Damien Thomas obituary

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"Actor Damien Thomas, Noted for 'Twins of Evil,' Passes Away at 83"

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AI Analysis Average Score: 8.5
These scores (0-10 scale) are generated by Truthlens AI's analysis, assessing the article's objectivity, accuracy, and transparency. Higher scores indicate better alignment with journalistic standards. Hover over chart points for metric details.

TruthLens AI Summary

Damien Thomas, the British actor known for his role as Count Karnstein in the 1971 horror film 'Twins of Evil,' passed away at the age of 83 after battling progressive supranuclear palsy. His portrayal of the malevolent count in a film that blended gothic horror with themes of witchcraft and sexuality left a lasting impression, although it did not catapult him to stardom as anticipated. In the film, Thomas shared the screen with the identical twin Playboy playmates Mary and Madeleine Collinson, who played his character's nieces. The film was a part of Hammer Film Productions' Karnstein trilogy, which was inspired by Sheridan Le Fanu's novella 'Carmilla.' Despite his efforts to deliver a Shakespearean performance, Thomas later reflected on a challenging period in his career that followed the film's release, stating that it took years before he regained his footing in the industry, ultimately becoming a prolific character actor on television.

Born in Ismailia, Egypt, Thomas faced personal tragedy early in life when his father, an RAF squadron leader, was killed in action during World War II. After relocating to Britain, he pursued a career in acting, training at RADA and gaining experience in repertory theatre. His film debut came in 1967, and he quickly amassed a diverse portfolio of roles, including appearances in notable productions such as 'Shogun,' 'Henry VIII and His Six Wives,' and 'The Return of Sherlock Holmes.' In addition to his television and film work, he enjoyed a successful stage career, highlighting his versatility as an actor. Thomas's legacy includes a rich tapestry of performances and a family he leaves behind, including his third wife Julia and their daughters, as well as his son and stepchildren from previous marriages. His contributions to the arts, particularly in horror and drama, have left an indelible mark on the industry, ensuring that he will be remembered fondly by audiences and colleagues alike.

TruthLens AI Analysis

The obituary of Damien Thomas reflects on the life and career of a notable actor, primarily known for his role in the 1971 film "Twins of Evil." The article pays tribute to his contributions to the film and television industries while acknowledging the challenges he faced throughout his career. The piece serves not only to inform readers about Thomas's passing but also to celebrate his legacy in the realm of gothic horror cinema.

Purpose of the Article

The primary purpose of this obituary is to commemorate Damien Thomas's life and career. By detailing his most significant role and the context of his work, the article aims to preserve his memory and highlight his contributions to the film industry. It seeks to evoke nostalgia among fans of classic horror films, particularly those associated with Hammer Productions.

Public Perception

This obituary is likely intended to foster a sense of appreciation for Thomas's work and the era of filmmaking he represented. By focusing on his role in "Twins of Evil," the article targets fans of gothic horror and cult classic cinema, aiming to evoke a sense of loss and reflection on the contributions of actors from that period.

Transparency and Hidden Agendas

There does not appear to be any significant hidden agenda in this obituary. It is a straightforward tribute that respects the actor's legacy. However, the emphasis on his struggles post-"Twins of Evil" could subtly influence readers to consider the often-challenging path of actors in the film industry, potentially drawing attention to broader issues of career longevity in entertainment.

Manipulative Aspects

While the article maintains a respectful tone, one could argue that the emphasis on Thomas's failure to become a "top screen star" may manipulate public perception of success in the entertainment industry. By highlighting the contrast between his initial aspirations and later career as a character actor, the piece might evoke sympathy or connection from readers who have faced similar struggles in their lives.

Authenticity of the Content

Overall, the obituary seems to be grounded in factual information about Thomas's life and career. It references specific roles and films, which lends credibility to the narrative. Its focus on both the actor's achievements and challenges contributes to a well-rounded portrayal of his life.

Implications for Society

While this obituary is unlikely to have direct implications for economic or political scenarios, it does emphasize the importance of acknowledging contributions from various artists. The celebration of a career in film may encourage discussions about the preservation of cultural history and the appreciation of art.

Target Audience

The article appeals to fans of classic horror films, film historians, and those interested in the legacy of actors from the 20th century. It resonates with audiences who appreciate the genre and the unique contributions of actors like Thomas to the cinematic landscape.

Market Impact

This obituary is not likely to have a significant impact on stock markets or financial sectors, as it deals primarily with cultural and artistic contributions rather than commercial implications.

Global Context

In terms of global power dynamics, the article does not address contemporary issues directly but reflects a broader cultural appreciation for film history. It serves as a reminder of the influence of cinema on society and the enduring legacy of artists.

Use of AI in Composition

There is no clear indication that AI was used in the writing of this obituary. It possesses a personal tone and detailed narrative that suggests human authorship. However, if AI were involved, it might have been used to structure the content or ensure factual accuracy.

Conclusion

While the obituary primarily serves as a tribute, it also subtly engages readers in a conversation about the nature of success and legacy in the arts. The piece is credible, respectfully honoring Damien Thomas's life and career while encouraging reflection on the complexities of artistic endeavors.

Unanalyzed Article Content

Damien Thomas, who has died aged 83 after suffering from progressive supranuclear palsy, was an actor best remembered for taking the leading role of a wicked count turned into a vampire in Twins of Evil, a 1971 film combining gothic horror, black magic rituals and two Playboy playmates in the title parts.

