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tabindex="0" for="nav-link-categories-mov" data-testid="category-expando"><span class="navlinkcat__itemIcon"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--movie" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M18 4v1h-2V4c0-.55-.45-1-1-1H9c-.55 0-1 .45-1 1v1H6V4c0-.55-.45-1-1-1s-1 .45-1 1v16c0 .55.45 1 1 1s1-.45 1-1v-1h2v1c0 .55.45 1 1 1h6c.55 0 1-.45 1-1v-1h2v1c0 .55.45 1 1 1s1-.45 1-1V4c0-.55-.45-1-1-1s-1 .45-1 1zM8 17H6v-2h2v2zm0-4H6v-2h2v2zm0-4H6V7h2v2zm10 8h-2v-2h2v2zm0-4h-2v-2h2v2zm0-4h-2V7h2v2z"></path></svg></span><span class="navlinkcat__itemTitle">Movies</span><span class="navlinkcat__itemChevron"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--chevron-right" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M9.29 6.71a.996.996 0 0 0 0 1.41L13.17 12l-3.88 3.88a.996.996 0 1 0 1.41 1.41l4.59-4.59a.996.996 0 0 0 0-1.41L10.7 6.7c-.38-.38-1.02-.38-1.41.01z"></path></svg></span></label><div class="navlinkcat__listContainer" aria-hidden="true" aria-expanded="false" data-testid="list-container"><div class="navlinkcat__listContainerInner" role="presentation"><ul class="ipc-list navlinkcat__list ipc-list--baseAlt" role="menu" aria-orientation="vertical"><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="/calendar/?ref_=nv_mv_cal" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">Release Calendar</span></a><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="/chart/top/?ref_=nv_mv_250" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">Top 250 Movies</span></a><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="/chart/moviemeter/?ref_=nv_mv_mpm" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">Most Popular Movies</span></a><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="/feature/genre/?ref_=nv_ch_gr" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">Browse Movies by Genre</span></a><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="/chart/boxoffice/?ref_=nv_ch_cht" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">Top Box Office</span></a><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="/showtimes/?ref_=nv_mv_sh" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">Showtimes & Tickets</span></a><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="/news/movie/?ref_=nv_nw_mv" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">Movie News</span></a><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="/india/toprated/?ref_=nv_mv_in" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">India Movie Spotlight</span></a></ul></div></div></span></div><div data-testid="grouped-link-category" class="sc-oefmM cegzEU"><div class="sc-eJobrH egPbEn navlinkcat sc-eirqia gBzXtg" data-testid="nav-link-category" role="presentation"><input class="navlinkcat__state" type="radio" name="nav-categories-list" id="nav-link-categories-tvshows" tabindex="-1" data-category-id="tvshows" hidden="" aria-hidden="true"/><span class="navlinkcat__targetWrapper"><label role="button" aria-label="Expand TV Shows Nav Links" class="navlinkcat__item" tabindex="0" for="nav-link-categories-tvshows" data-testid="category-expando"><span class="navlinkcat__itemIcon"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--television" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M21 3H3c-1.1 0-2 .9-2 2v12c0 1.1.9 2 2 2h5v1c0 .55.45 1 1 1h6c.55 0 1-.45 1-1v-1h5c1.1 0 1.99-.9 1.99-2L23 5a2 2 0 0 0-2-2zm-1 14H4c-.55 0-1-.45-1-1V6c0-.55.45-1 1-1h16c.55 0 1 .45 1 1v10c0 .55-.45 1-1 1z"></path></svg></span><span class="navlinkcat__itemTitle">TV Shows</span><span class="navlinkcat__itemChevron"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--chevron-right" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M9.29 6.71a.996.996 0 0 0 0 1.41L13.17 12l-3.88 3.88a.996.996 0 1 0 1.41 1.41l4.59-4.59a.996.996 0 0 0 0-1.41L10.7 6.7c-.38-.38-1.02-.38-1.41.01z"></path></svg></span></label><div class="navlinkcat__listContainer" aria-hidden="true" aria-expanded="false" data-testid="list-container"><div class="navlinkcat__listContainerInner" role="presentation"><ul class="ipc-list navlinkcat__list ipc-list--baseAlt" role="menu" aria-orientation="vertical"><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="/whats-on-tv/?ref_=nv_tv_ontv" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">What's on TV & Streaming</span></a><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="/chart/toptv/?ref_=nv_tvv_250" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">Top 250 TV Shows</span></a><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="/chart/tvmeter/?ref_=nv_tvv_mptv" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">Most Popular TV Shows</span></a><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="/feature/genre/" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">Browse TV Shows by Genre</span></a><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="/news/tv/?ref_=nv_nw_tv" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">TV News</span></a></ul></div></div></span></div><div class="sc-eJobrH egPbEn navlinkcat sc-eirqia gBzXtg" data-testid="nav-link-category" role="presentation"><input class="navlinkcat__state" type="radio" name="nav-categories-list" id="nav-link-categories-video" tabindex="-1" data-category-id="video" hidden="" aria-hidden="true"/><span class="navlinkcat__targetWrapper"><label role="button" aria-label="Expand Watch Nav Links" class="navlinkcat__item" tabindex="0" for="nav-link-categories-video" data-testid="category-expando"><span class="navlinkcat__itemIcon"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--video-library" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M3 6c-.55 0-1 .45-1 1v13c0 1.1.9 2 2 2h13c.55 0 1-.45 1-1s-.45-1-1-1H5c-.55 0-1-.45-1-1V7c0-.55-.45-1-1-1zm17-4H8c-1.1 0-2 .9-2 2v12c0 1.1.9 2 2 2h12c1.1 0 2-.9 2-2V4c0-1.1-.9-2-2-2zm-8 12.5v-9l5.47 4.1c.27.2.27.6 0 .8L12 14.5z"></path></svg></span><span class="navlinkcat__itemTitle">Watch</span><span class="navlinkcat__itemChevron"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--chevron-right" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M9.29 6.71a.996.996 0 0 0 0 1.41L13.17 12l-3.88 3.88a.996.996 0 1 0 1.41 1.41l4.59-4.59a.996.996 0 0 0 0-1.41L10.7 6.7c-.38-.38-1.02-.38-1.41.01z"></path></svg></span></label><div class="navlinkcat__listContainer" aria-hidden="true" aria-expanded="false" data-testid="list-container"><div class="navlinkcat__listContainerInner" role="presentation"><ul class="ipc-list navlinkcat__list ipc-list--baseAlt" role="menu" aria-orientation="vertical"><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="/what-to-watch/?ref_=nv_watch" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">What to Watch</span></a><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="/trailers/?ref_=nv_mv_tr" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">Latest Trailers</span></a><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="/originals/?ref_=nv_sf_ori" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">IMDb Originals</span></a><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="/imdbpicks/?ref_=nv_pi" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">IMDb Picks</span></a><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="/spotlight/?ref_=nv_vi_csegspot" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">IMDb Spotlight</span></a><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="/search/title/?title_type=podcastSeries&ref_=nv_pod" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">IMDb Podcasts</span></a></ul></div></div></span></div></div><div class="sc-eJobrH egPbEn navlinkcat" data-testid="nav-link-category" role="presentation"><input class="navlinkcat__state" type="radio" name="nav-categories-list" id="nav-link-categories-awards" tabindex="-1" data-category-id="awards" hidden="" aria-hidden="true"/><span class="navlinkcat__targetWrapper"><label role="button" aria-label="Expand Awards & Events Nav Links" class="navlinkcat__item" tabindex="0" for="nav-link-categories-awards" data-testid="category-expando"><span class="navlinkcat__itemIcon"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--star-circle-filled" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M11.99 2C6.47 2 2 6.48 2 12s4.47 10 9.99 10C17.52 22 22 17.52 22 12S17.52 2 11.99 2zm3.23 15.39L12 15.45l-3.22 1.94a.502.502 0 0 1-.75-.54l.85-3.66-2.83-2.45a.505.505 0 0 1 .29-.88l3.74-.32 1.46-3.45c.17-.41.75-.41.92 0l1.46 3.44 3.74.32a.5.5 0 0 1 .28.88l-2.83 2.45.85 3.67c.1.43-.36.77-.74.54z"></path></svg></span><span class="navlinkcat__itemTitle">Awards & Events</span><span class="navlinkcat__itemChevron"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--chevron-right" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M9.29 6.71a.996.996 0 0 0 0 1.41L13.17 12l-3.88 3.88a.996.996 0 1 0 1.41 1.41l4.59-4.59a.996.996 0 0 0 0-1.41L10.7 6.7c-.38-.38-1.02-.38-1.41.01z"></path></svg></span></label><div class="navlinkcat__listContainer" aria-hidden="true" aria-expanded="false" data-testid="list-container"><div class="navlinkcat__listContainerInner" role="presentation"><ul class="ipc-list navlinkcat__list ipc-list--baseAlt" role="menu" aria-orientation="vertical"><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="/oscars/?ref_=nv_ev_csegosc" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">Oscars</span></a><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="/starmeterawards/?ref_=nv_ev_sma" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">STARmeter Awards</span></a><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="/awards-central/?ref_=nv_ev_csegawds" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">Awards Central</span></a><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="/festival-central/?ref_=nv_ev_csegfest" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">Festival Central</span></a><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="/event/?ref_=nv_ev_all" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">All Events</span></a></ul></div></div></span></div><div class="sc-eJobrH egPbEn navlinkcat noMarginItem" data-testid="nav-link-category" role="presentation"><input class="navlinkcat__state" type="radio" name="nav-categories-list" id="nav-link-categories-celebs" tabindex="-1" data-category-id="celebs" hidden="" aria-hidden="true"/><span class="navlinkcat__targetWrapper"><label role="button" aria-label="Expand Celebs Nav Links" class="navlinkcat__item" tabindex="0" for="nav-link-categories-celebs" data-testid="category-expando"><span class="navlinkcat__itemIcon"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--people" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M16 11c1.66 0 2.99-1.34 2.99-3S17.66 5 16 5s-3 1.34-3 3 1.34 3 3 3zm-8 0c1.66 0 2.99-1.34 2.99-3S9.66 5 8 5 5 6.34 5 8s1.34 3 3 3zm0 2c-2.33 0-7 1.17-7 3.5V18c0 .55.45 1 1 1h12c.55 0 1-.45 1-1v-1.5c0-2.33-4.67-3.5-7-3.5zm8 0c-.29 0-.62.02-.97.05.02.01.03.03.04.04 1.14.83 1.93 1.94 1.93 3.41V18c0 .35-.07.69-.18 1H22c.55 0 1-.45 1-1v-1.5c0-2.33-4.67-3.5-7-3.5z"></path></svg></span><span class="navlinkcat__itemTitle">Celebs</span><span class="navlinkcat__itemChevron"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--chevron-right" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M9.29 6.71a.996.996 0 0 0 0 1.41L13.17 12l-3.88 3.88a.996.996 0 1 0 1.41 1.41l4.59-4.59a.996.996 0 0 0 0-1.41L10.7 6.7c-.38-.38-1.02-.38-1.41.01z"></path></svg></span></label><div class="navlinkcat__listContainer" aria-hidden="true" aria-expanded="false" data-testid="list-container"><div class="navlinkcat__listContainerInner" role="presentation"><ul class="ipc-list navlinkcat__list ipc-list--baseAlt" role="menu" aria-orientation="vertical"><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="/feature/bornondate/?ref_=nv_cel_brn" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">Born Today</span></a><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="/chart/starmeter/?ref_=nv_cel_m" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">Most Popular Celebs</span></a><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="/news/celebrity/?ref_=nv_cel_nw" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">Celebrity News</span></a></ul></div></div></span></div><div data-testid="nav-link-category" class="sc-hhIjBB gsTgDe"></div><div class="sc-eJobrH egPbEn navlinkcat noMarginItem" data-testid="nav-link-category" role="presentation"><input class="navlinkcat__state" type="radio" name="nav-categories-list" id="nav-link-categories-comm" tabindex="-1" data-category-id="comm" hidden="" aria-hidden="true"/><span class="navlinkcat__targetWrapper"><label role="button" aria-label="Expand Community Nav Links" class="navlinkcat__item" tabindex="0" for="nav-link-categories-comm" data-testid="category-expando"><span class="navlinkcat__itemIcon"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--earth" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M12 2C6.48 2 2 6.48 2 12s4.48 10 10 10 10-4.48 10-10S17.52 2 12 2zm-1 17.93c-3.95-.49-7-3.85-7-7.93 0-.62.08-1.21.21-1.79L9 15v1c0 1.1.9 2 2 2v1.93zm6.9-2.54c-.26-.81-1-1.39-1.9-1.39h-1v-3c0-.55-.45-1-1-1H8v-2h2c.55 0 1-.45 1-1V7h2c1.1 0 2-.9 2-2v-.41c2.93 1.19 5 4.06 5 7.41 0 2.08-.8 3.97-2.1 5.39z"></path></svg></span><span class="navlinkcat__itemTitle">Community</span><span class="navlinkcat__itemChevron"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--chevron-right" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M9.29 6.71a.996.996 0 0 0 0 1.41L13.17 12l-3.88 3.88a.996.996 0 1 0 1.41 1.41l4.59-4.59a.996.996 0 0 0 0-1.41L10.7 6.7c-.38-.38-1.02-.38-1.41.01z"></path></svg></span></label><div class="navlinkcat__listContainer" aria-hidden="true" aria-expanded="false" data-testid="list-container"><div class="navlinkcat__listContainerInner" role="presentation"><ul class="ipc-list navlinkcat__list ipc-list--baseAlt" role="menu" aria-orientation="vertical"><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="https://help.imdb.com/imdb?ref_=cons_nb_hlp" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">Help Center</span></a><a role="menuitem" class="ipc-list__item nav-link sc-iBzDrC fzqpfp ipc-list__item--indent-one" href="https://contribute.imdb.com/czone?ref_=nv_cm_cz" tabindex="-1" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">Contributor 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1.918.82 1.994 1.851L19 5v16l-7-3-7 3V5c0-1.05.82-1.918 1.851-1.994L7 3h10zm-4 4h-2v3H8v2h3v3h2v-3h3v-2h-3V7z" fill="currentColor"></path></svg><span class="ipc-btn__text">Watchlist</span></a></div><div class="nav__userMenu navbar__user sc-fuISYh hrzrxR"><a class="ipc-btn ipc-btn--single-padding ipc-btn--center-align-content ipc-btn--default-height ipc-btn--core-baseAlt ipc-btn--theme-baseAlt ipc-btn--button-radius ipc-btn--on-textPrimary ipc-text-button imdb-header__signin-text" tabindex="0" aria-disabled="false" href="/registration/signin/?ref=nv_generic_lgin&u="><span class="ipc-btn__text">Sign In</span></a></div><div class="sc-bXexPF eqXzGU"><div class="sc-jQAyio sc-csTbTw dUVOWS cXNOwG navbar__flyout--breakpoint-m"><label aria-haspopup="true" class="ipc-btn ipc-btn--single-padding ipc-btn--center-align-content ipc-btn--default-height ipc-btn--core-baseAlt ipc-btn--theme-baseAlt ipc-btn--button-radius ipc-btn--on-textPrimary ipc-text-button navbar__flyout__text-button-after-mobile" 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0h24v24H0V0z"></path><path d="M12 2C6.48 2 2 6.48 2 12s4.48 10 10 10 10-4.48 10-10S17.52 2 12 2zm0 18c-4.42 0-8-3.58-8-8s3.58-8 8-8 8 3.58 8 8-3.58 8-8 8z"></path><circle cx="12" cy="12" r="5"></circle></svg></span><span class="ipc-list-item__text" role="presentation">English (United States)</span></li><li role="separator" class="ipc-list-divider"></li></ul><ul class="ipc-list nav-partially-supported-languages ipc-list--baseAlt" role="menu" aria-orientation="vertical"><a role="menuitem" class="ipc-list__item sc-khIhrF itplCB" href="https://help.imdb.com/article/issues/G6TCMBKAAR5G95EN?ref_=loc_nav_sel_hlp" target="_blank" aria-label="Learn more about partially supported languages." tabindex="0" aria-disabled="false"><span class="ipc-list-item__text" role="presentation">Partially supported</span><span class="ipc-list-item__icon ipc-list-item__icon--post" role="presentation"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--help-outline" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M12 2C6.48 2 2 6.48 2 12s4.48 10 10 10 10-4.48 10-10S17.52 2 12 2zm0 18c-4.41 0-8-3.59-8-8s3.59-8 8-8 8 3.59 8 8-3.59 8-8 8zm-1-4h2v2h-2zm1.61-9.96c-2.06-.3-3.88.97-4.43 2.79-.18.58.26 1.17.87 1.17h.2c.41 0 .74-.29.88-.67.32-.89 1.27-1.5 2.3-1.28.95.2 1.65 1.13 1.57 2.1-.1 1.34-1.62 1.63-2.45 2.88 0 .01-.01.01-.01.02-.01.02-.02.03-.03.05-.09.15-.18.32-.25.5-.01.03-.03.05-.04.08-.01.02-.01.04-.02.07-.12.34-.2.75-.2 1.25h2c0-.42.11-.77.28-1.07.02-.03.03-.06.05-.09.08-.14.18-.27.28-.39.01-.01.02-.03.03-.04.1-.12.21-.23.33-.34.96-.91 2.26-1.65 1.99-3.56-.24-1.74-1.61-3.21-3.35-3.47z"></path></svg></span></a><li role="separator" class="ipc-list-divider"></li><li role="menuitem" class="ipc-list__item sc-cTJlEM kCpPGc language-option" id="language-option-fr-CA" aria-label="Français (Canada)" tabindex="0" aria-disabled="false"><span role="presentation" class="language-menu-item-span 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class="ipc-list-item__text" role="presentation">Deutsch (Deutschland)</span></li><li role="menuitem" class="ipc-list__item sc-cTJlEM kCpPGc language-option" id="language-option-hi-IN" aria-label="हिंदी (भारत)" tabindex="0" aria-disabled="false"><span role="presentation" class="language-menu-item-span ipc-list-item__icon ipc-list-item__icon--pre"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--radio-button-unchecked language-menu-item-icon " viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M12 2C6.48 2 2 6.48 2 12s4.48 10 10 10 10-4.48 10-10S17.52 2 12 2zm0 18c-4.42 0-8-3.58-8-8s3.58-8 8-8 8 3.58 8 8-3.58 8-8 8z"></path></svg></span><span class="ipc-list-item__text" role="presentation">हिंदी (भारत)</span></li><li role="menuitem" class="ipc-list__item sc-cTJlEM kCpPGc language-option" id="language-option-it-IT" aria-label="Italiano (Italia)" tabindex="0" aria-disabled="false"><span role="presentation" class="language-menu-item-span ipc-list-item__icon ipc-list-item__icon--pre"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--radio-button-unchecked language-menu-item-icon " viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M12 2C6.48 2 2 6.48 2 12s4.48 10 10 10 10-4.48 10-10S17.52 2 12 2zm0 18c-4.42 0-8-3.58-8-8s3.58-8 8-8 8 3.58 8 8-3.58 8-8 8z"></path></svg></span><span class="ipc-list-item__text" role="presentation">Italiano (Italia)</span></li><li role="menuitem" class="ipc-list__item sc-cTJlEM kCpPGc language-option" id="language-option-pt-BR" aria-label="Português (Brasil)" tabindex="0" aria-disabled="false"><span role="presentation" class="language-menu-item-span ipc-list-item__icon ipc-list-item__icon--pre"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--radio-button-unchecked language-menu-item-icon " viewBox="0 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8z"></path></svg></span><span class="ipc-list-item__text" role="presentation">Español (España)</span></li><li role="menuitem" class="ipc-list__item sc-cTJlEM kCpPGc language-option" id="language-option-es-MX" aria-label="Español (México)" tabindex="0" aria-disabled="false"><span role="presentation" class="language-menu-item-span ipc-list-item__icon ipc-list-item__icon--pre"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--radio-button-unchecked