisans
behind the enemy lines

and also in targeted
assassinations.

Which, of course, the
British government

doesn't know anything about.

He was very intense.

There were some things he just-
he didn't want to get into,

but it marked him,
the experiences.

But I gave him shit. I mean,
I always wanted to know.

"Tell me about the
war." "John, I can't."

"Come on!" You know? "Tell me
about the war. Come on, Chris!"

(CHUCKLES) You know? And I
always gave him a hard time.

And one day we were at...

a restaurant in Sloane Square

and he had had several
glasses of wine

and he wasn't tipsy,

but he was a little loose.

And I said, "Chris...

this is the perfect moment.

Tell me about your
war experiences."

He said, "You know I can't."
And I said, "Come on.

Who am I gonna tell, Chris?"
And I kept giving him shit.

And then finally he said,
"John," and he leaned forward.

To be suddenly imposing, he
leaned forward and he said,

"Can you keep a secret?"

So of course, I lean
forward and go, "Yes."

And he said...

"So can I."

SERAFINOWICZ: (AS LEE) 'I
arrived back in London,

'like so many of my generation,
to find that civilian life

'had far less use for me
than the military had.

'With a new blue suit

and half a pound of shrapnel
forever embedded in my buttocks,

'I slowly explored my options

'and ravenously accepted
all invitations to lunch.

'One such invitation came from
my mother's cousin, Nicolo,

'the Italian Ambassador
to Great Britain.

'Amidst my drunken tales
and impersonations,

'Nicolo said simply, "Why don't
you become an actor, Christopher?"

'So, that was that.

'It was immediately apparent
to me that he was right.

'Before I even had
a chance to fail,

'Nicolo arranged a meeting
for me with his friend

'who worked with The
Rank Organisation.'

I suppose if you were
being uncharitable,

you could say that there was
a touch of almost nepotism

involved in Lee's entry
into the film industry.

So, it was all very
easy. But I think...

in the immediate post-war
years, it didn't last very long,

but the British film
industry was at its zenith.

And I think there
was a great hunger,

particularly after the
war, to create new stars.

And so, as a result, Lee
was packed off to the...

to The Rank Charm School,
as it became known.

Which had an expressed...

wish to create British,

and hopefully later, as they
put it, international stars.

'To Worthing we were sent to fill
out the lower half of the cast lists

'of a provincial
repertory theatre.

'And admittedly, many
lessons were learned

'which would shape
me as an actor.

'The first time I trod the
boards was as Roberto the Butler,

'in The Constant Nymph.

'I gave it my all. I
buttled relentlessly.

'More than this, I acted.

'I acted my young heart out.

'When one of the principal characters
cried, I shed a tear with them.

'When one laughed, I laughed too
as if my sides were splitting.

'I responded to every word of
that script as I felt right.

'From my place in the
background, I projected outrage,

'good humour,
surprise, and bonhomie.

'The curtain fell for the interval
and the director took me aside.

'I couldn't tell whether
he was laughing or crying,

'but either way, he left me in
no doubt as to my transgression.

'I had upstaged the
entire production.

'My feelings were terribly hurt,

'and I was greatly embarrassed.

'I was, however, vindicated
when the reviews came in.

'The critics singled me out as
having provided welcome light relief.

'By day in Highbury,

'we learned Stanislavsky's
method of physical action.

'We fenced, we
pranced, we raged,

'and we paraded the old church
hall with books upon our heads.

'Of course, no directors had the
slightest interest in using us

'for more than background
and stand-ins for the talent.

'But this in itself was film set
experience and therefore useful.

'I was 24 when I gave my
first performance on film,

'a kindness extended to me
by director Terence Young,

'who overcame the standard
reason for my rejection,

'the issue of my height,
by keeping me seated.

'The film was
Corridor of Mirrors.

'I had one line and it was a
withering barb against the lead.'

Take a look. Standing in
the entrance, Lord Byron.

'To some degree, in that
moment, my die was cast.

'The nucleus of my celluloid id,

'upper class, educated,
loquacious, and disdainful.

'Soon after, Rank decided
to give its company of youth

'an accelerant boost.

'Rather than scattering us in small
roles across its bigger releases,

'it would give us all big
roles in our own tiny release.

'It was, of course,
a horrible idea.

'None of us were nearly ready
enough to carry an entire feature

'and, had it not been compulsory
to attend the premiere

'on the Tottenham Court Road,

'I'm sure all of us would have
preferred to be elsewhere.

'It was, however, my first time
in the role of chief antagonist,

'the bad guy.

'Sadly, the only thing more
diabolical than my character's intent

'was the performance of
the actor inhabiting it.

(OVERLAPPING SINGING
'GOOD KING WENCESLAS')

'Such was the British film
industry in those days

'that even this early on
I was at least working,

'and my star was
arguably rising.

'Scott of the Antarctic
was a generously-budgeted

'Ealing production.

'It starred John Mills as
the legendary explorer,

'and I was one of
his ill-fated team.

'Not unlike the
explorer I portrayed,

'I would also shortly
be out in the cold.'

I'm afraid that's it, Sir.

'I was told by my benefactors
at Rank that I was too tall

'and too foreign-looking
to be a film star,

'and I was out on my ear.

'My 1950s would be a mixed
bag of quite small roles

'in quite big films.

'But then there were also the
small roles in small films.

'And then there were
the uncredited roles.'

These years were not
without their high points.

'I parried with Errol Flynn.'

LANDIS: He was
quite a good fencer.

Although how many people have told
you when Chris would go like this,

he'd say, and he'd point
at his damaged finger

and he'd say, "Errol
Flynn did that to me."

Which he did in a duel
in some movie. (CHUCKLES)

Errol Flynn, you know...
was not an excellent fencer.

But these were not roles that
I could... (CLEARS THROAT)

get my teeth into.

It was a living,
and it was work.

The notion of film acting,
especially in Britain at that time,

as being in any way glamorous or
indicative of a luxurious lifestyle,

is entirely false.

Back then, maybe still
today, I don't know,

there's a slight whiff of
disreputability, if that's a word,

clung to the acting thing.

I think there was a bit of him
saying, "I suppose you think

I'm not worthwhile because
I'm just an actor." You know?

Which of course that's reversed
much now, where you know,

you get a lot of people
go, "Oh gosh, actors."

(CHUCKLES) "They're
really exciting people."

But in my father's day, there was
a bit of snootiness about actors.

Of course, he always told the story
that when he went to his mother

and announced his intention to
become an actor, and she literally,

in a very actressy way, she
struck a melodramatic pose

and possibly, you know, the back
of the hand to the forehead,

and said, "An actor.

Oh, Christopher, just think of all
the appalling people you'll meet!"

'It was work.

'It was work, which
I generally enjoyed

'and work in which I became
increasingly proficient.

'But it was 9:00am to 6:20pm.

'with a 15-minute tea break
and one hour for lunch.

'It was a job.

'And seven years on a job
without notable progression

'would be frustrating
to anybody.

'But it was not just my lack of
progress which frustrated me.'

I really wanted to sing.

(SINGING MOZART'S 'THE ABDUCTION
FROM THE SERAGLIO' IN GERMAN)

My love for opera had blossomed.

And with my film
career barely advanced

in the best part of a decade,

I petitioned a professor at the
Royal College of Music for help.

Too tall, too foreign-looking,
and now, too old.

My dream was dead,

dead, dead.

But that was, I
suppose, alright,

death was calling me
to another destiny.

It was almost time for me to be
death's emissary in modern cinema.

Now, to understand the
story of my Dracula,

you have to understand
the story of Hammer.

'Hammer was a film production
company which, by the mid-50s',

'had been around
some two decades.

'It had been established by
the comedian William Hines

'in the early '30s, a name for
his stage persona Will Hammer.'

Post-war, Hammer
Film Productions

were devoted to second features.

