SCENE 1: Fritz’s apartment in an affluent district of Vienna.
SCENE 2: Christine’s room in the suburbs, next evening.
SCENE 3: The courtyard of an old house it the suburbs.
SCENE 4: A spinney on Prater Island, next morning.
SCENE 5: Christine’s room, three days later.
Some Background
There is no real translation for the German word, ‘Liebelei; the word doesn’t exist in any other language. It derives from ‘Liebe’, which means ‘Love’, and the suffix lei makes it something smaller. Therefore you could say it means ‘A little love’, in contrast to… ‘A great love’. But that doesn’t reduce its hidden meaning; it’s a melancholy, typically Viennese term of affection for a bitter-sweet, short-lived love affair.
The author, Arthur Schnitzler, was a doctor, playwright and novelist, who began writing in his spare time under the name ‘Anatol’.
Schnitzler once said that the femme fatal over whom a duel is fought in his story, but who never actually appears on screen, was based on a woman who’d once walked into his surgery in Austria.
The Story
This tale revolves around the character of Fritz Lobheimer (Peter Wyngarde) – a young gentleman of the upper classes and Lieutenant in the Imperial Dragoons. For some months, he’s been involved with Christine Weyring (Jeanette Sterk) – an attractive girl from the lower orders. The two have a number of mutual friends that include Theodore Kaiser (Derek Aylward), who’s also an officer in the Dragoons, and his current sweetheart, Mitzi Schlager – a milliner.
The story opens in the living room of Fritz’s apartment in a fashionable area of Vienna. The young Officer is regaling Theodore with stories of his affair with a married woman of his own class. Instead of being impressed by his philandering as Fritz had expected, Theodore advises his comrade that he’d be wiser to concentrate on his relationship with Christine who, like his own girlfriend, is both adoring and devoted: “Women are not to be interesting,” he urges, “but pleasant.”
Above: The cast and crew in Richmond Park, London, where some of the scenes for ‘Liebelei’ were shot. Peter can be seen seventh from the left in the back row.
Their exchange is interrupted by the arrival of both Christine and Mitzi, who Theodore has invited to enjoy an evening of drinking and dancing. The party, however, is disturbed by an insistent ringing of the doorbell. When Fritz finally goes to answer it, he finds an irate gentleman standing on the step. The Lieutenant immediately asks his friends to step into an adjoining room for a moment before allowing the caller inside.
It emerges that this ‘gentleman’ is none other than the husband of the woman with whom Fritz has been having the affair. He’s come to return a bundle of letters written by the young Officer to his wife, and before departing, he challenges the Lieutenant to a duel. Fritz can do nothing other than accept.
The following evening, as Christine is chatting with her well-intentioned neighbour, Katherine Binder (Joan Carol) outside her humble home in the suburbs of the city, the older woman informs her that there’s been a lot of talk in the area about her relationship with Fritz, and that she’d be better served by finding someone of her own class to marry and settle down. Christine, though, will hear none of it. She’s absolutely certain of her feelings for the dashing Lieutenant, and of his commitment to her. Certainly she can’t envisage loving anyone other than him.
Christine’s meddling friend, Mitzi, conspires to confound Mrs. Binder’s comments when she warns her about getting too close to Fritz. She appreciates that her own relationship with Theodore is just a bit of fun. Conversely, Christine’s father, Hans Weyring (Wilfred Lawson) defends his daughter and her choice of boyfriend – believing that she has a right to some happiness before settling down to a life of domestic monotony.
Soon after her encounter with Mrs. Binder, Fritz calls on Christine and sees her modest room for the first time. It’s clear by the pet-names he has for her (“Angel” and “Treasure”) that he’s fully appreciative of her adoration and earnestness. He confides in her that he’s had little experience of true love in his life, and that he feels comforted by the haven that she provides for him.
Above: ‘The Duel Scene’ – Peter is second from the left. From The Times, June 1954
This tender moment is shattered, however, on the arrival of Theodore, who asks to speak with Fritz privately. Once alone, he advises his friend to rest up so that he’ll be ready to fight in the duel which is scheduled for the following morning.
Two days later, Christine and Mitzi are together in the formers room. The two are deeply concerned that they’ve not heard from either of their men, in spite of their promising to be back by early afternoon after a trip to the country.
Ultimately, Theodore arrives alone to notify Christine that Fritz had been killed in the duel, and that he has already been buried. The young woman immediately breaks down – sobbing uncontrollably. Moments later, she rushes from the room – tears streaming down her face, as she goes to find her lover’s grave. But as her father predicts, she will never return home again.
Critics Comments
“Arthur Schnitzler’s ‘Liebelei’ is a delightful Viennese romance and it was played so delicately that one might forget it was only a trifle. Peter Wyngarde’sFritz was a dashing Lieutenant in the Imperial Dragoons who, too late, finds a love he believes will last. Jeanette Stark as Christine, the girl who gives all her love to Fritz, only to find despair in his death for another woman, played with tenderness and sincerely.” Plays and Players
“Thanks to some remarkable archiving by Tina Wyngarde-Hopkins, the world can now share in the full story of what was planned but axed, as the frantic filming progressed day by day.” John Walsh – Author of ‘Flash Gordon – The Official Story Of The Film.
The Main Shooting Schedule (based on the final script) was distributed to cast and crew on 31st July, 1979, ready for filming to start at the beginning on August, 1979. What follows are details of when and where each of the scenes were shot (included those that were deleted from the final cut), and in which order.
Instructions printed on the front of the Main Unit Shooting Schedule were as follows:
Notes: (a) It is possible that 23rd August and 24th August will be switched to avoid an unnecessary move back to Shepperton whilst we are at Weybridge (Surrey). (b) This schedule excludes all 2nd unit work and Blue Backing at Weybridge and all miniature and optical Fx shooting. (c) The 2nd unit will shoot all Blue Backing scenes as follows:- pt.132. pt.159. 160. 177.195. pt.211. pt.212. pt.213. 217. 221. 223. 230. 233. 235. 237. 261. Also Sc.277. This work will commence from Monday, 3rd September at Weybridge until complete. In addition to these scenes, the 2nd unit will pick up sequences which the Main Unit cannot complete. (d) A separate Miniature/Optical Fx. Schedule will be issued soonest.
N.B. Parts in bold were either cut from the final film, or rewritten and replaced. Pre-Production began on the film on Monday, 6th August, 1979, and went on for three days. These scenes (1, 1a, 2, 3, 3a, 4, 5, 6. Dawn) were to establish Flash waiting for plane, and the arrival of Dale. These sequences were shot on the Isle of Skye in Scotland. Additional sections (7. Day. Plus plates for 8, 9, 10. Day. 12, 16, 17, 18, 19, pt. 22. Night), involved external shots of the ‘Dove’ aircraft in flight.
Special requirements for the exterior Beach and country airfield, and aircraft included: From the Art Department: Dove aircraft with ‘Green Mountain Airways’ logo. Car plates. Station wagon. Flash’s book. Luggage. Hotel bus ‘Dark Harbour’ Inn’. Air ticket folder. Pick-up truck. Special Fx: Hot cinders falling Fx. Tank to shoot up and through violent rain of hailstones Fx. Rain puddles. Very pistol and flares. Windsock. Bowser for wetting down. Camera: Helevision camera mount. Production: Air to ground radio communications. Local tide timetable. Dove aircraft. Helicopter. Air to air communications.
On Monday, 6th August, and for the next three days, several scenes were shot that were eventually cut from the final film.
One of those sections (For Sc. 15. Day and/or night) were set outside the White House in Washington D.C., and involved an American TV newscaster reporting on the unusual weather conditions which had, of course, been instigated by Emperor Ming.
These scenes were shot using a 16mm camera. Also at this time, the section (Sc. 111) entitled ‘The Dehumanisation of Zarkov’, was filmed by Denis Postle. The ‘Disaster Footage’ shown on a screen and watched by General Klytus and General Kala, was made up of stock footage (For Sc. 14, 15.).
Another section which was cut from the final edit was filmed by the 2nd unit over in the United States. These scenes were to establish Flash as a football hero, and were recorded at Shea Stadium – the former home of the New York Jets.
Depicted in these passages was Flash himself, playing Quarterback, and included several extras dressed as a TV camera crew and a New York police officer. The special requirements for the exterior shots of Shea Stadium, were: Art Department: TV Cameras. Still cameras. Microphones, etc. Programmes. Camera: Zoom lens/Arriflex BL. Production: High shot from Goodyear blimp. New York Jets and opposition team. Double for actual New York Jets as Flash.
The Shooting Schedule now makes mention of the following:
Please Note: For INT. Klytus’s Control Room, we need footage from various sets on Mongo that will optically appear on their eye glass devices. Therefore it should always be remembered and scheduled for us to shoot random footage of all our sets.
Week One
After the preproduction as detailed above, the first full week of filming began on Monday, 13th August, with the segments (Start 8. 9. 10. Day. 12. 16.17. 18. 19. Night) where the aircraft carrying Flash and Dale hits the storm sent by Ming, and the two pilots disappear. This was filmed at Weybridge against a Blue Screen.
Shooting of these scenes continued into the following day (Tuesday, 14th August), with sections inside the aircraft cabin and cockpit (scenes 8. 9. 10. Day. 12. 16. 17. 18. 19.Night) being committed to film.
On Wednesday, 14th August, scenes 8. 9. 10. Day. 12. 16. 17. 18. 19. Night were completed. These involved the arrival of Flash and Dale at the airstrip, and concerned Sam J. Jones and Melody Anderson, plus the extras who played the hotel bus driver and pilots.
The special requirements for the shots inside the aircraft cabin and cockpit included:
Art Department: Books for Flash. Repeat People magazine with Flash on cover. Practical seat belt. Cockpit window shatters – alternative screen curtains between cockpit and cabin.
Special Fx: Aircraft on rockers. Plane launches in all directions. Cockpit instruments practice – whirl crazily eventually. Lightning bolts hit cockpit Fx. Gale of wind Fx. Plane goes into nose-dive.
Camera: Blue Backing set. Outside changes from day to night in seconds. Red lightning bolts zap cockpit. Steady camera for P.O.V. through windscreen.
Production: Special Fx require 5/6 days to move aircraft – do during nighttime off rocker onto Greenhouse rig.
Editorial: Moviola with selected takes of model plane crash.
Thursday, 16th August. This was the day when work began on the sequences (Start 26. 28. pt.30. pt.32. pt.35. 37. 40. 43) in which Zarkov forces the Capsule he’s built to takeoff, with Flash and Dale held captive, plus the flight through space. Again, these were shot at Weybridge.
These sections were completed the following day (Friday, 17th August), using the set of the Capsule.
Special requirements for the Capsule segments included:
Art Department: Gun for Zahkov. Control lever. Red pedal. Practical seat straps. Rubber dummy gun for Zahkov.
Special Fx: Rocket takeoff effect. Quick closing door Fx. G-Force Fx. Capsule lands Fx. Air pressure gun for G-Force Fx. on artiste’s face.
Camera: Blue Backing set. Outside changes from day to night in seconds. Red lightning bolts zap cockpit. Steady camera for P.O.V. through windscreen.
Production: Fight arranger.
On Saturday, 18th August, scenes 14. 15. Night. were filmed, which involved the moment when Zarkov realises that the attack on Earth is now fact. These were set in the Greenhouse, with Zarkov and Munson.
The Special requirements for this section were:
Art Department: Revolver for Zarkov. Practical computers in slapdash fashion. Neglected plants. Coffee cups. Sandwiches. Cigarettes, etc. Two cots. Blankets. Munson’s watch. Display screen as scripted. Print-out data main console with 2 TV screens above.
Special Fx: Cinder through overhead glass Fx, which burns through blanket. Other cinder and broken glass Fx. Bank of switches – practical. Breakaway sugar glass.
Cameraman: 2 back projection TV monitors, barrage of red bolts o/s Fx. Lights flicker. TV screens dissolve into lines. Int. capsule brightly lit.
Production: Disaster footage and newscast.
Week Two
Week 2 (Monday, 201th August) began with the completion of the aforementioned scenes (14. 15.) in the Greenhouse. These were followed by the segments in which the Dove aircraft crashes into the Greenhouse, killing Munson (21. 23). Again, these were filmed at Weybridge, with Chaim Topol and a stunt double for Munson.
The special requirements for the Greenhouse scenes were as follows:
Special Fx: Plane crashes into Greenhouse, killing Munson.
Cameraman: After aircraft crashes, there is a flash – all the lights go out except in the Capsule.
Production: Standby ambulance and first aid. Additional cameras. Note: Special Fx require one day to rig Take 2 after dallies viewed.
Art Department: As before – breakaway dressing and repeats.
Wednesday, 22nd August: The segments involved the parts in which Flash and Aura escape, and her rocket takes off (116. pt.117. 154). In addition, the scenes in which Flash, Dale and Zarkov are taken to Emperor Ming are filmed, along with those with Flash as pilot escaping with Aura, and when Aura kills an Imperial Guard in the lift (45b. 115. 225.).
This was also the first day that Peter was required on set as General Klytus in Weybridge for the scene where he arrests Aura.
The personnel required for these passages included General Klytus, Flash Gordon, Dale Arden, Princess Aura, Zarkov, Guard Leader and four Guards, Air Force staff, three Secret Police agents, and a hooded Guard.
The special requirements for the above scenes were as follows:
Art Department: Aura’s rocket ship. Practical lift doors. Weapons for Guards. Royal pennants. Crownlet of flowers for Aura. Pin in corsage to stick in Guards neck.
Special Fx: Aura’s rocket ship lands. Rocket takes off Fx. Aura sticks corsage pin into Guards neck. Retractable pin.
The scenes in which Dale escapes, and Ming’s discovery of her flight (Int. Ming’s bedchamber and corridor; 140. 141. 142.), are recorded on Thursday, 23rd August at Shepperton (Sound Stage 1). The characters involved were Ming, a serving girl, Dale, plus four stunt guards (hooded).
The special requirements for the above scenes included:
Camera: Glow of light from bedside cube.
Art Department: 12 inch high jade statue of Ming. Weapons for Ming’s Guards.
Special Fx: Practical Guard’s pistol. Flaming bolts pass through their armor.
Production: Stunt arranger.
On Friday, 24th August, work continued on the Greenhouse scene, which included filming sections of the aircraft fuselage (24. 25. Plus plate for 26), from which Flash and Dale climb out to meet Zarkov. These were filmed at Weybridge.
The special requirements for these segments were:
Special Fx: Dust and smoke for rocket. Rocket starts to move.
Production: Check injuries to Flash and Dale for continuity reasons.
No filming took place on Saturday 25th, Sunday 26th and Monday 27th, August, due to the Bank Holiday.
Week Three
Tuesday, 28th August: Scenes inside Ming’s Bedchamber (119. pt.125. pt.127. pt.128. pt.129) in which Flash makes telepathic contact with Dale were filmed at Shepperton (Sound Stage 1). The characters required were Dale, plus four exotic females and Hedonia – a servant girl.
The Art Department supplied the following to the set: A flagon of green liquid, drinking glasses, and a huge tapestried bed.
Filming in Ming’s bedchamber continued into Wednesday, 29th August (216), which was the scene involving Dale and Aura prior to the wedding. The characters for this part of the film were Dale, Aura, Hedonia, four Servant Girls (from Sc.119), two Hooded Guards, plus fight doubles for Dale and Aura.
The special requirements for these segments were:
Art Department: Small black pill.
Production: Stunt Arranger – rehearse fight. Wedding dress for Dale.