Themovie’s trailerbilled him as “Hammer’s new master of the macabre”, alongsidePeter Cushingas the witch-hunting Puritan religious sect leader Gustav Weil, whose orphaned nieces, Maria and Frieda, played by the identical twins Mary and Madeleine Collinson, live with him in an Austrian village. “It was quite difficult to tell the twins apart, but I used to pretend I knew which one was which,” Thomas said.

The witchfinder theme was added to the original stories featured inSheridan Le Fanu’s 1872 novellaCarmillafor this final film in Hammer’s Karnstein trilogy of vampire sagas, following The Vampire Lovers and Lust for a Vampire.

In Twins of Evil, the rebellious Frieda finds an escape from her controlling uncle with his neighbour, the blasphemous Count Karnstein (Thomas). By then, he has already turned a mock sacrificial rite into reality at Karnstein castle.

Having previously worked mostly in theatre, Thomas said he tried to give a Shakespearean performance, bellowing out his lines with an air of arrogance and self-confidence.

But the film failed to turn him into a top screen star. “After Twins of Evil, I was about to face a couple of the worst years of my career,” he said. Instead,hebecame a prolific character actor on television over the next 50 years. His parts included the Portuguese Jesuit priest and translatorFather Martin Alvito in Shogun, the 1980 US miniseries starringRichard Chamberlainas a 17th-century English ship’s navigator captured by samurai warriors in Japan.

Among Thomas’s occasional film parts wasDon Alfonso de la Torré, the ruthless first mate who makes life difficult for the ship’s captain, played byWalter Matthau, in Pirates (1986), a swashbuckling comedy adventure directed by Roman Polanski.

Although it fulfilled Polanski’s dream of making a pirate movie, the film bombed at the box office. Initially, Thomas blamed himself, recalling in 2013 that he left the premiere thinking: “That’s the end of my career. The film is a disaster because it’s me, my fault – all that English overacting.”

But he added: “I went to see it recently at the BFI on the Southbank and, to my amazement, I realised that it wasn’t me at all. Actually, I’m not so awful in it. The weakness of the film is Walter Matthau.” He said the cockney voice adopted by the Hollywood star was “so laboured and so slow” that it affected the pace of the film.

Damien was born in Ismailia, on the west bank of the Suez canal, to Huguette (nee Bertrand), herself born in Egypt of French parents, and Peter Court-Thomas, an RAF squadron leader posted there during the second world war.

Seven months later, his father died after being shot down in action and was awarded the Distinguished Flying Cross. Following her move to Britain, his mother married Charles Lofthouse; Damien was educated at Wellington school, Somerset, and studied art at Dartington College, Devon, before training at Rada. On graduating in 1966, he gained experience in repertory theatre and made his screen debut in Love with a Few Hairs (1967), an episode in the BBC television series Boy Meets Girl. He played a Moroccan bartender seeking a love potion from a witch when the young woman he falls for (Felicity Kendal) shows no interest in him. A year later, he was cast by Hammer in a small part for a story in its anthology TV series Journey to the Unknown.

His first film role was as Cassius’s loyal servant Pindarus in Julius Caesar (1970), starringJohn Gielgud. Supporting roles followed on the big screen as Anne Boleyn’s court musician Smeaton in Henry VIII and His Six Wives (1972), the prophet Mohammed’s son Zaid in The Message (1976) and Kassim in human form, before the character is turned into a baboon, inRay Harryhausen’s fantasy Sinbad and the Eye of the Tiger (1977), directed by Sam Wanamaker.

On television, his dozens of parts included a Greek Cypriot suspected of looking for revenge on British soldiers who hanged his terrorist father in Special Branch (1969); Atlan, leader of the Space Rats, in Blakes 7 (1981); the pivotal character of Richard Mason, bringing trouble to Thornfield Hall, in Jane Eyre (1983); and Jake Haulter, a Swiss-born wheeler-dealer looking to make money in postwar Singapore, in Tenko (1984) and Tenko Reunion (1985).

Later, he was seen as Herod Agrippa, the last king of Judea, in A.D. (1985); villains such as Mortimer Tregennis in The Return of Sherlock Holmes (1988); Michael Samuels, the liberal environment secretary smeared by Francis Urquhart (Ian Richardson) in the race to become Conservative party leader and prime minister, in House of Cards (1990); and Mr Harris, the apothecary, in Sense and Sensibility (2008).

A highlight of Thomas’s stage career came as Worthy in The Relapse, John Vanbrugh’s Restoration comedy, at the Old Vic (1981), “a part spoken with a rich, resonant fluency”, wrote one critic. Later, he understudied Frank Langella as the American president in the original production of Peter Morgan’s playFrost/Nixonat the Donmar Warehouse (2006).

Thomas’s first two marriages, to Jocelyne Sbath in 1968 and Françoise Alaoui-Drai in 1980, ended in divorce.

He is survived by his third wife, Julia (nee Sargent), whom he married in 2012, Maud and Phoebe, their daughters, Dominic, the son of his second marriage, and his stepchildren, Kirsty, Hannah and Gabe.

Damien Thomas (Damien Roy Charles Noel Court-Thomas), actor, born 11 April 1942; died 18 April 2025

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Source: The Guardian