Yes, what would previously have
been called Quota Quickies.

They began, really, with
very forward thinking.

They began by adapting already
popular BBC radio subjects.

But in among all that,
they also got together

with an American producer
called Robert Lippert,

and they started
making second features

that were aimed, quite specifically,
at the American market.

Robert Lippert would send
over fading American actors,

and they would be
leads in the pictures,

which would allow
a sale in America.

And so, there was a whole series
of pictures that Hammer had done,

which are, you know, not bad
pictures but not exemplary.

But they didn't make
much of a splash.

Curious little films,

which nowadays are very often
identified as Neo-noirs.

To some degree they were
certainly were that.

But of course, the
question mark was,

how long could you
continue in that vein?

They needed a kind of
new hook, a new formula.

And well, it came
along in the mid-'50s.

'Hammer was always in
search of that golden goose,

'which they eventually found

'when they turned their
hand to the macabre.

'Having adapted the BBC's
Quatermass Xperiment

'to film in 1955, it
became very evident

'that scary films might be
where their fortune lay.'

(DRAMATIC MUSIC) (SCREAMS)

'What better subject
matter to begin with

'than that of Baron
Frankenstein and his creature?

'Peter Cushing was cast in
the lead role as Frankenstein,

'but who was to
play his creature?

'Where might they find
a tall, odd-looking soul

'with the chops to
pull off such a role?

'Oh, yes!'

RIGBY: In the case of Lee, they had
a man for The Curse of Frankenstein,

who fulfilled the
basic casting brief,

which was a very tall
man with a knowledge of

and skill in movement and mime.

And, uh... And that was
Lee to a T, if you like.

'Now, I did not go
into this lightly.

'I was aware of the greatest risk
of becoming a monster player.

'That of typecasting.

'My dear friend, Boris Karloff,

'argued that to be a type was
to always be in employment.

'And considering his quarter century
in the wilderness as an actor,

'he really was qualified
to talk on the matter.

'He had acted in over 80 films
before his performance as the monster

'for Universal Pictures launched
him into the stratosphere.

'Crucially, he was also
tall and foreign-looking.

'So, I took the role.

'I wouldn't say it did the same
for me as it did for Boris,

'but it was a
satisfying experience

'and the film performed
remarkably well.'

Hammer didn't really
have an identity

until The Curse of Frankenstein,

where it said, "A
Hammer Film Production."

And we remembered that and
that became... a calling card.

What's interesting is that
it's a very well made movie.

He played it like somebody
with a... with a damaged brain.

It was described in
the British press

as looking like a road accident,
which is not entirely untrue.

It's a strange effect that
he had as the creature

because he looked so hideous
and yet there was a sort of-

there was a kind of
forlorn quality about him.

In part because of that,

but also because he was just
such a remarkable physical actor.

He was very sympathetic,
although he was really terrifying

and I had nightmares
for a long time.

'Yes, it courted controversy
with its violence and gore,

'but this was tempered by a
favourable critical response.'

And it really put Hammer Films
on the map internationally

because it was a huge hit, even
though it didn't cost a great deal.

But it looked good and the
acting was obviously top-notch

because they had British players
and nobody made fun of it,

nobody sent it up.

It was all done
completely straight

and that made it
even more compelling.

FILM NARRATOR: His unwilling
collaborator was Paul Krempe.

I can't prove you murdered him.

But I can stop you
using his brain.

Why? He has no
further use for it.

Don't be a fool! Be careful!

You'll damage it!

Only two women ever
entered this house of evil.

Elizabeth! Come back!

(DRAMATIC MUSIC)

'Did this lead to my
most iconic casting?

'Actually, no. At
least, not directly.'

SERAFINOWICZ: (AS LEE) 'Following
Frankenstein, I scored a plum role

'in a lavish remake of
A Tale of Two Cities.

'This was a big movie.'

FILM NARRATOR: Betty
Box and Ralph Thomas,

whose names have been
associated with the very best

in film entertainment
for almost a decade,

have turned to the
ever-popular works

of Charles Dickens for
their latest, greatest film.

'I was to share the screen
with the likes of Dirk Bogarde

'and several legends whose fame
has sadly dimmed through the years.

'My role was that of villain,

'the Marquis St. Evremonde,

'a nasty piece of work, a
cruel, sneering aristocrat.'

(DRAMATIC MUSIC)

'This film was
also well-received

'and finally broke the reticence
on the part of the studios

'to trust me with more
significant roles.

'With my monstrous and aristocratic
credentials so well-established,

'I was finally an
obvious candidate

'for that delicious title
role to come my way.

'Eight minutes.

'Just eight minutes, and my
life was changed forever.

'My total screen time in the
whole of that first Dracula movie

'was just eight minutes.'

FILM NARRATOR: This is
the story of Dracula.

A creature who destroys
all whom he touches.

(DRAMATIC MUSIC)

Dracula, the
terrifying, the feared,

who sleeps in the tombs
of the dead by day

and arises at night
to inflict his terror

upon the innocent
and the unsuspecting.

(DRAMATIC MUSIC STING)

It was really the Dracula
movie that I think...

made him a household word.

Even though he's
not in it that much,

he hung over it
like a shroud and...

made an incredible impression.

I love his entrance

'cause you just cut to the stairs
and he comes down the stairs.

He says, "I am Dracula. I
welcome you to my house."

And it's so great!

Wonderful! I mean,
he's just, wow.

It's, you know- Do you ever
hear him talk about it?

"You have to bring the fire."

'I was recognised
everywhere I went,

'and it was a
certain type of fame.

'I don't say this out
of pride or vanity,

'but I had become
somewhat iconic.

'Meaning that, to some degree,

'it wouldn't matter what I now
went on to do with my life.

'Indeed, had I retired from
acting in that very moment,

'I would still, for
the rest of my life,

'have been recognised
on a daily basis as...'

FILM NARRATOR: Dracula! Bedevilled
master of all that is evil.

(DRAMATIC MUSIC)

When that film came out in
the summer of 1958, you know,

the impact was enormous.

He's suddenly appearing
in the fan magazines.

You know, there are lots and
lots of questions about him.

Picturegoer actually heads a
piece about him and calls it,

"Scream Boy? No! Dream
Boy." Because of course,

so many young women were fascinated
by his Dracula, you know?

Because he was an
irredeemable monster,

one of the most evil
Dracula's ever put on film.

But at the same time, of
course, he was extremely sexy.

FILM NARRATOR: How do
you destroy a fiend

who has so far proven
himself indestructible?

Those who come to end
his reign of terror

stay to become his victims.

Hammer suddenly became a...

a place for people to go to
see a certain kind of movie.

And that's not to
belittle the fact that

they were actually making other
kinds of movies at the same time,

but these particular Gothic
movies were especially popular.

'The American premiere
took place in New York

'where Universal threw their
full might behind its release.

'It was my first trip to America,
and I was quite overwhelmed.

'Not just by the city, but
by the clamour of the fans.

'Dear Peter and I damn
near destroyed our wrists

'with all of the
autograph signing.

'By that point, Mr Cushing
and I had become good friends.

'I think the public often
made the mistake of assuming

'that we were rather gloomy
people, 'humourless and severe.

'But nothing could have
been further from the truth.

'From the day we
met, Peter and I,

'more than anything
else, laughed.'

But we also did a lot
of this kind of thing...

(DRAMATIC MUSIC)
(BOTH GRUNTING)

(GROANS)

(DRAMATIC MUSIC BUILDING)

(SCREAMS)

(SCREAMS)

He and Chris became a kind of...

a kind of a couple in
the sense that they would

often end up in the
same picture together.

I think, I can't remember, 17, how
many pictures they did together.

But they were like Laurel
and Hardy, you know?

They were just-You would seldom
see one without the other.

They were like chalk and cheese.