As with the above, the following scenes (Exterior of Arboria – Branches: 147 – excluding P.O.V. of Rustic Temple. P.O.V. of Arborian Temple: For Sc.147. P.O.V. plates for rocket arrival on actual set: For 130a. 137) were all filmed at Shepperton.
These sequences involved Aura and Flash watching the events at the Tree Temple; establishing their P.O.V. shot, and the 2nd Unit pick-up.
Friday, 31st August involved work on the landing of the Capsule on the planet Mongo filmed at Weybridge (43a. pt.44. 45), in which Flash, Zarkov and Dale are captured. The characters required on set were Flash, Dale, Zarkov, Leader of the Armed Troops, six Armored Troops, Guards, plus a stunt double for Flash.
Work continued on the above scenes the following day (Saturday, 1st September), and on segments 43b and pt.44 (having landed on Mongo, shapes are seen outside the Capsule).
The special requirements for the above scenes included:
Art Department: Control gadget for Leader. Weapons for Ming’s Troops. Damage to Capsule. Mattresses and boxes on standby.
Special Fx and Camera: Metal hand materialises out of thin air and clamps on Flash’s wrist. Bluish ray zaps out and throws Flash to the ground. metal hand disappears.
Production: Stunt Arranger.
Week Four
Monday, 3rd September. Peter notes in his diary that he has a 9.15 appointment with Dino DeLaurantiis.
Meanwhile at Shepperton, work was carried out on the scenes in the Temple on Arboria, featuring the characters Flash, Aura, Prince Barin, an Aged Priest, Fico and several young Aborian men. The scenes involve the death of a young Arborian (147a. 147b.147c. q47d. 147f. 147g. 148).
The following two days – Tuesday, 4th and Wednesday 5th September, work continues on the Arborian section, as above.
The special requirements for the three-day shoot of the scenes on Arboria are as follows:
Art Department: Huge gnarled tree stump with a number of holes in it. Arms for the Arborian men. Facility to get camera into tree stump.
Special Fx: Hissing beast Fx. Barin plunges sword into young man’s chest. Retractable sword.
Camera: Green light and shadow effect.
Production: Playback for chanting.
Make-up: Puncture marks on young man’s wrist. Green blood.
Peter records that he was due on set at Shepperton at 4.30pm on Thursday, 6th September, and that a car would pick him up at home at 2.30pm.
Further scenes on Arboria are shot (163. 164. 165. 166. 167. 168. 168a), in which Flash outwits Prince Barin and escapes. The characters requested on set are Flash, Barin, Fico, the Aged priest, and 18 Arborian men.
The special requirements these scenes are:
Art Department: Fico’s dagger. Arms for the Arborians. Crossbows. Barin’s sword and crossbow.
Production: Stunt Arranger.
Friday, 7th September. Peter’s schedule for Dress Rehearsal is as follows:
7.30am call for 8.15am. Film scene 87. First shot at 1.45. Finish 5.30.
Scenes at Vultan’s camp on Arboria are shot at Shepperton on Soundstage H (211 Dusk. pt.212. pt. 213). This includes the moment when Prince Vultan receives a call from Flash that he’s “Flying blind on a Rocket Cycle”.
Characters On set include Vultan, Luro, Biro, forty Hawkmen and ten dead Arborian men.
The special requirements for the above scenes included:
Art Department: Fico’s dagger. Arms for the Arborian men. Crossbows. Barin’s sword. and crossbow.
Production: Stunt arranger.
Saturday, 8th September. More work at Vultan’s Camp on Arboria. These include Flash’s contact with Vultan (211. Dusk. pt.212. pt.213). Barin taunting Flash as he lowers him into the swamp in a big wooden cage (155), and Fico telling Barin of his plan to dispose of Flash. All are filmed on Soundstage H at Shepperton.
Characters required on set are: Vultan, Lubo, Biro, 40 Hawkmen, 10 dead Arborians. Flash. Lionman. Hawkman. Barin. Fico. 20 Civilian Arborians and ten soldiers.
The special requirements for the three-day shoot of the scenes on Arboria are as follows:
Art Department: Belongings. Weapons. Radio communicator in Vultan’s belt. Barin’s crossbow. Weapon’s for Arborians. Fico’s horn. Pan pipe of curious design. Various games for Arborians. Tankards.
Special Fx: Hissing beast Fx. Barin plunges sword into young man’s chest. Retractable sword. Prison cage lowered into swamp.
Sunday, 9th September. Peter’s first call was at 8am for rehearsal.
Week Five
Monday, 10th September. Scene 46 – Flash, Dale and Zarkov pass Mongo prisoners at Mingo City. Filmed at Shepperton, Soundstage C.
Also Scene 214: Wedding announcement (Shepperton, Soundstage C).
Required characters are: Flash, Dale, Zarkov, Leader of Armoured Troops, Six Armed Guards, 1 Red Officer, 1 Blue Officer, Four Arborian Civilian Men, 4 Arborian Soldiers, 13 Mongo Men, 8 Mongo Women, 5 Mongo Children.
Art Department: Weapons for Guards. Practical lift doors. Prisoners joined by chains and heavy metal neck collars and are also blindfolded – hands bound behind their backs. Wedding announcement poster of Dale Arden.
Special Fx: Hissing beast Fx. Prince Barin plunges sword into young man’s chest. Retractable sword.
Camera: Sequence involves matte shots.
On Tuesday, 10th September, Peter is called at 9.15 am and finishes work at 7pm.
The scenes shot on this day are inside General Klytus Control Room (33. pt.34. pt.35), which involve Klytus observing Zarkov’s capsule flying to Mongo (EMI Studios – Soundstage 2), and Klytus watching Dale’s escape from his secret H.Q. (pt.143. 144. pt.146).
Character’s featured are: Klytus voice over (as Zarkov’s Capsule lands), Klytus and 2 Observers. Then as Dale escapes: Klytus, Ming, Kala, 2 Male Observers and 8 Black Uniform Observers.
Special requirements for the above:
Art Department: Faintly glowing keyboard. Half-silvered eyeglass Lenses/Mask. Eyeglass devises.
Camera: Changing numbers and patterns flicker on surface of eyeglasses Fx. Also see space capsule flying. Dale and Zarkov observed on enormous rear projection screen.
Wednesday, 12th September. Peter is called on set at 8am.
Scenes shot on this day are all in Klytus’s Secret H.Q. (pt.143. 144. pt.146), where Klytus observes Dale’s escape, and pt.220, where General Kala receives the announcement that Flash Gordon is approaching Mingo City in the War Rocket ‘Ajax’.
The character’s required for these sequences are: General Klytus, Ming, Kala, 2 Male Observers, 8 Black Uniform Observers (Robots).
And for the segments where Flash Gordon approaches the City: Kala, 10 Observers.
Special requirements for these scenes were:
Special Fx: Eye glass devices. Faintly glowing keys.
Camera: Images in eye glasses Fx. Dale and Zarkov observed on enormous rear projection screen. Plate of battle control room.
On Thursday, 13th September, Peter arrives On set at 7.15am at EMI Studios – Soundstage 2. Again, scenes are shot inside Klytus’s H.Q. (255. 263.). These are where General Kala is advised that the War Rocket ‘Ajax’ is returning. She orders its destruction. Also where Prince Barin and Zarkov overthrow the H.Q. and kill Kala.
Characters On set are: Kala, 10 Observers, Zarkov, Barin, and stunt doubles for Kala and Zarkov.
Friday, 14th September. Again, Peter is called at 7.15. Scenes 263 is completed and 269 filmed (Zarkov holds off Klytus’s Agents).
Special Requirements for the day were:
Art Department: Microphone. Practical lift doors. Weapons.
Camera: Back projection on large monitor screen. Broken pattern on big screen. Battle control room plate appears on screen.
Special Fx: Barin blows out monitor screen with laser blaster. Barin snatches off Agents lens revealing wires, etc. Curious tube which fires a jet of flame Fx which nearly takes off Zarkov’s head. Barin kills Kala Fx.
Production: Record Kala’s dialogue for Sc.256.
Special Fx: Barin blows out monitor.
Saturday, 15th September. Peter is called at 2.45 and put on standby.
Sequences in the Underground Crypt (104. 105. 106. 107) where Aura brings Flash back to life are shot on EMI Studios – Soundstage 8.
The characters required for these scenes are: Flash, Aura, Mongon Doctor and 6 Dwarfish Creatures.
Special requirements include:
Art Department: Flash’s coffin and inscription. Chisels, panel opens revealing Aura and Doctor. Clothing bag for Aura. Injection gun. Hammers.
Special Fx: Aura can see Flash semi-naked in reflection of glass panel.
Week Six
Monday, 17th September.
Peter is required on set at 7.15 to shoot scene 177a, but the session is cancelled. Instead, he’s required to shoot Scene 156 inside the Prison Cell where Princess Aura is being tortured.
Characters required on set are: General Klytus, Aura, Kala, 8 Prisoners and 2 of Klytus’s Secret Police. This is filmed at EMI Studios, Soundstage 8.
Requirements for the Prison cell scenes are:
Art Department: Entire wall of chamber dissolves and becomes black glass with Ming behind it.
Aura chained with her face against the wall. Metal crown-like device with electrodes on her head. Lizard hide whip. Electronic device lights up with red light. Communicator device. Large box of Bore Worms and pincers.
Production: Protection for actress’s back.
N.B. Clearly from the List of Requirements, this scene was changed from the one described here to that in the final cut – i.e. Princess Aura lying face down on a table as General Klytus and Kala torture her.
On Tuesday, 18th September, Peter was called at 11am for a 1.15pm start on set.
The scenes filmed on this day involved the Dehumanisation of Zarkov first began in pre-production on the 6th August. These sequences were set both in in the underground tunnel from where Flash and Aura see General Klytus and Kala wiping Zarkov’s brain clean, and inside the Laboratory. All were filmed at EMI Studios (Soundstage 2).
Scene numbers: 108. 109. 110. 111. 120.
Work continued on these sections the following day (Wednesday, 19th September), for which Peter was on set from 6am.
The characters needed for these scenes were: Klytus, Aura, Flash, Ming, Kala, plus 10 Secret Police Officers.
Special Requirements for the day were:
Art Department: Moving conveyer belt. Windows overlooking laboratory in tunnel. Zarkov strapped on table under x-ray machine. Control console.
Camera: Purple ray zap down from machine to Zarkov’s head. Projection screen for dehumanisation. Another colour ray zaps down.
Production: Dehumanisation film material as scripted.
On Thursday, 20th September Peter was on set from 7.15am until 8.10pm.
The sequence filmed on this day (87 – night), are of Dale’s final moments with Flash inside the Prison Cell, which were filmed at EMI Studios – Soundstage 8.
The characters required for this scene were: Klytus, Dale, Flash, 2 hooded Guards, 8 Prisoners from Sc. 46.
Special Requirements for the day were:
Art Department: Flash’s final meal. Big hour glass on a shelf. Sand goes upwards effects.
Camera: Reverse camera for hour glass.
Special Fx: Flash chained to wall. Head covered with metal hood. Klytus flashes a ray from his signet ring – the metal hood flies off. Hanging wires for hanging prisoners.
Peter’s diary records that on Friday, 21st September, he was on set at 7.15am and finished “late”.
Work on three separate scenes were completed on this days. These included those inside the Prison Cell (87); inside the Underground Chamber (228 – ‘Aura rescues Zarkov and Barin’); and inside the Underground Area (Mingo – Tunnel with Pipe Entrance – 251; ‘Aura, Barin and Zarkov escape. Door will not open’).
The characters required for this day’s filming were: General Klytus, Dale, Flash, Zarkov, Barin, Aura, 2 hooded Guards, 10 Prisoners.
Special Requirements for Underground Chamber, Prison Cell and Tunnel were:
Art Department: Guard’s gun. Zarkov and Barin chained to wall. TV scanner. Arms for group.
Camera: Flash from Aura’s ring to door plate.
Special Fx: Aura zaps out TV scanner and chains off Barin and Zarkov.
Production: Aura’s ring.
Again, these scenes were filmed at EMI Studios, Soundstage 8.
Saturday, 22nd September. Peter was not needed on set, and so was given the day off. Nevertheless, it proves to be a very busy day’s filming at EMI Studios (Soundstage 2), with several scenes being shot (219. pt.220. Plate for Sc.255. Plate for Sc.263. 273). These involved the following:
Colonel sees Flash approaching Mingo City. Colonel reports that the War Rocket ‘Ajax’ is returning. Colonel guarantees Flash’s rocket will be destroyed. Barin blows place apart.
The cast for these sequences are: Colonel and 6 controllers. Prince Barin, plus 6 stunt Battle Controllers and stunt double for Colonel.
Requirements for these scenes were:
Art Department: Playcreature magazine.
Camera: Do we see Flash on screen?
Special Fx: Barin blows place apart with a heavy weapon.
Week Seven
Monday, 24th September was a big day at Shepperton (Soundstage C), where scenes 85 and 86 – ‘The Execution of Flash Gordon in the Courtyard of Mingo City’, were filmed. For this, Peter was put on ‘Stand By’ in the hope that these sequences would be completed in time to record additional scenes at the Execution.
Here, preparations were made for Flash to be put to death.
The characters needed for this sequence were many: Barin, Aura, 6 Drummers, 4 Black-Clad men, 5 Arborian Soldiers, 2 of Ming’s Officers (in red), 2 of Ming’s Officers (in blue), 20 of Ming’s Armoured Guards, 6 of Ming’s Hooded Guards, 2 of Ming’s Airforce Officers, 2 of Ming’s Airforce Men, 2 of Klytus’s Air Force Men, 30 Mongo Men, 15 Mongo Women, 5 Mongo Children, 5 Lion Men, 3 Lizard Men, 1 Tiger Man, 6 None-Flying Hawkmen, 3 Mutants, 1 Azurian Queen Magician, 5 Azurian Magicians, 3 Frigian Men, 3 Frigian Women, 3 Ardentia Men, 3 Ardentia Women, 6 Dwarfs, 3 Fezalians, 3 Sand Moon Men, 3 Sand Moon Women, 6 Cytherians. Total approx = 158.
Peter was called on set later in the day to work on the following scenes: 88. 89. 90. 91. 92. 93. 94. 95. 96. 97. 98. 99. 100. 101. 102. 103 – ‘The Execution of Flash’. Again, the filming took place at Shepperton – Soundstage C.
The characters required for these sequences were: General Klytus, Aura, Ming, Flash, Mongo Doctor, Dale, Zarkov and the crowd as above.
The scenes listed above were completed on the following day (Tuesday, 25th September). The cast were the same as on the previous day.
Special Requirements for Flash’s Execution were:
Art Department: Sc. 85 & 86. Floodlit platform with transparent dome. Stark heavy chair with straps. Medals for Barin. 6 Mongo drums. Stethoscope. Window with thick plate glass. Knockout gun. Black hood for Flash. Black handkerchief for Klytus. Manacles for Flash.
Camera: Every light goes out except for the theatrical spotlights on the terrace. Follow spot effects.
Special Fx: Purple vapour in dome kills Flash effect.
Production: Music playback track.
Wednesday, 26th September. Peter is called at 9.30am to run through various scenes. meanwhile, the sequences in Aura’s Rocket (‘Flash Escapes With Aura to Arboria’ – pt.117. pt.123. pt. 124. pt.125. pt. 126. pt. 127. pt. 128. pt. 129. 137. 139) were filmed at Weybridge.
Special Requirements for these sequences:
Special Fx: Rocket on rocker. Rocket goes into nosedive Fx. Rocket ship halts abruptly. Green fog effect.