language-menu-item-icon " viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M12 2C6.48 2 2 6.48 2 12s4.48 10 10 10 10-4.48 10-10S17.52 2 12 2zm0 18c-4.42 0-8-3.58-8-8s3.58-8 8-8 8 3.58 8 8-3.58 8-8 8z"></path></svg></span><span class="ipc-list-item__text" role="presentation">Español (México)</span></li></ul></span></div></div></div></div><div class="sc-eGJXzN jHAJWx"></div></div><a class="ipc-btn ipc-btn--half-padding ipc-btn--center-align-content ipc-btn--default-height ipc-btn--core-accent1 ipc-btn--theme-baseAlt ipc-btn--button-radius sc-dFRoor hnzDes imdb-header__app-button" tabindex="0" aria-label="Use app" aria-disabled="false" href="https://slyb.app.link/vtz1COZnXAb"><span class="ipc-btn__text">Use app</span></a></div></nav><script>if(typeof uet === 'function'){ uet('be', 'imdbHeader', {wb: 1}); }</script><script>if(typeof uex === 'function'){ uex('ld', 'imdbHeader', {wb: 1}); }</script><svg style="width:0;height:0;overflow:hidden;display:block" xmlns="http://www.w3.org/2000/svg" version="1.1"><defs><linearGradient id="ipc-svg-gradient-tv-logo-t" x1="31.973%" y1="53.409%" x2="153.413%" y2="-16.853%"><stop stop-color="#D01F49" offset="21.89%"></stop><stop stop-color="#E8138B" offset="83.44%"></stop></linearGradient><linearGradient id="ipc-svg-gradient-tv-logo-v" x1="-38.521%" y1="84.997%" x2="104.155%" y2="14.735%"><stop stop-color="#D01F49" offset="21.89%"></stop><stop stop-color="#E8138B" offset="83.44%"></stop></linearGradient></defs></svg><main role="main" class="ipc-page-wrapper ipc-page-wrapper--base"><div id="ipc-wrap-background-id" style="position:absolute;width:100%;height:100%"></div><div class="ipc-page-content-container ipc-page-content-container--center sc-e897ff5e-0 hcsSPj" role="presentation"><div id="ipc-wrap-background-id" style="position:absolute;width:100%;height:100%"></div><script async=""> if (window && window.ad_utils && window.ad_utils.makeAtfSlotsCall) { window.ad_utils.makeAtfSlotsCall( false, '', 'inlinebottom,inline20,sis_pixel', undefined, {}); }</script><section class="ipc-page-background ipc-page-background--baseAlt inline20-page-background"><div class="ipc-page-content-container ipc-page-content-container--center" role="presentation"><div class="nas-slot"><div id="inline20_responsive_wrapper" class="slot_wrapper nas-spacing nas-dark" style="position:relative"><div></div></div></div></div></section><div class="ipc-page-content-container ipc-page-content-container--center" role="presentation"><section class="ipc-page-background ipc-page-background--base sc-5344c266-0 jAKHFn"><section class="ipc-page-section ipc-page-section--base sc-5344c266-1 epjnWj"><div class="sc-5344c266-3 kskZlU"><section class="ipc-page-section ipc-page-section--base ipc-page-section--bp-none sc-ada15aae-0 jYQwZF"><div class="ipc-title ipc-title--base ipc-title--page-title ipc-title--on-textPrimary" data-testid="tabbed-page-title"><hgroup><h1 class="ipc-title__text">Advanced search</h1></hgroup></div><section class="ipc-page-section ipc-page-section--none ipc-page-section--bp-none"><div class="ipc-tabs ipc-tabs--base ipc-tabs--align-left ipc-tabs--display-tab sc-5344c266-2 fHNrka tabs" role="presentation"><li class="ipc-tab-arrow ipc-tab-arrow--left" role="presentation"><svg width="24" height="24" xmlns="http://www.w3.org/2000/svg" class="ipc-icon ipc-icon--chevron-left-inline ipc-icon--inline ipc-tab-arrow--icon" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M18.378 23.369c.398-.402.622-.947.622-1.516 0-.568-.224-1.113-.622-1.515l-8.249-8.34 8.25-8.34a2.16 2.16 0 0 0 .548-2.07A2.132 2.132 0 0 0 17.428.073a2.104 2.104 0 0 0-2.048.555l-9.758 9.866A2.153 2.153 0 0 0 5 12.009c0 .568.224 1.114.622 1.515l9.758 9.866c.808.817 2.17.817 2.998-.021z"></path></svg></li><ul class="ipc-tabs ipc-tabs--base ipc-tabs--align-left sc-5344c266-2 fHNrka tabs" role="tablist"><li class="ipc-tab ipc-tab--on-base" role="tab" tabindex="0" aria-selected="false"><svg width="24" height="24" xmlns="http://www.w3.org/2000/svg" class="ipc-icon ipc-icon--youtube ipc-tab__icon--pre hide-on-mobile" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M9.955 14.955v-5.91L15.182 12l-5.227 2.955zm11.627-7.769a2.505 2.505 0 0 0-1.768-1.768C18.254 5 12 5 12 5s-6.254 0-7.814.418c-.86.23-1.538.908-1.768 1.768C2 8.746 2 12 2 12s0 3.254.418 4.814c.23.86.908 1.538 1.768 1.768C5.746 19 12 19 12 19s6.254 0 7.814-.418a2.505 2.505 0 0 0 1.768-1.768C22 15.254 22 12 22 12s0-3.254-.418-4.814z"></path></svg><span>TITLES</span></li><li class="ipc-tab ipc-tab--on-base ipc-tab--active" role="tab" tabindex="0" aria-selected="true"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--people ipc-tab__icon--pre hide-on-mobile" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M16 11c1.66 0 2.99-1.34 2.99-3S17.66 5 16 5s-3 1.34-3 3 1.34 3 3 3zm-8 0c1.66 0 2.99-1.34 2.99-3S9.66 5 8 5 5 6.34 5 8s1.34 3 3 3zm0 2c-2.33 0-7 1.17-7 3.5V18c0 .55.45 1 1 1h12c.55 0 1-.45 1-1v-1.5c0-2.33-4.67-3.5-7-3.5zm8 0c-.29 0-.62.02-.97.05.02.01.03.03.04.04 1.14.83 1.93 1.94 1.93 3.41V18c0 .35-.07.69-.18 1H22c.55 0 1-.45 1-1v-1.5c0-2.33-4.67-3.5-7-3.5z"></path></svg><span>NAMES</span></li><li class="ipc-tab ipc-tab--on-base" role="tab" tabindex="0" aria-selected="false"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--subscriptions ipc-tab__icon--pre hide-on-mobile" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M19 8H5c-.55 0-1-.45-1-1s.45-1 1-1h14c.55 0 1 .45 1 1s-.45 1-1 1zm-2-6H7c-.55 0-1 .45-1 1s.45 1 1 1h10c.55 0 1-.45 1-1s-.45-1-1-1zm5 10v8c0 1.1-.9 2-2 2H4c-1.1 0-2-.9-2-2v-8c0-1.1.9-2 2-2h16c1.1 0 2 .9 2 2zm-6.81 3.56L10 12.73v6.53l5.19-2.82a.5.5 0 0 0 0-.88z"></path></svg><span>COLLABORATIONS</span></li><li role="presentation" data-currenttab="name" class="ipc-tabs__indicator" style="width:0;left:0"></li></ul><li class="ipc-tab-arrow ipc-tab-arrow--right" role="presentation"><svg width="24" height="24" xmlns="http://www.w3.org/2000/svg" class="ipc-icon ipc-icon--chevron-right-inline ipc-icon--inline ipc-tab-arrow--icon" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M5.622.631A2.153 2.153 0 0 0 5 2.147c0 .568.224 1.113.622 1.515l8.249 8.34-8.25 8.34a2.16 2.16 0 0 0-.548 2.07c.196.74.768 1.317 1.499 1.515a2.104 2.104 0 0 0 2.048-.555l9.758-9.866a2.153 2.153 0 0 0 0-3.03L8.62.61C7.812-.207 6.45-.207 5.622.63z"></path></svg></li></div><div role="tabpanel"><div><section class="ipc-page-background ipc-page-background--base sc-13add9d7-7 fWzbCe"><div class="sc-13add9d7-5 lkFtOq"><div class="sc-13add9d7-8 cCEHlh"></div><button data-testid="adv-search-get-results" class="ipc-btn ipc-btn--single-padding ipc-btn--center-align-content ipc-btn--default-height ipc-btn--core-accent1 ipc-btn--theme-base ipc-btn--button-radius sc-13add9d7-4 cwcOrs hide-on-desktop hide-on-mobile" tabindex="0" aria-label="See results" aria-disabled="false"><span class="ipc-btn__text">See results</span></button></div><div class="ipc-page-grid ipc-page-grid--bias-left ipc-page-grid__item ipc-page-grid__item--span-2"><div class="sc-57ba0b6e-0 jSxaPY hide-on-mobile ipc-page-grid__item ipc-page-grid__item--span-1"><div class="sc-57ba0b6e-1 uHnvE">Search filters<button data-testid="adv-search-expand-all" class="ipc-btn ipc-btn--no-padding ipc-btn--center-align-content ipc-btn--default-height ipc-btn--core-base ipc-btn--theme-base ipc-btn--button-radius ipc-btn--on-accent2 ipc-text-button sc-57ba0b6e-4 keRCAo" tabindex="0" aria-disabled="false"><span class="ipc-btn__text">Expand all</span><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--expand-more ipc-btn__icon ipc-btn__icon--post" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path opacity=".87" fill="none" d="M24 24H0V0h24v24z"></path><path d="M15.88 9.29L12 13.17 8.12 9.29a.996.996 0 1 0-1.41 1.41l4.59 4.59c.39.39 1.02.39 1.41 0l4.59-4.59a.996.996 0 0 0 0-1.41c-.39-.38-1.03-.39-1.42 0z"></path></svg></button></div><section class="ipc-page-background ipc-page-background--base sc-57ba0b6e-3 emCKSW"><div class="ipc-accordion sc-57ba0b6e-2 hQbStV accordion ipc-accordion--base ipc-accordion--dividers-between"><div class="ipc-accordion__item ipc-accordion__item--collapsed" data-testid="accordion-item" role="presentation" id="nameTextAccordion"><div class="ipc-accordion__item__header" role="presentation"><label role="button" aria-label="Expand undefined" aria-expanded="false" aria-controls="accordion-item-nameTextAccordion" class="ipc-accordion__item__label ipc-accordion__item__label--indent-full" tabindex="0" for="accordion-item-nameTextAccordion" data-testid="accordion-item-nameTextAccordion"><span class="ipc-accordion__item__title"><div class="sc-6addea7c-0 jfSEAR">Name</div></span><span class="ipc-accordion__item__chevron"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--chevron-right" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M9.29 6.71a.996.996 0 0 0 0 1.41L13.17 12l-3.88 3.88a.996.996 0 1 0 1.41 1.41l4.59-4.59a.996.996 0 0 0 0-1.41L10.7 6.7c-.38-.38-1.02-.38-1.41.01z"></path></svg></span></label></div><div id="accordion-item-nameTextAccordion" class="ipc-accordion__item__content" aria-hidden="true" data-testid="accordion-item-content-container"><div class="ipc-accordion__item__content_inner" role="presentation"><div class="sc-abd076ee-0 iZtkgd"><div class="ipc-textfield ipc-textfield--base" style="--ipc-pre-text-width:0px" role="presentation"><div class="ipc-textfield__container" role="presentation"><div class="ipc-textfield__field-container" role="presentation"><div class="ipc-textfield__input-container" role="presentation"><input aria-label="Name" id="text-input__5467" name="name-text-input" class="ipc-textfield__input" type="text" data-testid="test-nametext" placeholder="e.g. Audrey Hepburn" value=""/></div></div></div></div></div></div></div></div><div class="ipc-accordion__item ipc-accordion__item--collapsed" data-testid="accordion-item" role="presentation" id="birthDateAccordion"><div class="ipc-accordion__item__header" role="presentation"><label role="button" aria-label="Expand undefined" aria-expanded="false" aria-controls="accordion-item-birthDateAccordion" class="ipc-accordion__item__label ipc-accordion__item__label--indent-full" tabindex="0" for="accordion-item-birthDateAccordion" data-testid="accordion-item-birthDateAccordion"><span class="ipc-accordion__item__title"><div class="sc-6addea7c-0 jfSEAR">Birth date</div></span><span class="ipc-accordion__item__chevron"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--chevron-right" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M9.29 6.71a.996.996 0 0 0 0 1.41L13.17 12l-3.88 3.88a.996.996 0 1 0 1.41 1.41l4.59-4.59a.996.996 0 0 0 0-1.41L10.7 6.7c-.38-.38-1.02-.38-1.41.01z"></path></svg></span></label></div><div id="accordion-item-birthDateAccordion" class="ipc-accordion__item__content" aria-hidden="true" data-testid="accordion-item-content-container"><div class="ipc-accordion__item__content_inner" role="presentation"><div class="sc-7692e1bc-0 cOcdTE"> Enter full date <div class="sc-7692e1bc-1 fKunjm"><div class="ipc-textinput ipc-textinput--base sc-7692e1bc-3 byfiuT" style="--ipc-pre-text-width:0px" role="presentation"><div class="ipc-textinput__container" role="presentation"><div class="ipc-textinput__field-container" role="presentation"><div class="ipc-textinput__input-container" role="presentation"><input aria-label="Enter birth date from" id="text-input__5917" name="birth-date-start-input" class="ipc-textinput__input" type="date" data-testid="birthDate-start" autoComplete="off"/></div></div></div></div><p class="sc-7692e1bc-4 gvVgFS"> to </p><div class="ipc-textinput ipc-textinput--base sc-7692e1bc-3 byfiuT" style="--ipc-pre-text-width:0px" role="presentation"><div class="ipc-textinput__container" role="presentation"><div class="ipc-textinput__field-container" role="presentation"><div class="ipc-textinput__input-container" role="presentation"><input aria-label="Enter birth date to" id="text-input__5918" name="birth-date-end-input" class="ipc-textinput__input" type="date" data-testid="birthDate-end"/></div></div></div></div></div><p class="sc-7692e1bc-4 gvVgFS"> or just enter yyyy, or yyyy-mm below </p><div class="sc-7692e1bc-2 kJRAbv"><div class="ipc-textinput ipc-textinput--base sc-7692e1bc-3 byfiuT" style="--ipc-pre-text-width:0px" role="presentation"><div class="ipc-textinput__container" role="presentation"><div class="ipc-textinput__field-container" role="presentation"><div class="ipc-textinput__input-container" role="presentation"><input aria-label="Enter birth date from" id="text-input__5919" name="birth-year-month-start-input" class="ipc-textinput__input" type="text" data-testid="birthYearMonth-start" maxLength="7"/></div></div></div></div><p class="sc-7692e1bc-4 gvVgFS"> to </p><div class="ipc-textinput ipc-textinput--base sc-7692e1bc-3 byfiuT" style="--ipc-pre-text-width:0px" role="presentation"><div class="ipc-textinput__container" role="presentation"><div class="ipc-textinput__field-container" role="presentation"><div class="ipc-textinput__input-container" role="presentation"><input aria-label="Enter birth date to" id="text-input__5920" name="birth-year-month-end-input" class="ipc-textinput__input" type="text" data-testid="birthYearMonth-end" maxLength="7"/></div></div></div></div></div></div></div></div></div><div class="ipc-accordion__item ipc-accordion__item--collapsed" data-testid="accordion-item" role="presentation" id="birthdayAccordion"><div class="ipc-accordion__item__header" role="presentation"><label role="button" aria-label="Expand undefined" aria-expanded="false" aria-controls="accordion-item-birthdayAccordion" class="ipc-accordion__item__label ipc-accordion__item__label--indent-full" tabindex="0" for="accordion-item-birthdayAccordion" data-testid="accordion-item-birthdayAccordion"><span class="ipc-accordion__item__title"><div class="sc-6addea7c-0 jfSEAR">Birthday</div></span><span class="ipc-accordion__item__chevron"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--chevron-right" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M9.29 6.71a.996.996 0 0 0 0 1.41L13.17 12l-3.88 3.88a.996.996 0 1 0 1.41 1.41l4.59-4.59a.996.996 0 0 0 0-1.41L10.7 6.7c-.38-.38-1.02-.38-1.41.01z"></path></svg></span></label></div><div id="accordion-item-birthdayAccordion" class="ipc-accordion__item__content" aria-hidden="true" data-testid="accordion-item-content-container"><div class="ipc-accordion__item__content_inner" role="presentation"><div data-testid="birthday-test-id" class="sc-6b2dc526-0 hHiQrj"><div class="ipc-textfield ipc-textfield--base sc-6b2dc526-1 bUSimF" style="--ipc-pre-text-width:0px" role="presentation"><div class="ipc-textfield__container" role="presentation"><div class="ipc-textfield__field-container" role="presentation"><div class="ipc-textfield__input-container" role="presentation"><input aria-label="Enter birthday" id="text-input__5468" name="birthday-input" class="ipc-textfield__input" type="text" autoComplete="off" data-testid="birthday-input-test-id" placeholder="MM-DD" value=""/></div></div></div></div></div></div></div></div><div class="ipc-accordion__item ipc-accordion__item--collapsed" data-testid="accordion-item" role="presentation" id="awardsAccordion"><div class="ipc-accordion__item__header" role="presentation"><label role="button" aria-label="Expand undefined" aria-expanded="false" aria-controls="accordion-item-awardsAccordion" class="ipc-accordion__item__label ipc-accordion__item__label--indent-full" tabindex="0" for="accordion-item-awardsAccordion" data-testid="accordion-item-awardsAccordion"><span class="ipc-accordion__item__title"><div class="sc-6addea7c-0 jfSEAR">Awards & recognition</div></span><span class="ipc-accordion__item__chevron"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--chevron-right" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M9.29 6.71a.996.996 0 0 0 0 1.41L13.17 12l-3.88 3.88a.996.996 0 1 0 1.41 1.41l4.59-4.59a.996.996 0 0 0 0-1.41L10.7 6.7c-.38-.38-1.02-.38-1.41.01z"></path></svg></span></label></div><div id="accordion-item-awardsAccordion" class="ipc-accordion__item__content" aria-hidden="true" data-testid="accordion-item-content-container"><div class="ipc-accordion__item__content_inner" role="presentation"><section class="ipc-page-section ipc-page-section--base ipc-page-section--tp-none ipc-page-section--bp-none sc-bb21426f-1 fjEPfy"><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-oscar_best_actress_nominees"><span class="ipc-chip__text">Best Actress-Nominated</span></button><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-oscar_best_actor_nominees"><span class="ipc-chip__text">Best Actor-Nominated</span></button><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-oscar_best_actress_winners"><span class="ipc-chip__text">Best Actress-Winning</span></button><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-oscar_best_actor_winners"><span class="ipc-chip__text">Best Actor-Winning</span></button><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-oscar_best_supporting_actress_nominees"><span class="ipc-chip__text">Best Supporting Actress-Nominated</span></button><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-oscar_best_supporting_actor_nominees"><span class="ipc-chip__text">Best Supporting Actor-Nominated</span></button><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-oscar_best_supporting_actress_winners"><span class="ipc-chip__text">Best Supporting Actress-Winning</span></button><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-oscar_best_supporting_actor_winners"><span class="ipc-chip__text">Best Supporting Actor-Winning</span></button><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-oscar_best_director_nominees"><span class="ipc-chip__text">Best Director-Nominated</span></button><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-best_director_winner"><span class="ipc-chip__text">Best Director-Winning</span></button><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-oscar_nominee"><span class="ipc-chip__text">Oscar-Nominated</span></button><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-emmy_nominee"><span class="ipc-chip__text">Emmy Award-Nominated</span></button><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-golden_globe_nominated"><span class="ipc-chip__text">Golden Globe-Nominated</span></button><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-oscar_winner"><span class="ipc-chip__text">Oscar-Winning</span></button><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-emmy_winner"><span class="ipc-chip__text">Emmy Award-Winning</span></button><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-golden_globe_winning"><span class="ipc-chip__text">Golden Globe-Winning</span></button></section></div></div></div><div class="ipc-accordion__item ipc-accordion__item--collapsed" data-testid="accordion-item" role="presentation" id="pageTopicsAccordion"><div class="ipc-accordion__item__header" role="presentation"><label role="button" aria-label="Expand undefined" aria-expanded="false" aria-controls="accordion-item-pageTopicsAccordion" class="ipc-accordion__item__label ipc-accordion__item__label--indent-full" tabindex="0" for="accordion-item-pageTopicsAccordion" data-testid="accordion-item-pageTopicsAccordion"><span class="ipc-accordion__item__title"><div class="sc-6addea7c-0 jfSEAR">Page topics</div></span><span class="ipc-accordion__item__chevron"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--chevron-right" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M9.29 6.71a.996.996 0 0 0 0 1.41L13.17 12l-3.88 3.88a.996.996 0 1 0 1.41 1.41l4.59-4.59a.996.996 0 0 0 0-1.41L10.7 6.7c-.38-.38-1.02-.38-1.41.01z"></path></svg></span></label></div><div