Very different, different styles of
acting, different ways of acting,

and obviously totally
different characters,

but it just gelled, you know?

The whole thing with them gelled

and they had huge
respect for each other.

They always brought
total conviction

to whatever crap they were in.

So, if they're in a terrible
movie, they're still good.

You know? They're still good.

Do you know what
they used to do?

They loved Looney
Tunes cartoons.

Peter and Chris, and they'd get
together and watch, you know,

Bugs Bunny, Daffy Duck, and
all the classic Looney Tunes,

and they really knew
them. You could-

I was on a phone call
with the two of them

and they did like the whole
thing of "What's Opera, Doc?"

It was amazing.

'In some ways, Hammer
became a family to me,

'replete with all the
eccentricities, bickering,

'resentments and frustration,

'but also a warm, encouraging,
and friendly bunch.'

They tended to have the
same crews, you know?

They tended to have the
same DPs and the same...

makeup and hairdressers,

and so it was a nice
kind of continuity to it.

And all the crews knew each other
so they worked so well together.

And Hammer made a
lot of-not a lot,

but Hammer made a
number of good films.

And they had tremendous
success with a lot of stuff.

'I worked for other studios
during this period also.

'I was in some demand, but my
path was laid out for me now.

'I would be successful,
but I would be... sleazy.

'Any notion of romantic leads or
matinee heroes was behind me now.

'I had given the public and
the studios what they wanted,

'and that would be all
they required from me.

'Which is not to say there
was no room for manoeuvre,

'for, as I discovered, there
are so many types of sleazebag.

'Considering the limitation placed
on me that I always be wicked,

'I was rather pleased
with my range and breadth.

'Later on in the '60s, I
befriended Vincent Price.

'Vincent had established
himself as a gentleman of horror

'long before I came along.

'And when I did come
along, along with me,

'came for him the daily indignity
of being recognised as me.

'People would stop him
in the street and say,

"Mr Lee, might I
have your autograph?"

'But Vincent was so much
more than a horror star.

'He gave lectures on painting,
sculpture, and cookery.

'At the height of his success,

'he had a job on the side as
an art buyer for Sears Roebuck.

'Vincent knew how to enjoy
his work and enjoy his life.

'He enjoyed his public image
and played up to it deliciously,

'but he also took relish
in switching it off.

'I never heard him complain.

'Perhaps the one thing
that I envied him and Peter

'was their ability
to be so comfortable

'with the public's
perception of them.'

I never quite was.

I think for a long
time, horror fans,

particularly horror fans, liked
Christopher Lee the least.

Not because of his performances,

but because of his attitude to his
own performances and to the genre.

He sort of kidded
himself as a result.

In some interviews he actually
said, you know, in the late '60s,

as late as that, he was suggesting
that The Curse of Frankenstein

was the only REAL horror
film he'd been in.

And I think as a result, fans
found him rather ungracious,

which is a bit of an irony

because ungracious
is the one thing

Christopher Lee would never
want to be thought to be.

'And then... there was Gitte.'

(ROMANTIC GUITAR MUSIC)

'She was a painter
and a photographer.

'She modelled for
Balenciaga and Dior,

'and her father was a director for
the Tuborg Brewery in Copenhagen.

'After a couple of
missed opportunities,

'our paths finally crossed, and
entwined they would happily stay

'until the end of my life.

(GUITAR MUSIC CONTINUES)

'My fame at this point was
undoubtedly becoming global

'and when international
filmmakers became aware

'of my ability to speak in
several other languages,

'I found myself in demand.'

This was fortunate, as I
unexpectedly found myself

under attack from a monster

the likes of which Hammer
could never have envisioned.

He left England for Switzerland

as a tax refugee.

He came out with quite a
lot of standard, you know?

Conservative stuff
that it was...

the politics of envy

and this level of
taxation couldn't...

you know, couldn't be
maintained for any longer.

'With appropriate irony, the first
role I was contracted to play

'as a non-domicile was one of
the great fictional Englishman.

'It was my turn to
don the deerstalker

'and interpret
Sherlock Holmes...

'into German.'

(SPEAKING GERMAN)

'Despite my perfectly
adequate German delivery,

'they decided to dub my voice.'

(DUBBED GERMAN VOICE)

'From Germany to Italy.'

(OMINOUS MUSIC)

(FILM NARRATOR
SPEAKING IN FRENCH)

'The Crypt of the Vampire
was shot in Avezzano

'at the Castello de Balsorano.

'The film was good, but
the location, divine.

'I would come to know the
castles of Europe rather well

'as it transpired that many of the
filmmakers who wanted to work with me

'may not have wanted
me to play Dracula,

'but certainly a
derivative thereof.'

Going to Europe in 1962 was a
very good idea because, you know,

the early Hammer horror films and
the other British horror films

that grew up around Hammer were
enormously venerated in France

and also had made a
huge impact in Italy.

He's in all these German and French
and Spanish movies, Italian movies,

where they're not movies
we even know about

because they were never
dubbed into English

and he's speaking French or
Italian or German or Spanish.

They are quite interesting because
they're all fractured versions

of the persona that he first
showed in the Hammer films.

Italy, of course, was an industry
that would always go for what was

the now thing and how can we
produce our own version of it.

Well, one very good way to produce
it was to get Christopher Lee in.

So, you know, there he was
by the shores of Lake Geneva

during his Swiss exile, and he was
constantly popping down to Italy.

Italy was a perfect place.

There were wonderful
locations, et cetera.

And who was the number one
star in horror pictures?

Christopher Lee.

So, I reached out
for Christopher

and when I met him, we
just became fast friends.

And I... raised some money

and put together
the first budget

for Castle of the Living Dead.

And that's how it happened.

FILM NARRATOR: The Castle
of the Living Dead.

In an atmosphere of horror,

the story of a man who violates the
forbidden frontiers of science...

to arrive at a frightful
but lucid madness

and atrocious inhuman crime.

Starring the unforgettable
creator of Dracula.

'The great joys of my experience
in Europe, were my partnerships

with the Italian director Mario
Bava and the Spanish Jess Franco.

He made quite a few
pictures with Jess Franco,

who obviously he must have
respected and liked on some level.

Very few of them are at the
top of the heap of the movies

that he would wanna
be remembered for.

But interestingly,

he changed his mind about
doing a Dracula picture

because he did one for Jess.

MAN: And, action!

(WHIRRING OMINOUS MUSIC)

The idea was that this was going
to be 'the' Dracula picture,

based on the book, which
was always a bugaboo of his,

is how few things from the
book ended up in these movies.

And it was another
thread-bearer kind of a movie.

Although Pere Portobella made a
really interesting documentary

about the making of that movie,

which is actually much more
interesting than the movie itself.

(EERIE MUSIC STING)

(EERIE MUSIC STING)

'To the continental filmmakers,

'sex and death went hand-in-hand

'along with pain and pleasure.

'Accusations of downright perversity
were levelled at some of these films,

'but it was merely
the European way.

'Their art and literature
have been infused with sex

'as far back as
can be remembered.

'My films from this time have
a distinctly different feel.

'Sometimes dreamy,
delirious, or demented,

'it was a heady and
creative time for me.'

MAN: A film of mystery!
A film of thrill!

A film of terror!

He made some amazing films,

and he was delighted to be working
in particular with Mario Bava.

But I think he was very aware
that this was really just...

a continuation, if you like, of
what he called his graveyard period,

because he was very much looked
upon as a Gothic personage.

SERAFINOWICZ: (AS LEE) 'On
the 22nd of November 1963,

'Gitte gave birth to our
wonderful daughter, Christina.

'We were now a family.

'The idea of leaving them, for
even a small amount of time,

'filled me with anxiety.

'Death started to mean
something different to me.

'For the first time,
I truly feared it.