The above detailed scenes are completed on the morning of Thursday, 27th September at Weybridge. Meanwhile, Peter was called at 8.45am to film two sequences (177 and 179a) which were set on Klytus’s War Rocket. Here, the Pilot of the Rocket observes Hawkmen with Flash and Barin.
The characters required at this time are: General Klytus, his Pilot and Co-Pilot.
Special Requirements for the scenes on General Klytus’s War Rocket were:
Art Department: Klytus in transparent cylinder.
Special Fx: Rocket on rocker.
Camera: Practical display screen which reveals Flash and Barin flying with Hawkmen. Red light in cylinder wakes Klytus up.
On Friday, 28th September, one of the most well-known sequences in the film is shot at Shepperton – Soundstages A & B. This is where Flash, Zarkov and Dale enter Ming’s palace and the hovering Globe discovers the gun hidden in Zarkov’s pocket; the introduction of the trio to Emperor Ming, and the ‘Football Fight’ between Flash and Klytus’s men.
The scene where the Globe vaporises the gun (49. Plus 2nd Unit pickups on globe/gun) requires the following on set: Flash, Zarkov, Dale, 6 Hooded Guards, 15 Mongo Men, 5 Mongo Women, 3 Mutants (Blue Screen Type).
Peter was required on set from 7.45am until 5.30pm for the ‘Football Fight’ scenes (50. 51. 52. 54. 55.56. 57. 58. 58a. 58b. 59. 60. 60a. 60b. 60c. 61. 62. 62a. 63. 64. 65. 66. 67. 68. 69. 70. 71. 72. 73. Plus 2nd Unit pickups).
The characters needed for this sequence were many: Barin, Aura, 6 Drummers, 4 Black-Clad men, 5 Arborian Soldiers, 2 of Ming’s Officers (in red), 2 of Ming’s Officers (in blue), 20 of Ming’s Armoured Guards, 6 of Ming’s Hooded Guards, 2 of Ming’s Airforce Officers, 2 of Ming’s Airforce Men, 2 of Klytus’s Air Force Men, 30 Mongo Men, 15 Mongo Women, 5 Mongo Children, 5 Lion Men, 3 Lizard Men, 1 Tiger Man, 6 None-Flying Hawkmen, 3 Mutants, 1 Azurian Queen Magician, 5 Azurian Magicians, 3 Frigian Men, 3 Frigian Women, 3 Ardentia Menn, 3 Ardentia Women, 6 Dwarfs, 3 Fezalians, 3 Sand Moon Men, 3 Sand Moon Women, 6 Cytherians. Exotics – numbers to be confirmed.
Special Requirements for the scenes inside Ming’s Palace, outside Main Palace and Main Hall were:
Art Department: (Sc.49) Arms for troops. Zarkov’s gun.
Special Fx: (Sc.49). Buzzing metallic Globe. Special effects gag for gun ripping through Zarkov’s pocket and disappearing into Globe.
Inside Ming’s Main Hall:
Art Department: Vultan’s chest with ice jewel of Frigia. Fico’s hunting horn. Aura’s beast. Vultan’s sword. Barin’s sword. Ming’s big green ring. Gifts – general dressing, Weapons for Guards.
Special Fx: Buzzing Globe over threesome. Wind effects. Rima spreads her wings to take off. Another Globe sails away. A Globe zips out of nowhere and zaps Thun. Ming chops off Thun’s head. Globe flies and hovers over Flash’s head. Repeat heads for Thun. Dazzling ice jewel effects. Buzzing key effects from Globe to Thun who is then surrounded by shimmering greenish glow.
Camera: Ming;s ring emits a strange glow which turns Ming’s face into a greenish waxy texture with black lips. A sourceless golden light bathes Dale and goes out. Special camera wide angle P.O.V. from buzzing Globe Fx.
Production: Fight arranger + pre-rehearsals. At least two weeks before. Additional camera. Choreograph extras 5 days before shooting.
Saturday, 29th September. Peter is on set at 11am, and after completing the scene in Ming’s Palace on the previous day (50 to 73), he leaves Shepperton at 1.15pm.
Week Eight
The whole of week 8 (Monday 1st to Saturday 6th October) was taken completing the scenes entitled ‘Introduction to Ming’, and ‘Flash fights for Dale and loses’, started the previous week.
During those six days, Peter was on set at Shepperton every morning before 8am.
Week Nine
Monday, 8th October.
A total of three scenes were shot at Weybridge, which were situated inside the Control Room of Ming’s Rocket Ship (pt.198 – Ming orders shuttle to be sent for Zarkov), Inside and outside Ming’s Rocket Ship with Blue Backing (pt.210 – Dale watches sky palace explode), and inside the Engine Chamber of Ming’s Battle Rocket (249 – Flash enters Rocket) – again with Blue Backing.
Characters required for the days filming were: Ming, Ming’s Officer, 2 of Ming’s Air Force and 6 of Ming’s Guards. Dale, Zarkov, Flash, Lieutenant, and 6 Hawkmen (Stuntmen).
Special Requirements for these scenes were:
Special Fx: Rocket on rocker. Laser bolts zap Lieutenant (Sc.249)
Camera: Screen shows Zarkov surrendering.
Art Department: Gas masks.
Tuesday, 9th and Wednesday 10th October.
Both days were spent at Shepperton (Soundstage C) to film Scene 275, which involved the War Rocket ‘Ajax’ against a Blue Backing crashing during the wedding, and completing Scene 275, which was a P.O.V. of the same.
Thursday, 11th October involved the shooting of the sequence in which Zogi[1] warns Ming of the “fair-haired prisoner” (83), and the passage where Dale, having escaped from Ming’s bedchamber, meets Zarkov in the corridor (pt.143. 144a. 145. pt.146). All were shot on Soundstages A & B at Shepperton.
Special Requirements for these scenes were:
Art Department: Alter. Massive black-bound book. Wall of black glass behind alter.
Special Fx: Powerful wind. Massive book opens itself. Letters of fire appear in the black glass. Letters eventually vanish and the wind ceases.
Friday, 12th October.
Three sequences were shot at Shepperton (Soundstages A & B), involving Dale and 2 Hooded Guards, and Prince Barin and 4 Stunt Soldiers.
The first is where Dale hears the announcement of Dr Zarkov and Barin’s execution (226). The second two was where Barin fights Ming’s soldiers in the Palace Corridor (268. 270).
Special Requirements for the passages were as follows:
Art Department: Palace P.A. system.
Production: Wedding dress for Dale.
Art Department: (For 268 and 270): 1 Soldier has large weapon which Barin takes.
Special Fx: Gun battle effects.
Saturday, 13th October.
Over at Weybridge, more scenes involving the battle over the War Rocket ‘Ajax’, between the crew and Hawkmen, were shot. These included the moment when the Captain is about to kill Flash (232), and when the Crew prepare for the Hawkmen attack, and where Flash enters and takes over the Bridge (239. 242. 246. 250).
The characters required for these scenes were: Flash, Captain of Ming’s Airforce, Lieutenant, 2 Pilots, 8 Gunners, and 6 Stunt Hawkmen.
Special Requirements for the War Rocket ‘Ajax’ sequences were:
Art Department: Weapons for Hawkmen.
Special Fx: Set on rocker. Vapour billows around Captain and his men.
Camera: Plate for projection on scanner.
Week Ten
From Monday, 15th to Thursday 18th October, work continues on the battle over the War Rocket ‘Ajax’.
On Monday, eleven scenes (239. 242. 246. 250. 253. 259. 261. 262. 264. pt.266. pt.272 and pt.274) are either shot or completed. These include:
(Continue) – ‘Crew prepare for Hawkmen attack’. And ‘Flash enters and takes over the Bridge’.
‘Flash Controls Rocket Ship’.
‘Flash tells Vultan to leave the ship’.
‘Rocket dives towards Mongo’.
‘Final moments before Rocket crashes into palace’.
All scenes are shot at Weybridge.
The characters required for the shoot are: Flash, Captain, Lieutenant, 2 Pilots, 8 Gunners, 6 Stunt Hawkmen. Vultan, Luro, Biro, 2 Pilots (dead), 2 Gunners (dead).
Tuesday, Wednesday and Thursday are used to continue the scenes described above.
Special requirements needed to complete these scenes were:
Art Department: Weapons for Hawkmen.
Special Fx: Vapour billows around Captain and his men. Panels. Practical digital display, etc. Explosions outside rocket. Digital display countdown. Windshield blown out. Wind and explosion Fx. Rocket moves violently about. Smoke, wind Fx.
Camera: Plate for projection on scanner. Control Room lights go out. Now lit by flashing electrical discharges from outside. Rocket veers Fx.
On Friday, 19th October, it was back to Shepperton (Soundstages A & B) for the Wedding sequence in the Great Hall of Mongo City – most exactly, as Dale approaches the alter (254).
Other scenes shot on set involved Ming walking to the alter, with explosions outside (256); Dale getting closer to the alter (260), and the final moments of the wedding procedure (265. pt.266. 267. 271 – before Rocket crash).
The characters involved were: Dale, Ming, Aura, Rima, Zogi, 200 crowd (Note: Maximum costumes from Scs.50, 85 and 86, plus additional to be decided).
Special requirements for these scenes were:
Art Department: Musical instruments.
Production: Crowd dressing rooms.
Week Eleven
Between Monday 22nd and Friday, 26th October, all work concentrated on the scenes on Arboria (Shepperton – Soundstage H).
First on the schedule was the sequence where Prince Barin save Flash from the ‘Swamp Thing’, but is captured by the Hawkmen (169. 170. 171. 172a. 173. 174. 175).
Flash fights for his life in Scenes 170a and 172, and Fico enters the cage with the spare key (158).
The characters required on set were: (169. 170. 171. 172a. 173. 174. 175) Flash, Barin, Luro, Flying Doubles for Flash and Barin, 4 Flying Hawkmen and 1 Double for Luro.
Flash, Lionman, Hawkman, Fico and Treeman (158).
Special requirements for the scenes on Arboria:
Art Department: Hawkmen have dazzling atomic lanterns in their helmets. Bones of animals inside “The Swamp Thing”. Cage half under water which bubbles like a geyser. Lock and keys for cage hatch.
Special Fx: Flash sinks in quicksand, hanging vine for Flash. “The Thing” as scripted – work out how Flash is consumed and breaks out of a skin. Barin’s practical crossbow. Bolt fired into “The Thing”. Luro has a practical laser gun which fires. They swoop down and carry off Flash and Barin – rig. Flash inside “The Thing”. Bolt hits it from outside and it explodes. Dry ice.
Camera: Green moonlight Fx. “The Thing” explodes in a silent flash of atomic light. Patches of phosphorescent lights. Green filtered light Fx.
Saturday, 27th October.
The shoot for the day take place in the Great Hall in the Palace as the War Rocket crashes and brings the wedding to a halt (pt.275. 276. 278. 279. 280. 281. 282. 283. 284).
All are filmed at Shepperton (Soundstages A & B), with the following characters: Flash, Ming, Dale, Aura, Zoki, Vultan, Luro, Biro, Rina, 30 None-Flying Hawkmen, plus a crowd as in Sc.254.
Special requirements for the Great Hall scenes :
Art Department: How long to rig wrecked set and rocket?
Special Fx: Smoke. Explosions, etc. Rig for Flying Hawkmen. Incredible gale effects.
Camera: All lights go out except for a glow around Ming. Bolt of lightning Fx.
Week Twelve
The week began (Monday, 29th October) where it had left off on the previous Saturday with work commencing and completing on the scenes in the Great Hall of Mingo City after Flash had crashed the Rocket into it.
First on the schedule were sequences pt.275. 276. 278. 279. 280. 281. 282. 283 and 284. The character’s needed for these scenes were as above.
Next up were shots inside the wrecked Rocket of Flash breaking out (277).
The final sections (291. 292. 293. 294. 295) were what was described in the Main Unit Shooting Schedule as the ‘Finale’. The characters involved were: Flash, Dale, Vultan, Luro, Biro, Zogi, Aura, Barin, Zarkov, Rima, plus 8 Flying Hawkmen and crowd as per Sc.275.
Special requirements for these scenes were:
Art Department: How long to rig wrecked set and rocket? How long to damage set (Int. Wrecked Rocket)? Weapons.
Special Fx: Smoke. Explosions, etc. Rig for Flying Hawkmen. Incredible gale effects. Wind cease Fx.
Camera: All lights go out except for a glow around Ming. Bolt of lightning Fx. Lights return.
All the above were shot at Shepperton (Soundstages A & B).
Over at Weybridge on Friday, 2nd November, work returned to the sequences on the surface of the War Rocket, ‘Ajax’ (240. 241. 243. 244. 245. 247. 248), for which the following characters were needed: Flash, Vultan, Biro, Luro, 8 Flying Hawkmen, 22 Stunt Hawkmen, 20 Rocket Soldiers.
All the above were required at Weybridge on Saturday, 3rd November.
Special requirements for theses sequences included :
Art Department: Jagged hole in stern where bomb went off. Weapons for Hawkmen and Rocket Soldiers. Hatches open on Rocket Ship. Small exhaust port on deck. Gas masks.
Special Fx: Hawkmen impaled on knives. Set on rocker. Sharpe knives pop up. Slippery lubricant shoots out and covers Rocket deck.
Flash lands rocket cycle on War Rocket. Limpet mine explosions, lasers and grenades. Plastic explosive and explosions Fx. Rubber knives, mattresses, boxes, safety net.
Week Thirteen
First three days of week Thirteen are used to complete the Battle Scenes on the surface of the War Rocket ‘Ajax’ (240. 241. 243. 244. 245. 247. 248.). The characters required on set were as above.
On Thursday, 8th November, work began at EMI Studios (Soundstage 8) on the sequences in Dyzan’s Grotto (285. 286. 287. 288. 289. 290). The characters needed for these scenes were Flash, Dale and Ming.
Special requirements for these scenes were as follows:
Art Department: 6ft. long silver masonary which Flash hurls at the toad.
Special Fx: Pool of green slime. Practical guns. Spider with face of Ming. Dale covered in maggots. Hairy beast pulls Flash into pool. Huge toad with face of Ming. Slime rises in pool. harpoon kills toad Fx, which sinks and disappears, as does the slime. Dummy rock for Flash to throw at Ming.
Camera: Ming lit satanically.
N.B. The above scenes were not used in the finished film.
Week Fourteen
On Monday 12th and Tuesday 13th November, work continued at EMI Studios (Soundstage 8) on the death of Ming in Dyzan’s Grotto (285 to 290), involving Flash, Dale and Ming.
Wednesday, 14th November. EMI Studios – Soundstage 4. Work was carried out on scenes in Vultan’s Sky Palace using Blue Backing.
The characters required for these sequences were: Vultan, Luro, Dale, Zarkov, Biro, 30 Non-Flying Hawkmen, 15 Non-Flying Hawkwomen, 10 Non-Flying Hawkchildren, 8 Flying Hawkmen.
Special requirements for these scenes :
Art Department: Weapons for Hawkmen. Food for Vultan.
Production: School facilities for children.
Containing the work at EMI (Soundstage 4) on Thursday, 15th November, scenes on the Terrace of the Sky Palace (180. 180a. 181. 183. 183a. 183b. 183c. 183d), which involved Prince Barin challenging Flash to ‘Trial by Combat’, Dale seeing Flash, and everyone moving to the ‘Combat Area’.
The characters used in these scenes were as follows: Vultan, Luro, Flash, Barin, Biro and a crowd for Scene 162.
Special requirements for these scenes :
Art Department: Mallet and gong. Two long coiled whips.