id="accordion-item-pageTopicsAccordion" class="ipc-accordion__item__content" aria-hidden="true" data-testid="accordion-item-content-container"><div class="ipc-accordion__item__content_inner" role="presentation"><div class="sc-c8a95ade-1 dqjLsc"><div class="sc-c8a95ade-2 jNRccl">Only includes names with the selected topics</div><section class="ipc-page-section ipc-page-section--base ipc-page-section--tp-none ipc-page-section--bp-none sc-bb21426f-1 fjEPfy"><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-AWARD_NOMINATIONS"><span class="ipc-chip__text">Award Nominations</span></button><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-BIOGRAPHY"><span class="ipc-chip__text">Biography</span></button><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-BIRTH_DATE"><span class="ipc-chip__text">Birth Date</span></button><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-BIRTH_PLACE"><span class="ipc-chip__text">Place of birth</span></button><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-DEATH_DATE"><span class="ipc-chip__text">Death Date</span></button><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-DEATH_PLACE"><span class="ipc-chip__text">Place of death</span></button><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-HEIGHT_INFO"><span class="ipc-chip__text">Height info</span></button><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-QUOTES"><span class="ipc-chip__text">Quotes</span></button><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-TRIVIA"><span class="ipc-chip__text">Trivia</span></button></section><div class="ipc-select ipc-select--base sc-c8a95ade-0 kZClpK ipc-select--with-value ipc-select--with-label" role="presentation"><div class="ipc-select__container" role="presentation"><div class="ipc-select__field-container" role="presentation"><label class="ipc-select__label" for="within-topic-dropdown-id">Search within topic</label><div class="ipc-select__input-container"><select class="ipc-select__input" id="within-topic-dropdown-id" name="within-topic-dropdown" aria-invalid="false"><option value=""></option><option value="BIOGRAPHY" selected="">Biography</option><option value="BIRTH_PLACE">Place of birth</option><option value="DEATH_PLACE">Place of death</option><option value="QUOTES">Quotes</option><option value="TRIVIA">Trivia</option></select></div></div><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--arrow ipc-select__post-icon" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path opacity=".87" fill="none" d="M24 24H0V0h24v24z"></path><path d="M15.88 9.29L12 13.17 8.12 9.29a.996.996 0 1 0-1.41 1.41l4.59 4.59c.39.39 1.02.39 1.41 0l4.59-4.59a.996.996 0 0 0 0-1.41c-.39-.38-1.03-.39-1.42 0z"></path></svg></div></div><div class="ipc-textfield ipc-textfield--base" style="--ipc-pre-text-width:0px" role="presentation"><div class="ipc-textfield__container" role="presentation"><div class="ipc-textfield__field-container" role="presentation"><div class="ipc-textfield__input-container" role="presentation"><input aria-label="e.g. Arrested" id="text-input__5469" name="within-topic-input" class="ipc-textfield__input" type="text" data-testid="test-within-page-topic" placeholder="e.g. Arrested" value=""/></div></div></div></div><button class="sc-c8a95ade-3 oXCOK ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="within-topic-term-chip"><span class="ipc-chip__text">Place of death: chelsea</span><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--clear ipc-icon--inline ipc-chip__post-icon" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M18.3 5.71a.996.996 0 0 0-1.41 0L12 10.59 7.11 5.7A.996.996 0 1 0 5.7 7.11L10.59 12 5.7 16.89a.996.996 0 1 0 1.41 1.41L12 13.41l4.89 4.89a.996.996 0 1 0 1.41-1.41L13.41 12l4.89-4.89c.38-.38.38-1.02 0-1.4z"></path></svg></button><button class="sc-c8a95ade-3 oXCOK ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="within-topic-term-chip"><span class="ipc-chip__text">Place of death: london</span><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--clear ipc-icon--inline ipc-chip__post-icon" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M18.3 5.71a.996.996 0 0 0-1.41 0L12 10.59 7.11 5.7A.996.996 0 1 0 5.7 7.11L10.59 12 5.7 16.89a.996.996 0 1 0 1.41 1.41L12 13.41l4.89 4.89a.996.996 0 1 0 1.41-1.41L13.41 12l4.89-4.89c.38-.38.38-1.02 0-1.4z"></path></svg></button><button class="sc-c8a95ade-3 oXCOK ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="within-topic-term-chip"><span class="ipc-chip__text">Place of death: england</span><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--clear ipc-icon--inline ipc-chip__post-icon" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M18.3 5.71a.996.996 0 0 0-1.41 0L12 10.59 7.11 5.7A.996.996 0 1 0 5.7 7.11L10.59 12 5.7 16.89a.996.996 0 1 0 1.41 1.41L12 13.41l4.89 4.89a.996.996 0 1 0 1.41-1.41L13.41 12l4.89-4.89c.38-.38.38-1.02 0-1.4z"></path></svg></button><button class="sc-c8a95ade-3 oXCOK ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="within-topic-term-chip"><span class="ipc-chip__text">Place of death: uk</span><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--clear ipc-icon--inline ipc-chip__post-icon" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M18.3 5.71a.996.996 0 0 0-1.41 0L12 10.59 7.11 5.7A.996.996 0 1 0 5.7 7.11L10.59 12 5.7 16.89a.996.996 0 1 0 1.41 1.41L12 13.41l4.89 4.89a.996.996 0 1 0 1.41-1.41L13.41 12l4.89-4.89c.38-.38.38-1.02 0-1.4z"></path></svg></button></div></div></div></div><div class="ipc-accordion__item ipc-accordion__item--collapsed" data-testid="accordion-item" role="presentation" id="deathDateAccordion"><div class="ipc-accordion__item__header" role="presentation"><label role="button" aria-label="Expand undefined" aria-expanded="false" aria-controls="accordion-item-deathDateAccordion" class="ipc-accordion__item__label ipc-accordion__item__label--indent-full" tabindex="0" for="accordion-item-deathDateAccordion" data-testid="accordion-item-deathDateAccordion"><span class="ipc-accordion__item__title"><div class="sc-6addea7c-0 jfSEAR">Death date</div></span><span class="ipc-accordion__item__chevron"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--chevron-right" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M9.29 6.71a.996.996 0 0 0 0 1.41L13.17 12l-3.88 3.88a.996.996 0 1 0 1.41 1.41l4.59-4.59a.996.996 0 0 0 0-1.41L10.7 6.7c-.38-.38-1.02-.38-1.41.01z"></path></svg></span></label></div><div id="accordion-item-deathDateAccordion" class="ipc-accordion__item__content" aria-hidden="true" data-testid="accordion-item-content-container"><div class="ipc-accordion__item__content_inner" role="presentation"><div class="sc-682f278d-0 hPBps"><div class="sc-682f278d-1 eFWTFW"><div class="ipc-textinput ipc-textinput--base sc-682f278d-3 kTcbxf" style="--ipc-pre-text-width:0px" role="presentation"><div class="ipc-textinput__container" role="presentation"><div class="ipc-textinput__field-container" role="presentation"><div class="ipc-textinput__input-container" role="presentation"><input aria-label="Enter death date from" id="text-input__5921" name="death-date-start-input" class="ipc-textinput__input" type="date" data-testid="deathDate-start" autoComplete="off"/></div></div></div></div><p class="sc-682f278d-4 iUOgPW"> to </p><div class="ipc-textinput ipc-textinput--base sc-682f278d-3 kTcbxf" style="--ipc-pre-text-width:0px" role="presentation"><div class="ipc-textinput__container" role="presentation"><div class="ipc-textinput__field-container" role="presentation"><div class="ipc-textinput__input-container" role="presentation"><input aria-label="Enter death date to" id="text-input__5922" name="death-date-end-input" class="ipc-textinput__input" type="date" data-testid="deathDate-end"/></div></div></div></div></div><p class="sc-682f278d-4 iUOgPW"> or just enter yyyy, or yyyy-mm below </p><div class="sc-682f278d-2 lptWSL"><div class="ipc-textinput ipc-textinput--base sc-682f278d-3 kTcbxf" style="--ipc-pre-text-width:0px" role="presentation"><div class="ipc-textinput__container" role="presentation"><div class="ipc-textinput__field-container" role="presentation"><div class="ipc-textinput__input-container" role="presentation"><input aria-label="Enter death date from" id="text-input__5923" name="death-year-month-start-input" class="ipc-textinput__input" type="text" data-testid="deathYearMonth-start" maxLength="7"/></div></div></div></div><p class="sc-682f278d-4 iUOgPW"> to </p><div class="ipc-textinput ipc-textinput--base sc-682f278d-3 kTcbxf" style="--ipc-pre-text-width:0px" role="presentation"><div class="ipc-textinput__container" role="presentation"><div class="ipc-textinput__field-container" role="presentation"><div class="ipc-textinput__input-container" role="presentation"><input aria-label="Enter death date to" id="text-input__5924" name="death-year-month-end-input" class="ipc-textinput__input" type="text" data-testid="deathYearMonth-end" maxLength="7"/></div></div></div></div></div></div></div></div></div><div class="ipc-accordion__item ipc-accordion__item--collapsed" data-testid="accordion-item" role="presentation" id="genderIdentityAccordion"><div class="ipc-accordion__item__header" role="presentation"><label role="button" aria-label="Expand undefined" aria-expanded="false" aria-controls="accordion-item-genderIdentityAccordion" class="ipc-accordion__item__label ipc-accordion__item__label--indent-full" tabindex="0" for="accordion-item-genderIdentityAccordion" data-testid="accordion-item-genderIdentityAccordion"><span class="ipc-accordion__item__title"><div class="sc-6addea7c-0 jfSEAR">Gender identity</div></span><span class="ipc-accordion__item__chevron"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--chevron-right" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M9.29 6.71a.996.996 0 0 0 0 1.41L13.17 12l-3.88 3.88a.996.996 0 1 0 1.41 1.41l4.59-4.59a.996.996 0 0 0 0-1.41L10.7 6.7c-.38-.38-1.02-.38-1.41.01z"></path></svg></span></label></div><div id="accordion-item-genderIdentityAccordion" class="ipc-accordion__item__content" aria-hidden="true" data-testid="accordion-item-content-container"><div class="ipc-accordion__item__content_inner" role="presentation"><section class="ipc-page-section ipc-page-section--base ipc-page-section--tp-none ipc-page-section--bp-none sc-bb21426f-1 fjEPfy"><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-MALE"><span class="ipc-chip__text">Male</span></button><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-FEMALE"><span class="ipc-chip__text">Female</span></button><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-NON_BINARY"><span class="ipc-chip__text">Non-binary</span></button><button class="sc-bb21426f-0 buRibl light ipc-chip ipc-chip--on-base" tabindex="0" aria-disabled="false" data-testid="test-chip-id-OTHER"><span class="ipc-chip__text">Other</span></button></section></div></div></div><div class="ipc-accordion__item ipc-accordion__item--collapsed" data-testid="accordion-item" role="presentation" id="filmographyAccordion"><div class="ipc-accordion__item__header" role="presentation"><label role="button" aria-label="Expand undefined" aria-expanded="false" aria-controls="accordion-item-filmographyAccordion" class="ipc-accordion__item__label ipc-accordion__item__label--indent-full" tabindex="0" for="accordion-item-filmographyAccordion" data-testid="accordion-item-filmographyAccordion"><span class="ipc-accordion__item__title"><div class="sc-6addea7c-0 jfSEAR">Credits</div></span><span class="ipc-accordion__item__chevron"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--chevron-right" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M9.29 6.71a.996.996 0 0 0 0 1.41L13.17 12l-3.88 3.88a.996.996 0 1 0 1.41 1.41l4.59-4.59a.996.996 0 0 0 0-1.41L10.7 6.7c-.38-.38-1.02-.38-1.41.01z"></path></svg></span></label></div><div id="accordion-item-filmographyAccordion" class="ipc-accordion__item__content" aria-hidden="true" data-testid="accordion-item-content-container"><div class="ipc-accordion__item__content_inner" role="presentation"><div class="sc-a949ed6f-0 esgjUb"><div role="combobox" aria-haspopup="listbox" aria-owns="react-autowhatever-1" aria-expanded="false" class="react-autosuggest__container"><div class="sc-9d0ac180-1 gokzWz"><input type="text" autoComplete="off" aria-autocomplete="list" aria-controls="react-autowhatever-1" class="sc-9d0ac180-0 kBNQSh react-autosuggest__input" autoCapitalize="off" autoCorrect="off" spellcheck="true" aria-label="Autosuggest input field" data-testid="autosuggest-input-test-id-filmography" value=""/></div><div id="react-autowhatever-1" role="listbox" class="sc-9d0ac180-3 jPWAyA react-autosuggest__suggestions-container" data-testid="filmography-suggestions-container"></div></div></div></div></div></div><div class="ipc-accordion__item ipc-accordion__item--collapsed" data-testid="accordion-item" role="presentation" id="adultNamesAccordion"><div class="ipc-accordion__item__header" role="presentation"><label role="button" aria-label="Expand undefined" aria-expanded="false" aria-controls="accordion-item-adultNamesAccordion" class="ipc-accordion__item__label ipc-accordion__item__label--indent-full" tabindex="0" for="accordion-item-adultNamesAccordion" data-testid="accordion-item-adultNamesAccordion"><span class="ipc-accordion__item__title"><div class="sc-6addea7c-0 jfSEAR">Adult names</div></span><span class="ipc-accordion__item__chevron"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--chevron-right" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M9.29 6.71a.996.996 0 0 0 0 1.41L13.17 12l-3.88 3.88a.996.996 0 1 0 1.41 1.41l4.59-4.59a.996.996 0 0 0 0-1.41L10.7 6.7c-.38-.38-1.02-.38-1.41.01z"></path></svg></span></label></div><div id="accordion-item-adultNamesAccordion" class="ipc-accordion__item__content" aria-hidden="true" data-testid="accordion-item-content-container"><div class="ipc-accordion__item__content_inner" role="presentation"><section class="ipc-page-section ipc-page-section--none ipc-page-section--tp-none ipc-page-section--bp-none"><span class="ipc-boolean-input ipc-boolean-input--base ipc-radio-button"><span class="ipc-boolean-input__icon"><input aria-label="Exclude" data-testid="exclude-adult-names" name="Exclude" class="ipc-boolean-input__input" id="exclude-adult-names" type="radio" checked="" value="exclude-adult-names"/><span class="ipc-boolean-input__icon-wrapper" aria-hidden="true"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--radio-button-checked ipc-boolean-input__icon--accent2 ipc-boolean-input__icon--checked" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M12 2C6.48 2 2 6.48 2 12s4.48 10 10 10 10-4.48 10-10S17.52 2 12 2zm0 18c-4.42 0-8-3.58-8-8s3.58-8 8-8 8 3.58 8 8-3.58 8-8 8z"></path><circle cx="12" cy="12" r="5"></circle></svg></span></span><label class="ipc-boolean-input__label" for="exclude-adult-names">Exclude</label></span><div class="sc-e0aeb5de-0 iWEFKJ"><span class="ipc-boolean-input ipc-boolean-input--base ipc-radio-button"><span class="ipc-boolean-input__icon"><input aria-label="Include" data-testid="include-adult-names" name="Include" class="ipc-boolean-input__input" id="include-adult-names" type="radio" value="include-adult-names"/><span class="ipc-boolean-input__icon-wrapper" aria-hidden="true"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--radio-button-unchecked ipc-boolean-input__icon--unchecked" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M12 2C6.48 2 2 6.48 2 12s4.48 10 10 10 10-4.48 10-10S17.52 2 12 2zm0 18c-4.42 0-8-3.58-8-8s3.58-8 8-8 8 3.58 8 8-3.58 8-8 8z"></path></svg></span></span><label class="ipc-boolean-input__label" for="include-adult-names">Include</label></span></div></section></div></div></div></div></section></div><div class="ipc-page-grid__item ipc-page-grid__item--span-2"><div class="sc-13add9d7-6 dCCeCI"><div class="sc-13add9d7-3 fwjHEn">1-50 of 208</div><div class="sc-13add9d7-1 fSfCTp"><button class="sc-13add9d7-0 bZyuVC hide-on-desktop ipc-chip ipc-chip--filled ipc-chip--on-base-accent2" tabindex="0" aria-disabled="false" data-testid="adv-search-edit"><svg width="24" height="24" xmlns="http://www.w3.org/2000/svg" class="ipc-icon ipc-icon--filter-list ipc-icon--inline ipc-chip__post-icon" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M11 18q-.425 0-.712-.288Q10 17.425 10 17t.288-.712Q10.575 16 11 16h2q.425 0 .713.288.287.287.287.712t-.287.712Q13.425 18 13 18zM4 8q-.425 0-.712-.287Q3 7.425 3 7t.288-.713Q3.575 6 4 6h16q.425 0 .712.287Q21 6.575 21 7t-.288.713Q20.425 8 20 8zm3 5q-.425 0-.713-.288Q6 12.425 6 12t.287-.713Q6.575 11 7 11h10q.425 0 .712.287.288.288.288.713t-.288.712Q17.425 13 17 13z"></path></svg></button><div class="sc-46db7fd4-0 bKwYWb"><span class="ipc-simple-select__container" data-testid="adv-srch-sort-by"><label class="ipc-simple-select__front-label" for="adv-srch-sort-by">Sort by</label><span class="ipc-simple-select ipc-simple-select--base ipc-simple-select--on-accent2"><label class="ipc-simple-select__selected-option" aria-hidden="true">Popularity</label><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--arrow-drop-down ipc-simple-select__icon--post" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path fill="none" d="M0 0h24v24H0V0z"></path><path d="M8.71 11.71l2.59 2.59c.39.39 1.02.39 1.41 0l2.59-2.59c.63-.63.18-1.71-.71-1.71H9.41c-.89 0-1.33 1.08-.7 1.71z"></path></svg><select id="adv-srch-sort-by" aria-label="Sort by" class="ipc-simple-select__input"><option value="POPULARITY" selected="">Popularity</option><option value="NAME">A-Z</option><option value="BIRTH_DATE">Birth date</option><option value="DEATH_DATE">Death date</option></select></span></span><button data-testid="test-sort-order" id="adv-srch-sort-order" class="ipc-icon-button ipc-icon-button--base ipc-icon-button--onAccent2" title="Ascending sort order" tabindex="0" aria-label="Ascending sort order" aria-disabled="false"><svg width="24" height="24" xmlns="http://www.w3.org/2000/svg" class="ipc-icon ipc-icon--ascending" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M12 22a.968.968 0 01-.713-.288A.967.967 0 0111 21V5.825L7.1 9.7a.977.977 0 01-.688.288A.93.93 0 015.7 9.7a.948.948 0 01-.275-.7c0-.283.092-.517.275-.7l5.6-5.6c.1-.1.208-.17.325-.212.117-.042.242-.063.375-.063s.258.02.375.063a.877.877 0 01.325.212l5.6 5.6a.933.933 0 01.275.688c0 .275-.092.512-.275.712-.2.2-.438.3-.713.3a.973.973 0 01-.712-.3L13 5.825V21c0 .283-.096.52-.287.712A.968.968 0 0112 22z"></path></svg></button></div></div><div class="sc-13add9d7-2 fepQkm"><div><button id="list-view-option-detailed" class="ipc-icon-button ipc-icon-button--base ipc-icon-button--onAccent2" title="Selected: Detailed view" tabindex="0" aria-label="Selected: Detailed view" aria-disabled="false"><svg width="24" height="24" xmlns="http://www.w3.org/2000/svg" class="ipc-icon ipc-icon--list-inline" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M1.5 13.5c.825 0 1.5-.675 1.5-1.5s-.675-1.5-1.5-1.5S0 11.175 0 12s.675 1.5 1.5 1.5zm0 5c.825 0 1.5-.675 1.5-1.5s-.675-1.5-1.5-1.5S0 16.175 0 17s.675 1.5 1.5 1.5zm0-10C2.325 8.5 3 7.825 3 7s-.675-1.5-1.5-1.5S0 6.175 0 7s.675 1.5 1.5 1.5zm4.857 5h16.286c.746 0 1.357-.675 1.357-1.5s-.61-1.5-1.357-1.5H6.357C5.611 10.5 5 11.175 5 12s.61 1.5 1.357 1.5zm0 5h16.286c.746 0 1.357-.675 1.357-1.5s-.61-1.5-1.357-1.5H6.357C5.611 15.5 5 16.175 5 17s.61 1.5 1.357 1.5zM5 7c0 .825.61 1.5 1.357 1.5h16.286C23.389 8.5 24 7.825 24 7s-.61-1.5-1.357-1.5H6.357C5.611 5.5 5 6.175 5 7zm-3.5 6.5c.825 0 1.5-.675 1.5-1.5s-.675-1.5-1.5-1.5S0 11.175 0 12s.675 1.5 1.5 1.5zm0 5c.825 0 1.5-.675 1.5-1.5s-.675-1.5-1.5-1.5S0 16.175 0 17s.675 1.5 1.5 1.5zm0-10C2.325 8.5 3 7.825 3 7s-.675-1.5-1.5-1.5S0 6.175 0 7s.675 1.5 1.5 1.5zm4.857 5h16.286c.746 0 1.357-.675 1.357-1.5s-.61-1.5-1.357-1.5H6.357C5.611 10.5 5 11.175 5 12s.61 1.5 1.357 1.5zm0 