'For the idea of not living to
see Christina bloom and conquer

'was unimaginably painful.'

The charms of Switzerland
had worn off by now

and taxman be damned, we
just wanted to be home.

So, we returned to
London and took a flat

a stone's throw from Mr Karloff.

My career had gone
international,

yet I didn't seem to
have moved a step.

The allowance of days that
I was given as a tax exile

by the government to work in
the UK had all gone to Hammer

and my return made me feel as if
perhaps, I had never even left.

But then a new
character beckoned me.

And although he certainly
was of the shadows,

it was as far from typecasting
as I could reasonably hope.

'I was not the first to bring
the evil Dr Fu Manchu to screen.

'Seven screen Fus
had preceded me,

'including a memorable
turn by Boris.

'It is perhaps unimaginable
that such a film be made today,

'not just the racial
characterisations,

'but the very fact that the
main role, a Chinese man,

'be played by a
Caucasian Englishman.

'I can only say that I
have never played Fu Manchu

'in any way that the Chinese
could find offensive.

'However, I can understand
their objection to the character

'being referred to as
'the Yellow Peril'.

'I played Fu over the
course of five films

'and very much following the
pattern of my involvement

'with the Hammer Dracula series,

'it was a case of steadily
diminishing returns.

'In fact, these two franchises,
in the modern parlance,

'overlapped throughout
my 1960s and '70s.'

(THUNDER RUMBLES)
(DRAMATIC MUSIC)

(BAT SCREECHING)

(WOMAN WHIMPERING)

DANTE: Hammer, which was not exactly
in the business of making art,

decided that this was a vein
that they wanted to mine.

And so, they ended up...

essentially remaking those
pictures like seven, eight times,

and they ended up doing kind of
the same thing that Universal did,

which is sort of running it
into the ground after a while.

There was always less of Dracula
in every one of the movies

until you get to Taste the Blood of
Dracula, which is not a bad movie,

it looks like it was
conceived without Dracula.

And indeed, it had been. (CHUCKLES)
"No, we're not gonna have to."

But Warner Brothers, the distributor
said, "We can't distribute

this picture without Christopher
Lee. It's a Dracula movie!"

There's a couple of real
shit Hammers that he's in

that he gives you
this long story about.

Someone calls him and says...

"Chris, you have to come,
you have to be Dracula

because the movie's cast,
we've committed the money.

Everyone, the
carpenters, you know,

all the group, the
family, you know,

it'll fall apart if
you don't do it."

You know they used to guilt
him into these things.

He never gave less than his all.

I mean, he was always
good in the movies.

He did the best job he could.

But I think that he felt after a
while he was just wasting his time

and that he was sort
of sullying whatever...

name value he may have.

He had that ambivalence
towards the role of Dracula.

It had got him where he was,
it had got him recognition,

but it also was the sort of thing
that he could never leave behind

and that so many people
thought was all he could do.

You know, I got him to
sign a poster for me once.

I only got him to
sign one poster

and it was a poster for
Taste the Blood of Dracula.

He grumbled a bit when
I asked him to sign it

and the message he
wrote on it was,

"Dear Peter, this is
from another life."

You know? He regarded that as
being something that was...

He did but he wanted
to move on from that.

And, you know,
personally speaking,

I think the balance, he could've
got the balance a bit better

where he moved on, but not...

not to the point that he somehow

came across as being
ashamed of those films.

'Cause he had nothing
whatsoever to be ashamed about.

He was absolutely
the king of his...

of all he surveyed
really, in that niche.

But he wasn't
satisfied with that.

It's an interesting conundrum

but I think it's a lot
to do with, you know,

his ancestry where great
things were expected of him

and here he was
playing monsters.

Both of us had the same degree
of a certain lack of confidence,

which did come from
our family, I think,

because my grandmother
could be very withering.

I don't know. Not
withering about acting.

In fact, acting was the one
thing that we made our family

proud about, funnily enough.
It was everything else you were

that felt a bit sort of, "I'm
not quite up to scratch."

And I can't define it

and I'd love to have sat down
and talked to him about it.

But it's just a sort of... aura
in the family of sort of...

There's a threat of ridicule
somewhere in the atmosphere.

Here's the funny thing,
he loved playing Dracula.

When you're that good
at playing a part,

and when you have such
command of the screen,

and you can make such an
impact in such a short time,

of course you're going to
love playing that part.

'Hollywood finally came calling,

'and although this time it
would be upon British soil,

'I would actually be
working very closely

'with a certified legendary
Hollywood director.

'Billy Wilder had decided to
make a Sherlock Holmes film.

'He, quite correctly,
saw me as Mycroft,

'Holmes' arguably more
clever, older brother.'

Am I going too fast with
the best brain in England?

Go on.

They planted that on you
quite neatly, I must admit,

so that you could lead them to
their objective, the air pump.

Very much like using a
hog to find truffles.

'It had taken me 23
years and over 100 films

'before I was to have such a
thoroughly satisfying experience.'

Oh, charming!

Chris was very proud
of Mycroft Holmes,

but what he was proud of

was, although he's
wonderful in the movie,

but he was proud of being
employed by Billy Wilder.

That's what was, you know?

That's what was... "I'm being-
I'm with one of the greats."

The early to mid-70s'
were to offer me two roles

which could hold their own in the
iconic stakes against old Dracula.

Finally, I was to go up against
Britain's finest secret agent.

But before we go into that.

It is time to keep your
appointment with the Wicker Man.

'Now, I've never been
shy about proclaiming

'this as my favourite of all
the films I've appeared in.

'There are many
reasons for this.

'Firstly, it's a brilliant
story, expertly told.'

You can't land here
without written permission!

I, as you can see,
am a police officer.

A complaint has been registered

by a resident of this
island of a missing child!

Now that makes it
a police matter,

private property or not!

Now, will you send
a dingy, please?

(QUIETLY) Need to
tell his lordship.

'The great playwright
Anthony Shaffer found a novel

'in which he saw a kernel of
a story which intrigued him.

'We bought the rights,
and he made it his own.'

(CLOCK TICKING)

(FLUTE MUSIC)

Good afternoon, Sergeant Howie.

I trust the sight of the
young people refreshes you.

No, Sir.

It does not refresh me.

Oh, I'm sorry.

One should always be open to
the regenerative influences.

'He conceived of the role
of Lord Summerisle for me.

'I assure you that this is an
extreme rarity in the business.

'To have a part not
just handed to you,

'but inspired by you
is a rare moment,

'especially one this good!'

In that case, you must go ahead.

The Wicker Man really drew
from a lot of his past

as a horror icon...

because The Wicker Man is
unquestionably a horror film.

And at the heart
of it, of course,

you've got Lee playing,
you know, the laird

who lives in the castle
at the top of the hill,

to whom the unsuspecting innocent
person has to travel by coach.

Is this reminding you
of anybody? You know.

It's a very clever
manipulation of his image.

And I think to a degree,
Lee was aware of that,

but he was aware that in
manipulating his image like that

Shaffer had given him
some beautiful dialogue

and a marvellously
ambiguous character to play.

What my grandfather had
started out of expediency,

my father continued
out of... love.

He brought me up the same way.

To reverence the
music and the drama

and the rituals of the old gods.

To love nature and to fear it.

And to rely on it and to
appease it when necessary.

He brought me up- He brought
you up to be a pagan!

A heathen, conceivably,

but not, I hope, an
unenlightened one.

SERAFINOWICZ: (AS LEE) 'How
different could two film shoots be?

'From the grey wind-swept
hills of coastal Scotland

'to the sun-drenched
beaches of Thailand?

'Famously, the 007 films were
lavish Pan Global productions,

'which shot for months with a
travelling team of hundreds.

'The producers were Cubby
Broccoli and Harry Saltzman,

'by now millionaires
many times over

'thanks to their shrewd licencing
of my cousin Ian Fleming's books.