Work continued on the scenes inside the Sky Palace on Friday, 16th November, which included the sequences where Dale sees Flash, and the crowd moving to the Combat Area (180a, 181. 183. 183a. 183b. 183c. 183d), plus the arrival of General Klytus (189. 190. 191. pt.192).
The characters needed for these scenes were: Klytus, Vultan, Luro, Barin, Biro, Flash, Zarkov, Dale, plus stunt doubles for Klytus and Flash, and the Hawkpeople used in Sc.162.
Special requirements for these scenes :
Art Department: Klytus’s shuttlecraft lands Fx. Dummy for Klytus. Boxes, mattresses, safety net.
Remaining at EMI Studios (Soundstage 4) on Saturday, 17th November to complete the scene when Klytus arrives at the Sky Palace and to shoot the sequence where Flash throws him onto the spikes (189. 190. 191. pt.192). Also filmed were the section where Flash prepares parachutes and the arrival of Ming’s Rocket (196. pt.197. pt.198).
Special requirements for these passages were :
Art Department: Curtains blow in the wind. Couches, big banners on the walls. White cloth.
Week Fifteen
Monday, 19th November.
Back at EMI Studios (Soundstage 4), work continues on the scenes on the Terrace of Vultan’s Sky Palace where Ming offers Flash a kingdom to rule (201), and in the shaft down which Flash falls to find the Rocket Cycle and escapes (205. 207. 208).
The only characters required on set were Flash, Ming and 2 Hooded Guards.
Tuesday, 20th November brought more work on Scenes 203. 205. 207. 208. which involve Flash making parachutes and, latterly, falling down the shaft.
The shooting of the above sequences continue into Wednesday, 21st November (203. 207. 208), which involve just Flash.
Special requirements for the three days (Monday 19th – Wednesday 21st November) scenes :
Art Department: Several curious Rocket Cycles.
Special Fx. Set on rocker. Piece of outer wall falls away revealing sky. Explosion Fx. Rocket cycle starts up – rockets fire.
Production. How do we shoot Rocket Cycle?
Thursday, 22nd and Friday 23rd November were spent at Weybridge shooting the “Trail by Combat” between Flash and Prince Barin – including the part where Flash wins and saves Barin (Scenes 184. 186 – using Blue Backing).
Week Sixteen
Monday, 26th November was, again, spent completing Scenes 184 and 186; ‘Trial by Combat’ at Weybridge.
Special requirements for these scenes :
Art Department: Hawkmen spray grease onto disc flooring. Vultan’s throne with button panel.
Special Fx. Rocker for contest disc. Whips. Knives shoot up out of the disc. Flash holds onto the knives. Rubber knives for Vultan double.
Camera: Area around and beneath disc is a bottomless sky.
Stunt Arranger: Whip expert.
Tuesday 27th and Wednesday, 28th November. Still resident at Weybridge, Scenes pt.192. 193 were shot – ‘Klytus dead – reveals second face’.
The characters required for these segments were: Klytus, Barin, Hawkpeople, 8 Flying Hawkpeople.
Special requirements for these segments were as follows:
Art Department: Weapons for Hawkpeople.
Special Fx. Klytus reveals a ghastly second face. Many Hawkpeople fly off. Dummy for Klytus.
END OF PRINCIPAL PHOTOGRAPHY
Notes:
[1]. The character, Zogi, is mentioned several times, but appears to have been replaced by a free-floating globe in the final cut.
Anyone who was old enough to watch television in the late 60s or early 70s would have been aware of Jason King and Department S. To a whole generation, he was the king of cool. Stylish, witty, tongue in cheek, and a solid role model for any male who grew up in that era.
In the latter part of the 1970s, the series was rarely repeated and Peter Wyngarde, the actor who played Jason King was absent from our screens. It wasn’t until Flash Gordon was released that we heard his unmistakable, dulcet tones yet again. In the days before satellite TV, videos and DVDs, the only way to have seen this remarkable show again was if it was repeated on terrestrial television – which it wasn’t. So, for some time, us fans were starved of Jason King and only had to rely on our memories as to what a great show this was. It was around this time that I discovered that Peterhad released an album. An actual LP! I searched far and wide for a copy but it seemed to be so elusive, like some kind of vinyl Holy Grail. It was at a record fair in the first half of the eighties where I chanced upon a stall that had a whole section of TV/film soundtracks and there, wrongly placed but obviously put there because of the Jason King connection, was a pristine copy of this masterpiece. At the time the chap wanted £10 for it which was more in the upper price range in the early 80s but not extortionate. To be honest, if I’d has £100 on me and that was what the dealer wanted I would very likely have paid it due to it rarity and my obsession with Jason King and Department S.
When I first played the album, I didn’t think I could admire Peter more than I already did but listening to this surreal and captivating album showed me that not only was Mr Wyngarde one of our greatest actors but he also had a fabulous, surreal and outrageous sense of humour! I was quite disappointed to discover that he only released the one album and I often wondered what gems would have been produced if his recording career had continued. I imagined him being discovered and produced by Frank Zappa and releasing a series of albums that would have been seen in the same light as Captain Beefheart’s ‘Trout Mask Replica’.
When VHS videos arrived on the scene, both Jason King and Department S were available again and I often wondered whether my memories were far better than the programmes themselves. It can sometimes be the case that a TV show you watched as a child and held fond memories for was often disappointing when revisited as an adult. It was not the case with these shows. Just like ‘The Prisoner’ (which PW also had a great part in) both series are timeless. The humour is still there. The style is still fabulous. And of course, it’s Peter’sperformance in both series that elevate this above many shows of the time. Yes. He was as cool I remembered!
In the late 90s I had a band called The Paisley Wheelchair Experience. When writing some new songs I felt compelled to write one about Jason King returning and taking on the criminals of the day. There wasn’t anyone else on TV since him who could solve mysteries with such humour and panache so I made the rest of the band discover the wonders of JK and it became quite apparent to them where my dress sense came from. We performed around the music circuit and easy listening scene in London and I was delighted when Peterhimself got wind of the song. Tina, who has run Peter’s Official Appreciation Society was incredibly kind to us and we decided to release the song as a limited edition through the Society. Peter was amazingly gracious and not only did he agree to let us use his image for the cover, Tina arranged for him to sign every single copy! To say we were delighted was an understatement!
The limited edition CD single
Delving back into his career, I realised what an amazing actor he was. He lit up the screen and was captivating in every performance he gave and it annoyed me that he wasn’t being held in the high esteem he deserved when mediocre actors were receiving acclaim. The British press were undeservedly vile to Peterin the 70s and he vanished from our screens from some time but the sporadic appearances that followed were ones to be cherished. Whether it was his face hidden behind a mask in Flash Gordon (identified by his unmistakable voice), a brilliant appearance in Doctor Who or, oddly enough, a bizarre and hilarious role in Channel 4’s ‘The Comic Strip Presents’ it was a joy to catch a glimpse of such a charismatic actor.
I always remember a story a friend of mine told me which although may seem like a trivial anecdote, but it did impress me. Around 1969 he was walking along the Kings Road in Chelsea when a big Bentley turned the corner and stopped, waiting to turn. Sitting behind the wheel was Peter Wyngarde dressed exactly as he was when onscreen as Jason King and smoking a cigarette. There was no difference between the character and the actor as far as my friend was concerned as he looked like Jason King, dressed like Jason King and smoked a cigarette with the same panache the coolest television character did. How much of Peterwas in the character of Jason? It appeared to be a lot! It was very gratifying to think that the person playing the coolest chap on television was actually as cool in real life as the character he played.
In the series Jason King defeats baddies and then writes novels as Mark Cain which are enthusiastically read by a public who are unaware that the events in them actually happened. Could Peter Wyngarde actually be having these adventures in real life and the TV exploits are his ‘Mark Cain’ novels? With someone as incredible as Peter Wyngarde it’s entirely plausible!
There are so many roles that Peter could have been offered. He was rumoured to be in the running for James Bond at some point. You could easily imagine him as a wise old Jedi in one of the new Star Wars films. But the fact that he wasn’t everywhere has perhaps added to his allure. He gave us the coolest, grooviest TV character of all time, blessed us with one of the most jaw dropping albums ever made, stole the show in an episode of The Prisoner and was one of the most memorable onscreen villains in the classic Flash Gordon. His ‘cool’ credentials remain intact and he’s managed to retain an air of mystery about himself at the same time. Anyone who is in the know will be fully aware of the fact that Peter Wyngarde is quite possible the greatest actor the UK has ever produced. Fancy!
What’s wild, wacky and as mad as a balloon?It’s The Paisley Wheelchair Experience, of course!
Original article published in The Hellfire Club Magazine – Summer, 1997
Lead Vocalist: Lord Freddie Valentine. Guitarist: Lady Karen. Bass Player: Lady Elizabeth. Pianist: Lady Helens. Drummer: Lord Amado. Backing Vocalists: The Pogeria Twins.
Donning their best feather boas, safari suits and oriental dressing gowns, The Paisley wheelchair experience, who admit
to having an on-going fascination with the Demi-god of high fashion, Peter Wyngarde, are currently one of the hottest bands on the pub and club scene south of the Watford Gap. With a set that includes such songs as ‘Shaken Not Stirred’, which pays homage to the delectable Jason King and his TV contemporaries, the Wheechairer’s are definitely an act not to be missed.
Lord Freddie Valentine – a crooner on a mission, told The Hellfire Club mag recently that the band where in the progress of recording a new song entitled, ‘The Return of Jason King’, which they not only plan to include in their ever-expanding live set, but intend to release it on CD exclusively via the Hellfire Club.
He explains: “We’re just about to acquire a recordable CD machine, and are planning to press around 40 copies of the disc, each of which will feature Peter’sgracious image on the sleeve and the song as the main track. If we do so, we’d like to make them available exclusively through the Society, and will release another single elsewhere for the time being”.
With their almost legendary dislike for modern attitudes in films, music and fashion, Lord Fred and the gang decided to invite Peter to join them on stage at the Indigo Club in London’s Soho last year but, unfortunately, the great man wasn’t able to make it due to prior commitments.
“What we wanted,” Freddie explains, “was to pretend that the amplifier had broken down mid-performance by switching it off. After faking some considerable concern, someone would then have the bright idea of calling ‘Department S’. After reaching them on our mobile, cue ‘Jason King’ theme, and on would swagger Peter, saying: ‘It’s not switched on, old chap!’ sadly, he wasn’t available on that night, so we’ll just have to keep trying and maybe, one day, our dream will come true!”
Freddie says that the fascination with Jason King is evident throughout the whole band. “But is mostly instigated by me. When a new member joins, they are initiated by having to watch videos of ‘Department S’ and ‘Jason King’”
Sounds like bliss!
Click below for more about Peter Wyngarde tribute records…
For those of you who don’t know, General Klytus was the characterization of Lorenzo Semple Jr; he never appeared in Alex Raymond’s original comic strips. According to some sources – including Dino de Laurentiis, the character wasn’t supposed to be in the film we now know and love, but was to take over from Ming in the sequel. I heard this when I was summoned to Dino’s office at Shepperton Studio’s before filming commenced on the original film.
He wasn’t there when I arrived, so I was met by his secretary. I was told he’d had to make a trip to Amsterdam to pay for a piece of the set which hadn’t as yet been paid for. The shoot couldn’t begin until that piece of backdrop arrived.
The secretary asked me if I’d like a drink so I said, “Yes. A large Scotch”, but was told that they didn’t have any of the hard stuff in the office, so I was offered a cup of tea!
When Dino finally arrived, the first thing he asked me was if I’d read ‘The Invisible Man’ by H.G. Welles. I said I had, to which he inquired if I’d be interested in starring in a remake of the film. I was flabbergasted, but then I’d come across Dino before (although he didn’t remember [1]), so I knew he was capable of dropping just this kind of thing on people.
Some years ago, I’d been asked to appear in a film version of Tolstoy’s ‘War and Peace’. After I’d done the make-up test with the lovely Audrey Hepburn, I was told to wait for a shooting date. This never seemed to come, so when I was given the opportunity to do a Peter Schaffer’s film, ‘The Salt Land’ [2], I jumped at the chance. Peter Schaffer, of course, won the Academy Award for writing the script for ‘Amadeus’.
We’d just got to the last part of the shoot on ‘The Salt Land’, when I received a call to be in Rome the next day to start on the huge ballroom scene on ‘War and Peace’.
I immediately rang my agent to tell him of the ridiculous situation I was in, so he ‘phoned the producer, Dino de Laurentiis, who replied in no uncertain terms that, if I wasn’t in Rome within the next 24 hours, not only would I be out from the film, but my contract with Paramount would be null and void!
Well, that’s exactly what happened, as I chose to finish ‘The Salt Land’. And yet, strangely, here I was – not only about to play Klytus in a de Laurentiis production, but also I was being presented with an opportunity to play the lead in his remake of ‘The Invisible Man’! Should I tell him we’d met before and risk getting sacked? I’m glad I did, as he told me in the strictest confidence about the sequel which had already been written by Semple. It was then that he divulged to me that, at the end of the first film, after Ming dies, that a gloved hand would reach from out of shot and pick up the Emperor’s mystical ring. That gloved hand would belong to Klytus.
The idea for the sequel was that Klytus would find the lost city of Atlantis, from where he’d rule a far more ghastly kingdom than had been run by Ming. Unfortunately, I didn’t get much more from him as he was called away.
The original black and white version of ‘Flash Gordon’, had a slightly podgier Flash, and a wonderfully saturnine Ming played by Charles Middleton, who often played the baddy in cowboy and gangster films. Above all, I remember fondly the little Sky Rockets in the series – suspended on wires which were clearly visible on the screen – going ‘Phuff! Phuff! Phuff!’ I loved that! I think they were shown every Saturday morning at the cinema.
The one thing I remember most about shooting the film was the weight of the costume; it was an absolute ton! We were provided with these sort of ironing board things that we could lean on between takes. Another difficulty was not being able to see the other characters, all of whom were wonderfully cast, with a mask over my face.
We tried several shots with me wearing the mask, but found that there was just a muffled sound coming out; there was certainly no personality. Klytus was in danger as coming across as a very bad Darth Vader – or Man in the Iron Mask: lovely to look at, but completely MUTE!
Finally, we discovered that the problem was all to do with the mechanism in the jaw. To begin with, all we heard was a loud ‘Click! Click! Click!’ That was until the correct angle was found. It took seven more takes before the clickety-click was solved. During a scene with another character, it sounded as if the actor opposite me was wearing false teeth! At one point, we almost gave up. I thought that I might have to forfeit the part, but we persevered until, finally, we found the right balance.
As many of you will know, the senior designer on the film did many of the Fellini movies, so when I visited the set for the first time and saw all the costumes, I felt that I could be in any of his fabulous movies. I loved looking around the sets, even when I wasn’t shooting just to soak up the atmosphere. I saw my mask recently at Yardo in Piccadilly. How I wish I’d kept it as it really was a work of art, and even without me in it, it had a personality of its own.
The mask was designed and made in Italy, and cost around £5,000 to make at the time. Originally had two costumes; a black and a virgin white version – the latter of which I was to wear in the scenes with Princess Aura. I felt, though, that the white one looked a bit like something that’d been worn in a pantomime, so I decided to stick with the black one throughout the film.
Notes:
[1] In the 1950’s, Peter had signed a five-year contract with Paramount. [2] Click here for ‘International Theatre: The Salt Land’. Broadcast: 8th November, 1955.
Click below for more on General Klytus and Flash Gordon…
It’s a fan’s ultimate dream to finally get the opportunity to meet his or her hero, whether it’s by chance in on the street, or in a swish restaurant or bar. These are some of the stories from Peter’s devotees who had been fortunate enough to shake the hand of a legend.