5h16.286c.746 0 1.357-.675 1.357-1.5s-.61-1.5-1.357-1.5H6.357C5.611 15.5 5 16.175 5 17s.61 1.5 1.357 1.5zM5 7c0 .825.61 1.5 1.357 1.5h16.286C23.389 8.5 24 7.825 24 7s-.61-1.5-1.357-1.5H6.357C5.611 5.5 5 6.175 5 7z"></path></svg></button><button id="list-view-option-grid" class="ipc-icon-button ipc-icon-button--base ipc-icon-button--onBase" title=" Grid view" tabindex="0" aria-label=" Grid view" aria-disabled="false"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--grid-view" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M4.8 14h2.4c.44 0 .8-.3.8-.667v-2.666C8 10.3 7.64 10 7.2 10H4.8c-.44 0-.8.3-.8.667v2.666c0 .367.36.667.8.667zm0-6h2.4c.44 0 .8-.3.8-.667V4.667C8 4.3 7.64 4 7.2 4H4.8c-.44 0-.8.3-.8.667v2.666C4 7.7 4.36 8 4.8 8zm0 12h2.4c.44 0 .8-.3.8-.667v-2.666C8 16.3 7.64 16 7.2 16H4.8c-.44 0-.8.3-.8.667v2.666c0 .367.36.667.8.667zm6 0h2.4c.44 0 .8-.3.8-.667v-2.666c0-.367-.36-.667-.8-.667h-2.4c-.44 0-.8.3-.8.667v2.666c0 .367.36.667.8.667zm6 0h2.4c.44 0 .8-.3.8-.667v-2.666c0-.367-.36-.667-.8-.667h-2.4c-.44 0-.8.3-.8.667v2.666c0 .367.36.667.8.667zm-6-6h2.4c.44 0 .8-.3.8-.667v-2.666c0-.367-.36-.667-.8-.667h-2.4c-.44 0-.8.3-.8.667v2.666c0 .367.36.667.8.667zm0-6h2.4c.44 0 .8-.3.8-.667V4.667C14 4.3 13.64 4 13.2 4h-2.4c-.44 0-.8.3-.8.667v2.666c0 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detailed-list-view ipc-metadata-list--base" role="presentation"><li class="ipc-metadata-list-summary-item"><div class="ipc-metadata-list-summary-item__c"><div class="ipc-metadata-list-summary-item__tc"><span class="ipc-metadata-list-summary-item__t" aria-disabled="false"></span><div class="sc-77f37b3d-0 jCbCZO dli-parent"><div class="sc-77f37b3d-1 gJmTWZ"><div class="sc-ada31d55-0 kAJLzR"><div data-testid="nlib-img-container" class="sc-ada31d55-1 DLfwP"><div class="ipc-avatar ipc-avatar--base" role="group"><div class="ipc-media ipc-media--avatar ipc-image-media-ratio--avatar ipc-media--circle-radius ipc-media--base ipc-media--custom ipc-avatar__avatar-image ipc-media__img" style="width:60px"><img alt="Maggie Smith" class="ipc-image" loading="lazy" src="https://m.media-amazon.com/images/M/MV5BMjA4NzYxNjc5Ml5BMl5BanBnXkFtZTYwMTMzOTg1._V1_QL75_UX60_CR0,0,60,60_.jpg" srcSet="https://m.media-amazon.com/images/M/MV5BMjA4NzYxNjc5Ml5BMl5BanBnXkFtZTYwMTMzOTg1._V1_QL75_UX60_CR0,0,60,60_.jpg 60w, https://m.media-amazon.com/images/M/MV5BMjA4NzYxNjc5Ml5BMl5BanBnXkFtZTYwMTMzOTg1._V1_QL75_UX90_CR0,0,90,90_.jpg 90w, https://m.media-amazon.com/images/M/MV5BMjA4NzYxNjc5Ml5BMl5BanBnXkFtZTYwMTMzOTg1._V1_QL75_UX120_CR0,0,120,120_.jpg 120w" sizes="50vw, (min-width: 480px) 34vw, (min-width: 600px) 26vw, (min-width: 1024px) 16vw, (min-width: 1280px) 16vw" width="60"/></div><a class="ipc-lockup-overlay ipc-focusable" href="/name/nm0001749/?ref_=sr_i_1" aria-label="Maggie Smith"><div class="ipc-lockup-overlay__screen"></div></a></div></div><div class="sc-ada31d55-3 eFSukE"><div data-testid="nlib-meter-const-container"></div><div class="ipc-title ipc-title--base ipc-title--title ipc-title-link-no-icon ipc-title--on-textPrimary sc-ada31d55-2 gRltAT" data-testid="nlib-title"><a href="/name/nm0001749/?ref_=sr_t_1" class="ipc-title-link-wrapper" tabindex="0"><h3 class="ipc-title__text">1. Maggie Smith</h3></a></div><div class="sc-ada31d55-6 uTkpb"><ul class="ipc-inline-list ipc-inline-list--show-dividers sc-ada31d55-4 jKxHhY base" role="presentation" data-testid="nlib-professions"><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Actress</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Soundtrack</li></ul><a class="ipc-link ipc-link--base sc-a3c468bb-0 ecChlM" tabindex="0" aria-disabled="false" data-testid="nlib-known-for-title" href="/title/tt0280707/?ref_=sr_knf_1">Gosford Park (2001)</a></div></div></div><div><button data-testid="dli-add-to-list-button" class="ipc-icon-button ipc-icon-button--base ipc-icon-button--onAccent2" title="Add to list" tabindex="0" aria-label="Add to list" aria-disabled="false"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--add" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M18 13h-5v5c0 .55-.45 1-1 1s-1-.45-1-1v-5H6c-.55 0-1-.45-1-1s.45-1 1-1h5V6c0-.55.45-1 1-1s1 .45 1 1v5h5c.55 0 1 .45 1 1s-.45 1-1 1z"></path></svg></button></div></div><div data-testid="dli-bio" class="sc-77f37b3d-2 dpXpaE"><div class="ipc-html-content ipc-html-content--base sc-77f37b3d-3 huKIYr" role="presentation"><div class="ipc-html-content-inner-div" role="presentation">One of the world's most famous and distinguished actresses, Dame Maggie Smith was born Margaret Natalie Smith in Essex. Her Scottish mother, Margaret (Hutton), worked as a secretary, and her English father, Nathaniel Smith, was a teacher at Oxford University. Smith has been married twice: to actor <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0827137/?ref_=sr">Robert Stephens</a> and to playwright <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0189117/?ref_=sr">Beverley Cross</a>. Her marriage to Stephens ended in divorce in 1974. She was married to Cross until his death in 1998. She had two sons with Stephens, <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0488271/?ref_=sr">Chris Larkin</a> and <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0827170/?ref_=sr">Toby Stephens</a> who are also actors.<br/><br/>Maggie Smith's career began at the Oxford Playhouse in the 1950s. She made her film debut in 1956 as one of the party guests in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0049067/?ref_=sr">Child in the House (1956)</a>. She has since performed in over sixty films and television series with some of the most prominent actors and actresses in the world. These include: <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0059555/?ref_=sr">Othello (1965)</a> with <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000059/?ref_=sr">Laurence Olivier</a>, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0064840/?ref_=sr">The Prime of Miss Jean Brodie (1969)</a>, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0077289/?ref_=sr">California Suite (1978)</a> with <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000323/?ref_=sr">Michael Caine</a> and <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000404/?ref_=sr">Jane Fonda</a>, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0091867/?ref_=sr">A Room with a View (1985)</a>, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0114279/?ref_=sr">Richard III (1995)</a> with <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0005212/?ref_=sr">Ian McKellen</a> and <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000980/?ref_=sr">Jim Broadbent</a>, <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001874/?ref_=sr">Franco Zeffirelli</a>'s <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0120857/?ref_=sr">Un tè con Mussolini (1999)</a> with <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001132/?ref_=sr">Judi Dench</a>, <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0687506/?ref_=sr">Joan Plowright</a> and <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000333/?ref_=sr">Cher</a> and <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0280707/?ref_=sr">Gosford Park (2001)</a> with <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000218/?ref_=sr">Kristin Scott Thomas</a> and <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0654110/?ref_=sr">Clive Owen</a>, directed by <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000265/?ref_=sr">Robert Altman</a>. Maggie Smith has also been nominated for an Oscar six times and won twice, for <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0064840/?ref_=sr">The Prime of Miss Jean Brodie (1969)</a> and <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0077289/?ref_=sr">California Suite (1978)</a>.<br/><br/>Smith later appeared in the very successful 'Harry Potter' franchise as the formidable Professor McGonagall as well as in <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0271501/?ref_=sr">Julian Fellowes</a>' ITV drama series, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt1606375/?ref_=sr">Downton Abbey (2010)</a> (2010-2011) as the Dowager Countess of Grantham.</div></div></div></div></div></div></li><li class="ipc-metadata-list-summary-item"><div class="ipc-metadata-list-summary-item__c"><div class="ipc-metadata-list-summary-item__tc"><span class="ipc-metadata-list-summary-item__t" aria-disabled="false"></span><div class="sc-77f37b3d-0 jCbCZO dli-parent"><div class="sc-77f37b3d-1 gJmTWZ"><div class="sc-ada31d55-0 kAJLzR"><div data-testid="nlib-img-container" class="sc-ada31d55-1 DLfwP"><div class="ipc-avatar ipc-avatar--base" role="group"><div class="ipc-media ipc-media--avatar ipc-image-media-ratio--avatar ipc-media--circle-radius ipc-media--base ipc-media--custom ipc-avatar__avatar-image ipc-media__img" style="width:60px"><img alt="Christopher Lee at an event for The Lord of the Rings: The Two Towers (2002)" class="ipc-image" loading="lazy" src="https://m.media-amazon.com/images/M/MV5BMTMzMjU5NDA0NV5BMl5BanBnXkFtZTYwMTUwMzI0._V1_QL75_UX60_CR0,0,60,60_.jpg" srcSet="https://m.media-amazon.com/images/M/MV5BMTMzMjU5NDA0NV5BMl5BanBnXkFtZTYwMTUwMzI0._V1_QL75_UX60_CR0,0,60,60_.jpg 60w, https://m.media-amazon.com/images/M/MV5BMTMzMjU5NDA0NV5BMl5BanBnXkFtZTYwMTUwMzI0._V1_QL75_UX90_CR0,0,90,90_.jpg 90w, https://m.media-amazon.com/images/M/MV5BMTMzMjU5NDA0NV5BMl5BanBnXkFtZTYwMTUwMzI0._V1_QL75_UX120_CR0,0,120,120_.jpg 120w" sizes="50vw, (min-width: 480px) 34vw, (min-width: 600px) 26vw, (min-width: 1024px) 16vw, (min-width: 1280px) 16vw" width="60"/></div><a class="ipc-lockup-overlay ipc-focusable" href="/name/nm0000489/?ref_=sr_i_2" aria-label="Christopher Lee"><div class="ipc-lockup-overlay__screen"></div></a></div></div><div class="sc-ada31d55-3 eFSukE"><div data-testid="nlib-meter-const-container"></div><div class="ipc-title ipc-title--base ipc-title--title ipc-title-link-no-icon ipc-title--on-textPrimary sc-ada31d55-2 gRltAT" data-testid="nlib-title"><a href="/name/nm0000489/?ref_=sr_t_2" class="ipc-title-link-wrapper" tabindex="0"><h3 class="ipc-title__text">2. Christopher Lee</h3></a></div><div class="sc-ada31d55-6 uTkpb"><ul class="ipc-inline-list ipc-inline-list--show-dividers sc-ada31d55-4 jKxHhY base" role="presentation" data-testid="nlib-professions"><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Actor</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Additional Crew</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Producer</li></ul><a class="ipc-link ipc-link--base sc-a3c468bb-0 ecChlM" tabindex="0" aria-disabled="false" data-testid="nlib-known-for-title" href="/title/tt0121765/?ref_=sr_knf_2">Star Wars: Episode II - Attack of the Clones (2002)</a></div></div></div><div><button data-testid="dli-add-to-list-button" class="ipc-icon-button ipc-icon-button--base ipc-icon-button--onAccent2" title="Add to list" tabindex="0" aria-label="Add to list" aria-disabled="false"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--add" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M18 13h-5v5c0 .55-.45 1-1 1s-1-.45-1-1v-5H6c-.55 0-1-.45-1-1s.45-1 1-1h5V6c0-.55.45-1 1-1s1 .45 1 1v5h5c.55 0 1 .45 1 1s-.45 1-1 1z"></path></svg></button></div></div><div data-testid="dli-bio" class="sc-77f37b3d-2 dpXpaE"><div class="ipc-html-content ipc-html-content--base sc-77f37b3d-3 huKIYr" role="presentation"><div class="ipc-html-content-inner-div" role="presentation">Sir Christopher Frank Carandini Lee was perhaps the only actor of his generation to have starred in so many films and cult saga. Although most notable for personifying bloodsucking vampire, Dracula, on screen, he portrayed other varied characters on screen, most of which were villains, whether it be Francisco Scaramanga in the James Bond film, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0071807/?ref_=sr">The Man with the Golden Gun (1974)</a>, or Count Dooku in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0121765/?ref_=sr">Star Wars: Episode II - Attack of the Clones (2002)</a>, or as the title monster in the Hammer Horror film, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0053085/?ref_=sr">The Mummy (1959)</a>.<br/><br/>Lee was born in 1922 in London, England, where he and his older sister Xandra were raised by their parents, Contessa Estelle Marie (Carandini di Sarzano) and Geoffrey Trollope Lee, a professional soldier, until their divorce in 1926. Later, while Lee was still a child, his mother married (and later divorced) Harcourt George St.-Croix (nicknamed Ingle), who was a banker. Lee's maternal great-grandfather was an Italian political refugee, while Lee's great-grandmother was English opera singer Marie (Burgess) Carandini.<br/><br/>After attending Wellington College from age 14 to 17, Lee worked as an office clerk in a couple of London shipping companies until 1941 when he enlisted in the Royal Air Force during World War II. Following his release from military service, Lee joined the Rank Organisation in 1947, training as an actor in their "Charm School" and playing a number of bit parts in such films as <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0040246/?ref_=sr">Corridor of Mirrors (1948)</a>. He made a brief appearance in <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000059/?ref_=sr">Laurence Olivier</a>'s <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0040416/?ref_=sr">Hamlet (1948)</a>, in which his future partner-in-horror <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001088/?ref_=sr">Peter Cushing</a> also appeared. Both actors also appeared later in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0044926/?ref_=sr">Moulin Rouge (1952)</a> but did not meet until their horror films together.<br/><br/>Lee had numerous parts in film and television throughout the 1950s. He struggled initially in his new career because he was discriminated as being taller than the leading male actors of his time and being too foreign-looking. However, playing the monster in the Hammer film <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0050280/?ref_=sr">The Curse of Frankenstein (1957)</a> proved to be a blessing in disguise, since the was successful, leading to him being signed on for future roles in Hammer Film Productions.<br/><br/>Lee's association with Hammer Film Productions brought him into contact with Peter Cushing, and they became good friends. Lee and Cushing often than not played contrasting roles in Hammer films, where Cushing was the protagonist and Lee the villain, whether it be Van Helsing and Dracula respectively in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0051554/?ref_=sr">Dracula (1958)</a>, or John Banning and Kharis the Mummy respectively in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0053085/?ref_=sr">The Mummy (1959)</a>.<br/><br/>Lee continued his role as "Dracula" in a number of Hammer sequels throughout the 1960s and into the early 1970s. During this time, he co-starred in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0052905/?ref_=sr">The Hound of the Baskervilles (1959)</a>, and made numerous appearances as Fu Manchu, most notably in the first of the series <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0059162/?ref_=sr">The Face of Fu Manchu (1965)</a>, and also appeared in a number of films in Europe. With his own production company, Charlemagne Productions, Ltd., Lee made <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0069024/?ref_=sr">Nothing But the Night (1973)</a> and <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0075334/?ref_=sr">To the Devil a Daughter (1976)</a>.<br/><br/>By the mid-1970s, Lee was tiring of his horror image and tried to widen his appeal by participating in several mainstream films, such as <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0066249/?ref_=sr">The Private Life of Sherlock Holmes (1970)</a>, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0072281/?ref_=sr">The Three Musketeers (1973)</a>, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0073012/?ref_=sr">The Four Musketeers (1974)</a>, and the James Bond film <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0071807/?ref_=sr">The Man with the Golden Gun (1974)</a>.<br/><br/>The success of these films prompted him in the late 1970s to move to Hollywood, where he remained a busy actor but made mostly unremarkable film and television appearances, and eventually moved back to England. The beginning of the new millennium relaunched his career to some degree, during which he has played Count Dooku in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0121765/?ref_=sr">Star Wars: Episode II - Attack of the Clones (2002)</a> and as Saruman the White in the Lord of the Rings trilogy. Lee played Count Dooku again in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0121766/?ref_=sr">Star Wars: Episode III - Revenge of the Sith (2005)</a>, and portrayed the father of Willy Wonka, played by <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000136/?ref_=sr">Johnny Depp</a>, in the <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000318/?ref_=sr">Tim Burton</a> film, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0367594/?ref_=sr">Charlie and the Chocolate Factory (2005)</a>.<br/><br/>On 16 June 2001, he was created a Commander of the Order of the British Empire in recognition of his services to drama. He was created a Knight Bachelor on 13 June 2009 in the Queen's Birthday Honours List for his services to drama and charity. In addition he was made a Commander of the Order of St John on 16 January 1997.<br/><br/>Lee died at the Chelsea and Westminster Hospital on 7 June 2015 at 8:30 am after being admitted for respiratory problems and heart failure, shortly after celebrating his 93rd birthday there. His wife delayed the public announcement until 11 June, in order to break the news to their family.