{"id":114678,"date":"2022-07-28T23:06:41","date_gmt":"2022-07-28T23:06:41","guid":{"rendered":"https:\/\/www.horrifiedmagazine.co.uk\/?p=114678"},"modified":"2023-05-04T10:37:58","modified_gmt":"2023-05-04T10:37:58","slug":"bernard-cribbins-the-lost-interview","status":"publish","type":"post","link":"https:\/\/www.horrifiedmagazine.co.uk\/film\/bernard-cribbins-the-lost-interview\/","title":{"rendered":"Bernard Cribbins: The Lost Interview"},"content":{"rendered":"\t\t
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Bernard Cribbins<\/h1>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The Lost Interview<\/h4>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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A never before published interview with the late Bernard Cribbins, originally conducted almost 30 years ago by Adam Jezard, in which the actor discusses his work in the genres of horror, fantasy, and science fiction…<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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I conducted this interview with Bernard Cribbins sometime in the late spring or early autumn of 1995. It had been intended, along with an interview with Sherlock Holmes<\/em> television star Douglas Wilmer, for a future edition of Marvel\u2019s Hammer Horror Monthly,<\/em> however, the magazine ceased publication before either could be properly edited or published.<\/b><\/p>

Sadly, I have been unable to locate the computer draft I had completed to send to the magazine\u2019s Editor, Marcus Hearn, an electronic copy or, indeed, my recordings of the interview, but my original handwritten draft, in my spidery scrawl, was, remarkably, still in amongst my files.<\/p>

This is a newly edited version of that draft.<\/p>

* * *<\/p>

Bernard Cribbins was born in Oldham, Lancashire, on 29 December 1928, the son of a cotton weaver and an all-round handyman, and was educated at what was, then, St Anne\u2019s Elementary School in the town.<\/p>

\u2018I left when I was 13,\u2019 the actor recalled, \u2018and joined the local theatre the following week, on 4 January 1941. I\u2019d done a couple of bit parts while I was still at school and when I was leaving, they offered me a job as assistant stage manager and playing kids\u2019 parts, such as they were. There weren\u2019t many!\u2019<\/p>

Accepting this unusual opportunity was easier than looking for other work at the time, he said, \u2018So, I took it\u2019 with the hope of becoming an actor. \u2018I was absolutely potty about cinema,\u2019 he said, \u2018I had so many role-models, particularly from action films; you know, cowboys and Johnny Weissmuller as Tarzan.\u2019<\/p>

He never saw himself emulating his heroes in his own career, however: \u2018I\u2019m a character actor, always have been, though I do more funny parts than anything else.\u2019<\/p>

He played in repertory theatres, a solid training ground for actors of his generation, until he was 18, when he was called up for national service and found himself in the Parachute Regiment. During his service, he said, \u2018I was in Palestine, Germany, Aldershot, and all that. I did my first jumps in Oxfordshire in 1947. I\u2019m a hairy-arsed parachuter, very pretty and very butch!\u2019<\/p>

He returned to Oldham between three and four years later, where he met one of his new assistants in the theatre, a young woman named Gill McBarnet, who was to become his wife. They married in 1955 and remained together until her death in 2021.<\/p>

With a booming film industry in Britain at the time, movies were a natural progression for Cribbins.<\/p>

His first role was a small one in the 1957 film The Yangtse Incident<\/em><\/strong> (UK, Michael Anderson) with Richard Todd and future Doctor Who<\/em><\/strong> star William Hartnell. \u2018I was delighted to get into films, I\u2019d been a film buff since I was a child, a small child!\u2019 \"Crooks<\/p>

His breakthrough, though, came a few years later in the Peter Sellers\u2019 comedy Two-Way Stretch<\/em><\/strong> (UK, Robert Day, 1960), which also co-starred Lionel Jeffries and Wilfred Hyde-White. Of getting the role of dim-witted Lennie Price he said, \u2018It was just one of those jobs that comes along. You need to think of it as being a bit like being an itinerant labourer. Somebody says: \u201cOh, his face is all right,\u201d or \u201cHe can do that funny voice,\u201d and they ask you, and you say, \u201cHow much?\u2019\u2019<\/p>