Erica Pershky – a Technical Assistant at a London branch of the National Westminster Bank, has been a fan of Peter’s from the very first time she set eyes on him in the role of Jason King in Department S. Having seen her idol on stage no fewer than six times in ‘The King and I’, ‘Anastasia’, ‘Present Laughter’ and ‘Dracula’, Erica considers herself “very lucky indeed!”
“The first time I ever saw Peter was at the stage door after seeing him in ‘Anastasia’ in Bath. He called me “darling” and “lovely”, and I remember it took him three attempts to give me his autograph as he kept spelling my name wrong! I still treasure that sheet taken from the back of my theatre programme. I remember exactly what he wore. Two other female fans, who I’d never met before, were so carried away by the occasion (Peter spent some time chatting to us), that we followed him in their car for some way out of the city but, unfortunately, we were forced to give up the chase after a while as he was on his way to a party.”
But that wasn’t Erica’s only encounter with Peter, as she elaborates: “The second time I met him was a week or so later in Richmond, Surrey – again, after a performance of ‘Anastasia’. I was in my usual seat; second row, aisle. Whilst taking a curtain-call, I noticed him turn to his co-star, Nyree Dawn Porter, nodding and winking at me; he whispered to her that I was there, as usual. Nyree told me about this later when we chatted.
AboveRight: Peter with a fan at a party in Oslo, 1970
“However, this time when he took his curtain-call, Peter appeared most displeased as he spotted two women leaving the theatre. They must’ve had a train to catch or something like that, even though it was pretty rude of them before the final curtain. I could read Peter’s lips, and he wasn’t happy, I can tell you!”
But that wasn’t the end of Erica’s adventures in Richmond, as she was fortunate enough to talk her way into Peter’sdressing room: “I found him sipping Champagne with two dressers, and I jokingly admonished him over his mouthed comments to the two women in the theatre earlier that night. I then gave him a sketch I’d done of him, which he said looked more like his father!
“After chatting for a while, I cheekily said ‘Give us a kiss then, I’ve got to go now!’ I then toured halfway across London as I’d missed my last train; I think I must’ve floated home!”
Apart from the fond memories that she still holds after all these years, Erica says that her most treasured possessions are three postcards which Peter sent to her in reply to her letters: “Oh, and the kiss that he gave me way back in 1976; I haven’t washed my lips since!” Erica says that her favourite of all Peter’s roles are those she saw him in on stage – particularly in his portrayal of the King of Siam in ‘The King and I’. And her favourite screen-role? “Who else, but Jason King – especially in ‘A Page Before Dying’. That leather outfit. Yum! Yum!”
One of her saddest moments as a fan came recently when she realised what she’d lost after throwing out all the posters and photographs of Peterwhich had covered her bedroom wall as a teenager. Never mind, Erica. At least you still have some wonderful memories.
Peter signed this for me at the NEC in 2013 (I think?). “You really want me to sign THIS?” he said.
“Yes, please, Peter”.
“Well it’s not me at all you know. It’s a dummy.”
“It’s a photograph of you from the National Portrait Gallery.”
“No it’s a waxwork. Madame Tussauds. I’ve always disliked it. Vanity, I suppose” he rattled on.
He begrudgingly signed it with his odd swan motif. After thanking him and wishing him well I walked away and soon became aware of a mesmeric stage-whisper calling to me across the crowded room – “Ian! Oh EEEEaaannnn”. I turned to see Peter beckoning me back to his table. “Look, Ian. You were right.” His next customer had presented him with a copy of the 1970 PW CD. “This is the dummy I was telling you about.” Very funny.
The queue to meet him was longer than anyone else that day. In fact two disgruntled ageing Bond girls were so sick of being overshadowed and bypassed by Peter’s fans that they packed up and cleared off. Peter was wonderfully charming to me. It is an encounter I shall always remember.
He was irked about a new book written about him “King Of TV”, I think it was called. “Who is this man who has written this?”
I said, “Oh it’s by that fellow who writes all the books about The Prisoner”.
“He didn’t ask my permission!”
I said, “Well, I think it was written more as an homage than a best seller”.
“Have you read it?” asked Peter.
“No”, I said.
“Is it any good?” he went on.
Very funny. Reading about Peter’s signing trips to the NEC in ‘Peter Wyngarde: A Life Amongst Strangers’, made me remember this. I met Fenella Fielding that day too, she was lovely, a very sweet lady. Happy days.
Ian Kelland, Worcester
In 1976, my mum once ran into Peterin the cafeteria at the Guild Hall, Preston, where he’d been appearing in ‘Anastasia’. Mum worked on the theatre staff as a cleaner. She said that Peterwas extremely polite to her, and after signing his autograph, bought mum a cup of coffee.
Cathy Leigh, Leyland, Lancashire.
I remember meeting Peteroutside the Royal Court Theatre in Liverpool after he’d appeared in ‘The Merchant of Venice’ there. I shook his hand through his car window. The programme he signed for me is one of my most treasured possessions.
Brian Pearson, Huyton, Liverpool.
I recall Peterpulling up beside me at a set of traffic lights in Liverpool city centre. He wound down the window and called out to me: “How do you get out of this place?”
James McAteer, Liverpool.
I was a contestant in the 1972 ‘Centre Girl of the Year’ competition, on which Peter was one of the judges. I can’t remember where I was placed in the competition because I was so excited about meeting Peter Wyngarde! However, I do recall getting a kiss from him after the event!
Helena Melson, Bexhill-On-Sea, East Sussex.
I was fortunate enough to meet Peter in 1989 at a fund-raising event which had been organised by a local children’s nursery. Peter had been asked to open the fete, and was happy to oblige. He stayed for most of the day, and was absolutely wonderful with all the mums and kids, who adored him. He really is a lovely guy.
Carol Smith, Crawley, Sussex.
My only encounter with Peterwas seeing him driving his Bentley off a cross channel ferry at Dover after a trip to France in 1970. I was only about 10-years-old at the time, but I’ve never forgotten that day and I never will.
Brian Jenkins, Dover, Kent.
As a British Telecom engineer, I was working in Borehamwood, Hertfordshire, one Wednesday afternoon in 1992, when a beautiful Triumph Frogeye pulled up next to me. When the driver rolled down the window to ask for directions onto the A411, I realised it was Peter Wyngarde! Since I was a stranger to that part of the country, I was unable to oblige, but I’ve dined out on that story ever since.
Pete Thurston, Southhall, London.
In September of 1971, my brother Andrew and I were excited to meet Peter while we were out shopping with our mum in South Kensington, London.
At the time, Peterwas filming an episode of Jason King called ‘An Author In Search Of Two Characters’ at Kingston House in Kensington Road.
Left: Hilary and her brother Andrew, with Peter
I was only seven-years-old at the time and Andrew was just six, but we’d seen Peteron television many times in Department S, and since it was too good an opportunity to miss, we decided to go over and say “hello” to him.
Although we were both very nervous, Peter was really kind to us and gave us his autograph. We also ended up having our photo taken and put in the Kensington Post newspaper.
Our memory of that day will stay with us forever.
Hilary Stewart, London.
I was lucky to see Peterat the Theatre Royal in Bath, in ‘Present Laughter’ and ‘Anastasia’. The latter one was an evening performance and I went back stage to see him leave, well he spoke to me. ME!!!
I remember walking back to the car, but the only thing was I couldn’t remember where I had parked it!! So I strolled around Bath for a good hour or so, blissfully in oblivion of time, and where I was. All I could think of was, I (me!) had met Peter Wyngarde!!!!!! And he spoke!!!! Gosh I had it bad. I was looking at the pictures in the scrapbook and I use to have two of them one was with his dog (Youssef) and him in his chair at the end.
Linda Jones
I wanted to meet Peteras he played Klytus in one of my favourite films ‘Flash Gordon’.
Left: Xena Warrior Princess Lookalike – Jo Marriott with Peter
Got him to sign my Flash poster, he seemed very taken with me in my Xena kit saying Xena should have married Klytus! lol! Maybe bad Xena may have considered it, she could have then been known as Xena Destroyer of Galaxies!
Those magical days of Carnaby Street and the annual Radio Luxembourg conventions. Kensington Market with the smell of burning joss sticks, vast array of Afghan coats, tie-dye T-shirts and silver jewellery. Biba with its unique atmosphere and flamboyant fashions, set amongst ostrich feathers and groovy coloured glass jars. Not to mention Miss Selfridge, the place for miniskirts and hot pants!
And amidst it all, there was Peter Wyngarde. He stood out from the crowd with his, charm, sophistication and distinctive dress sense (I loved those turned back cuffs) – a real gentleman too.
Below Right: Peter at one of his fan club conventions in the 1970’s
I must have been almost 15 when ‘Department S’ first appeared on television and I was enamoured with Peterimmediately. My whole family would sit round to watch the series (in the days of only one TV in the house) and they soon realised that I had fallen in love for the first time. Their teasing was relentless but, thankfully, my passion could be shared at school with my classmates – they either felt the same about Peteror his co-star Joel Fabiani.
Dedicated fans may remember the flat packed bubble-gum that came out at the time, featuring ‘Department S’ cards to collect. We girls would call into the sweet shop every day, on the way home from school, to make our purchases and swap cards until we had the whole set.
I remember reading an article in ‘Weekend’ magazine about Peterwhich talked about his childhood and his suffering and courage in Japan. That endeared me to him even more. I joined the Fan Club and was determined to meet my idol one day. To my delight, I was able to achieve this on not just one but two occasions at the conventions held by the Club.
I bought a little black dress for the first occasion; extremely short, with the front panel in-set with a snake skin design (all the thing in those days). I had a Saturday job in R.P. Ellen’s shoe shop at the time and I can remember the perfect pair of snake skin shoes (fake of course) coming into stock – I purchased them immediately. I really felt the business when I arrived at the hotel in Kensington. I went on my own on this occasion (can’t remember how I got there – my Dad probably insisted on driving me) and I can recall strolling in very confidently to meet the other gathered fans. I remember standing, chatting with a small group of people and suddenly becoming aware of a very familiar, deep, velvet voice – and there he was!
The next convention was a year later, at a similar venue. I went with my cousin, Carol, and I wore a purple midi-dress and silver choker round my neck. We had our photo taken with Peter and had a wonderful evening.
‘Department S’ eventually faded from our screens, to my great disappointment, but I could still listen to my vinyl single of the opening music to the series and my Peter Wyngarde LP. I still have them tucked away today but unfortunately I no longer have a record player!
Sue Armstrong
I’ve been a Peter fan since I was a teenager who got hooked on the ITC Home Video releases of ‘Department S’ and ‘Jason King’. I was even one of the earliest members of The Hellfire Club, so I think my fan credentials are assured!
Now, since Peter has kept a low profile for many a year, I’d resigned myself to the fact that I would never meet the man himself. So imagine my surprise when Peter started to make appearances at memorabilia/celebrity autograph events.
I hadn’t been able to make any of the dates to work commitments, so imagine my excitement when I could attend Peter’s appearance at a Dr Who event in Barking, London.
I was fortunate enough to meet Peterwhen he visited Sydney, Australia, during a promotional tour in 1971.
Although I was born in England in 1962, my parents emigrated to Oz in 1966 (I’ve since moved back home to Berkshire), and both I and my sister used to watch department S on Channel 7 every week.
When my best friend, Anna and I heard that Peterwould be arriving at Sydney Airport, we decided to bunk off school for the day in the hope that we might be fortunate enough to see him.
When we arrived at the Airport terminal at which his plane was due to arrive, we couldn’t believe our eyes as there were literally thousands of fans (mainly women!) who’d obviously had the same idea as us.
Right: Peter with Anita and her friend
Because we’d been unable to get into the arrival lounge due to the huge crowds, we decided to try our luck out on the concourse and were completely dumbstruck to see Peter and two airport security officers walking towards us (they’d decided to bring him through a side entrance for his own safety). I’m not sure what it was that possessed me, but suddenly I found myself running towards him – hair and arms flying.
The two security officers, who obviously saw little threat in two nine-year-old girls, did little to deter us reaching our hero, and within moments we were hugging and kissing him. Clearly from this picture, he didn’t seem to mind!
Although it was a long time ago, I’ll never forget that day as Peterwas just so sweet to two love-struck little girls.
Anita Hunte
I’ve been a fan of Petersince seeing him way back in the 1960s in ‘Night of the Eagle’ and followed his career without pause enjoying every performance. Loved him in Jason King even if it was very campy and OTT, but what great entertainment just the stuff to blow away all the cares. And how scrumptious he always looked in his flares and furbelows. And that moustache and hairy chest!
On the serious side I battled my way to the box office to get tickets for ‘The King and I’ in 1973, and enjoyed every minute. I even met and spoke with him once. I was on the way to the Odeon cinema, Kensington, and he was cleaning his Bentley Continental. Beautiful car, does he still have it? He was so sweet and charming when I said “Hello” and mentioned how much I enjoyed his performances; so natural and unaffected.
I caught a glimpse of him last year in a programme about screen cads and he looked as gorgeous.
Jill Basten
I was just remembering the ‘Jason King’ and ‘Department S’ Series and wondering whatever happened to Peter– he really was an icon in those days!
I’ve a great memory of Peter around forty years ago. I am a musician and was invited to play for a production of ‘The King and I’ which was being produced by Triumph Productions at the Forum Theatre, Billingham-on-Tees. Peter played the King (of course!!) and Sally Anne Howes was Mrs Anna and a lady with the most fabulous contralto voice – Moyna Cope – played his no.1 wife.
I remember the first mornings’ rehearsal with the cast and Peter came in dressed in designer denim – to which one of my colleagues described as – “expensively scruffy!!!” Peter would come in to the Billingham Arms occasionally after the show – (the only pub!) and would always stand the musicians (it was our second home at the time) a round of drinks.
It was a great run and lots of fun – we had a fine Musical Director in Derek Taverner. I played the show in Nottingham and again in Wolverhampton and that was the last time I heard of Peter.
Collectables for the more discerning (and affluent) fan…
1953 Bentley R-Type Continental Sports Saloon
1953 Bentley R-Type Continental Sports Saloon Coachwork by H J Mulliner Chassis no. BC24B Engine no. BCB23 The example offered here – right-hand drive chassis number ‘BC24B’ – was retailed new by Edwards & Co Ltd of Bournemouth and first owned by one G E Lambert. Accompanying build history shows that the car was equipped with the manual transmission and originally finished in black with red leather interior trim, while special features included veneered dark walnut woodwork, sliding front seats with tipping/adjustable backs, and ashtrays front and rear. The car’s original UK registration was ‘NPU 10’. Information supplied by the Continental Register lists the following subsequent owners in the UK were Baron Nugent until 1971, when it was purchased by Peter in 1971. He subsequently sold the car to American, James Owen Jr in 1977.
The car was acquired by the present owner in 2001 and is currently resident in Belgium. Offered with EU taxes paid, it represents a rare opportunity to acquire a very fine example of what can is considered as the most famous and desirable post-war Bentley.
Sold for €525,083 (£ 438,182) inc. premium
1954 Bristol 404
Bristol 404 once owned by Peter went up for sale in Hampson Auctions on 22 February 2024. One of just 52 404s made, the car had a recent body-off restoration and was described as being in ‘excellent’ condition. The car spent part of its life outside the UK.