</div></div></div></div></div></div></li><li class="ipc-metadata-list-summary-item"><div class="ipc-metadata-list-summary-item__c"><div class="ipc-metadata-list-summary-item__tc"><span class="ipc-metadata-list-summary-item__t" aria-disabled="false"></span><div class="sc-77f37b3d-0 jCbCZO dli-parent"><div class="sc-77f37b3d-1 gJmTWZ"><div class="sc-ada31d55-0 kAJLzR"><div data-testid="nlib-img-container" class="sc-ada31d55-1 DLfwP"><div class="ipc-avatar ipc-avatar--base" role="group"><div class="ipc-media ipc-media--avatar ipc-image-media-ratio--avatar ipc-media--circle-radius ipc-media--base ipc-media--custom ipc-avatar__avatar-image ipc-media__img" style="width:60px"><img alt="Ingrid Bergman in Casablanca (1942)" class="ipc-image" loading="lazy" src="https://m.media-amazon.com/images/M/MV5BMjQyMTYxODQzMF5BMl5BanBnXkFtZTgwMDA1MTI2NDM@._V1_QL75_UX60_CR0,0,60,60_.jpg" srcSet="https://m.media-amazon.com/images/M/MV5BMjQyMTYxODQzMF5BMl5BanBnXkFtZTgwMDA1MTI2NDM@._V1_QL75_UX60_CR0,0,60,60_.jpg 60w, https://m.media-amazon.com/images/M/MV5BMjQyMTYxODQzMF5BMl5BanBnXkFtZTgwMDA1MTI2NDM@._V1_QL75_UX90_CR0,0,90,90_.jpg 90w, https://m.media-amazon.com/images/M/MV5BMjQyMTYxODQzMF5BMl5BanBnXkFtZTgwMDA1MTI2NDM@._V1_QL75_UX120_CR0,0,120,120_.jpg 120w" sizes="50vw, (min-width: 480px) 34vw, (min-width: 600px) 26vw, (min-width: 1024px) 16vw, (min-width: 1280px) 16vw" width="60"/></div><a class="ipc-lockup-overlay ipc-focusable" href="/name/nm0000006/?ref_=sr_i_3" aria-label="Ingrid Bergman"><div class="ipc-lockup-overlay__screen"></div></a></div></div><div class="sc-ada31d55-3 eFSukE"><div data-testid="nlib-meter-const-container"></div><div class="ipc-title ipc-title--base ipc-title--title ipc-title-link-no-icon ipc-title--on-textPrimary sc-ada31d55-2 gRltAT" data-testid="nlib-title"><a href="/name/nm0000006/?ref_=sr_t_3" class="ipc-title-link-wrapper" tabindex="0"><h3 class="ipc-title__text">3. Ingrid Bergman</h3></a></div><div class="sc-ada31d55-6 uTkpb"><ul class="ipc-inline-list ipc-inline-list--show-dividers sc-ada31d55-4 jKxHhY base" role="presentation" data-testid="nlib-professions"><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Actress</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Producer</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Soundtrack</li></ul><a class="ipc-link ipc-link--base sc-a3c468bb-0 ecChlM" tabindex="0" aria-disabled="false" data-testid="nlib-known-for-title" href="/title/tt0034583/?ref_=sr_knf_3">Casablanca (1942)</a></div></div></div><div><button data-testid="dli-add-to-list-button" class="ipc-icon-button ipc-icon-button--base ipc-icon-button--onAccent2" title="Add to list" tabindex="0" aria-label="Add to list" aria-disabled="false"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--add" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M18 13h-5v5c0 .55-.45 1-1 1s-1-.45-1-1v-5H6c-.55 0-1-.45-1-1s.45-1 1-1h5V6c0-.55.45-1 1-1s1 .45 1 1v5h5c.55 0 1 .45 1 1s-.45 1-1 1z"></path></svg></button></div></div><div data-testid="dli-bio" class="sc-77f37b3d-2 dpXpaE"><div class="ipc-html-content ipc-html-content--base sc-77f37b3d-3 huKIYr" role="presentation"><div class="ipc-html-content-inner-div" role="presentation">Ingrid Bergman was one of the greatest actresses from Hollywood's lamented Golden Era. Her natural and unpretentious beauty and her immense acting talent made her one of the most celebrated figures in the history of American cinema. Bergman is also one of the most Oscar-awarded actresses, tied with <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000658/?ref_=sr">Meryl Streep</a> and <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000531/?ref_=sr">Frances McDormand</a>, all three of them second only to <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000031/?ref_=sr">Katharine Hepburn</a>.<br/><br/>Ingrid Bergman was born on August 29, 1915 in Stockholm, Sweden, to a German mother, Frieda Henrietta (Adler), and a Swedish father, Justus Samuel Bergman, an artist and photographer. Her mother died when she was only two and her father died when she was 12. She went to live with an elderly uncle.<br/><br/>The woman who would be one of the top stars in Hollywood in the 1940s had decided to become an actress after finishing her formal schooling. She had had a taste of acting at age 17 when she played an uncredited role of a girl standing in line in the Swedish film <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0023113/?ref_=sr">Landskamp (1932)</a> in 1932 - not much of a beginning for a girl who would be known as "Sweden's illustrious gift to Hollywood." Her parents died when she was just a girl and the uncle she lived with didn't want to stand in the way of Ingrid's dream. The next year she enrolled at the Royal Dramatic Theatre School in Stockholm but decided that stage acting was not for her. It would be three more years before she would have another chance at a film. When she did, it was more than just a bit part. The film in question was <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0026737/?ref_=sr">Munkbrogreven (1935)</a>, where she had a speaking part as Elsa Edlund. After several films that year that established her as a class actress, Ingrid appeared in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0027796/?ref_=sr">Intermezzo (1936)</a> as Anita Hoffman. Luckily for her, American producer <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0006388/?ref_=sr">David O. Selznick</a> saw it and sent a representative from Selznick International Pictures to gain rights to the story and have Ingrid signed to a contract. Once signed, she came to California and starred in United Artists' 1939 remake of her 1936 film, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0031491/?ref_=sr">Intermezzo: A Love Story (1939)</a>, reprising her original role. The film was a hit and so was Ingrid.<br/><br/>Her beauty was unlike anything the movie industry had seen before and her acting was superb. Hollywood was about to find out that they had the most versatile actress the industry had ever seen. Here was a woman who truly cared about the craft she represented. The public fell in love with her. Ingrid was under contract to go back to Sweden to film <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0031270/?ref_=sr">En enda natt (1939)</a> in 1939 and <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0032655/?ref_=sr">Juninatten (1940)</a> in 1940. Back in the US she appeared in three films, all well-received. She made only one film in 1942, but it was the classic <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0034583/?ref_=sr">Casablanca (1942)</a> opposite <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000007/?ref_=sr">Humphrey Bogart</a>.<br/><br/>Ingrid was choosing her roles well. In 1943 she was nominated for an Academy Award for her role in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0035896/?ref_=sr">For Whom the Bell Tolls (1943)</a>, the only film she made that year. The critics and public didn't forget her when she made <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0036855/?ref_=sr">Gaslight (1944)</a> the following year--her role of Paula Alquist got her the Oscar for Best Actress. In 1945 Ingrid played in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0038109/?ref_=sr">Spellbound (1945)</a>, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0038053/?ref_=sr">Saratoga Trunk (1945)</a> and <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0037536/?ref_=sr">The Bells of St. Mary's (1945)</a>, for which she received her third Oscar nomination for her role of Sister Benedict. She made no films in 1947, but bounced back with a fourth nomination for <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0040491/?ref_=sr">Joan of Arc (1948)</a>. In 1949 she went to Italy to film <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0041931/?ref_=sr">Stromboli (Terra di Dio) (1950)</a>, directed by <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0744023/?ref_=sr">Roberto Rossellini</a>. She fell in love with him and left her husband, Dr. Peter Lindstrom, and daughter, <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0512523/?ref_=sr">Pia Lindström</a>. America's "moral guardians" in the press and the pulpits were outraged. She was pregnant and decided to remain in Italy, where her son was born. In 1952 Ingrid had twins, Isotta and <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000618/?ref_=sr">Isabella Rossellini</a>, who became an outstanding actress in her own right, as did Pia.<br/><br/>Ingrid continued to make films in Italy and finally returned to Hollywood in 1956 in the title role in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0048947/?ref_=sr">Anastasia (1956)</a>, which was filmed in England. For this she won her second Academy Award. She had scarcely missed a beat. Ingrid continued to bounce between Europe and the US making movies, and fine ones at that. A film with Ingrid Bergman was sure to be a quality production. In her final big-screen performance in 1978's <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0077711/?ref_=sr">Höstsonaten (1978)</a> she had her final Academy Award nomination. Though she didn't win, many felt it was the most sterling performance of her career. Ingrid retired, but not before she gave an outstanding performance in the mini-series <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0084914/?ref_=sr">A Woman Called Golda (1982)</a>, a film about Israeli prime minister <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0576954/?ref_=sr">Golda Meir</a>. For this she won an Emmy Award as Best Actress, but, unfortunately, she did not live to see the fruits of her labor.<br/><br/>Ingrid died from cancer on August 29, 1982, her 67th birthday, in London, England.</div></div></div></div></div></div></li><li class="ipc-metadata-list-summary-item"><div class="ipc-metadata-list-summary-item__c"><div class="ipc-metadata-list-summary-item__tc"><span class="ipc-metadata-list-summary-item__t" aria-disabled="false"></span><div class="sc-77f37b3d-0 jCbCZO dli-parent"><div class="sc-77f37b3d-1 gJmTWZ"><div class="sc-ada31d55-0 kAJLzR"><div data-testid="nlib-img-container" class="sc-ada31d55-1 DLfwP"><div class="ipc-avatar ipc-avatar--base" role="group"><div class="ipc-media ipc-media--avatar ipc-image-media-ratio--avatar ipc-media--circle-radius ipc-media--base ipc-media--custom ipc-avatar__avatar-image ipc-media__img" style="width:60px"><img alt="Albert Finney at an event for Erin Brockovich (2000)" class="ipc-image" loading="lazy" src="https://m.media-amazon.com/images/M/MV5BMjA5NzkzMjQ4MF5BMl5BanBnXkFtZTgwMzA0NzczNzM@._V1_QL75_UX60_CR0,0,60,60_.jpg" srcSet="https://m.media-amazon.com/images/M/MV5BMjA5NzkzMjQ4MF5BMl5BanBnXkFtZTgwMzA0NzczNzM@._V1_QL75_UX60_CR0,0,60,60_.jpg 60w, https://m.media-amazon.com/images/M/MV5BMjA5NzkzMjQ4MF5BMl5BanBnXkFtZTgwMzA0NzczNzM@._V1_QL75_UX90_CR0,0,90,90_.jpg 90w, https://m.media-amazon.com/images/M/MV5BMjA5NzkzMjQ4MF5BMl5BanBnXkFtZTgwMzA0NzczNzM@._V1_QL75_UX120_CR0,0,120,120_.jpg 120w" sizes="50vw, (min-width: 480px) 34vw, (min-width: 600px) 26vw, (min-width: 1024px) 16vw, (min-width: 1280px) 16vw" width="60"/></div><a class="ipc-lockup-overlay ipc-focusable" href="/name/nm0001215/?ref_=sr_i_4" aria-label="Albert Finney"><div class="ipc-lockup-overlay__screen"></div></a></div></div><div class="sc-ada31d55-3 eFSukE"><div data-testid="nlib-meter-const-container"></div><div class="ipc-title ipc-title--base ipc-title--title ipc-title-link-no-icon ipc-title--on-textPrimary sc-ada31d55-2 gRltAT" data-testid="nlib-title"><a href="/name/nm0001215/?ref_=sr_t_4" class="ipc-title-link-wrapper" tabindex="0"><h3 class="ipc-title__text">4. Albert Finney</h3></a></div><div class="sc-ada31d55-6 uTkpb"><ul class="ipc-inline-list ipc-inline-list--show-dividers sc-ada31d55-4 jKxHhY base" role="presentation" data-testid="nlib-professions"><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Actor</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Producer</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Director</li></ul><a class="ipc-link ipc-link--base sc-a3c468bb-0 ecChlM" tabindex="0" aria-disabled="false" data-testid="nlib-known-for-title" href="/title/tt0071877/?ref_=sr_knf_4">Murder on the Orient Express (1974)</a></div></div></div><div><button data-testid="dli-add-to-list-button" class="ipc-icon-button ipc-icon-button--base ipc-icon-button--onAccent2" title="Add to list" tabindex="0" aria-label="Add to list" aria-disabled="false"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--add" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M18 13h-5v5c0 .55-.45 1-1 1s-1-.45-1-1v-5H6c-.55 0-1-.45-1-1s.45-1 1-1h5V6c0-.55.45-1 1-1s1 .45 1 1v5h5c.55 0 1 .45 1 1s-.45 1-1 1z"></path></svg></button></div></div><div data-testid="dli-bio" class="sc-77f37b3d-2 dpXpaE"><div class="ipc-html-content ipc-html-content--base sc-77f37b3d-3 huKIYr" role="presentation"><div class="ipc-html-content-inner-div" role="presentation">The son of a Lancashire bookmaker, Albert Finney came to motion pictures via the theatre. In 1956, he won a scholarship to RADA where his fellow alumni included <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000564/?ref_=sr">Peter O'Toole</a> and <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000869/?ref_=sr">Alan Bates</a>. He joined the Birmingham Repertory where he excelled in plays by <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000636/?ref_=sr">William Shakespeare</a>. A member of the Royal Shakespeare Company, Finney understudied <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000059/?ref_=sr">Laurence Olivier</a> at Stratford-upon-Avon, eventually acquiring a reputation as 'the new Olivier'. He first came to critical attention by creating the title role in <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0913961/?ref_=sr">Keith Waterhouse</a>'s "Billy Liar" on the London stage. His film debut soon followed with <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0053796/?ref_=sr">The Entertainer (1960)</a> by <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0724798/?ref_=sr">Tony Richardson</a> with whom had earlier worked in the theatre. With the changing emphasis in 60s British cinema towards gritty realism and working-class milieus, Finney's typical screen personae became good-looking, often brooding proletarian types and rebellious anti-heroes as personified by his Arthur Seaton in <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0718554/?ref_=sr">Karel Reisz</a>'s <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0054269/?ref_=sr">Saturday Night and Sunday Morning (1960)</a>. His exuberant defining role, however, was in the bawdy period romp <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0057590/?ref_=sr">Tom Jones (1963)</a> in which Finney revealed a substantial talent for comedy. In the same vein, he scored another hit opposite <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000030/?ref_=sr">Audrey Hepburn</a> in the charming marital comedy <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0062407/?ref_=sr">Two for the Road (1967)</a>.<br/><br/>By 1965, Finney had branched out into production, setting up Memorial Enterprises in conjunction with <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0575974/?ref_=sr">Michael Medwin</a>. In 1968, he directed himself in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0062792/?ref_=sr">Charlie Bubbles (1968)</a> and three years later produced the Chandleresque homage <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0068669/?ref_=sr">Gumshoe (1971)</a>, in which he also starred as Eddie Ginley, a bingo-caller with delusions of becoming a private eye. From 1972 to 1975, Finney served as artistic director of the Royal Court Theatre. His intermittent forays to the screen confirmed him as a versatile international actor of note, though not what one might describe as a mainstream star. His roles have ranged from Ebenezer Scrooge in the musical version of <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0066344/?ref_=sr">Scrooge (1970)</a> to Daddy Warbucks in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0083564/?ref_=sr">Annie (1982)</a> and (in flamboyant over-the-top make-up) Hercule Poirot in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0071877/?ref_=sr">Murder on the Orient Express (1974)</a>. He appeared as Minister of Police Joseph Fouché in <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000631/?ref_=sr">Ridley Scott</a>'s superb period drama <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0075968/?ref_=sr">The Duellists (1977)</a> and as a grandiloquent Shakespearean actor in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0085461/?ref_=sr">The Dresser (1983)</a> for which he received an Oscar nomination. For the small screen Finney essayed <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0087931/?ref_=sr">Pope John Paul II (1984)</a> and was a totally believable <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0161476/?ref_=sr">Winston Churchill</a> in the acclaimed <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0314097/?ref_=sr">The Gathering Storm (2002)</a>. His final movie credit was in the James Bond thriller <a class="ipc-md-link ipc-md-link--entity" href="/title/tt1074638/?ref_=sr">Skyfall (2012)</a>.<br/><br/>Finney was five-times nominated for Academy Awards in 1964, 1975, 1984, 1985 and 2001. He won two BAFTA Awards in 1961 and 2004. True to his working-class roots, he spurned a CBE in 1980 and a knighthood in 2000, later explaining his decision by stating that the 'Sir thing' "slightly perpetuates one of our diseases in England, which is snobbery". Albert Finney was diagnosed with kidney cancer in 2011. He died on February 7 2019 at a London hospital from a chest infection at the age of 82. Upon his death, <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000092/?ref_=sr">John Cleese</a> described him as "the best" and "our greatest actor".</div></div></div></div></div></div></li><li class="ipc-metadata-list-summary-item"><div class="ipc-metadata-list-summary-item__c"><div class="ipc-metadata-list-summary-item__tc"><span class="ipc-metadata-list-summary-item__t" aria-disabled="false"></span><div class="sc-77f37b3d-0 jCbCZO dli-parent"><div class="sc-77f37b3d-1 gJmTWZ"><div class="sc-ada31d55-0 kAJLzR"><div data-testid="nlib-img-container" class="sc-ada31d55-1 DLfwP"><div class="ipc-avatar ipc-avatar--base" role="group"><div class="ipc-media ipc-media--avatar ipc-image-media-ratio--avatar ipc-media--circle-radius ipc-media--base ipc-media--custom ipc-avatar__avatar-image ipc-media__img" style="width:60px"><img alt="Dirk Bogarde, c. 1952." class="ipc-image" loading="lazy" src="https://m.media-amazon.com/images/M/MV5BMTUxNDY0NjAwMl5BMl5BanBnXkFtZTYwMTUxNjI2._V1_QL75_UX60_CR0,0,60,60_.jpg" srcSet="https://m.media-amazon.com/images/M/MV5BMTUxNDY0NjAwMl5BMl5BanBnXkFtZTYwMTUxNjI2._V1_QL75_UX60_CR0,0,60,60_.jpg 60w, https://m.media-amazon.com/images/M/MV5BMTUxNDY0NjAwMl5BMl5BanBnXkFtZTYwMTUxNjI2._V1_QL75_UX90_CR0,0,90,90_.jpg 90w, https://m.media-amazon.com/images/M/MV5BMTUxNDY0NjAwMl5BMl5BanBnXkFtZTYwMTUxNjI2._V1_QL75_UX120_CR0,0,120,120_.jpg 120w" sizes="50vw, (min-width: 480px) 34vw, (min-width: 600px) 26vw, (min-width: 1024px) 16vw, (min-width: 1280px) 16vw" width="60"/></div><a class="ipc-lockup-overlay ipc-focusable" href="/name/nm0001958/?ref_=sr_i_5" aria-label="Dirk Bogarde"><div class="ipc-lockup-overlay__screen"></div></a></div></div><div class="sc-ada31d55-3 eFSukE"><div data-testid="nlib-meter-const-container"></div><div class="ipc-title ipc-title--base ipc-title--title ipc-title-link-no-icon ipc-title--on-textPrimary sc-ada31d55-2 gRltAT" data-testid="nlib-title"><a href="/name/nm0001958/?ref_=sr_t_5" class="ipc-title-link-wrapper" tabindex="0"><h3 class="ipc-title__text">5. Dirk Bogarde</h3></a></div><div class="sc-ada31d55-6 uTkpb"><ul class="ipc-inline-list ipc-inline-list--show-dividers sc-ada31d55-4 jKxHhY base" role="presentation" data-testid="nlib-professions"><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Actor</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Writer</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Soundtrack</li></ul><a class="ipc-link ipc-link--base sc-a3c468bb-0 ecChlM" tabindex="0" aria-disabled="false" data-testid="nlib-known-for-title" href="/title/tt0057490/?ref_=sr_knf_5">The Servant (1963)</a></div></div></div><div><button data-testid="dli-add-to-list-button" class="ipc-icon-button ipc-icon-button--base ipc-icon-button--onAccent2" title="Add to list" tabindex="0" aria-label="Add to list" aria-disabled="false"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--add" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M18 13h-5v5c0 .55-.45 1-1 1s-1-.45-1-1v-5H6c-.55 0-1-.45-1-1s.45-1 1-1h5V6c0-.55.45-1 1-1s1 .45 1 1v5h5c.55 0 1 .45 1 1s-.45 1-1 1z"></path></svg></button></div></div><div data-testid="dli-bio" class="sc-77f37b3d-2 dpXpaE"><div class="ipc-html-content ipc-html-content--base sc-77f37b3d-3 huKIYr" role="presentation"><div class="ipc-html-content-inner-div" role="presentation">Sir Dirk Bogarde, distinguished film actor and writer, was born Derek Jules Gaspard Ulric Niven van den Bogaerde on March 28, 1921, to Ulric van den Bogaerde, the art editor of "The Times" (London) newspaper, and actress Margaret Niven in the London suburb of Hampstead. He was one of three children, with sister Elizabeth and younger brother Gareth. His father was Flemish and his mother was of Scottish descent.