\u2018I just jumped at Two-Way Stretch.<\/em><\/strong> Not only was it a lovely part\u2014I was working with Peter, Lionel, David Lodge, Maurice Denham\u2014but it was a lovely film that still stands up today. That was shortly before Peter shot off into the stratosphere. We had a lot of fun making that film and it shows.\u2019<\/p>

The film was a box-office hit and the three leads reunited for the similar The Wrong Arm of the Law<\/em><\/strong> in 1963, directed by Cliff Owen, which was another smash hit. In between times he also made other films including the almost-forgotten Norman Wisdom comedy, The Girl on the Boat<\/em><\/strong> (UK, Henry Kaplan, 1962).<\/p>

I asked about Sellers\u2019 reputation for being moody and demanding on set. \u2018Well, he wasn\u2019t then; he must have changed later, but I didn\u2019t know him then. He left the sort of planes I was working on and was off doing Pink Panthers<\/em> and whatever else. I never enjoyed them, it was too slapstick, but I think he was a much better actor than he was allowed to be.\u2019<\/p>

Of Lionel Jeffries, who later directed Cribbins in the 1970 film The Railway Children,<\/em><\/strong> he said, \u2018He\u2019s a very serious actor in that he takes his work very seriously. I mean, we all do, but maybe he takes it a little too seriously. He\u2019s a damn good actor and you get such a lot from him when you\u2019re playing a scene with him.\u2019<\/p>

Cribbins\u2019 ventures into sci-fi, horror, and Hammer began with an ITV adaptation of John Lymington\u2019s novel The Night of the Big Heat<\/em><\/strong> (Associated Rediffusion Television, Cyril Coke, 1960), which co-starred Melissa Stribling, known for Hammer\u2019s Dracula<\/em><\/strong> (UK, Terence Fisher, 1958). Of the production, long since lost from the archives, he said, \u2018I always think of it when I\u2019m driving Redhill, Reigate, and Godstone way because there\u2019s a big chalk pit they found there, and we filmed in it at night.\u2019<\/p>

He first acted for Hammer during summer 1960, in the Michael Carreras-directed pot-boiler Visa to Canton,<\/em><\/strong> playing the shifty Portuguese Pereira. \u2018I did my Spanish accent,\u2019 he recalled. \u2018It was over by tea-time! There were no warm foreign locations, just Bray in the wet.\u2019<\/p>

Of Hammer Films at Bray, he recalled: \u2018It was very much a factory, very brisk and business-like. That\u2019s not to say it wasn\u2019t fun, but you got on with the job. There was no leisurely feel about it.\u2019<\/p>

\u2018One of the things I remember was going into make-up on the first morning and there, on a bench to one side, was a great selection of dismembered hands and arms, all very realistic, made out of latex. You knew you were in the Hammer Films\u2019 studio!\u2019<\/p>

In 1964, Cribbins featured in two back-to-back Carry On films: Carry On Jack<\/em><\/strong>\u2014a send-up of C S Forester\u2019s Hornblower novels, filmed as Captain Horatio Hornblower<\/em><\/strong> (US, Raoul Walsh, 1951) with Gregory Peck\u2014and Carry On Spying<\/em><\/strong> (UK, Gerald Thomas, 1964)\u2014a timely James Bond spoof. \u2018The first one I enjoyed tremendously,\u2019 he said. \u2018The second I didn\u2019t enjoy at all; it was a bit of hurry-up. The last one I was in was Carry On Columbus<\/em><\/strong> (UK, Gerald Thomas, 1992), which was really rather sad. It didn\u2019t take off and it showed.\u2019<\/p>

He returned to Hammer in 1965 for Robert Day\u2019s She,<\/em><\/strong> playing the loyal manservant and comic foil to Peter Cushing\u2019s explorer. \u2018Robert had directed Two-Way Stretch,<\/strong><\/em> so that might have had something to do with me getting the job,\u2019 he laughed. \u2018It was a hurry-up job, with a small budget and an awful lot of work in the desert, some in Negev in Israel.\u2019<\/p>