Sold for £180,000
John StephensFashion Award
An incredible piece of Peter Wyngarde memorabilia – his original John Stephen Fashion Award ‘ Best Dressed Personality ‘ hallmarked silver trophy. The trophy in the form of a Beau Brummell, complete with monocle and top hat. Hallmarks for Carrington & Co, London, 1970. The plaque to the front (also hallmarked) reads ‘ John Stephen Fashion Award – Peter Wyngarde – Best Dressed Personality – 1970 ‘. The award was given to Peter in the summer of 1970 by Miss Radio Luxembourg. The votes for Wyngarde, were cast by listeners of Radio Luxembourg and readers of ‘FAB 208’ (a magazine), were far in excess of his rivals Cliff Richard and footballing legend George Best. Photographs of Peter with the award have featured in many publications. Generally excellent condition for age, but the cane is missing from the top. A rare and important piece of British fashion and television memorabilia. Measures approx; 39cm tall.
Screen-WornJacket
Jacket worn by the maverick detective Jason King whilst solving the unsolvable crimes that made their way to Department S in episode ‘The Pied Piper of Hambledown’. This particular jacket was probably worn by the stunt double that stood in for Peter in the big fight in the local Village hotel. The brown tweed jacket features orange pin striping with horn buttons. The front of the jacket has four pockets on the front and two inside. It has no size marked.
Original Klytus Mask1st Type
This is the original Klytus mask that was auctioned by Screen-used via Southerby’s in 2017.
It was produced especially for Klytus’ death scene, in which he’s impaled on the floating platform by Flash, as the bottom jaw is fixed in position which allowed a prosthetic tongue to protrude through it.
Worn by Peter as Ming’s diabolical right-hand henchman General Klytus, this mask is crafted of fibreglass with a movable jaw, and an elastic Velcro strap to keep it in place. Originally a bright, shining gold, the finish has oxidized over time to a coppery bronze, with the original gold still seen on the lower jaw and a few other spots throughout the mask’s finish. Also includes a heavy steel dagger with steel sheath possibly forged as a prop for the character, though unconfirmed.
Sold at auction in the US for $15,138(£11,613)
Original Klytus Mask2nd Type
Sold for £4,995
Screen-wornSuit
This is a suit which was designed by Peter, and which is currently on sale via an original film and TV costume and props ‘site.
The suit was worn on screen by Peter in both ‘An Author in Search of Two Characters’ and ‘A Deadly Line in Digits’ (‘Jason King’), and was seen in several publicity shots, including this one which appeared in the TV Times.
Above: Peter wearing the suit in ‘Jason King’.
The three-piece suit, which includes jacket, waistcoat and trousers, is made from flecked wool. The jacket is based on the design of a 17th century Austrian riding jacket.
Sold for £2,745
Leather Whip‘A Touch of Brimstone’
The original vintage leather whip used by Peter (as Sir John Cleverly Cartney’) in the Avengers episode, ‘A Touch of Brimstone’.
The whip is of inter-twined leather construction, with a wound-leather wooden grip. Shows signs of production wear, but otherwise complete.
Sold: £400
Peter with the whip in the controversial ‘Whipping Scene’.
IconicSnakeskin Jacket
Worn in Department S. A rare original screen matched prop/costume snakeskin jacket, as worn by Peter. The vintage snakeskin jacket featuring stitched panels of snakeskin material. No makers labels and was likely custom-made for Peter. Supplied with an original vintage publicity photograph showing Peter in this very jacket. Worn and used in several episodes of the cult series. Showing signs of use from production, with later-added buttons, but otherwise very good condition for age. An iconic jacket used in both series. First seen in the Department S episode The Man From X.
Peter wearing the jacket in a publicity shot for Department S
Vivien LeighGuestbook
This is an extraordinary show business collectable – a part page cut from a wonderful visitors’ book (8.5″ x 8″), signed in ink on both sides by some of the biggest stars of film and television at the time.
The first page is signed by Vivien Leigh, Claire Bloom, Laurence Olivier and Richard Burton, with other actors also signing, including Prudence Hyman (title role in Hammer’s The Gorgon, 1964), Tom Bell and Tony Booth.
The reverse is signed by Henry Kendall, Peter Wyngarde, Paul Massie, Alan Bates, Denholm Elliott, Geoffrey Keen, Robert Flemying, Brian Reece (P.C.49), Barbara Hicks, Tommy Cooper, Dorothy Batley and Constance Lorne.
Peter Wyngarde’ AlbumTest Pressing
‘Peter Wyngarde’ – 1970 – Peter’s personal Test Pressing LP of the self titled album. The vinyl record comes labelled with its original’ Test Pressing ‘ stamped sticker, the CBS logo crossed out and annotated with ‘ RCA ‘. The catalogue number SF8087 appears handwritten underneath. Supplied within its original blank sleeve, with ‘ My LP ‘ written in Peter’s own hand.
‘Peter Wyngarde’ is perhaps one of the most sought after albums, and to have Peter’s own personal test pressing should be considered a ‘holy grail’ for record collectors. ‘Peter Wyngarde’ was pulled from release after only four days due to its questionable content for the period. The third song ‘Rape’ appears to often be cited as the reason for its immediate recalling and banning.
Screen Used Klytus Sand Timer
Klytus’ sand timer from Mike Hodges sci-fi adventure Flash Gordon. Klytus used his sand timer when the imprisoned Flash (Sam J. Jones) was visited by Dale (Melody Anderson). The timer’s sands defied gravity, and it was immovable when Dale attempted to flip it to give herself more time with Flash.
The sand timer measures time for half an hour. It comprises a large glass ampoule filled with white sand and is housed in a black wooden three-legged stand. The sand timer shows light staining on the wood, some areas show paint wear, and the ampoule has large patches of sand stuck on the inside of the glass. Dimensions: 25 cm x 25 cm x 52 cm (9″ x 9″ x 20 1/2″)
Sold for £5,000
Peter as General Klytus with the egg timer
Klytus Maskby Chronicle
Over recent years, Chronicle Collectables has, slowly but surely, built a reputation for making superb quality replicas of film props, and has become a major contender in the high-end collectors market.
One of their most popular licences has been to produce reproductions of some of the props from ‘Flash Gordon’, which includes this beautiful General Klytus mask and cowl, which has been made from a casting of the mask worn by Peter in the film.
The piece was first revealed at the Wonderfest convention in the USA in 2015.
£1,200
Original Script The Innocents
Draft script for the 1961 film. Copy belonging to an unknown crew member, with their holograph ink and pencil annotations on pages 95 and 109.
Sold for $6,500
Original Script A Touch of Brimstone
This is the original script which was used by Peter in the production of the famous Avengers episode. Peter portrayed The Honourable John Cleverly Cartney in the story.
The script contains 56 pages, in addition to the title page and is dated October, 1964, and contains the tag-line, ‘In which Steed joins the Hellfire Club and Martha becomes Queen of Sin’.
This is an incredibly rare example of a script which clearly saw heavy use during the production, it is heavily annotated in Peter’s own hand with every line of dialogue and every scene in which he appears underlined and featuring various notes throughout which are hand inscribed in black ink.
The script measures approximately 13″ x 8″.
Sold for over £1,000.
Screen Used Sculpture
Specially sculptured bust of Peter that was made for the ‘Jason King’ episode, Chapter One: The Company I Keep.
Above: The sculpture as seen in the series with Peter and the late Toby Robins as the Contessa Di Magiore.
Screen Worn Ring
A screen used and matched ring by Peter as Jason King in the cult series. The ring being of chunky 1970’s gold plated design, the top inlaid with three inset stones. Well known for his flamboyant manner of dress, this ring and others like it were frequently seen in the series.
Sold for £360
Gentleman’s Silk Scraf
From Peter’s Personal Wardrobe – an original vintage silk neck scarf, as worn by him to the 1980 New York Premiere of Flash Gordon – in which Peter starred as Klytus in the iconic sci-fi adventure. The neck scarf being silver, with black chequered design.
Above: Peter wearing the scarf
Iconic Screen-Worn Sunglasses
Department S (1969) & Jason King (1971) – a pair of screen matched sunglasses, as worn by Peter as Jason King in both Department S and Jason King.
The glasses being a pair of Oliver Goldsmith glasses, with lightly-tinted lenses and distinctive inlaid stars to each arm. These glasses were worn by Peter in several episodes of the series, as well as his personal life. They are arguably the most iconic glasses he was known to wear, and featured in several publicity photographs for the series’.
Handprinted Japanese CalendarGifted To Vivien Leigh By The Cast Of ‘Duel of Angels
Rice paper calendar, 1961, 12 separate sheets in a folder, inscribed on inside front cover, ‘To Miss Vivien Leigh as a token of Love and Admiration from her Devoted Company, Washington D.C., October 15, 1960’, with signatures including those of Peter Wyngarde (actor and companion to Leigh), John Merivale, Sally Home, John Goring, and many others. 15 x 11 1/2 in.
Below (left): Front of the calendar. (Right): Peter’s signature.
Sold at auction by Bonhams for £500
BespokeLeather Jacket
Above: Front and reverse view of the jacket/shirt that was handmade on Saville Row in the 1970’s.
Inside the garment reads, ‘By Royal Appointment’.
Below: Peter wearing the jacket/shirt at an event at the Empire Pool, Wembley, on 15th sept, 1975 Wembley. He is with singer/songwriter,
Click below for more Peter Wyngarde Memorabilia and Collectables…
This is an on-going page which will feature some of the interesting parts of Peter’s life which don’t exactly fit into any other category. Check out this page for regular updates:
The above was sent by Peter Wyngarde to Tina Wyngarde-Hopkins. ‘Karling’ (sic) ‘Carling’.
If you have any photos or newspaper/magazine cuttings that you think might be suitable to be stuck into The Big Peter Wyngarde Scrapbook, please get in touch.
The convention hall at the National Exhibition Centre in Birmingham was heaving with fans, all eager to meet their favourite stars. The queue’s at the ‘Star Wars’, ‘Red Dwarf’ and ‘Game of Thrones’ tables were particularly long, with each person standing in them clutching a cherished item of memorabilia that they hoped to have signed.
Suddenly, a gentleman wearing a white goatee and baseball cap sauntered past the lines of waiting devotees, and took his place behind the table denoted by a poster of ‘Flash Gordon’s’ General Klytus. As he does so, the majority of people who’d been waiting patiently at the other tables shift en masse to pay homage to the man behind the gold mask.
The dumbfounded ‘Game of Thrones’ star, Josef Altin, turns to Thomas Bowington, Peter Wyngarde’s agent, and asks what had just happened. Bowington replies, with a grin:
“You’ve just been upstaged by The King!”
As a Peter Wyngarde fan, we must’ve all been frustrated at some time or another on reading that his career crashed and burned after ‘Jason King’ ended its run in 1973. And whilst in the past I personally would get myself into a lather over such an invalid statement, I now realise that instead of professing to enlighten us as a newspaper or Internet article is meant to do, the author of such editorials are merely exhibiting their own ignorance.
This kind of languid journalism has, by and large, been commonplace in the UK for decades. Instead of getting up off his or her ample backside and actually researching a subject, the contemporary hack is prone merely to consult a well-known online encyclopaedia with all its unconfirmed and flawed content, and base his/her story around that. Indeed, the more negative the content, the better they appear to like it.
Whilst the ‘papers prefer to put a negative slant on just about every celebrity-related commentary they publish, the average man on the street will tend to judge the success or failure of an actor’s career solely on the number of times he or she has appeared on television in a given period of time. In other words, few people have either the intelligence or imagination to consider that there are other mediums for an actor to ply his trade.
Throughout his career,Peter has never made any secret of the fact that his first love as a performer was the stage. He also made it clear that he had no desire to commit to another long-running television series once ‘Jason King’ had run its course. In fact, he grabbed the opportunity to play Ben Butley in Charles Dyer’s play, ‘Butley’ at the Metro Theatre in Melbourne, during the pause between the shooting of ‘Department S’ and ‘Jason King’ in 1971, to much acclaim.
Yet in spite of the often barbed comments of the resentful and misinformed, who continue to insist that Peter’sbest days were over by 1972, in actual fact he was enhancing his standing as both an actor and director whilst treading the boards, and receiving glowing critical acclaim from some of the most respected critics in the business.
His first real post-Jason King outing was in Charles Dyer’s ‘Mother Adam’, in which he played a lonely museum curator who was still sharing a home with his mother. His performance drew praise from across the board, with one of the theatre’s most revered columnists, Harold Hobson, declaring: “Peter Wyngarde gives a performance of near genius – a great actor in the very best sense of the word.” and The Times in-house authority stating, “…as for Peter Wyngarde, in this play he approaches with a quiet, unassuming step, very close to greatness.”
For his next trick, Petertook on the role made famous by Yul Brynner in a revival of ‘The King and I’. He portrayed the King in all 260 performances of the show – playing to packed houses from Scotland to the south coast of England. Demand for tickets was so fierce that when the production reached the West End of London that it had to be extended by a further two months.
“Peter Wyngarde touches depths of understanding not always encountered in a musical. This is a spectacle indeed.” The Daily Express
“…Peter Wyngarde is personal, charming and finally moving. It wouldn’t surprise me if the show announced limited run stretches on and on well into the New Year, and beyond.”The Daily Telegraph
Hardly the description of an actor whose best days were behind him!
Peterwas to both direct and take the lead in his next play – Noel Coward’s ‘Present Laugher’, for which he again won high praise from notoriously hard-to-please critics, with the London Evening Standard declaring:
“Wyngarde himself bears no relation to his famous Jason King, with the possible exception of his immaculate wardrobe. Instead he produces some masterful touches sometimes by a word, an action, or as in one possible case, an expression.”
Whilst Plays and Players exclaimed:
“Peter Wyngarde, who directed as well as starred, added to his reputation for professionalism with his deft handling of the play. He proved in this particular work to be the complete actor, using it as a vehicle to manoeuvre with dazzling carioation of pace. His own playing of the flamboyant lead was a first-class modernisation of itself. Not only had he adapted it to the style of Jason King, who had, of course, given him the kind of following such as Garry Essendine would lividly envy, but enough individuality and magnetism of his own…”
Success followed success, as the one-time king of television proved that he could also be the sovereign of the box office.“You could’ve heard a pin drop as Wyngarde moved menacingly down centre stage and then in powerful ascended tones introduced himself with a click of his heels and courtly bow,” one journalist wrote of Peter’s portrayal of Count Dracula in 1974.
“In luxurious, floor-length, rich black velvet cloak, Mr Wyngarde looked as if he’d stepped straight out of the pages of Romanian history, for instead of the usual swept-back hair from a ‘widow’s peak’ on the forehead, this Dracula had lustrous black, shoulder length hair and a drooping black moustache, but there was no denying Peter Wyngarde’s powerful presence in the role.
“Occasionally, the dialogue managed to laugh at itself as in Dracula’s comment about Transylvanian wine not travelling well, but more often than not, it was just background noise between the marvellous effects which were designed by Peter himself. He even spoke his great climatic oration as though it didn’t matter, and it didn’t. His stage presence itself was simply awe-inspiring”.
The reader of this article would do well to remember that, even into the 1980’s, television was still considered by many thespians to be the poor relation of the acting profession. Any member of Actor’s Equity who hadn’t first cut his or her teeth in Repertory Theatre, or made their name treading the boards, would’ve been frowned upon by his peers. So whilst the average ‘Couch Potato’ might well have believed that Peterhad been packaged up and stuck at the back of the wardrobe when ‘Jason King’ drew to an end in 1973, in reality, he was earning the respect and admiration of ‘The Gods’ in front of sold out houses countrywide.
Certainly, he was held in enough esteem by the producers of a new adaptation of J.B. Priestley’s ‘Time and the Conways’ to be invited to direct the play at The Yvonne Arnaud Theatre in December, 1975. The production, which featured Dulcie Gray, Christopher Cazenove and Anthony Andrews, was a huge success, and lead Peter to be invited to both act and direct at the highly respected English Theatre in Vienna in 1977.