<br/><br/>Ulric Bogaerde started the Times' arts department and served as its first art editor. Derek's mother, Margaret - the daughter of actor and painter Forrest Niven - appeared in the play "Bunty Pulls The Strings", but she quit the boards in accordance with her husband's wishes. The young Derek Bogaerde was raised at the family home in Sussex by his sister, Elizabeth, and his nanny, <a class="ipc-md-link ipc-md-link--entity" href="/name/nm4441907/?ref_=sr">Lally Holt</a>.<br/><br/>Educated at the Allen Glen's School in Glasgow, he also attended London's University College School before majoring in commercial art at Chelsea Polytechnic, where his teachers included <a class="ipc-md-link ipc-md-link--entity" href="/name/nm1814271/?ref_=sr">Henry Moore</a>. Though his father wanted his eldest son to follow him into the "Times" as an art critic and had groomed him for that role, Derek dropped out of his commercial art course and became a drama student, though his acting talent at that time was unpromising. In the 1930s he went to work as a commercial artist and a scene designer.<br/><br/>He apprenticed as an actor with the Amersham Repertory Company, and made his acting debut in 1939 on a small London stage, the Q Theatre, in a role in which he delivered only one line. His debut in London's West End came a few months later in <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0697362/?ref_=sr">J.B. Priestley</a>'s play "Cornelius," in which he was billed as "Derek Bogaerde". He made his uncredited debut as an extra in the pre-war <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0286399/?ref_=sr">George Formby</a> comedy <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0031169/?ref_=sr">Come on George! (1939)</a>.<br/><br/>The September 1939 invasion of Poland by Nazi Germany and the Soviet Union triggered World War II, and in 1940 Bogarde joined the Queen's Royal Regiment as an officer. He served in the Air Photographic Intelligence Unit and eventually attained the rank of major. Nicknamed "Pippin" and "Pip" during the war, he was awarded seven medals in his five years of active duty. He wrote poems and painted during the war, and in 1943, a small magazine published one of his poems, "Steel Cathedrals," which subsequently was anthologized. His paintings of the war are part of the Imperial War Museum's collection.<br/><br/>Similar to his character, Captain Hargreaves, in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0058263/?ref_=sr">King and Country (1964)</a>, he was called upon to put a wounded soldier out of his misery, a tale recounted in one of his seven volumes of autobiography. While serving with the Air Photographic Intelligence Unit, he took part in the liberation of the Bergen-Belsen concentration camp, which he said was akin to "looking into Dante's Inferno".<br/><br/>In one of his autobiographies, he wrote, "At 24, the age I was then, deep shock stays registered forever. An internal tattooing which is removable only by surgery, it cannot be conveniently sponged away by time."<br/><br/>After being demobilized, he returned to acting. His agent re-christened him "Dirk Bogarde," a name that he would make famous within a decade. In 1947 he appeared in "Power Without Glory" at the New Lindsay Theatre, a performance that was praised by <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0002021/?ref_=sr">Noël Coward</a>, who urged him to continue his acting career. The Rank Organization had signed him to a contract after a talent scout saw him in the play, and he made his credited movie debut in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0039297/?ref_=sr">Dancing with Crime (1947)</a> with a one-line bit as a policeman.<br/><br/>His first lead in a movie came that year when Wessex Films, distributed by Rank, gave him a part in the proposed <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001289/?ref_=sr">Stewart Granger</a> film <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0040328/?ref_=sr">Esther Waters (1948)</a>. When Granger dropped out, Bogarde took over the lead. Rank subsequently signed him to a long-term contract and he appeared in a variety of parts during the 14 years he was under contract to the studio.<br/><br/>For three years he toiled in Rank movies as an apprentice actor without making much of a ripple; then in 1950, he was given the role of young hood Tom Riley in the crime thriller <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0042265/?ref_=sr">The Blue Lamp (1950)</a> (the title comes from the blue-colored light on police call-boxes in London), the most successful British film of 1950, which established Bogarde as an actor of note. Playing a cop killer, an unspeakable crime in the England of the time, it was the first of the intense neurotics and attractive villains that Bogarde would often play.<br/><br/>He continued to act on-stage, appearing in the West End in <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0030478/?ref_=sr">Jean Anouilh</a>'s "Point of Departure". While he was praised for his performance, stage acting made him nervous, and as he became more famous, he began to be mobbed by fans. The pressure of the public adulation proved overwhelming, particularly as he suffered from stage fright. He was accosted by crowds of fans at the stage door during the 1955 touring production of "Summertime," and his more enthusiastic admirers even shouted at him during the play. He was to appear in only one more play, the Oxford Playhouse production of "Jezebel," in 1958. He never again took to the boards, despite receiving attractive offers.<br/><br/>He first acted for American expatriate director <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0521334/?ref_=sr">Joseph Losey</a> in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0047505/?ref_=sr">The Sleeping Tiger (1954)</a>. Losey, a Communist and self-described Stalinist at the time, had emigrated to England after being blacklisted in Hollywood after he refused to direct <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0041495/?ref_=sr">The Woman on Pier 13 (1949)</a> at RKO Pictures, which was owned by right-wing multi-millionaire <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0400652/?ref_=sr">Howard Hughes</a> at the time, and he was accused in testimony before the House Un-American Activities Committee of being a Communist. The director, like Bogarde, would not find his stride until the early 1960s, and Losey and Bogarde would build their reputations together.<br/><br/>First, however, Losey had to overcome Bogarde's reluctance to star in a low-budget film (shot for $300,000) with a blacklisted American director. Losey, who had never heard of Bogarde until he was proposed for the film, met with him and asked Bogarde to view one of his pictures. After seeing the film, Bogarde was enthusiastic, and Losey talked him into taking the role, which he accepted at a reduced fee (Losey originally was not credited with directing the film due to his being blacklisted in the States). A decade later they would make more memorable films that would be watersheds in their careers.<br/><br/>It was not drama but comedy that made Dirk Bogarde a star. He achieved the first rank of English movie stardom playing Dr. Simon Sparrow in the comedy <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0046921/?ref_=sr">Doctor in the House (1954)</a>. The film was a smash hit, becoming one of the most popular British films in history, with 17 million admissions in its first year of release. As Sparrow, Bogarde became a heartthrob and the most popular British movie star of the mid-50s. He reprised the character in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0048001/?ref_=sr">Doctor at Sea (1955)</a>, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0050323/?ref_=sr">Doctor at Large (1957)</a>.<br/><br/>The title of the latter film may have described his mood as a serious actor having to do another turn as Dr. Sparrow between his career-making performances in Losey's <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0057490/?ref_=sr">The Servant (1963)</a>, with a script by <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0056217/?ref_=sr">Harold Pinter</a>, and Losey's adaptation of the stage play <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0058263/?ref_=sr">King and Country (1964)</a>, in which Bogarde memorably played the attorney for a young deserter (played by <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0183822/?ref_=sr">Tom Courtenay</a>).<br/><br/>Bogarde, hailed as "the idol of the Odeons" in honor of his box-office clout, was offered the role of Jimmy Porter in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0051879/?ref_=sr">Look Back in Anger (1959)</a> by producer <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0759162/?ref_=sr">Harry Saltzman</a> and director <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0724798/?ref_=sr">Tony Richardson</a>, based on the play that touched off the "Angry Young Man" and "Kitchen Sink School" of contemporary English drama in the 1950s. Though Bogarde wanted to take the part, Rank refused to let him make the film on the grounds that there was "altogether too much dialog." The part went to <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000009/?ref_=sr">Richard Burton</a> instead, who went over-the-top in portraying his very angry, not-so-young man.<br/><br/>After this disappointment, Bogarde went to Hollywood to play <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0006172/?ref_=sr">Franz Liszt</a> in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0054324/?ref_=sr">Song Without End (1960)</a> and to appear in <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0425913/?ref_=sr">Nunnally Johnson</a>'s Spanish Civil War drama <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0053601/?ref_=sr">The Angel Wore Red (1960)</a> with <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001257/?ref_=sr">Ava Gardner</a>. Both were big-budgeted films, but hampered by poor scripts, and after both films failed, Bogarde avoided Hollywood from then on.<br/><br/>He was reportedly quite smitten with his French "Song Without End" co-star <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001010/?ref_=sr">Capucine</a>, and wanted to marry her. Capucine, who suffered from bi-polar disorder, was bisexual with an admitted preference for women. The relationship did not lead to marriage, but did result in a long-term friendship. It apparently was his only serious relationship with a woman, though he had many women friends, including his <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0057168/?ref_=sr">I Could Go on Singing (1963)</a> co-star <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000023/?ref_=sr">Judy Garland</a>.<br/><br/>In the early 1960s, with the expiration of his Rank contract, Bogarde made the decision to abandon his hugely successful career in commercial movies and concentrate on more complex, art house films (at the same time, <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000044/?ref_=sr">Burt Lancaster</a> made a similar decision, though Lancaster continued to alternate his artistic ventures with more crassly commercial endeavors). Bogarde appeared in <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0213136/?ref_=sr">Basil Dearden</a>'s seminal film <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0055597/?ref_=sr">Victim (1961)</a>, the first British movie to sympathetically address the persecution of homosexuals. His career choice alienated many of his old fans, but he was no longer interested in being a commercial movie star; he, like Lancaster, was interested in developing as an actor and artist (however, that sense of finding himself as an actor did not extend to the stage. His reputation was such in 1963 that he was invited by National Theatre director <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000059/?ref_=sr">Laurence Olivier</a> to appear as Hamlet to open the newly built Chichester Festival Theatre. That production of the eponymous play also was intended to open the National Theatre's first season in London. Bogarde declined, and the honor went instead to <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000564/?ref_=sr">Peter O'Toole</a>, who floundered in the part.)<br/><br/>Jack Grimston, in Bogarde's "Sunday Times" obituary of May 9, 1999, entitled "Bogarde, a solitary star at the edge of the spotlight," said of the late actor that he "belonged to a group that was rare in the British cinema. He was a fine screen player who owed little to the stage. Dilys Powell, the Sunday Times film critic, wrote of him before her own death: 'Most of our gifted film players really belonged to the theater. Bogarde belonged to the screen.'" Bogarde had won the London Critics Circle's Dilys Powell award for outstanding contribution to cinema in 1992.<br/><br/>Appearing in "Victim" was a huge career gamble. In the film, Bogarde played a married barrister who is being blackmailed over his closeted homosexuality. Rather than let the blackmail continue, and allow the perpetrators to victimize other gay men, Bogarde's character effectively sacrifices himself, specifically his marriage and his career, by bravely confessing to be gay (homosexuality was an offence in the United Kingdom until 1967, and there reportedly had been a police crackdown against homosexuals after World War II which made gay men particularly vulnerable to blackmail).<br/><br/>The film was not released in mainstream theaters in the US, as the Production Code Administration (PCA) refused to classify the film and most theaters would not show films that did not carry the PCA seal of approval. "Victim" was the antithesis of the light comedy of Bogarde's "Doctor" movies, and many fans of his character Simon Sparrow were forever alienated by his portrayal of a homosexual. For himself, Bogarde was proud of the film and his participation in it, which many think stimulated public debate over homosexuality. The film undoubtedly raised the public consciousness over the egregious and unjust individual costs of anti-gay bigotry. The public attitude towards the "love that dared not speak its name" changed enough so that within six years, the 1967 Sexual Offences Act decriminalizing homosexual acts between adults passed Parliament. Bogarde reported that he received many letters praising him for playing the role. His courage in taking on such a role is even more significant in that he most likely was gay himself, and thus exposed himself to a backlash.<br/><br/>Bogarde always publicly denied he was a homosexual, though later in life he did confess that he and his manager, <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0287494/?ref_=sr">Anthony Forwood</a>, had a long-term relationship. When Bogarde met him in 1939, Forwood was a theatrical manager, who eventually married and divorced <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0424318/?ref_=sr">Glynis Johns</a>. Forwood became Bogarde's friend and subsequently his life partner, and the two moved to France together in 1968. They bought a 15th-century farmhouse near Grasse in Provence in the early 1970s, which they restored. Bogarde and Forwood lived in the house until 1983, when they returned to London so that Forwood could be treated for cancer, from which he eventually died in 1988. Bogarde nursed him in the last few months of his life. After Forwood died, Bogarde was left rudderless and he became more reclusive, eventually retiring from films after <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0099341/?ref_=sr">Daddy Nostalgie (1990)</a>.<br/><br/>Mark Rowe and Jeremy Kay, in their obituary of Bogarde, "Two brilliant lives - on film and in print," published in "The Independent" on May, 9, 1999, wrote, "Although he documented with frankness his early sexual encounters with girls and later his adoring love for <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0447608/?ref_=sr">Kay Kendall</a> and <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000023/?ref_=sr">Judy Garland</a>, he never wrote about his longest and closest relationship - with his friend and manager for more than 50 years, Tony Forwood. Sir Dirk said the clues to his private life were in his books. "If you've got your wits about you, you will know who I am." The British documentary <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0416140/?ref_=sr">The Private Dirk Bogarde: Part One (2001)</a> made with the permission of his family, stressed the fact that he and Forwood were committed lifelong partners.<br/><br/>In the same issue, the National Film Theatre's David Thompson, in the article "The public understood he was essentially gay," wrote about Bogarde at his high-water mark in the 1950s, that "Audiences of that time loved him . . . Very few people picked up on the fact that there was a distinct gay undertone. It says something about British audiences of the time. He had the good fortune to break out of that prison, and it came through the film <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0055597/?ref_=sr">Victim (1961)</a>, where he played a gay character, and through meeting with <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0521334/?ref_=sr">Joseph Losey</a>, who directed him in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0057490/?ref_=sr">The Servant (1963)</a>. For the first time, Bogarde's ambivalence was exploited and used by film."<br/><br/>Bogarde's sexuality is not the issue; what was striking was that it was an act of personal courage for one of Britian's leading box-office attractions to appear in such a provocative and controversial film. Even in the 21st century, many mainstream actors are afraid to play a gay character lest they engender a public backlash against themselves, which is much less likely than it was more than 40 years ago when Bogarde made "Victim."<br/><br/>Apart from sociology, "Victim" marks the milestone in which critics and audiences could discern the metamorphosis of Bogarde into the mature actor who went on to become one of the cinema's finest performers. Most of Bogarde's best and most serious roles come after "Victim," the film in which he first stretched himself and broke out of the mold of "movie star." He received the first of his six nominations as Best Actor from the British Academy of Film & Television Arts (BAFTA) for the film.<br/><br/>Bogarde co-starred with <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0590055/?ref_=sr">John Mills</a> in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0054740/?ref_=sr">The Singer Not the Song (1961)</a>, and with <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000027/?ref_=sr">Alec Guinness</a> in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0055884/?ref_=sr">H.M.S. Defiant (1962)</a> (a.k.a. "Damn the Defiant!"). In 1963 he reunited with Losey to film the first of two Losey films with screenplays by Pinter. Bogarde's participation in the two Losey/Pinter collaborations, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0057490/?ref_=sr">The Servant (1963)</a> and <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0061328/?ref_=sr">Accident (1967)</a>, in addition to 1964's "King & Country", solidified his reputation. Critics and savvy moviegoers appreciated the fact that Bogarde had developed into a first-rate actor. For his role as the eponymous servant, Bogarde won BAFTA's Best Actor Award. He had now "officially" arrived in the inner circle of the best British film actors.