'Oh, yes, Ian and I
were quite the pair.

'I've heard talk that certain
elements of the James Bond character

'were in fact based upon me
and my own wartime experiences.

'But of course, I couldn't
possibly comment on such matters.

'Sadly, by now, Ian was dead

'and never did get to see me
play one of his characters.

'But here I was now squaring
off against Roger Moore,

'and what a match we made.'

You live well, Scaramanga.

At a million dollars a contract,
I can afford to Mr Bond.

You work for peanuts.

A hearty, "Well done"
from Her Majesty the Queen

and a pittance of a pension.

Apart from that,
we are the same.

To us, Mr Bond.

We are the best.

He was kind of thrilled to be
The Man with the Golden Gun...

because it was a big Hollywood
international production

and Cubby Broccoli
and, you know,

it was the biggest thing going and
he was delighted to be in that.

And I would say,

"Chris, it was the third nipple
you're delighted by, isn't it?"

(IMITATING LEE) "What
are you talking about?"

(CHUCKLES) He was
pretty easy to tease.

'My performance has
regularly been singled out

'as one of the
better Bond villains,

'and that is a compliment
I don't take lightly.

'My star had risen.
I had arrived.'

I think the first time he ever got
ever any kind of nice treatment

by the critics in the UK was
The Man with the Golden Gun.

He was a very sensitive
man and he'd been, really,

cruelly treated by the critics
and everything for years.

There's a little, little
touch of bad luck even here

because finally Christopher
is playing a Bond villain

and he's being, to my mind, one
of the very best Bond villains,

but he's in a Bond
film that is...

(GROANS) ..a bit
of a curate's egg.

You know, I mean, look,

by comparison to most of
Christopher Lee's films,

The Man with the Golden Gun
made squillions of dollars.

But by comparison to the other
James Bond films up to that time,

it was a little bit of a damp
squib, even commercially.

So, you know, there were these-
these little touches of bad luck

sort of drop through even
at the moments of zenith.

But maybe-maybe that's, you know,
the actor's lot in many ways.

On my return to Britain,
all that awaited me

were more dismal deaths
in dank dungeons.

And to be honest,
not so many of those

since Hammer was
in steep decline.

'In our mutual interest,
I had picked up the rights

'to some of Dennis Wheatley's
literary properties

'and hoped to motivate Hammer into
action on a more modern type of film,

'which might compete with
the likes of The Exorcist.'

(SCREAMING)

'Well, they dragged their feet,
but eventually got it made.

'A tepid adaptation
which angered Wheatley.'

(OMINOUS MUSIC)

(SCREAMS)

(WIND WHISTLING)

'It would be my last
film for Hammer,

the end of an era.

'They had managed to snare
Richard Widmark as leading man,

and he joined the
Transatlantic Chorus,

'started a decade ago by Billy
Wilder and finally convinced me

'that it was time to up sticks
and move, lock stock to America.'

America, where I was
appreciated, respected,

and where Hollywood
seemed ripe with promise.

He had a decent life here.

It wasn't...

a life of discotheques
and things like that.

It was a life of work

because he did work quite a bit

when he came to Hollywood.

It was a very fruitful
period for Christopher.

It really was.

He loved being in Hollywood
and he was working.

He got to work with Jack
Lemmon and Lee Grant, you know?

Real actors and real
Hollywood stars,

and he really enjoyed it.

'My first film was a
huge movie for Universal,

'Airport 77.

'The Airport films were the
original and finest exponents

'of the very popular, new
'disaster movie' genre.

'The format was
simple and effective.

'A large cast of popular
celebrities, old and new,

'are thrust into a
cataclysmic situation.

'The fun of these films was
the absolute unpredictability

'as to who would survive
and who would die.

'I would be sharing the screen
and the first-class lounge

'with Jack Lemmon,
Olivia de Haviland,

'Joseph Cotton,
and Jimmy Stewart.

'To absolutely nobody
in the world's surprise,

'I died.

'But it was a good death,

'a hero's death, a new death.

'I had to train for a week in
a water tank to accomplish it.

'And upon completion,
I received an award

'more meaningful to
me than an Oscar.

'The hallowed Stunt
Team belt buckle,

'a recognition that
you were one of them.

This is a good start! I mean,

it's a slightly silly disaster film
of the period, but nevertheless

it's a big thing. But because of
Christopher's workaholic tendencies,

the next thing he does
involves going to Canada

to appear in something
called Starship Invasions.

(CHUCKLES) Um...

And you know that film is an
embarrassment on many levels.

However, there are some wonderful
things happening for him in the USA.

He goes over to NYC
to be guest host

on Saturday Night
Live in March 1978.

'I had a wonderful time but was
grateful to learn after the fact,

'that the audience viewing figures
were as high as 35 million.

'By far my largest audience for
anything I had ever previously done.

'Had I known such a
figure before taking part,

'I'd have been a babbling fool.

'My appearance, seen by really
everyone who was anyone,

'announced to the American film
and TV industry that I was alive,

'that I was available,
and that I was perhaps

'more versatile than they
might have expected.'

Having shown America
my capacity for humour,

the phone started ringing

and one of those calls
was from Steven Spielberg.

'His next film was
to be a comedy.

'Set around the confusion
in the immediate aftermath

'of the bombing of Pearl
Harbour. It would see me paired

'with the legendary Japanese
actor, Toshiro Mifune.

'I played a German
U-boat captain,

'speaking entirely in
the German language.

'Mifune played my
begrudging partner,

'a Japanese submarine commander

'who spoke entirely in,
of course, Japanese.

'Now, the joke was that we
railed against one another

'in our mother tongues but could
understand each other perfectly.

'And therein lies the problem.

'It's not a particularly
funny concept.

'True to its subject
matter, the movie bombed.

'Serial was a very
modern satire of life

'for the Baby Boomers
in 1970s San Francisco.

'I played Luckman,
a local businessman,

'respected and successful,
who, on weekends,

'donned leathers
and became Skull,

'fearsome leader of the local
homosexual motorcycle gang.'

♪ Might I say that
I'm old-fashioned... ♪

(SINGS IN FRENCH)

'My run of strange and
wonderful pictures continued

'with a jaunt to Australia to film
The Return of Captain Invincible.

'I was firmly back in mad
fascistic villain territory,

'but the rest of the
film was truly bizarre.'

I built a fish! Hit the dirt!

'Only Captain
Invincible can stop me,

if he can kick his
addiction to the booze.'

♪ If you don't name your poison

♪ I'll have to get the boys in

♪ The spirit of adventure
opens one's eyes

♪ If you don't
name your poison...

'To finally sing on film,

'do you think I might have
been enjoying myself?'

♪ Sunrise ♪

There's no one that is in any
doubt of how versatile he was

and the fact he was capable
of other things. You know?

But I think a lot of the movies
he made from the 1970s onwards

were really a reaction
of getting as far away

from those horror movies

as he possibly could.

Christopher was very
keen on playing,

as he called them, Short roles.

He didn't carry a film.

He punctuated a film

in an enormously exciting
and brilliant way.

But he punctuated stories
rather than carrying them.

Short roles enabled him to go

from film to film,
to film, to film,

sometimes to make multiple
films at the same time.

'My antagonistic services
became very much in demand.

'Now, admittedly, not all of
the roles I played were in

'what one might consider
premium quality productions.'

I wouldn't hesitate to shoot
this young lady, you know?

As you can hear, I don't
have very much choice.

(SIRENS IN DISTANCE)

That's better. Easy does it.

(DOG BARKING)

(GASPING)

I would say maybe half
the movies that he made

are more or less forgettable.

And he once said to
me that he pitied me

because I had seen so
many of his movies.

I think he had
such a hunger to...

to keep doing things,

such a curiosity
about doing things.