Whilst in Austria, he was asked by a newspaper journalist why he hadn’t returned to TV after ‘Jason King’, to which he reiterated that his first love was, and always had been, the theatre: “Unless you do what you want,“ he said, “you please no one – neither yourself nor your audience. Compromise; taking parts you don’t like, builds up a kind of self-loathing, and that’s the most destructive thing in an actor”.
Over two tremendously successful seasons, Peter starred as George Bernard Shaw in ‘Dear Liar’, opposite the Theatre’s founder, Ruth Brinkmann (the play was brought back in September of 1977 due to the huge demand for tickets); as Richie Bosanquet in the European premier of ‘Big Toys’, and as Shylock in his own production of ‘The Merchant of Venice’.
Of his performance in ‘Dear Liar’, one critic wrote:
Wyngarde’s sharply etched performance was a triumph of acting, employing a Cheshire Cat grin and a look of self-satisfaction when tossing off a bon not – of which ‘Dear Liar’ has many’.
The British national tours of ‘Anastasia’ and ‘The Merchant of Venice’ that followed made a big enough impact for the world-renowned theatre producer, Pierter Toerien, to cast Peterin Ira Levin’s ‘Deathtrap’ at the Baxter Theatre in Cape Town. The play broke all box office records there during its run, and the season was extended by 12 weeks.
The 1970’s proved to be the busiest decade of Peter’s career, during which time he was never out of work. In addition to the productions in which he performed, produced and directed, he was offered innumerable other opportunities which he was forced to turn down due to his being otherwise engaged [1].
The early 1980’s brought him a new challenge when he was cast as General Klytus in Mike Hodge’s sci-fi blockbuster, ‘Flash Gordon’. Although his face was hidden by a mask throughout the film, and without the benefit of facial expressions, it was generally agreed by critics and fans alike that Peter stole the show.
“Regardless of whether you’re a fan of science-fiction or not, those who delight in studying the diverse acting talents of Mr Peter Wyngarde and his multi-faceted performances must agree that he did a marvellous job in creating the malevolent, sadistic, and incredibly evil Klytus without the benefit of facial expressions. His totally chilling inflection and faultless performance in this most challenging of roles is yet another shining example of Wyngarde’s tremendous acting ability.” Empire
The film brought Peter a whole legion of new fans – especially in the United States where, until then, he’d been relatively unknown. Interestingly, fans based in America now count for a large percentage of the visitors to this website, and Peter’s earlier films are now regularly shown at events throughout the States.
In spite of a concerted effort by British devotees to get Peter back on television here in the UK, he insisted on putting theatre at the forefront of his career – accepting roles in ‘Underground’ opposite Raymond Burr, and in ‘Light Up The Sky’ with the late Kate O’Mara.
When he did decide to return to the small screen, it was in a four-part ‘Doctor Who’ story, ‘Planet of Fire’. Curiously, in his recently published autobiography, ‘Is There Life Outside The Box’ Peter Davidson demonstrated his own ignorance by claiming that Peterhad done little work in the years leading up to his portrayal of Chief Elder, Timanov.
The former ‘All Creatures Great and Small’ performer claimed that, once cast in the role of Timanov, Peter’s agent contacted director, Fiona Cumming, to inform her that his client wished to play the character as an “old man”. Davidson upholds that, at the time both he and Cummings’ agreed that he WAS and old man! In actual fact, Peter was not yet 50 when the episode(s) was filmed on Lanzerote. Not exactly what you’d describe as archaic. Interestingly, Ms Cummings’ was, herself, only three years younger at 46!
You’d think that someone like Davidson would appreciate that television isn’t the be-all and end-all to an actor. Regrettably, like the indolent hacks discussed earlier in the piece, Davidson seemed more interested in settling old scores than publishing the facts. In the end, however, he succeeded only in making himself appear like a peevish schoolboy, and ridiculous to boot!
And herein lies the rub. Whilst Peter worked consistently throughout the Seventies, Eighties and well into the Nineties; producing some of his best, and most critically-acclaimed work, there are still those who’re either too idle or too malicious to publish the truth.
When wannabe journalist Gavin Stewart-Gaughan, suggested that, in years to come, Peter Wyngarde would only be remembered for his part in ‘Flash Gordon’, the following passage by Theodore Roosevelt immediately came to mind:
“It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood; who strives valiantly; who errs, who comes short again and again, because there is no effort without error and shortcoming; but who does actually strive to do the deeds; who knows great enthusiasms, the great devotions; who spends himself in a worthy cause; who at the best knows in the end the triumph of high achievement, and who at the worst, if he fails, at least fails while daring greatly, so that his place shall never be with those cold and timid souls who neither know victory nor defeat”.
Enough said!
Notes:
[1]. Between June 1976 and December, 1978, for example, Peter was offered the following projects which he was unable to accept due to his being otherwise committed:
Film ‘Funny Eunice’
Theatre ‘Boy’. Stage play. With Morten Gottlieb ‘Sleuth’, ‘Same Time Next Year’ ‘Romantic Comedy. ‘Knickerbocker Holiday’ by Kurt Weill. Peter was offered the part of Pieter Styvesant. ‘Veronica’s Room’ by Ira Levin: Produced by Bill Kenwright and directed by Donald McKechnie. Starring Honor Blackman and Anouska Hemple. ‘Children of the World’ ‘Dragon Variation (The)’ ‘Fratricides (The)’ ‘Fringe Benefits’ ‘Gingerbread Lady’ ‘Half Life’ ‘I Want To Be A Father, Madam’ ‘Last Paradise (The)’ ‘Life of Galileo (The)’ ‘Look After Lulu’ ‘Motive’ ‘No Room For Sex’ ‘Noises Off’ ‘Other Side of the Room (The)’ ‘Patience On A Monument’ ‘There’s Always A Story’ ‘Trials of Oscar Wild (The)’ ‘Trigon (The)’ ‘Utopia’ ‘Vlad’ ‘Waterloo Day’ ‘Wilbur Grant Deception (The)’ ‘Wild Honey’
Television ‘Human Jungle (The)’ ‘Spellbinder Pilot’
From the early Seventies onwards, Peter was in huge demand to open new stores, promote business ventures and attend charity events throughout the UK and Europe.
This page is a rolling undertaking to present a concise and detailed account of those appearances, featuring regular updates over the next few weeks.
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Left: An original poster from one of Peter’s personal appearances in Norway
Promoter and marketing powerhouse, Carl Gresham, was responsible for many of the appearances listed here, and this is what he had to say about Peter in his book, ‘The Gresh – A Lifetime in Show-Biz’ (Bank House Books, 2009). www.bankhousebooks.com
‘Suave, sophisticated, French-born and winner with the ladies. Peter Wyngarde made his name playing Jason king in ‘Department S’, later getting his own series. He played roles in many early 70’s TV dramas such as’ The Baron’, ‘The Prisoner’, ‘The Saint’ and ‘The Avengers’.
Peter drew some of the biggest crowds we ever had – mainly ladies who absolutely adored him, much to the disappointment and irritation of their menfolk, it must be said. His exotic looks and background were backed up by a voice that was once described as “Black Magic”.
Peter was a firm favourite with Woolworths for their store openings. They knew that the crowds and the publicity would be huge. On one occasion, Peter and I were stopped by police officers on the outskirts of Barnsley and asked not to proceed, as they were worried about being able to control the crowd outside the Woolworth store we were going to. This created a fantastic story for the national press, which featured one headline declaring ‘Jason King barred from town centre’.
Marked 1970 Fair, Mo i Rana, Norway Monday, 8th June 1970
Carnaby Street, London Friday, 14th August 1970
Best Dressed Male Personality Award ceremony.
Above: Peter was presented with the trophy by the previous year’s winner. Barry Gibb of the Bee Gees
Crowds gather to see Peter receive his award for winning the title of Britain’s Best Dressed Male Personality.
The award was a solid silver statue of Beau Brummel worth £500, which was presented to him by 18-year-old Anne Challis, the then Miss Radio Luxembourg, and one-time Generation Game co-host and model, Anthea Redfurn.Listeners to the station and readers of its magazine voted by post, with Peteremerging as the eventual winner.
Peter signed copies of his album for fans at HMV’s flagship store on Oxford Street.
Selfridges, London 1970
Peter signed copies of his album for fans at Selfridges up market store on Oxford Street
Above: Peter with members of the management team at Selfridges
Cannes, France Saturday, 10th April to Monday, 3 May 1971
Peter attended the Festival de Cannes 1971 – Tele 70, with Sir Lew Grade where the recently filmed ‘Jason King’ series was screened for the first time.
Carnaby Street, London 1971
Peter won Best Dressed Male Personality Award a second time in August 1971.
Above: On that occasion it was presented to him by Miss Radio Luxembourg, Ann Chalice.
Promotional Tour of Sweden 1971
Long Eaton, Derbyshire Friday, 22nd October 1971
Opening Ice King Store.
The High Street in Long Eaton in Derbyshire was sealed off by police when Peter made a personal appearance at the Ice King store to sign autographs.
The police estimated that over 5,000 people had turned out to see Peter – far more than had been anticipated. Derbyshire Royal Infirmary and Nottingham General Hospital reported that more than 30 young women had been treated for the effects of hysteria.
Luton 1971
Opening of new Woolworth store, The Arndale Centre, Luton
Hundreds of female fans flocked to the shopping centre to catch a glimpse Peter and hunt for opening day bargains in the shop. At the time the Arndale, today called The Mall Luton, was Europe’s largest undercover shopping centre.
A baby was born in the Centre during his visit, and was named Jason Peter in hishonour!
Plymouth Monday, 29th November 1971
Opening Louis International Menswear store
There were over two thousand fans in Plymouth on Monday, 29th November, 1971. They were all there to see their hero open the Louis International menswear store on Cornwall Street.
The brand new two (due to be three) storey shop that aimed to stock men’s clothing, which had recently opened in Portsmouth, Exeter and Torbay.
Louise Collins, who’d been fortunate enough to get a job as a sales assistant at the outfitters, and she said she felt quite privileged as she peeked out through the window three hours before Peter was due to arrive, to see a huge crowd already beginning to gather.
“I was told by the manager that Peter had been staying at the Holiday Inn in Plymouth overnight,” Louise told me, “and all hell let loose when his car finally pulled up outside the store with a police escort”.
Left: Peter meeting fans in Plymouth
In fact, Peter had to be protected by a grand total of 50 uniformed officers, who battled to protect him from amorous fans.
After introducing himself to all the staff Peter, who was wearing a grey speckled suit with a mauve shirt and matching tie, tried on several garments in the exclusive menswear department in the basement, before settling for a black leather jacket and an aubergine-coloured suit. After performing the opening ceremony, fans were let inside to meet Peter, to get autographs and hand over gifts and flowers to him.
“After he left,” Louise says, “a reporter from the Western Evening Herald spoke to me, and an article appeared in the paper the following day.”
Falmouth Tuesday, 30th November 1971
Opened the new Tesco supermarket in Killigrew Street, Falmouth.
Whilst making this appearance in Chatsworth Road, Croydon, Peter was besieged by over 2,000 fans whose desperation to see their idol was so great, they succeeded in pushing through the shop’s plate glass window.
More than 30 police officers struggled to control the crowd, whilst signed photos were distributed to the fans.
Clacton Saturday, 6th March 1972
An estimated 4,000 fans amassed in Clacton town centre, to see Peter open a new greetings card shop owned by brothers, Stanley and Leonard Linch.
It took 10 minutes for Peter to push his way through the crowd after leaving the limousine that’d been sent to meet him. A police escort eventually enabled him to get through the enthusiastic fans to the shop.
“We had informed the police that the opening would be performed by Peter,” Leonard Linch said. “It started with three officers on duty, but reinforcements were quickly called for as the crowd rapidly grew”. Around 30 policemen were eventually employed to hold back the horde. At one point the huge front window of the new shop was almost pushed in, forcing the owners and members of staff to hold it in place.
The idea was that Peter would cut a tape outside the shop as part of the opening ceremony. However, such was the excitement that he was forced to do the honours inside the premises. Small groups of people were allowed in for autographs, but this gad to be abandoned as fans jostled for the privilege. Finally, signed photos were passed over the heads of the police officers to the eager mass.
“This is a wonderful reception,” Peter said at the time. “I’ve never seen such a large crowd be so good-humoured”.
Peter remained at the shop for around an hour, before leaving in the safety of a police van.
Newcastle Thursday, 23rd March 1972
Opening of City Stylish men’s boutique.
Traffic in the centre of Newcastle came to a standstill, thanks to the number of fans who tried to catch a glimpse of Peter as he opened the new £25,000 City Stylish Shop in the town centre.
Dozens of extra police officers had to be drafted in to control the crowd and to get the traffic moving again.
Above: Peter arriving in Newcastle
BEWARE OF THE GREEN-EYED MONSTER
We were all there, of course, at the Peter Wyngarde do. Like true, red-blooded, ever thirsty journalist… thirsty for news that is… we honed in on the free champagne and the big story like there was nothing else to write about in Newcastle on a Thursday lunchtime.
With our invitations clasped in our hot little hands, we strode smugly through the small, subdued band of women standing hopefully outside the New City Stylish boutique. We made short work of the smoked salmon sandwiches and we made rude remarks about Peter Wyngarde:
“That hair is definitely permed,” said one bloke, balding himself if I remember rightly after four glasses of champagne. “What, no!” We all said. “He wears false eyelashes,” continued another. “Never!” We said. “He told us the last time he appeared in public there were three thousand women mobbing him,” laughed a third, surveying the small huddle of females outside. “Really?” We giggled.
The asparagus canapes were going down a treat when somebody told us that the police had sent for reinforcements. “Surely not,” we said. “What? Just to manage the dozen or so teenagers who had turned out to see him”
When The Champ finally emerged from the section marked ‘Jeans’ and went round to open the front door, some of us were, rather nervously, wondering what was going to happen. From being the privileged few on the inside, we suddenly realised the vulnerability of our situation. Not that we doubted, of course, that our dignity would survive all onslaughts. We were, after all, The Press. And we had been invited. It wasn’t, however, quite like that. In they streamed – thousands of them, clawing at his hair and his clothes; climbing on the glass counters and clambering over the racks of trousers. They sobbed and they screamed and very nearly trampled us under foot. And before we could say, “Excuse me, but do you wear false eyelashes?” we were booted, quite without ceremony, out of a nearby fire exit. Good Heavens!
Some of the policemen even thought we were fans! And later, back at the office, when they said, “What’s he like then?” We remarked casually that we didn’t really have the time to stay and chat with him. “Is it true that he wears false eyelashes?” someone asked. How the hell do I know?” I said, “he was wearing dark glasses!”
By Neil James – Journalist
Colchester Monday, 27th March 1972
Opening of Harpers Music Store, Colchester.
It was in March 1972, when my daughter, Sharon, travelled all the way down from Edinburgh to Colchester to meet Peterfor the very first time, while he was there to open the new Harpers music store.
When I’d read that Peter had been invited to open the shop in Head Street, I just knew I had to be there, and so Sharon and I took our places at the front of what turned out to be a very large queue, at 9am – that being a full three hours before Peter was due to arrive.
When his car finally pulled up outside the store, the thousands of fans who’d gathered in the street began screaming at the top height of their voices, and he was immediately surrounded by girls. He then began signing posters, photos and a every other bit of paper that was thrust in front of him.