<br/><br/>These three films also elevated Losey into the ranks of major directors (Bogarde also starred in Losey's 1966 spy spoof <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0060708/?ref_=sr">Modesty Blaise (1966)</a>, but that film did little to enhance either man's reputation. He turned down the opportunity to appear in Losey's <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0068226/?ref_=sr">The Assassination of Trotsky (1972)</a> due to the poor quality of the script).<br/><br/>Philip French, in his obituary "Dark, exotic and yet essentially English", published in "The Observer" on May 9, 1999, said of Bogarde, "Losey discovered something more complex and sinister in his English persona and his performance as Barrett, the malevolent valet in 'The Servant,' scripted by Harold Pinter, is possibly the most subtle, revealing thing he ever did - by confronting his homosexuality in a non-gay context."<br/><br/>Losey told interviewer Michel Ciment that his work with Bogarde represented a turning point in the actor's career, when he developed into an actor of depth and power. He also frankly admitted to Ciment that without Bogarde, his career would have stagnated and never reached the heights of success and critical acclaim that it did in the 1960s.<br/><br/>Interestingly during the filming of "The Servant." Losey was hospitalized with pneumonia. He asked Bogarde to direct the film in order to keep shooting so that the producers would not cancel the film. A reluctant Bogarde complied with Losey's wishes and directed for ten days. He later said that he would never direct again.<br/><br/>Bogarde co-starred with up-and-coming actress <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001046/?ref_=sr">Julie Christie</a> in <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0772259/?ref_=sr">John Schlesinger</a>'s <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0059084/?ref_=sr">Darling (1965)</a>, for which Christie won a Best Actress Oscar and was vaulted into 1960s cinema superstardom. During the filming of the movie, both Bogarde and Christie were waiting to hear whether they would be cast as Yuri Zhivago and his lover Lara in <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000180/?ref_=sr">David Lean</a>'s upcoming blockbuster <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0059113/?ref_=sr">Doctor Zhivago (1965)</a>. Christie got the call, Bogarde didn't, but he was well along in the process of establishing himself as one of the screen's best and most important actors. He won his second BAFTA Best Actor Award for his performance in "Darling."<br/><br/>Bogarde went on to major starring roles in such important pictures as <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0062977/?ref_=sr">The Fixer (1968)</a>, for which <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000869/?ref_=sr">Alan Bates</a> won a Best Actor Academy Award nomination. While Bogarde never was nominated for an Oscar, he had the honor of starring in two films for <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0899581/?ref_=sr">Luchino Visconti</a>, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0064118/?ref_=sr">La caduta degli dei (Götterdämmerung) (1969)</a> ("The Damned") and <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0067445/?ref_=sr">Morte a Venezia (1971)</a>, based on <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0003407/?ref_=sr">Thomas Mann</a>'s novella "Death in Venice." Bogarde felt that his performance as Gustav von Aschenbach, the dying composer in love with a young boy and with the concept of beauty, in "Death in Venice" was the "the peak and end of my career . . . I can never hope to give a better performance in a better film."<br/><br/>Visconti told Bogarde that when the lights went up in a Los Angeles screening room after a showing of "Death in Venice" for American studio executives, no one said anything. The silence encouraged Visconti, who believed it meant that the executives were undergoing a catharsis after watching his masterpiece. However, he soon realized that, in Bogarde's own words, "Apparently they were stunned into horrified silence . . . A group of slumped nylon-suited men stared dully at the blank screen." One nervous executive, feeling something should be said, got up and asked, "Signore Visconti, who was responsible for the score of the film?"<br/><br/>"<a class="ipc-md-link ipc-md-link--entity" href="/name/nm0006178/?ref_=sr">Gustav Mahler</a>," Visconti replied.<br/><br/>"Just great!", said the nervous man. "I think we should sign him."<br/><br/>After "Venice", Bogarde made only seven films over the next two decades and was scathing about the quality of the scripts he was offered. To express himself artistically, he began to write. In his third volumes of autobiography, he wrote, "No longer do the great Jewish dynasties hold power: the people who were, when all is said and done, the Picture People. Now the cinema is controlled by vast firms like Xerox, Gulf & Western, and many others who deal in anything from sanitary-ware to property development. These huge conglomerates, faceless, soulless, are concerned only with making a profit; never a work of art . . . "<br/><br/>He rued the fact that "it is pointless to be 'superb' in a commercial failure; and most of the films which I had deliberately chosen to make in the last few years were, by and large, just that. Or so I am always informed by the businessmen. The critics may have liked them extravagantly, but the distributors shy away from what they term 'A Critic's Film', for it often means that the public will stay away. Which, in the mass, they do: and if you don't make money at the box-office you are not asked back to play again."<br/><br/>However, the courageous artist was not to be daunted: "But I'd had very good innings. Better than most. So what the hell?" His well-written works were enthusiastically received by critics and the book-buying public.<br/><br/>Bogarde appeared in another film that flirted with the theme of German fascism, <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0146960/?ref_=sr">Liliana Cavani</a>'s highly controversial <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0071910/?ref_=sr">Il portiere di notte (1974)</a> ("The Night Porter"). He played an ex-SS officer who encounters a woman with whom he had been engaged in a sado-masochistic affair at a World War II Nazi extermination camp. Many critics found the film, which featured extensive nudity courtesy of <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001648/?ref_=sr">Charlotte Rampling</a>, crassly offensive, but no one faulted Bogarde's performance.<br/><br/>He played Lt. Gen. Frederick "Boy" Browning in the all-star blockbuster <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0075784/?ref_=sr">A Bridge Too Far (1977)</a>. Although some of his fellow actors were World War II veterans, only Bogarde had been involved in the actual battle. His performance arguably is the best in the film. Appearing in <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0720297/?ref_=sr">Alain Resnais</a>' art house hit <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0076574/?ref_=sr">Providence (1977)</a> gave Bogarde the opportunity to co-star with <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000024/?ref_=sr">John Gielgud</a>. He also starred in German wunderkind <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001202/?ref_=sr">Rainer Werner Fassbinder</a>'s adaptation of <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0618603/?ref_=sr">Vladimir Nabokov</a>'s <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0077421/?ref_=sr">Despair (1978)</a>, with a script by <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001779/?ref_=sr">Tom Stoppard</a>. Though the film was not much of a critical success, Bogarde's acting as 1930s German businessman Hermann Hermann, a man who chooses to go mad when faced with the paradoxes of his life in his proto-fascist fatherland, was highly praised.<br/><br/>Bogarde enjoyed working with Fassbinder. He wrote that "Rainer's work was extraordinarily similar to that of Visconti's; despite their age difference, they both behaved, on set, in much the same manner. Both had an incredible knowledge of the camera: the first essential. Both knew how it could be made to function; they had the same feeling for movement on the screen, of the all-important (and often-neglected) 'pacing' of a film, from start to finish, of composition, of texture, and probably most of all they shared that strange ability to explore and probe into the very depths of the character which one had offered them."<br/><br/>After his experience with Fassbinder, he acted only four more times, twice in feature films and twice on television. Bogarde was nominated for a Golden Globe for playing <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001094/?ref_=sr">Roald Dahl</a> in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0082887/?ref_=sr">The Patricia Neal Story (1981)</a>. He got rave reviews playing <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000945/?ref_=sr">Jane Birkin</a>'s father in <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0851724/?ref_=sr">Bertrand Tavernier</a>'s <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0099341/?ref_=sr">Daddy Nostalgie (1990)</a>, his last film.<br/><br/>In 1984 Bogarde was asked to serve as president of the jury at the Cannes Film Festival, a huge honor for the actor, as he was the first Briton ever to serve in that capacity. Two years earlier he had been made a Chevalier de l'Ordre des lettres 1982. A decade later, he was knighted by <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0703070/?ref_=sr">Queen Elizabeth II</a> on February 13, 1992.<br/><br/>Bogarde won two Best Actor Awards out of six nominations from the British Academy of Film & Television Arts, for "The Servant" and "Darling" in 1964 and 1966, respectively. He was also nominated in 1962 for "Victim," in 1968 for "Accident" and <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0062089/?ref_=sr">Our Mother's House (1967)</a> and in 1972 for "Morte a Venezia."<br/><br/>Bogarde suffered a stroke in 1996, and though it rendered him partially paralyzed, he was able to recover and live in his own flat in Chelsea. However, by May of 1998 he required around-the-clock nursing care, and he had his lawyers draw up a "living will," also known as a no-resuscitation order. Bogarde publicly came out in favor of voluntary euthanasia, becoming Vice President of the Voluntary Euthanasia Society. He publicly addressed the subject of his own "living will," which ordered that no extraordinary measures be taken to keep him alive should he become terminally ill.<br/><br/>The living will proved unnecessary. Dirk Bogarde died of a heart attack on May 8, 1999, in his home in Chelsea, London, England. According to his nephew Brock Van den Bogaerde, the family planned to hold a private funeral but no memorial service in accordance with his uncle's wish "just to forget me." Bogarde wanted to be cremated and have his ashes scattered in France, and accordingly, his remains were returned to Provence.<br/><br/>Margaret Hinxman, in her May 10, 1999, obituary in "The Guardian", said of him, "At his peak and with directors he trusted - Joseph Losey, Luchino Visconti and Alain Resnais - Dirk Bogarde . . . was probably the finest, most complete, actor on the screen."<br/><br/>Clive Fisher's obituary in "The Independent" on May 10, 1999, praised Bogarde as "a major figure because, wherever they were made, his finest films are all somehow about him. He was a great self-portraitist and the screen persona he fashioned, a stylization of his private being, not only dominated its surroundings but spoke subliminally and powerfully to British audiences about the tensions of the time, about connivances and cruel respectabilities of England in the Fifties and Sixties."<br/><br/>The secret of Dirk Bogarde's success as a great cinema actor was his intimate relationship with the camera. Bogarde believed that the key to acting on film was the eyes, specifically, the "look" of the actor. Like <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000042/?ref_=sr">Alan Ladd</a>, it didn't matter if an actor was good with line readings if they had mastery over the "look." For many critics and movie-goers at the end of the 20th century, Dirk Bogarde's face epitomized the "look" of Britain in the tumultuous decades after the Second World War.<br/><br/>David Tindle's portrait of Bogarde is part of the collection of London's National Portrait Gallery, London. In 1999, the portrait, on temporary loan, was displayed at 10 Downing Street, the Prime Minister's official residence, with other modern works of art. Officially, Dirk Bogarde had become the look of Britain.</div></div></div></div></div></div></li><li class="ipc-metadata-list-summary-item"><div class="ipc-metadata-list-summary-item__c"><div class="ipc-metadata-list-summary-item__tc"><span class="ipc-metadata-list-summary-item__t" aria-disabled="false"></span><div class="sc-77f37b3d-0 jCbCZO dli-parent"><div class="sc-77f37b3d-1 gJmTWZ"><div class="sc-ada31d55-0 kAJLzR"><div data-testid="nlib-img-container" class="sc-ada31d55-1 DLfwP"><div class="ipc-avatar ipc-avatar--base" role="group"><div class="ipc-media ipc-media--avatar ipc-image-media-ratio--avatar ipc-media--circle-radius ipc-media--base ipc-media--custom ipc-avatar__avatar-image ipc-media__img" style="width:60px"><img alt="Richard Johnson in Turtle Diary (1985)" class="ipc-image" loading="lazy" src="https://m.media-amazon.com/images/M/MV5BMjEyMDcxMDk1NF5BMl5BanBnXkFtZTcwMDMzOTgwMw@@._V1_QL75_UX60_CR0,0,60,60_.jpg" srcSet="https://m.media-amazon.com/images/M/MV5BMjEyMDcxMDk1NF5BMl5BanBnXkFtZTcwMDMzOTgwMw@@._V1_QL75_UX60_CR0,0,60,60_.jpg 60w, https://m.media-amazon.com/images/M/MV5BMjEyMDcxMDk1NF5BMl5BanBnXkFtZTcwMDMzOTgwMw@@._V1_QL75_UX90_CR0,0,90,90_.jpg 90w, https://m.media-amazon.com/images/M/MV5BMjEyMDcxMDk1NF5BMl5BanBnXkFtZTcwMDMzOTgwMw@@._V1_QL75_UX120_CR0,0,120,120_.jpg 120w" sizes="50vw, (min-width: 480px) 34vw, (min-width: 600px) 26vw, (min-width: 1024px) 16vw, (min-width: 1280px) 16vw" width="60"/></div><a class="ipc-lockup-overlay ipc-focusable" href="/name/nm0426062/?ref_=sr_i_6" aria-label="Richard Johnson"><div class="ipc-lockup-overlay__screen"></div></a></div></div><div class="sc-ada31d55-3 eFSukE"><div data-testid="nlib-meter-const-container"></div><div class="ipc-title ipc-title--base ipc-title--title ipc-title-link-no-icon ipc-title--on-textPrimary sc-ada31d55-2 gRltAT" data-testid="nlib-title"><a href="/name/nm0426062/?ref_=sr_t_6" class="ipc-title-link-wrapper" tabindex="0"><h3 class="ipc-title__text">6. Richard Johnson</h3></a></div><div class="sc-ada31d55-6 uTkpb"><ul class="ipc-inline-list ipc-inline-list--show-dividers sc-ada31d55-4 jKxHhY base" role="presentation" data-testid="nlib-professions"><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Actor</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Producer</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Writer</li></ul><a class="ipc-link ipc-link--base sc-a3c468bb-0 ecChlM" tabindex="0" aria-disabled="false" data-testid="nlib-known-for-title" href="/title/tt0057129/?ref_=sr_knf_6">The Haunting (1963)</a></div></div></div><div><button data-testid="dli-add-to-list-button" class="ipc-icon-button ipc-icon-button--base ipc-icon-button--onAccent2" title="Add to list" tabindex="0" aria-label="Add to list" aria-disabled="false"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--add" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M18 13h-5v5c0 .55-.45 1-1 1s-1-.45-1-1v-5H6c-.55 0-1-.45-1-1s.45-1 1-1h5V6c0-.55.45-1 1-1s1 .45 1 1v5h5c.55 0 1 .45 1 1s-.45 1-1 1z"></path></svg></button></div></div><div data-testid="dli-bio" class="sc-77f37b3d-2 dpXpaE"><div class="ipc-html-content ipc-html-content--base sc-77f37b3d-3 huKIYr" role="presentation"><div class="ipc-html-content-inner-div" role="presentation">Born in Upminster, Essex, England in 1927, Richard Johnson attended the Royal Academy of Dramatic Art in London and then performed in <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000024/?ref_=sr">John Gielgud</a>'s repertory company until joining the navy in 1945 until 1948. After the war, he appeared successfully in the West End and made his film debut in the early 1950s. The debonair and handsome Johnson was a natural to portray playboy type characters, perhaps the most memorable being "Bulldog Drummond" in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0060288/?ref_=sr">Deadlier Than the Male (1967)</a> and <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0065009/?ref_=sr">Some Girls Do (1969)</a>. Later in his career, he turned to more serious roles, such as "Marc Antony" in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0175447/?ref_=sr">Antony and Cleopatra (1974)</a>, and also tried his hand at producing in the late 1980s.</div></div></div></div></div></div></li><li class="ipc-metadata-list-summary-item"><div class="ipc-metadata-list-summary-item__c"><div class="ipc-metadata-list-summary-item__tc"><span class="ipc-metadata-list-summary-item__t" aria-disabled="false"></span><div class="sc-77f37b3d-0 jCbCZO dli-parent"><div class="sc-77f37b3d-1 gJmTWZ"><div class="sc-ada31d55-0 kAJLzR"><div data-testid="nlib-img-container" class="sc-ada31d55-1 DLfwP"><div class="ipc-avatar ipc-avatar--base" role="group"><div class="ipc-media ipc-media--avatar ipc-image-media-ratio--avatar ipc-media--circle-radius ipc-media--base ipc-media--custom ipc-avatar__avatar-image ipc-media__img" style="width:60px"><img alt="Haydn Gwynne" class="ipc-image" loading="lazy" src="https://m.media-amazon.com/images/M/MV5BMTc4NjgxNjgyM15BMl5BanBnXkFtZTcwNTU4OTI2Mg@@._V1_QL75_UX60_CR0,0,60,60_.jpg" srcSet="https://m.media-amazon.com/images/M/MV5BMTc4NjgxNjgyM15BMl5BanBnXkFtZTcwNTU4OTI2Mg@@._V1_QL75_UX60_CR0,0,60,60_.jpg 60w, https://m.media-amazon.com/images/M/MV5BMTc4NjgxNjgyM15BMl5BanBnXkFtZTcwNTU4OTI2Mg@@._V1_QL75_UX90_CR0,0,90,90_.jpg 90w, https://m.media-amazon.com/images/M/MV5BMTc4NjgxNjgyM15BMl5BanBnXkFtZTcwNTU4OTI2Mg@@._V1_QL75_UX120_CR0,0,120,120_.jpg 120w" sizes="50vw, (min-width: 480px) 34vw, (min-width: 600px) 26vw, (min-width: 1024px) 16vw, (min-width: 1280px) 16vw" width="60"/></div><a class="ipc-lockup-overlay ipc-focusable" href="/name/nm0006522/?ref_=sr_i_7" aria-label="Haydn Gwynne"><div class="ipc-lockup-overlay__screen"></div></a></div></div><div class="sc-ada31d55-3 eFSukE"><div data-testid="nlib-meter-const-container"></div><div class="ipc-title ipc-title--base ipc-title--title ipc-title-link-no-icon ipc-title--on-textPrimary sc-ada31d55-2 gRltAT" data-testid="nlib-title"><a href="/name/nm0006522/?ref_=sr_t_7" class="ipc-title-link-wrapper" tabindex="0"><h3 class="ipc-title__text">7. Haydn Gwynne</h3></a></div><div class="sc-ada31d55-6 uTkpb"><ul class="ipc-inline-list ipc-inline-list--show-dividers sc-ada31d55-4 jKxHhY base" role="presentation" data-testid="nlib-professions"><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Actress</li></ul><a class="ipc-link ipc-link--base sc-a3c468bb-0 ecChlM" tabindex="0" aria-disabled="false" data-testid="nlib-known-for-title" href="/title/tt2771200/?ref_=sr_knf_7">Beauty and the Beast (2017)</a></div></div></div><div><button data-testid="dli-add-to-list-button" class="ipc-icon-button ipc-icon-button--base ipc-icon-button--onAccent2" title="Add to list" tabindex="0" aria-label="Add to list" aria-disabled="false"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--add" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M18 13h-5v5c0 .55-.45 1-1 1s-1-.45-1-1v-5H6c-.55 0-1-.45-1-1s.45-1 1-1h5V6c0-.55.45-1 1-1s1 .45 1 1v5h5c.55 0 1 .45 1 1s-.45 1-1 1z"></path></svg></button></div></div><div data-testid="dli-bio" class="sc-77f37b3d-2 dpXpaE"><div class="ipc-html-content ipc-html-content--base sc-77f37b3d-3 huKIYr" role="presentation"><div class="ipc-html-content-inner-div" role="presentation">Haydn Gwynne was fluent in French and Italian. She studied Modern Languages at the University of Warwick before taking a five-year lectureship in Italy, where she taught English. She also drove across the United States before becoming an actress in her mid-twenties.