He didn't always say, "Is there
any artistic merit in this?"

He didn't wanna be left out.

He just... He just felt that,

"The next one is gonna be the...

a better one."

I think he just took the
rough with the smooth

all the way through his career.

And things didn't quite work
out how he always wanted them

to work out, you know? He
put that in perspective

with his wartime
experiences and so what?

SERAFINOWICZ: (AS LEE) We had
spent almost a decade in America,

and I had somewhat
stretched my wings there,

but life, as it will, conspired
to bring me back home.

'I was in Las Vegas
shooting the movie Jocks

'when I felt quite unwell.

'I was getting tired very easily and
walking became quite exhausting.'

(HEARTBEAT THUMPING)

(OMINOUS MUSIC)

'I went to see a doctor.

'She told me that my mitral
valve in my left ventricle

'wasn't closing correctly.

'In that moment, I realised
that, quite literally,

'my heart was no longer in it.

'Our departure was swift.

'Back in London I
took to Harley Street,

'province of the
private clinician,

'where, at great expense,

'I was pricked and prodded
and invaded and examined,

'and the decision was taken
that surgery was essential.

'I campaigned against one of
those new-fangled plastic valves

'as I had heard terrifying
tales of recipients of such

'dropping dead mid-sentence.

'As an aspirational raconteur and
a connoisseur of the act of death,

'I could think of no
worse way to expire.

'So, they offered me
the valve of a pig,

'which I gladly accepted.

'In the moment, however, they
decided to mend rather than replace.

'So much of my life had been
spent as a purveyor of fear,

'terror, darkness, and blood.

'Here I was now at their mercy.

'I was scared.

'I wrote letters to
Gitte and Christina

'should the worst happen, and then
as I waited for the hour to come,

'I took comfort in that which
has always given me comfort.

'I first read The Lord of
the Rings upon publication.

'All three volumes were released
in quite quick succession

'within a year or so, and
I absolutely devoured them.

'I was obsessed to the degree
that I read the full trilogy

'every single year for
the rest of my life.

'I met Tolkien in the
'50s quite by chance.

'I was in Oxford with friends.

'We were drinking merrily
in the Eagle and Child Pub

#when the door opened
and in he walked.

'You see, I recognised him from
his photograph on the dust jacket.

'In he came and somehow, he joined
our group for a couple of ales.

'All I could say
was, "How do you do?"

'That is it, all I could manage.

'I had so many questions for
him I didn't know where to start

'and really didn't know
how it might end up.

'So, I just smiled and nodded
and enjoyed his presence.

'I enjoyed being in his
presence and I have no regrets.

'I could well have scared him
away or upset or annoyed him

'and that I would've
regretted to this day.

'No, it was quite alright
just to have been around him.

'It is a very good memory.

'So, before my operation
and in my sick bed

'and during my recuperation,

'I mentally transported
myself to Middle Earth.

'And The Fellowship with all
of their goodness and decency,

'played a role in my
recovery and recover I did.

'My return to London also
marked a return to old friends.

'House of the Long Shadows,

'really more of a
Gothic chamber piece

'with the occasional unfortunate
demise and a risible ending.

'This project would see
me reunited on screen,

'not just with Peter,
but also Vincent.

'Who could say no
to a family reunion?

They were such gentlemen.
You know, so respectful

of each other's talent and...

and of all the crew.

And modest, all very
modest, about their talent.

'Cause they are, yes, as we
said, the Holy Trinity of Horror.

'I was the youngest of
the trio by a decade.

'Vincent was the
youngest in spirit.

'But it was clear that
Peter was winding down.

'Peter, if we're truthful,
had been winding down

'since the death of his beloved
wife, Helen, a decade earlier.

'He never recovered. Had no
desire to recover, you see.

'From the moment he lost her,

'he was just passing time until
they could be reunited in death.

'He kept busy.

'He had a huge success
appearing in Star Wars,

'but I don't think he cared.

'He cared about being professional
and giving a great performance.

'He just didn't care
about his standing

'or the acclaim or the money.

'He lived a quiet life in
Whitstable, by the sea there.

'He painted his miniatures,
and he passed the time.

'Ultimately, he waited 23 years

'until he could
join his dear Helen.

'He was truly a special man,

'and he was my friend.

'His last job was to
narrate a documentary

'about Hammer films with me.'

I was in Cannes for two days - recently.
- Say that louder.

(SHOUTS) I was in Cannes for
two days recently.(LAUGHS)

And everybody gave me a big
welcome. What were you doing there?

Well, talking about
you. That's it for you.

- As usual.
- Yes. And somebody said to me,

(FRENCH ACCENT) "And
how is Mr Cushing?"

(NORMAL VOICE) I
said, "I don't know."

This is happening
all over the world.

People say to me,
"How is Mr Cushing?"

Sometimes they say, "Good
morning, Mr Cushing."

(LAUGHTER)

Sometimes they do that too.
It's either that or Mr Price.

Always. Always.

'We had a wonderful
day together.

'But as we said, goodbye,
I had a premonition.

'I knew it would be the
last time I would see him.

'And it was.'

I did not wind down.

He really loved doing movies.

Not just the movie
itself, the whole process.

From reading the script to
meeting the people at the set,

meeting other actors,
exchanging ideas.

At home, he would be bored.

He would have nothing
to do. He was restless.

He was in a situation in where

he was not getting
any prominent movies.

In other words,
he was getting...

meaningless parts.

The majority of people thought
that he had passed away

'cause he had not been
really in the mainstream.

At the time, I'm talking 1995.

From 1995 maybe to
1998, around that time.

He didn't wanna do
any more horror movies

because he had done
everything already.

There wasn't anything
else to be done.

He thought that he had so much
more to give than just that,

so, he wasn't getting the
type of work that he wanted.

He came to see me playing
at Stratford-on-Avon

in the Royal Shakespeare
Company, and he came afterwards.

Afterwards, he said,
"I'm so jealous of you...

because, you know,
I'd love to have done

some of the great classical
roles on the stage."

He was very, very keen
to play Don Quixote.

I think that would've been a
fantastic part for him, actually.

Can you just see him sitting astride
that knackered old horse, you know?

In his Spanish armour,
tilting at windmills.

The whole idea-I think in a
way that role spoke to him.

'Cause the whole idea of
tilting at windmills, i.e.

at conventional film stardom,

was something that
he understood.

He did have a lot of rejection,

um, which people
don't know about.

And so, you do, you know,

you could spend hours of your day
being sad about where you didn't go.

And he did sometimes
get into that place.

He was jealous.

He was jealous of
certain actors.

He was jealous of Michael Caine.

I said, "Christopher, why are
you jealous of Michael Caine?

Michael is a brilliant actor.
You're a brilliant actor."

He would never give
me the reasons.

He just thought that Michael
Caine got more attention.

At this time, I actually turned
largely to my great hobby of singing

and took a serious stab
at making a go of it.

He did a narration
for Rhapsody of Fire.

That was the first
time that he worked

with a mainstream
heavy metal band.

They were huge. And
they're still huge.

They are pioneers of
Symphonic and Power Metal.

He liked the music because...

it's very similar to
the music that he liked.

He loved Wagner.
And in his opinion,

Wagner and heavy metal
are interconnected.

The music is very powerful,

big stories. So, you know,

that's how he knew about metal.

'I was hooked.

'A few years later, I formed
The Charlemagne Project.

'What would become
two full albums.'

Christopher had worked
before in several albums,

several projects, he
wanted to do some more.

So there is where
we came in, huh?

The project started with

Charlemagne: By the
Sword and the Cross,

and then the second heavy metal
album, which was more heavy,

if that's a phrase.

Now the first album was
more symphonic metal.

♪ Four thousand men
all dead in one day

♪ They would not renounce
their heathen ways... ♪

We first, we did
the symphonic one,

and there are two
generations of fans.