In spite of all the shoving and pushing, Peter was really polite and took the time to speak with as many people as he possibly could. He told me that he’d actually began his acting career at the repertory theatre in Colchester, but hadn’t been allowed to stay long, because: “I was so bad, they threw me out!” He didn’t seem to hold a grudge, as he went on to say that he intended to visit the old theatre before he left the city. As a memento of the day, I managed to get him to sign a piece of the ceremonial ribbon, which he signed for me. I thought he was lovely – so handsome”.
Valerie Locke
Colchester March 1972
Peter was one of 200 guests at the Colchester Oyster Feast bash.
Fellow party-goers included comedian, Ronnie Corbett, ex-newsreader Robert Dougall, MP Anthony Buck, Lord Alport, Earl Jellicoe, The Bishop of Colchester and Lady Isobel Barnet.
The Hague, Holland Monday, 28th August 1972
Peter made a personal appearance at the fashion store, Gerzon, to promote the Jason King-line of men’s shirts.
Due to the number of hysterical fans that turned up to see him, the doors of the store had to remain closed, and Peter was forced to remain inside. He left the shop via the back door.
Littlehampton Sunday, 19th November 1972
Peter was asked to plant a tree for the Littlehampton branch of the World Wildlife Fund, for which he was made Honourary President.
The occasion was sponsored by Prince Brenhard of the Netherlands, who’d sent the English Oak over from Holland.
Leeds Thursday, 14th December1972
Peter was invited by Leeds City Council to turn on the Christmas lights at the County Shopping Centre. He was met on his arrival at the Queen’s Hotel by a bevy of ‘Miss Christmases’, who accompanied him to the Centre.Peter switched on the Christmas at the County Shopping Centre, Leeds
The big switch-on was followed by a party for the shop staff, at which Peter was the guest of honour.
Promotional Tour of Norway 1973
Above: Peter with two of his female bodyguards in Oslo
Peterwas invited to open the annual Y.M.C.A. Christmas Fair at the Europa Hotel in London’s Grosvenor Square. The event had been organised by the Young Women’s Christian Association of Great Britain, under the chairmanship of Lady Lew Grade.
After taking to the stage to officially open the fair, he perused the charity stalls, which included some selling bric-a-brac, homemade cakes and pastries and even a Palmist. Since he was appearing in ‘The King and I’ in the West End at the time, Peter took an extra special interest in a stall selling exotic gifts from Thailand.
As a result of his help, the event raised over £7,000 for the charity.
London Wednesday, 27th February 1974
Peter was invited to sit on a select panel to interview 16 check-out operators from Fine Fare supermarkets, who were competing for the title of ‘Miss Fine Fare’.
The interviews were held at Selfridges in Oxford Street, London. Peter attended a special lunch afterwards.
London Thursday, 9th May 1974
Theatre impresario, Larry Parnes, invited the stars from twenty West End shows to a special midnight showing of the show, ‘Flowers’, starring Lindsay Kemp. The performance, which was free, was held at the Regent Theatre. Mingling with personalities were four collectors from the Variety Artists Benevolent Fund.
Above:Peter making his donation
Middlesbrough Thursday, 18th July 1974
Peter makes an appearance at the Dragonara Hotel in Middlesbrough, along with the cast of ‘Present Laughter’ which, at the time, was being staged at the Forum in Billingham. The event has been organised by social workers based in Teeside to help raise funds for a scheme to provide holidays for underprivileged children in the Cleveland area. £350 was raised.
Bristol Monday, 9th September 1974
The management of the Old Vic Theatre chose ‘Present Laughter‘ to re-open their splendid Georgian theatre in September 1974, after its summer refurbishment. The Duke of Gloucester was the guest of honour at the black-tie occasion, joined guests of the management and company at a champagne party on stage after the show. There were many civic dignitaries from Bristol, Bath and elsewhere to lend importance to the occasion, which brought hopeful signals for a new and profitable lease of life to the grand old theatre.
Cardiff Thursday, 12th September 1974
Peter opens a new theatre ticket office at Mackross in Cardiff.
Above: Original promotional poster
Rymarket, Stourbridge Friday, 13th September 1974
Opening of a new branch of Woolworths.
Towbridge Tuesday,15th October 1974
Opening of a new Fine Fare store.
Above: Front and back view of a souvenir card produced by Carl Gresham Promotions for his appearance at Fine Fare supermarket.
Leicester Thursday, 17th October 1974
Peteropens a new Woolworths store in Leicester.
London Sunday, 14th December 1974
Peter attended the Variety Artistes Ladies and Children’s Guild annual dinner and ball at the Dorchester Hotel, Park Lane, London, the funds from which aided the aforementioned charity.
The organisation raised funds for their work in caring for the children and elderly members of the Variety profession – especially those who were no longer able to work and needed regular assistance.
London 1977
Peter and actress, Susan Hampshire, host a Silver Jubilee lunch with 50 pensioners selected by Help The Aged and The Rotary Club of Kensington and Chelsea. The event was held at Annabelle’s Cafe in Fulham Road, London.
Above: Peter with actress Susan Hampshire at Annabelle’s Café.
London Wednesday, 10th June 1980
Royal Charity Premier of ‘Flash Gordon’ at the ABC Cinema in Shaftsbury Avenue.
Special guest: Her Royal Highness Princess Michael of Kent.
Above: Peter with the Princess
The charities that benefited from the screening were The Variety Club of Great Britain, The Army Benevolent Fund, The International Social Services of Great Britain and The Charities Aid Foundation.
London Thursday, 30th June 1983
Peter made an appearance at the London Transport Museum, Covent Garden to publicise the play ‘Underground’.
Farnham Sunday, 17th July 1983
Peter attended a charity garden party at Brightwell gardens, Farnham.
Crawley Saturday,15th July 1989
Peter is invited to open a school fete in Crawley, Sussex, mingling with mothers and children alike for the entire day.
London Tuesday, 23rd November 1993
Peter is guest of honour at the National Film Theatre in London, for the first ever showing of Granada Television’s ‘The Memoirs of Sherlock Holmes’ episode, ‘The Three Gables‘.
Elstree March 1997
Peter was one of the special guests to witness the re-opening of the world-famous Elstree Studios in Borehamwood, Hertfordshire.
Above: Peter with actress, Liz Fraser
Once known as Britain’s movie capital, over eighty films were shot there, including ‘Ivanhoe’ (1952), ‘Ben Hur’ (1959), ‘Doctor Zhivago’ (1965), 2001: ‘A Space Odyssey’ (1968), ‘Star Wars’ (1977) and ‘Indiana Jones and the Last Crusade’ (1991).
During the 1960’s and 70’s,the studio became better known for its connections with the television industry, with both ‘Department S’ and ‘Jason king’ being made there.
As part of the opening ceremony, Peter headed a guided tour of the studio and backlot, which was recorded and shown on local TV news. Other guests at the event included actress Liz Fraser and the late actor, Christopher Lee.
Ditchling Monday, 31st May 1999
Peter was amongst marksmen at a charity clay-pigeon shoot at Dame Vera Lynn’s country estate in Sussex, who helped raise £8,000 for the S.O.S. Appeal.
London Sunday, 13th February 2000
The first charity Pro/Celebrity Bridge Tournament was held at the White House Hotel, London, was a great success, with eight tables in play and a lot of enthusiasm and good will from all sides. The event in aid of the Millennium Charity Save the Children, was won by Su Burn and tenor, Ian Partridge.
London Wednesday, 30th October 2002
Peter was the special guest at the National Film Theatre’s Celebration of British Horror, during the course of which ‘Night of the Eagle’ was screened.
London Monday, 3rd July 2017
Peter was the star guest of the British Film Institute for a special screening of the seminal television play, ‘South‘ during the Institutes July and August hosting of LGBT+ cinema to mark the 50th anniversary of the Sexual Offences Act.
Portmeirion Friday, 28th & Saturday 29th September 2017
Above: Peter being interviewed by Dick Fiddy
50th Anniversary event in North Wales for The Prisoner. Peter took part in a Q&A session after a screening of the episode, ‘Checkmate‘, in which he guest starred as Number 2.
ADDITIONAL
London Wednesday, 10th November 1971
On November 10th, 1971, Peter was asked to act as Chairman of a panel of nine judges of the ‘Miss World’ contest, which was broadcast live on BBC1, and compared for the 10th and final time by TV personality, Michael Aspel.
Peter’s team of judges for the occasion included Peter Scott, Des O’Connor, Douglas Fairbanks, Julie Ege, Peter Dimmock, Sam Speigel, Jean Terrell and Lovelace Watkins. Each of the judges where asked to submit their first, second and third choices. Peter’s votes, in order of preference, were as follows: Miss Guyana, Miss Brazil and Miss Portugal.
So, how close were Peter’schoices to the final outcome? In third place was Miss Portugal; Second, was Miss United Kingdom; and the Miss World crown and £40,000 first prize went to Miss Brazil.
Oh, well – one out of three wasn’t bad!
Although Peter enjoyed the occasion, his comments concerning the event some time later weren’t quite so complimentary:
“I thought it would be marvellous, but I must say I was a little disappointed with the selection – and the winners. But I mean, how can you possibly judge?
“You’re awarding points on the basis of personality a well as looks, yet you saw next to nothing of their personalities. And they’d all been taught to look the same with those funny little walks. They looked as if they were about to fall over backwards!
“They’d walk up to the judges table like this, or this, and then they go off again, I’ve got nothing against the contest; I never sympathised with Women’s Lib. I think it’s a good thing to have so many countries brought together under any circumstances, and especially good for the country that wins in terms of public relations. But for a genuine contest to choose the world’s most beautiful woman! You’d be better taking them to bed, one by one, and judge them on sex appeal!”
Canvey Island Friday, 11th August 1983
Judge. Beauty contest at the Goldmine nightclub.
London Friday, 10th November 1972
Francois Bes was elected Centre Girl of the Year on November 10th, 1972, at a gala evening held at the new Regent Centre Hotel in London, in front of 600 Centre Hotel staff and guests, which was followed by a buffet dance.
Peter was asked to head a panel of four judges, who included ex-boxer, Henry Cooper, television presenter, Shaw Taylor, and fashion editor, Linda Foster.
During her 12 month reign, Bordeaux-born Francois – a secretary to the company’s Purchasing Manager, not only won the opportunity to represent Centre Parks at various events throughout to coming year, but was also given the chance to win the prestigious Catering Princess title.
Peter and his fellow judges were asked to select a winner from the twenty finalists on poise and personality.
Elstree Thursday, 4th January 1973
Peter was Chairman of a panel of judges who elected 24-year-old Sylvia Kristel from Utrech in the Netherlands, ‘Miss TV Europe’. The then model, beat Zoe Spink of the United Kingdom and Anne-Marie Godart from France into second and third places, respectively.
The event took place at ATV’s Elstree Studios in Borehamwood, Hertfordshire.
One of the more noteworthy moments of the evening was the image of Peter giving Ms Kristel her first ever ‘screen kiss’. She, of course, latterly became the star of the soft porn ‘Emmanuel’ films and their endless sequels, and of Stanley Hyers remake of ‘Lady Chatterley’s Lover’ in 1981.
London Friday, 15th June 1973
Peter judged the Miss Fine Fare contest.
London Saturday, November 28th 2015
Flash Gordon 35th Anniversary Celebration
The evening took place at BAFTA 195 Piccadilly. Guest for the black-tie event included Peter, Brian Blessed, Sam J. Jones, Melody Anderson and director, Mike Hodges.
Right: Peter with the original Klytus mask.
To help celebrate this historic event, artist Alex Ross created a stunning and unique print inspired by the occasion that was available to all ticket holders, before being released as a print to the public this year.The evening also raised money for the charity “MediCinema”.
The inaugural John Steed Ball was a celebration of the life of Patrick Macnee in his best known incarnation as John Steed in The Avengers at the exclusive penthouse private members club, Eight Club Moorgate, with heated terraces and stunning views of the City of London.Included a Q&A withPeterand Fenella Fielding.
Above:Peter with Fenella Fielding (centre)
The ball is conceived by Count Indigo, doyen of the European lounge music renaissance who has organised parties for Burt Bacharach, Tony Bennett and many other luminaries. The event was supported by Studio Canal (who own the rights to The Avengers).
Guests were asked to dress in Avengers-appropriate evening wear but not necessarily in bowler hats! Profits from the evening were donated to two great charities of particular relevance to the memory of John Steed: Medicinema who organise film screenings in hospitals, and The Actor’s Fund who provide help and care for everyone working in television and film industries.
In December 1971 Peter, along with a number of other well-known personalities from stage and screen, took part in a one-day Golden lo charity event under the canvas of the world famous Circus Krone in Munich, (West) Germany. It was there that the moustachioed-one took the applause of the capacity crowd after a spot of clowning around, which involved being doused in water, and having his expensive handmade jacket torn off.
But not content with reducing his tailor to tears, something a little more daring was expected from Germany’s favourite television hero, and so it wasn’t long before Peter found himself curled up like a contortionist in a 5 ft x 4ft basket, suspended below a hot air balloon, which was hovering almost 100 feet above the circus ring.
Left: During his visit to Munich, Peter was treated to a private tour of the Olympic Stadium and Village, that was still under construction at the time.
For the rehearsal Peter, who arrived dressed in faded blue denims and with a red silk scarf wrapped around his neck, told a British journalist who’d accompanied him that, although the routine was “hard on the bum”, he’d found himself in far more precarious positions prior to taking the role of Jason King:
“I was once fighting in a cable car high above the Swiss Alps, when the door slid open and I slipped on my new boots,” he said. “The terror on my face was so real that they had to cut it out of the film!”
Looking up from the basket during a try-out, Peter noticed that there was only about a 12 children’s balloons tugging at the ropes. There was, however, a strong cable holding our hero aloft.
“Damn it!” cried Peter. “You’d have thought that they’d have given us a real balloon!”
The day of the main event hadn’t started too well for the adventurous actor, who’d arrived to find that his dressing room was situated midway between the elephant stalls and a pen holding the performing pig! However, because Peter is always prepared to see the funny side of every situation, he simply placed a few bunches of fresh flowers in the wash basin, and left to attend an autograph session at a Munich department store – muttering something about everything being “alright on the night”.
Back in 1971, Peter had replaced (West) Germany’s Chancellor, Willy Brant, as the country’s most popular personality in numerous polls, so everywhere he went in the Bavarian capital, he was mobbed by crowds of adoring fans.
One of his stop-off’s on 12th December, was to sign his posters at the ‘Schwabing poster shop. After all the adoration, it was something of a relief, therefore, for him to return to the relative peace of his dressing room in the evening to prepare for his grand entrance.
Left: Peter is lowered safely to the ground from the roof of the Big Top
Crouching inside the tiny basket out of sight of the unsuspecting crowd, Peter was hauled high above the heads of the capacity audience – accompanied only by an umbrella and a huge Union Jack flag, which he insisted was unfurling before he made his decent. “Well, we are joining the Common Market, after all!” he quipped at the time.
As the balloon was lowered slowly to the ground, Peteremerged; his cuffs turned back characteristically (“It’s the only sensible way to wear a shirt; they don’t get in the way, and you can look at your watch!”) to the applause of the crowd, who confirmed him as the star of the show. Well, he did say something about it being alright on the night!
Trivia…. Other guests at the gala event were Italian actress Gina Lollobrigida, and actors Marc Slade (‘The High Chaparral’) and Ron Ely (‘Tarzan’).
Read about Peter’s other promotional tours by clicking below:
“I was once fighting in a cable car high above the Swiss Alps, when the door slid open and I slipped on my new boots,” he said. “The terror on my face was so real that they had to cut it out of the film!”
prepare for his grand entrance.
PETER WYNGARDE: The Official Website 