A lovely Dublin bookshop had a large collection of second-hand film books, all dealing with British or Hollywood topics — I got The Westmores of Hollywood (from which much classic movie lore and gossip derives), The Celluloid Mistress or The Custard Pie of Dr Caligari, which I don’t yet know how to describe, and The Film HAMLET, which deals with Olivier’s movie in a pretty in-depth way for 1948, and for such a slender volume.
I was taken with the stuff pertaining to Peter Cushing’s Osric (the film features both Cushing and Christopher Lee, though Lee’s role is minute and they never meet onscreen) ~
“Osric, that sinister Beau Brummell of the Danish Court, fell pat into place. Casting our stage production of ‘Born Yesterday,’ in the autumn of 1946, Laurence and I had seen a clutch of young actors for the juvenile lead, among them a striking looking character, Peter Cushing, who stuck in our minds by a frank refusal even to attempt an American accent. Weeks later, watching another actor at the Q Theatre, I was struck by a performance of the Frenchman in ‘Where the Sun Shines,’ so true in style and accent that I looked for a French name on the programme. It was Mr. Cushing, and he speaks no French. Here evidently was an actor, and his test for Osric disposed of the last of our problems on the male side.”
Casting director Anthony Bushell there.
Cushing must have been thrilled, being a great Olivier fan — he admired Larry’s athletic approach, and you can see his emulation of it in the vigorous climaxes of CURSE OF FRANKENSTEIN and DRACULA, and the swashbuckling approach he takes to playing Sherlock Holmes in HOUND OF THE BASKERVILLES. Holmes is constantly exulted by his own intelligence, so that he spends the film on an adrenalin high.
Here’s costume and production designer Roger Furse’s sketch of Osric ~
My late friend Lawrie was an assistant on HAMLET, and described the ghost’s appearance in the opening scene — Olivier had wanted a pounding heart on the soundtrack, like Rouben Mamoulian’s in DR JEKYLL AND MR HYDE (the director recorded his own elevated heartbeat after charging up and down a flight of stairs), so a junior employee was sent racing around the sound stage to get his pulse pounding. A microphone was pressed to his abdomen — “Nothing but indigestion,” reported Lawrie. When you see the film, the role of the heartbeat is played by a big bass drum.
But the cool thing is the way they’ve used an optical printer to make the shot throb in and out of focus each time the infernal heart beats…