Some loved it because
it was symphonic.

It's light, they like
that. But the more extreme,

the more heavier fans, ah,
they were disappointed.

"Oh, this is not metal!
This is symphonic."

We had to do it heavier.

And also, Sir Christopher
said, "This needs to be one.

This needs to be heavier.

Needs to be much, much heavier!
The music is not powerful enough.

The orchestra, we need more power!"
Remember he said, "More power?"

"You know, I can sing much
louder than that," right?

♪ I shed blood of the Saxon man

♪ I shed the blood
of the Saxon men

♪ I shed the blood
of the Saxon man ♪

But in between the
Charlemagne albums,

he sung heavy metal singles.

You know, we started with the
Heavy Metal Christmas then

Heavy Metal Christmas Two, - with Jingle Hells.
- Oh yeah.

♪ Jingle hell, jingle
hell, jingle all the way

♪ Oh, what fun it is to ride
in a one-horse open sleigh ♪

He actually went number 18 on the-
The American Billboard charts.

On the billboard single - charts in America.
- Number 22,

and then number 22, and then from
the PR of getting to number 22,

he went to number 18 in
the Billboard charts.

It meant that Christopher became
the oldest, now careful here,

recording artist, not
somebody that wrote some music

and all of a sudden,
you know, at 90

his music appears on
the charts, he was 92-

91 and a half years
old when he recorded,

and he became the
oldest performing artist

to have ever charted.

♪ In the name of Jesus
Christo, our lord

♪ On a day on Verden,
no mercy given

♪ Victory for the
chosen people ♪

Every single music
magazine in the world...

started to refer to him
as a heavy metal star.

Right? So, he started

as somebody who
wanted to sing...

and at the end, he was respected

by every single
heavy metal musician.

'One of the founding members
of Black Sabbath, Tony Iommi

'presented me with the Metal
Hammer Golden God award.'

I think it was probably
the most memorable day

that I can remember in
the whole of my life.

He was born again, he felt
the energy of the place.

I remember that we were in the
changing rooms with Tony Iommi

and Sir Christopher,
they were talking.

They had a very long conversation
in the changing room.

Sir Christopher said to him,

"You invented heavy metal,
you are the father of metal."

He said. And Tony Iommi replied,

"No, you were the one that created
heavy metal with your movies,

I was inspired by your movies."

Sir Christopher, "My movies?
The good ones I hope!"

(LAUGHTER) He always said
this, "The good ones I hope!"

By 1998, I was 76-years-old

and it could well
have been assumed

that my most fruitful
years were behind me.

But then, something happened.

Something wonderful and
quite unexpected happened.

I received an invitation to tea

at the Basil Street
Hotel in Knightsbridge.

My hosts there were the
head of Islamic studies

from Cambridge
university, Akbar Ahmed

and his friend, the film
director, Jamil Dehlavi.

They had a question for me.

"What do you know about Jinnah?"

' "Well," I replied.

'"I know that Mohammed Ali
Jinnah was the Baba-e-Qaum,

'forefather of the
nation of Pakistan,

'the state he founded in 1947

'and became the first
Governor General of.

'It was his committed endeavour
to create a separate state

'for Indian Muslims.

'I believe him to have
been an extraordinary man

'of determination
and brilliance.

' "We should like you to
play Jinnah." They replied.

'Jinnah was by far the
most important film I made

in terms of its subject and the great
responsibility I had as an actor.

'I am immensely proud
of this picture.

'I received, really, the
best reviews I've ever had.'

He was reminding you that he
could do these longer parts,

these more conventional
dramatic roles

and he could bring nuance and...

subtlety and, you know,

statesmanship in that particular
instance, playing Jinnah.

He could bring all that to a
role in a more conventional vein.

But you see...

because he'd done
so many short parts,

I don't think casting directors,
very often, saw him that way.

'The film was a smash
hit with the critics

'but barely saw the
inside of a cinema.

'It seems many could not accept
the notion of a white Englishman

'playing such an
important Indian icon.

'It passed largely unseen.'

Had this been the coda
to my career in film,

well, it would have been
a most satisfactory one.

But Jinnah was not the end.

It was the beginning of the end.

And what an end it was to be.

Almost a decade earlier, Vincent had
enjoyed a magical last act revival.

After a decade of films
which were often beneath him,

his final film, his final role,

his final moment on
the silver screen

was a work of great beauty.

'Edward Scissorhands
was an early picture

'from two of cinemas
great artists.

'Tim Burton and Johnny Depp.

'It would be my good fortune
to not only work with them

'but to call them friends.

'Our first picture together
was, Sleepy Hollow.

'Washington Irving's
tale of Ichabod Crane

'and the headless horseman.

'Their creepy but tongue-in-cheek
Gothic style was, of course,

'familiar and pleasing to me
but, unlike the Hammer films,

'there were no corners cut
and quality was paramount.

'I would go on to appear in four
more Depp-Burton collaborations

'and very fine they were too.'

I also found myself cast
in what would go on to be

the two biggest cinematic
franchises in the entire world

for the first decade
of the new millennium.

One of these was already the
biggest franchise in film history.

I would be following
my friend Peter,

to become a villainous antagonist
in a new Star Wars film

under the creator
himself, George Lucas.

'In the original Star
Wars films in the 1970's,

'Lucas had redefined what could
be achieved with special effects.

'But here, at the
dawn of a new century,

'he was pioneering
what could be achieved

'through digital
manipulation of the image.

'To be working on the cutting
edge of technology was a thrill

'but it was also unfamiliar
and disorienting.

'Forget the absence
of other actors,

'oftentimes there
weren't even sets.

'When one acts in
nothing, to nothing,

'well, it was a challenge.

'But to be challenged
is no bad thing.

'My high-point in this trilogy
was my duel with the iconic Yoda.

'A fight that didn't take place

'with a creature
that didn't exist.

(LIGHTSABERS CRACKLING)

(DRAMATIC MUSIC)

Fought well you have,

my old Padawan.

This is just the beginning.

The critics weren't always
kind to these films,

but George Lucas gave me a gift for
which I remain eternally grateful.

The generation of children
who grew up on these movies

have never even heard
of Hammer films.

He unshackled me from my past

and allowed me to be something
completely new to a modern audience.

My resurrection was
becoming a regeneration,

and it was far from over.

Suddenly I was in demand.

'Stephen Polliakoff
wanted me for Glorious 39.

'Martin Scorsese hired me for his
love letter to early cinema, Hugo.'

But the greatest gift was one
which had come from New Zealand.

My whole career, I had dreamt

of appearing in just one film.

He knew that The Lord of
the Rings was being produced

and he always wanted
to play Gandalf.

He read the books every year.
He was very excited about that.

So he said, "Juan, look,

find out on the internet,
put the word out

that I would like to
be in that movie."

Gandalf, Saruman, whatever, as
long as he was in the movie.

Christopher was someone that
we had in mind for Saruman.

Not just because
of his background,

and because I had grown up
loving Christopher Lee's movies.

You know, he was
perfect for that role.

There's no doubt about it. You'd be
hard-pressed to find another actor

that would be better at
bringing Saruman to life.

What surprised us is that it
wasn't just a conversation where

we are trying to persuade
him to, you know,

to do the role that
we wanted him for.

He was super enthusiastic 'cause
he was a huge Tolkien fan.

And then he said, "Well, I'd be
very happy to do Saruman, of course.

This is great." But he says,

"But did you ever
consider me for Gandalf?"

Which we hadn't done,

and it put us on the spot a bit
'cause I said, "Oh, really?"

He said, "Yes. I would much
prefer to play Gandalf, you know?"

And I understand why 'cause
Gandalf was pushing him as an actor

whereas Saruman was
something, you know,

we-everyone knows he could do
Saruman. He's perfect for that.