\u2018It was very, very hot, almost 100 degrees in the desert, very dry. We had to stop shooting at about 4pm because the light started disappearing in the early afternoon. And of course, you may want dramatic sunrise-type shots, but it very quickly dies away.\u2019\"Bernard<\/p>

Despite making friends with co-star Cushing, it is a film Cribbins recalled with mixed emotions. \u2018It was a problem because of the locations,\u2019 he said. \u2018It meant acclimatising to getting up very early and going to bed early and keeping yourself in order for a long day. Perhaps it wasn\u2019t as hard for the cast, but it was hard for the crew, lumping all that equipment about in the heat.\u2019<\/p>

And then there were the camels. \u2018We did five days on them. Johnny Richardson (actor John Richardson, who played the film\u2019s romantic lead) and I went to Chessington Zoo for some publicity photographs as I recall. It was all very easy at Chessington, but out in the desert, using Bedouin camels, and they stink because they\u2019ve been hobbled so they can\u2019t get up and walk about and they do everything on their back legs. They do pong a bit and they\u2019re followed by a herd of flies!\u2019<\/p>

One unfortunate incident marred the location filming for the actor when some of the ammunition being used for the film exploded at the wrong time. \u2018I was nearly killed. I say nearly. If the injury had been two inches to the right, I\u2019d have had my testicles blown off. I\u2019ve got three extra holes in me now. An Israeli army guy, helping out, lost two fingers. He was a very nice young man. Still, it\u2019s all over. Aida Young (who was an assistant producer on the film) was there the whole time, she saw me blown up! Ask her about it! I think (producer) Michael Carreras was there, too!\u2019<\/p>

There was also a lot of tension in the area because of the era\u2019s highly charged political situation. \u2018There were guards near the Jordanian border,\u2019 Cribbins said. \u2018It was frontiersville. You saw a lot of people wandering around with guns.\u2019<\/p>

He confessed he was unaware of the reported disagreements between the film\u2019s star, Ursula Andress, who played the titular ruler, and director Day. \u2018I thought everybody got on with Urs,\u2019 he said. \u2018She\u2019s a smashing bird, I won\u2019t hear a word against her. We went snorkelling around the coral together. She\u2019s a smashing lady.\u2019<\/p>

Of John Richardson, who would appear in the sequel The Vengeance of She,<\/strong><\/em> Cribbins said: \u2018I lost touch with him when we finished the picture. I heard he went and did a bit of work in Italy after his work folded up in Britain, but I don\u2019t really know. He\u2019s a nice lad.\u2019<\/p>

Of Christopher Lee, who portrayed the villainous high priest, Billali he said, \u2018I hardly worked with him, he\u2019s always the same: rather grand! I hardly touched him, we only spent a day or two together.\u2019<\/p>

After the location work, Cribbins and the rest of the crew returned to Britain to film the interiors at the ABPC studios in Borehamwood. \u2018The sets were absolutely huge. The caves that housed the tribe, the Amahaggers\u2014we called them \u201cthe Happy Shaggers\u201d\u2014were gigantic.\u2019<\/p>

The extras, he recalled, were recruited from exotic places such as Balham and were coated in cooking oil to make their skins shiny and sweaty on film, in order to match the desert settings.<\/p>

Oddities abound in Cribbins\u2019 career, including a 1965 titular TV special which, the actor candidly confessed was \u2018fairly disastrous,\u2019 even though it included a guest spot from Peter Cushing.\"Bernard<\/p>

\u2018It wasn\u2019t so much released, as it escaped,\u2019 he admitted ruefully. \u2018Which is a pity, because 1965 would have been a good time to have your own TV show.\u2019<\/p>

He asked for Cushing to be the guest star, he recalled, because: \u2018We did so many silly things making She<\/strong>.<\/em> Peter had done a lot of music hall songs in the desert between shots, so when the show came up, I asked him to be in it.\u2019<\/p>

The BBC had also cast an opera singer, Joyce Blackham, to perform a solo and act in some comic sketches, but at the last minute she was replaced due to illness and although her stand-in sang beautifully, Cribbins recalled the sketches were under-rehearsed and the stand-in looked out of place. \u2018I don\u2019t know why it wasn\u2019t cancelled, but that\u2019s the way it was in those days,\u2019 he said with some regret.<\/p>

