Not just a monster, a force in cinema
Lee found success in range of films, TV after early typecasting
Onscreen, Christopher Lee, who died Sunday at 93 of respiratory failure, captured the eternal soul and spirit of Count Dracula in a style that, for some, surpassed that of Bela Lugosi.
Lee, born into an upper- class British family in Westchester, had an up- anddown childhood after his parents divorced, but began to find firmer footing as an intelligence officer in the Royal Air Force during World War II. With a lean, 6- foot- 5 presence and a desire to act since his teenage years, he worked his way into the British film industry, being well suited for adventure and action roles, but usually of a supporting nature. Thus, for the next decade, he was a sub commander, constable, pirate, slave dealer and ship’s captain, even a “spear carrier.” But the images he projected were always memorable, each a bigger step upward into the movie world.
In 1957, Hammer Studios decided that his gaunt features were right for a new surge of monstrous evil in “The Curse of Frankenstein.” Hammer filmmakers Anthony Hinds and Terence Fisher visualized him as more suited for “The Horror of Dracula” ( 1958). No more Frankenstein roles, but his career in horror was earn-
ing money worldwide. Lee shambled as the Mummy, sneered and leered as Fu Manchu, winked an evil eye as Rasputin, and sought revenge as Dr. Sadism. Finally he teamed with Boris Karloff in “Curse of the Crimson Altar” ( 1968). Seven Dracula flicks in all. But he was seldom in the A pictures he so desired.
After making “The Satanic Rites of Dracula” ( 1973), he vowed to play no more monsters. That gave him the opportunity to play Sherlock Holmes on television. He also chose a role he thought was his best ever, but “The Wicker Man” ( 1973) was poorly received and distributed.
I first met Lee in December 1974, when he visited San Francisco to promote “The Man With the Golden Gun,” the James Bond thriller in which he portrayed international assassin Scaramanga, a definite step upward in quality of roles. Sitting across the luncheon table from me, he pulled his golden weapon, pointed it at a bottle of Cabernet Sauvignon and squeezed off an imaginary shot. Removing various parts, the pistol became a leakproof fountain pen, a cigarette lighter, a cigarette holder and a cuff link of Victorian design. “I am now totally unarmed,” he confessed.
He moved to the United States in 1977 after director Billy Wilder told him he had to escape his British typecasting. Lee worked his way into a new movie market, taking on a variety of roles, something he had always sought, never being content with any single genre.
In 1979, Lee was in the Bay Area to make “Serial,” a comedy about the turmoils of life in Marin County, in which he portrayed a businessman nicknamed Skull. He had agreed to be a guest on “Creature Features,” which I was hosting at Channel 2 in Oakland. He had agreed to be on the “fright show” to discuss his cape- and- fangs thrillers. But he arrived late.
He entered the studio just as I was recording the opening segment, surrounded by members of a “Star Wars” club comedically helping me build a set soon to be introduced. Lee watched for a moment, decided it was all silly business and turned to leave. At that very moment, a recorded interview with sci- fi author Ray Bradbury appeared on an overhead TV monitor. Lee paused at the door, watching the segment. When it ended, he turned to my producer and said, “Well, if your show’s good enough for Ray Bradbury, I must assume it’s good enough for me.” And he stayed to tape several segments.
In 1984, when Lee appeared with special effects artist Ray Harryhausen, I was asked to introduce them to an audience in San Jose. Lee then took my wife and me to dinner, and once again, his charm and elegance were apparent.
Lee was always a gentleman, soft- spoken and articulate, always searching for new kinds of film to escape being typecast, and yet admitting, in his deep, melodic voice, “I’m not averse to playing in other horror films if I feel they’re in the proper vein. I’m dying to do Bram Stoker’s ‘ Dracula,’ but only as it was originally written by Bram Stoker.”
Now entrenched in American filmmaking, Lee succeeded in a wide range of films and TV. He portrayed Saruman in the “Lord of the Rings” and “The Hobbit” trilogies, and played Count Dooku in three “Star Wars” prequels. In 2009 he was knighted for contributions to drama and charity, and in 2011 he received a BAFTA Fellowship. He also demonstrated a unique talent with an operatic bass voice. He entered the world of heavy metal music, winning the Spirit of Metal Award in 2010 for an album. By 2013 he had released his third.
He was forever the gentleman, dignified, reserved, yet demonstrating a warm spirit, in cheerful contrast to the forces of darkness he has so often personified.
“Well, if your show’s good enough for Ray Bradbury, I must assume it’s good enough for me.”
Christopher Lee, who appeared on Channel 2’ s “Creature Features” in 1979