So, he said, "I prepared
a scene. Can you film me?

I'd like to do Gandalf.
I'd like to show you."

He auditioned for us, which
is the last thing we wanted

Christopher to do, audition
for the role of Gandalf.

He was good as Gandalf,
but... better as Saruman.

And what we actually
ended up realising

is that we had other
possibilities for Gandalf.

You know, there were other
actors that in different ways

could do Gandalf and
we were talking to Ian

and he would be certainly
top of the list.

But there is no other actor we
thought of that could do Saruman.

I mean, Christopher
was our only choice.

When he found out that he
was gonna be in the movie,

it was like a dream
come true to him.

He was a geek. He was a
Lord of the Rings geek.

So that was a dream come true.

'It was an incredibly
demanding shoot,

'requiring four stints of
shooting in New Zealand,

'early starts and long days.

I do remember his very
first day of filming...

was interesting. It was a scene
from Fellowship of the Ring

where Saruman and Gandalf are
walking in the Isengard garden

just talking with each other.
There's just the two of them.

So we were in a local park

in Wellington shooting
that sequence.

I remember part way
through that first day,

um, Ian came up to me

just in between
setups and he said,

"Oh... you might-

you might need to have a
word with Christopher."

And I said, "Really? What? Why?"
I said, "He's going great."

And Ian said, "Christopher's
convinced that he's gonna get fired

at the end of the day. He's
convinced he's doing a terrible job.

He's convinced himself
that you don't like it,

and he's absolutely sure
that he's gonna get fired

when the day's finished." Which
was a terrible thing to hear

when we're only halfway
through a day, so.

I just started to really reassure
Christopher he was doing great.

It was quite a surprising
insecurity about him.

For somebody who'd
done 200, 250 films,

however many he'd done at that
point, over decades of work,

he was still a very
nervous, insecure actor.

It was almost like
it was his first day

on the set of any film ever.

That's the way that he
sort of, he came across.

The first two had come out and
Christopher was great as Saruman.

Everyone loved the character,
and everyone was looking forward

to that third Lord of the Rings
film. But we were struggling

with the edit of it to really make
the best film we possibly could.

And it was very,
very long. I mean...

our first cut of Return to the
King was over four hours long,

and it was just too
long. And so, something-

We had to sort of,
had to condense it.

We had the sequences of him
in The Return of the King,

and we had to take time out,
we looked at them and thought,

"Well, this is really not
advancing the storyline."

It's like clearing up a
loose end from The Two Towers

is how it felt a little
bit, looking at it brutally.

So, a really tough decision was made
that we could delete his appearance

in Return of the King, despite
the fact we'd already shot it.

Chris was terribly
upset about it.

And I remember saying
to him at the time,

"Hello! You're essential
role in Lord of the Rings.

Now you're part of Star Wars!

Relax!" You know? (CHUCKLES)

He was thrilled to be in all
of the new popular movies

that were popular
with, you know?

I mean, the movies, he was
always in popular movies.

Even the Hammer films
were popular pictures,

but they weren't mainstream
popular, like blockbuster popular.

And when you get into
working with George Lucas

and working with Peter Jackson,
I mean, now you're talking about

these are huge budget movies that
are seen by millions of people

in the world over, and
it's the top of the heap.

You really can't get
much higher than that.

And I think he was really thrilled
at that point in his career

to say that, "OK, I did
this. I went from here,

I went from... tiny parts
in swashbuckler movies

in the early '50s to, you know,

the top of the heap in playing
with the most respected directors,

Scorsese included,
in the world."

He was very aware that these
were big name directors,

but he seemed to forget that he was
a big name actor or at any rate,

he had a huge heritage
stretching back several decades,

which is why they wanted him.

But it did constitute
an Indian summer.

SERAFINOWICZ: (AS LEE) The Lord
of the Rings, quite rightly,

won many awards.

And then I started to as well.

'I realised that there comes a
point at which they give you awards

'merely for still being alive.

'I was very moved and
grateful for all of them.

'But there is a none-too-coded
message attached

'to every Lifetime
Achievement Award,

'which suggests that one
might no longer be considered

'the promising newcomer, and that
one's potential might now be spent.

'The Old Pipe and
Slippers Award.'

The knighthood
meant a lot to him.

He was a little disappointed
that it wasn't the Queen.

I think Prince
Charles knighted him,

but... still, it meant a lot.

It meant a lot.

ANNOUNCER: To receive
the honour of knighthood,

Sir Christopher Lee for services
to drama and to charity.

INTERVIEWER: So, what role would
you like to be most remembered for?

Probably Jinnah.

I think that's the
most challenging

and important part
I've ever had.

There have been others, of course.
The Man with the Golden Gun,

and of course in The Lord
of the Rings, Saruman,

and Count Dooku.

What's important
to me is that...

it seems that now I'm known

to every generation,
and after all,

that's what it's all about.

Survival.

Thank you very much
for speaking to us.

So there you have it.
A knight of the realm

but still the King of Horror.

The King of what?

Horror! Don't say
that, dear. I'm not.

But we remember you for- But
I'm not the King of Horror.

I haven't done a horror
film for 34 years.

Can I get you to say - this on camera for me?
- Yes!

And then we can put it straight.

Please don't refer to me
as the King of Horror.

(DRAMATIC MUSIC)

The day before he passed away,
we thought he was coming home.

He was being himself. I
thought he looked good, right?

I thought he was going home.
The doctor said, "He's fine.

He looks good. He looks well."
And that night he said, "Oh!

The Lord of the Rings
is on TV, right?

So, we'll watch The Lord of the
Rings with the nurses, right?

I'll explain to you how the movie
is." Because he loved the movie.

So, he watched that night The
Lord of the Rings with the nurses,

and we went home and we
were already thinking,

"OK, he's coming back."

Then that night,

all of a sudden, I was asleep

and I saw Christina stressed

and saying, "Daddy is gone."

And it was a very-

It actually, it
hit us really hard

because we thought that he-

I actually thought
that he was eternal.

I thought that he would...

he would go past 100.
I really did think so.

So, it was a shock. It was more,

I thought, "Well,
he's in hospital.

He's got some respiratory problems."
But he's always had problems.

He always had things.

But he just passed
away. That was it.

It was peaceful.

He didn't suffer. He
just went to sleep.

I was coming off stage,

got a message from Gitte
on my answering machine.

I had friends in my dressing
room who'd come to have a drink,

and I suddenly burst into tears and
told everyone to leave the room.

I go to London.

Now part of me always has
in the back of my mind,

"I must give Christopher a call."
You know? I'm still not quite-

'Cause London just, somehow when
I'm in London, I get that thing,

"Give Christopher a call"
gets triggered in me.

And so I still haven't
got quite used to the idea

that he's not there anymore.

Knowing him was a...

one of the perks of being
in the movie business.

I miss him greatly.

Christopher was certainly,
certainly one of those people

that was very much a part of me.

Very deeply much a part of me.

I feel...

just gratified that he was
so much part of my life.

And, uh...

he made my life
that much better.

Last time I saw Christopher?

It was about four
months before he died.

I went to visit him in his
flat in Cadogan Square.

I just felt, I don't
know, I got emotional

because he was talking about
dying and I was saying,

"Will you stop it?" You know?

"Jesus, Chris!

I didn't come to see you to
get depressed." You know?

Actually, he became
pretty funny after that.

And that's the last
time I saw him.

I really, I really loved him.

I was delighted and
honoured to know him,

and I miss him terribly.

What really choked me
up was the next day

I looked up something about him

and it said, "Christopher
Lee WAS an actor..."

They changed the 'is'
to 'was' in 24 hours

and that really broke my heart.

Well, there we go.

Our time draws to a close

and the grave
beckons me once more.

I do hope you have
enjoyed this exhumation

as much as I have.

Good evening.

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