The following year saw Cribbins reuniting with Cushing for Daleks \u2013 Invasion Earth 2150 AD<\/em><\/strong> (UK, Gordon Flemyng, 1966). The sequel to the previous year\u2019s successful Dr Who and the Daleks<\/em><\/strong> (UK, Gordon Flemyng) had Cribbins replacing entertainer Roy Castle as the comic foil when the latter was unavailable.<\/p>

Cribbins told me he received a lot of fan mail thanks to this film and many fans thought he had also been in the TV series [At the time of conducting this interview, Doctor Who had not, yet, been rebooted as one of the BBC Television\u2019s twenty-first century successes<\/em>]. Like a lot of his work, he said getting the role was a fluke, and it possibly came about because he became friendly with Cushing on the set of She.<\/em><\/strong><\/p>

\u2018There\u2019s no proved way by which you say, \u201cI\u2019ll make the Dalek film,\u201d\u2019 he said. \u2018You\u2019ve got to treat these slightly iffy, spoofy things with extreme seriousness. It was all done very professionally and is extremely real. If there\u2019s a funny edge (to your performance) you\u2019re in trouble.\u2019<\/p>

The Dalek film was, he said, \u2018A good, straightforward job, I reckon. That may sound boring, but that\u2019s the way it\u2019s done. You read the script and do it to the best of your ability.\u2019<\/p>

Cribbins\u2019 other cult work included two guest spots in The Avengers<\/em><\/strong> and an appearance in his second Bond-spoof, Casino Royale<\/em><\/strong> (1967). Of the latter he said, \u2018It was a horrible mess, but what else can you do with five directors and everyone putting their oar in? I was told later Peter Sellers and Orson Welles didn\u2019t get along at all well; I was told they met one day and decided not to work together again. The two-handed gambling scene was done at different times, with one playing to somebody reading the script and then vice-versa. It\u2019s very sad when that happens.\u2019<\/p>

Notable directors Cribbins worked with included Val Guest, who was one of Casino Royale<\/em><\/strong>\u2019s directors, on the TV movie Dangerous Davies: The Last Detective<\/em><\/strong> (ITC, 1981), and Alfred Hitchcock on his 1972 British-made thriller, Frenzy<\/strong>.<\/em><\/p>

Of working with former Hammer director Guest, Cribbins said, \u2018Dangerous Davies<\/em><\/strong> was a piece of cake, I absolutely loved it. Good script, nice people, and Val Guest was wonderful. He had everything, every shot, on a storyboard and there was no messing around. A most professional gentleman.\u2019<\/p>

The television film was a hit and there was talk of a sequel. The author of the source book, Leslie Thomas, even wrote a script, but despite promising several times, he never sent it to Cribbins. A later TV series in 2003-7 starred Peter Davison as the bumbling copper.<\/p>

Of his work with Hitchcock, Cribbins noted: \u2018It was strange. You never saw him really. But you had to do that! If someone says, \u201cWill you do a bit in Frenzy<\/em><\/strong>?\u201d You say, \u201cYes, please,\u201d to a chance to work for The Governor. It wasn\u2019t one of his best films, I don\u2019t think, but it was nice to have worked with him.\u2019<\/p>

Like Guest, who had been a young writer in the office next to Hitchcock in their British Gaumont days in the 1930s, Hitchcock was a meticulous planner. \u2018He didn\u2019t even watch some of the takes we shot because he knew his cameraman would tell him if everything was not as it was planned. He sat around the corner and said \u201cAction!\u201d and \u201cCut!\u201d That was it. But he knew it was all right because no one fell over or bumped into the scenery. It\u2019s a nice way to work when you have confidence in your fellow professionals. It doesn\u2019t matter if his methods are different because his films work.\u2019\"Bernard<\/p>

We chatted a bit about The Wombles<\/em><\/strong> (BBC, 1973-5) \u2013 \u2018I was just asked to go for a test and got it. People still come up to me and remember it, I get a huge reaction all the time\u2019\u2014his charity work raising money for medical research charity Sparks, doing voice-overs, and competing for work with former Daleks<\/b><\/i> co-star Ray Brooks\u2014\u2018He\u2019s too busy doing voice-overs to do any other work!\u2019\u2014before wrapping up.<\/p>

My abiding memory of interviewing Bernard Cribbins was of someone who absolutely loved his craft and his fellow professionals, and I will finish with some of these quotes: \u2018I have found very few people in the film industry who weren\u2019t nice people to get on and work with. It\u2019s a great industry to work in.\u2019<\/p>

\u2018I enjoy most of the things I do in front of the camera. I love the stunt guys, which is all tied up with having been a para and done the physical side. I used to love all the action stuff, I think it\u2019s great if you can see the actor is really doing it himself, unless it\u2019s something like leaping off a building. Then someone will do It much better than you and make you look good, so let \u2018em do it. You work with the guys; they\u2019ll look after you.\u2019<\/p>

\u2018I love standing around on a film set and watching, even if I\u2019m not in a scene, just to watch the expertise which individual people bring to their job, whether it\u2019s the chippie or the painter or the actor. It\u2019s all going to one thing at the end; the perfect finished product.\u2019<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\tAdam Jezard\t\t\t\t\t\t<\/h4>\n\t\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t
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Adam Jezard is a writer and journalist who has worked for many news organisations and wrote for Marvel\u2019s Hammer Horror Magazine in the 1990s, interviewing such luminaries as Val Guest, Roy Ward Baker, Andrew Kier, Nigel Kneale, Francis Matthews, and Michael Reed. He has a degree in Drama, Theatre and Television, and one of his lecturers was Peter Sykes, director of the Hammer films Demons of the Mind (1972) and To the Devil\u2026a Daughter (1976).<\/p>\n\t\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\n\t\t\t\t\tNight of the Eagle (1962)\t\t\t\t<\/a>\n\t\t\t\t\t\t\t<\/h2>\n\t\t\t\t\t\t\t
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\n\t\t\t\tK B Morris explores Night of the Eagle where a college professor vies with his wife who has turned to witchcraft to further his career. The article examines rationality versus the irrationality of superstition and the supernatural in a battle…\t\t\t<\/div>\n\t\t\t<\/div><\/article><\/div><\/div><\/div>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

A never before published interview with the late Bernard Cribbins, originally conducted almost 30 years ago by Adam Jezard, in which the actor discusses his work in the genres of horror, fantasy, and science fiction…<\/p>\n","protected":false},"author":4,"featured_media":124247,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"no-sidebar","site-content-layout":"page-builder","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[12,672,16],"tags":[],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/i0.wp.com\/www.horrifiedmagazine.co.uk\/wp-content\/uploads\/2022\/07\/Bernard-Cribbins-copy-e1674655091722.png?fit=580%2C330&ssl=1","_links":{"self":[{"href":"https:\/\/www.horrifiedmagazine.co.uk\/wp-json\/wp\/v2\/posts\/114678"}],"collection":[{"href":"https:\/\/www.horrifiedmagazine.co.uk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.horrifiedmagazine.co.uk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.horrifiedmagazine.co.uk\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.horrifiedmagazine.co.uk\/wp-json\/wp\/v2\/comments?post=114678"}],"version-history":[{"count":23,"href":"https:\/\/www.horrifiedmagazine.co.uk\/wp-json\/wp\/v2\/posts\/114678\/revisions"}],"predecessor-version":[{"id":127224,"href":"https:\/\/www.horrifiedmagazine.co.uk\/wp-json\/wp\/v2\/posts\/114678\/revisions\/127224"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.horrifiedmagazine.co.uk\/wp-json\/wp\/v2\/media\/124247"}],"wp:attachment":[{"href":"https:\/\/www.horrifiedmagazine.co.uk\/wp-json\/wp\/v2\/media?parent=114678"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.horrifiedmagazine.co.uk\/wp-json\/wp\/v2\/categories?post=114678"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.horrifiedmagazine.co.uk\/wp-json\/wp\/v2\/tags?post=114678"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}