<br/><br/>She first came to notice on television as starring in the David Lodge campus comedy/drama <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0131679/?ref_=sr">Nice Work (1989)</a>, before joining the sharp comedy series set in a television newsroom, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0098781/?ref_=sr">Drop the Dead Donkey (1990)</a>. She was known for her roles in the medical series <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0106097/?ref_=sr">Peak Practice (1993)</a> and the police drama <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0289817/?ref_=sr">Merseybeat (2001)</a>, but later played in the stage musicals 'Billy Elliot' and 'Ziegfeld'.<br/><br/>She lived in London with her partner Jason Phipps, a psychotherapist, and their two sons, Orlando and Harry. Offscreen, she volunteered for Sightsavers, a group committed to combating blindness in under-developed countries.</div></div></div></div></div></div></li><li class="ipc-metadata-list-summary-item"><div class="ipc-metadata-list-summary-item__c"><div class="ipc-metadata-list-summary-item__tc"><span class="ipc-metadata-list-summary-item__t" aria-disabled="false"></span><div class="sc-77f37b3d-0 jCbCZO dli-parent"><div class="sc-77f37b3d-1 gJmTWZ"><div class="sc-ada31d55-0 kAJLzR"><div data-testid="nlib-img-container" class="sc-ada31d55-1 DLfwP"><div class="ipc-avatar ipc-avatar--base" role="group"><div class="ipc-media ipc-media--avatar ipc-image-media-ratio--avatar ipc-media--circle-radius ipc-media--base ipc-media--custom ipc-avatar__avatar-image ipc-media__img" style="width:60px"><img alt="Jack Hawkins" class="ipc-image" loading="lazy" src="https://m.media-amazon.com/images/M/MV5BMTU0MTk0NzI5OF5BMl5BanBnXkFtZTcwNTI1NjQwOA@@._V1_QL75_UX60_CR0,0,60,60_.jpg" srcSet="https://m.media-amazon.com/images/M/MV5BMTU0MTk0NzI5OF5BMl5BanBnXkFtZTcwNTI1NjQwOA@@._V1_QL75_UX60_CR0,0,60,60_.jpg 60w, https://m.media-amazon.com/images/M/MV5BMTU0MTk0NzI5OF5BMl5BanBnXkFtZTcwNTI1NjQwOA@@._V1_QL75_UX90_CR0,0,90,90_.jpg 90w, https://m.media-amazon.com/images/M/MV5BMTU0MTk0NzI5OF5BMl5BanBnXkFtZTcwNTI1NjQwOA@@._V1_QL75_UX120_CR0,0,120,120_.jpg 120w" sizes="50vw, (min-width: 480px) 34vw, (min-width: 600px) 26vw, (min-width: 1024px) 16vw, (min-width: 1280px) 16vw" width="60"/></div><a class="ipc-lockup-overlay ipc-focusable" href="/name/nm0370144/?ref_=sr_i_8" aria-label="Jack Hawkins"><div class="ipc-lockup-overlay__screen"></div></a></div></div><div class="sc-ada31d55-3 eFSukE"><div data-testid="nlib-meter-const-container"></div><div class="ipc-title ipc-title--base ipc-title--title ipc-title-link-no-icon ipc-title--on-textPrimary sc-ada31d55-2 gRltAT" data-testid="nlib-title"><a href="/name/nm0370144/?ref_=sr_t_8" class="ipc-title-link-wrapper" tabindex="0"><h3 class="ipc-title__text">8. Jack Hawkins</h3></a></div><div class="sc-ada31d55-6 uTkpb"><ul class="ipc-inline-list ipc-inline-list--show-dividers sc-ada31d55-4 jKxHhY base" role="presentation" data-testid="nlib-professions"><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Actor</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Producer</li></ul><a class="ipc-link ipc-link--base sc-a3c468bb-0 ecChlM" tabindex="0" aria-disabled="false" data-testid="nlib-known-for-title" href="/title/tt0050212/?ref_=sr_knf_8">The Bridge on the River Kwai (1957)</a></div></div></div><div><button data-testid="dli-add-to-list-button" class="ipc-icon-button ipc-icon-button--base ipc-icon-button--onAccent2" title="Add to list" tabindex="0" aria-label="Add to list" aria-disabled="false"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--add" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M18 13h-5v5c0 .55-.45 1-1 1s-1-.45-1-1v-5H6c-.55 0-1-.45-1-1s.45-1 1-1h5V6c0-.55.45-1 1-1s1 .45 1 1v5h5c.55 0 1 .45 1 1s-.45 1-1 1z"></path></svg></button></div></div><div data-testid="dli-bio" class="sc-77f37b3d-2 dpXpaE"><div class="ipc-html-content ipc-html-content--base sc-77f37b3d-3 huKIYr" role="presentation"><div class="ipc-html-content-inner-div" role="presentation">In Britain, special Christmas plays called pantomimes are produced for children. Jack Hawkins made his London theatrical debut at age 12, playing the elf king in "Where The Rainbow Ends". At 17, he got the lead role of St. George in the same play. At 18, he made his debut on Broadway in "Journey's End". At 21, he was back in London playing a young lover in "Autumn Crocus". He married his leading lady, <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001788/?ref_=sr">Jessica Tandy</a>. That year he also played his first real film role in the 1931 sound version of <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000033/?ref_=sr">Alfred Hitchcock</a>'s <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0023145/?ref_=sr">The Lodger (1932)</a>. During the 30s, he took his roles in plays more seriously than the films he made. In 1940, Jessica accepted a role in America and Jack volunteered to serve in the Royal Welch Fusiliers. He spent most of his military career arranging entertainment for the British forces in India. One of the actresses who came out to India was <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0492729/?ref_=sr">Doreen Lawrence</a> who became his second wife after the war. <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0466099/?ref_=sr">Alexander Korda</a> advised Jack to go into films and offered him a three-year contract. In his autobiography, Jack recalled: "Eight years later I was voted the number one box office draw of 1954. I was even credited with irresistible sex appeal, which is another quality I had not imagined I possessed." A late 1940s film, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0042256/?ref_=sr">The Black Rose (1950)</a>, where he played a secondary role to <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000061/?ref_=sr">Tyrone Power</a>, would be one of his most fortunate choices of roles. The director was <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0368871/?ref_=sr">Henry Hathaway</a> who Jack said was "probably the most feared, yet respected director in America, for he had a sharp tongue and fired people at the drop of a hat. Years later, after my operation when I lost my voice, he went out of his way to help me get back into films. What I did not know was that during the filming of 'The Black Rose' he was himself suffering from cancer." In the 1950s came the film that made Hawkins a star, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0045659/?ref_=sr">The Cruel Sea (1953)</a>. Suffering from life-long, real-life seasickness, he played the captain of the Compass Rose. After surgery for throat cancer in 1966, requiring the removal of his larynx, Jack continued to make films. He mimed his lines and the voice was dubbed by either <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0336509/?ref_=sr">Charles Gray</a> or <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0726403/?ref_=sr">Robert Rietty</a>. His motto during those last years came from Milton's "Comus", a verse play in which he acted early in his career in Regent's Park. The lines: "Yet where an equal poise of hope and fear does arbitrate the event, my nature is that I incline to hope, rather than to fear."</div></div></div></div></div></div></li><li class="ipc-metadata-list-summary-item"><div class="ipc-metadata-list-summary-item__c"><div class="ipc-metadata-list-summary-item__tc"><span class="ipc-metadata-list-summary-item__t" aria-disabled="false"></span><div class="sc-77f37b3d-0 jCbCZO dli-parent"><div class="sc-77f37b3d-1 gJmTWZ"><div class="sc-ada31d55-0 kAJLzR"><div data-testid="nlib-img-container" class="sc-ada31d55-1 DLfwP"><div class="ipc-avatar ipc-avatar--base" role="group"><div class="ipc-media ipc-media--avatar ipc-image-media-ratio--avatar ipc-media--circle-radius ipc-media--base ipc-media--custom ipc-avatar__avatar-image ipc-media__img" style="width:60px"><img alt="Patricia Laffan in Quo Vadis (1951)" class="ipc-image" loading="lazy" src="https://m.media-amazon.com/images/M/MV5BMjI3MTg2NDc3NV5BMl5BanBnXkFtZTcwMDc2MTUwNA@@._V1_QL75_UX60_CR0,0,60,60_.jpg" srcSet="https://m.media-amazon.com/images/M/MV5BMjI3MTg2NDc3NV5BMl5BanBnXkFtZTcwMDc2MTUwNA@@._V1_QL75_UX60_CR0,0,60,60_.jpg 60w, https://m.media-amazon.com/images/M/MV5BMjI3MTg2NDc3NV5BMl5BanBnXkFtZTcwMDc2MTUwNA@@._V1_QL75_UX90_CR0,0,90,90_.jpg 90w, https://m.media-amazon.com/images/M/MV5BMjI3MTg2NDc3NV5BMl5BanBnXkFtZTcwMDc2MTUwNA@@._V1_QL75_UX120_CR0,0,120,120_.jpg 120w" sizes="50vw, (min-width: 480px) 34vw, (min-width: 600px) 26vw, (min-width: 1024px) 16vw, (min-width: 1280px) 16vw" width="60"/></div><a class="ipc-lockup-overlay ipc-focusable" href="/name/nm0480784/?ref_=sr_i_9" aria-label="Patricia Laffan"><div class="ipc-lockup-overlay__screen"></div></a></div></div><div class="sc-ada31d55-3 eFSukE"><div data-testid="nlib-meter-const-container"></div><div class="ipc-title ipc-title--base ipc-title--title ipc-title-link-no-icon ipc-title--on-textPrimary sc-ada31d55-2 gRltAT" data-testid="nlib-title"><a href="/name/nm0480784/?ref_=sr_t_9" class="ipc-title-link-wrapper" tabindex="0"><h3 class="ipc-title__text">9. Patricia Laffan</h3></a></div><div class="sc-ada31d55-6 uTkpb"><ul class="ipc-inline-list ipc-inline-list--show-dividers sc-ada31d55-4 jKxHhY base" role="presentation" data-testid="nlib-professions"><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Actress</li></ul><a class="ipc-link ipc-link--base sc-a3c468bb-0 ecChlM" tabindex="0" aria-disabled="false" data-testid="nlib-known-for-title" href="/title/tt0043949/?ref_=sr_knf_9">Quo Vadis (1951)</a></div></div></div><div><button data-testid="dli-add-to-list-button" class="ipc-icon-button ipc-icon-button--base ipc-icon-button--onAccent2" title="Add to list" tabindex="0" aria-label="Add to list" aria-disabled="false"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--add" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M18 13h-5v5c0 .55-.45 1-1 1s-1-.45-1-1v-5H6c-.55 0-1-.45-1-1s.45-1 1-1h5V6c0-.55.45-1 1-1s1 .45 1 1v5h5c.55 0 1 .45 1 1s-.45 1-1 1z"></path></svg></button></div></div><div data-testid="dli-bio" class="sc-77f37b3d-2 dpXpaE"><div class="ipc-html-content ipc-html-content--base sc-77f37b3d-3 huKIYr" role="presentation"><div class="ipc-html-content-inner-div" role="presentation">A statuesque and striking actress with vaguely reptilian aspects, at once sinister and alluring; a smile never more than a whisker away from a sneer and a commanding, imperious presence suggesting innate superiority. Difficult to cast, Patricia Laffan seemed destined to portray the villainous or the eccentric. The daughter of Irish rubber planter Arthur Charles Laffan (1870-1948) and London-born Elvira Alice née Vitali (1896-1979), Patricia was schooled at the Institut français du Royaume-Uni in London and trained in dramatic arts at the prestigious Douglas-Webber School. She emerged on stage in 1937 and made her screen debut by 1945. In between a cluster of nondescript or uncredited roles, we remember her for two indelible cinematic performances: first, as that sumptuously decadent, scheming, malicious Empress Poppaea in MGM's epic blockbuster <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0043949/?ref_=sr">Quo Vadis (1951)</a> -- sardonic and disdainful in her delivery, at times running close to overshadowing even the great <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001811/?ref_=sr">Peter Ustinov</a> in his most famous role as Nero. One of her lavish outfits included a 14 carat gold dress designed by <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0380855/?ref_=sr">Herschel McCoy</a>. A contemporary BBC interview with Laffan also recounts an incident during the making of Quo Vadis. In this, the actress, while reclining on a divan next to a couple of cheetahs at the end of a love scene with <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001791/?ref_=sr">Robert Taylor</a>, was set upon by one of the not so tame cats but managed to escape with a torn dress (the gold one ?) -- "on the other hand, the lions in the arena scene were so bored that they went to sleep in the shade instead of looking hungrily at the Christians".<br/><br/>Laffan's other fondly remembered showing on screen was in the campy <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0046907/?ref_=sr">Devil Girl from Mars (1954)</a>, a typically low-budget Danziger Brothers attempt at emulating the success of <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0043456/?ref_=sr">The Day the Earth Stood Still (1951)</a>. Justifiably derided at the time (for such valid reasons as inane writing, lacklustre direction and props acutely reminiscent of kitchen appliances), it has become a surprising cult touchstone for sci-fi aficionados. Why? Certainly because of the picture's sole meritorious component: Patricia Laffan as the Martian invader Nyah, exotically made up, outfitted in PVC jumpsuit, miniskirt, Darth Vader-style cape and skullcap and making the most of her scenes, delivering her lines with practised cold, languid authority.<br/><br/>Sadly underused, there were to be few other roles of note for this commanding actress in the wake of 'Devil Girl', except, perhaps, for an integral bit in the enjoyable psychological thriller <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0048919/?ref_=sr">23 Paces to Baker Street (1956)</a>. Subsequent TV appearances saw her mostly confined to conventional aristocratic ladies in period or crime dramas. Patricia Laffan retired from the screen in 1965, apparently to a quiet life in Chelsea, London, where she may have pursued her passions for fast cars, story-writing and breeding bull terriers.</div></div></div></div></div></div></li><li class="ipc-metadata-list-summary-item"><div class="ipc-metadata-list-summary-item__c"><div class="ipc-metadata-list-summary-item__tc"><span class="ipc-metadata-list-summary-item__t" aria-disabled="false"></span><div class="sc-77f37b3d-0 jCbCZO dli-parent"><div class="sc-77f37b3d-1 gJmTWZ"><div class="sc-ada31d55-0 kAJLzR"><div data-testid="nlib-img-container" class="sc-ada31d55-1 DLfwP"><div class="ipc-avatar ipc-avatar--base" role="group"><div class="ipc-media ipc-media--avatar ipc-image-media-ratio--avatar ipc-media--circle-radius ipc-media--base ipc-media--custom ipc-avatar__avatar-image ipc-media__img" style="width:60px"><img alt="Peter Wyngarde" class="ipc-image" loading="lazy" src="https://m.media-amazon.com/images/M/MV5BMTg0MDU2OTY0Nl5BMl5BanBnXkFtZTgwNDg0MzA2NDM@._V1_QL75_UX60_CR0,0,60,60_.jpg" srcSet="https://m.media-amazon.com/images/M/MV5BMTg0MDU2OTY0Nl5BMl5BanBnXkFtZTgwNDg0MzA2NDM@._V1_QL75_UX60_CR0,0,60,60_.jpg 60w, https://m.media-amazon.com/images/M/MV5BMTg0MDU2OTY0Nl5BMl5BanBnXkFtZTgwNDg0MzA2NDM@._V1_QL75_UX90_CR0,0,90,90_.jpg 90w, https://m.media-amazon.com/images/M/MV5BMTg0MDU2OTY0Nl5BMl5BanBnXkFtZTgwNDg0MzA2NDM@._V1_QL75_UX120_CR0,0,120,120_.jpg 120w" sizes="50vw, (min-width: 480px) 34vw, (min-width: 600px) 26vw, (min-width: 1024px) 16vw, (min-width: 1280px) 16vw" width="60"/></div><a class="ipc-lockup-overlay ipc-focusable" href="/name/nm0943936/?ref_=sr_i_10" aria-label="Peter Wyngarde"><div class="ipc-lockup-overlay__screen"></div></a></div></div><div class="sc-ada31d55-3 eFSukE"><div data-testid="nlib-meter-const-container"></div><div class="ipc-title ipc-title--base ipc-title--title ipc-title-link-no-icon ipc-title--on-textPrimary sc-ada31d55-2 gRltAT" data-testid="nlib-title"><a href="/name/nm0943936/?ref_=sr_t_10" class="ipc-title-link-wrapper" tabindex="0"><h3 class="ipc-title__text">10. Peter Wyngarde</h3></a></div><div class="sc-ada31d55-6 uTkpb"><ul class="ipc-inline-list ipc-inline-list--show-dividers sc-ada31d55-4 jKxHhY base" role="presentation" data-testid="nlib-professions"><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Actor</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Soundtrack</li></ul><a class="ipc-link ipc-link--base sc-a3c468bb-0 ecChlM" tabindex="0" aria-disabled="false" data-testid="nlib-known-for-title" href="/title/tt0080745/?ref_=sr_knf_10">Flash Gordon (1980)</a></div></div></div><div><button data-testid="dli-add-to-list-button" class="ipc-icon-button ipc-icon-button--base ipc-icon-button--onAccent2" title="Add to list" tabindex="0" aria-label="Add to list" aria-disabled="false"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--add" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M18 13h-5v5c0 .55-.45 1-1 1s-1-.45-1-1v-5H6c-.55 0-1-.45-1-1s.45-1 1-1h5V6c0-.55.45-1 1-1s1 .45 1 1v5h5c.55 0 1 .45 1 1s-.45 1-1 1z"></path></svg></button></div></div><div data-testid="dli-bio" class="sc-77f37b3d-2 dpXpaE"><div class="ipc-html-content ipc-html-content--base sc-77f37b3d-3 huKIYr" role="presentation"><div class="ipc-html-content-inner-div" role="presentation">Peter Paul Wyngarde was born at the home of an aunt in Marseille, Southern France, and is the son of an English father and French mother. Owing to his father's work as a member of the British Diplomatic Service, Peter spent much of his early childhood moving from one country to another, and was educated in a number of different schools.<br/><br/>One city which left a lasting impression on him was Shanghai, where he had been temporarily left in the care of a Swiss family whilst his father was away in India on business. The year was 1941, and amid a mass of turmoil and confusion, news broke that the Japanese had captured the city, and before long, Peter and his surrogate family found themselves in Lunghua concentration camp.<br/><br/>Confined in these desperately brutal conditions for four years, Peter struggled to prevent his family and friends from dying at the hands of the cruel and barbaric soldiers who governed the camp, and on one occasion while running errands between accommodation huts, he was discovered and punished by having both his feet broken with a rifle butt, and then put into solitary confinement for two weeks.<br/><br/>During better times however, the young Mr. Wyngarde worked in the camp laundry and gardens, and began to write and appear in plays staged by, and for, his fellow inmates, making his acting debut in his own production of Dr Jekyll and Mr Hyde. When the camp was finally liberated in 1945 Peter, who was then suffering from malnutrition, beriberi and malaria, was taken to a sanatorium in the Swiss mountains where he remained for the next two years.<br/><br/>After completing his education in Switzerland, France and England, Peter reluctantly honored his parents' wishes, and entered university, where he began studying law, but soon dropped the idea in favor of a career in advertising. After a brief spell with an agency in London, he walked into an audition, read the part, and was cast as the understudy for the lead in a play in Brighton.<br/><br/>His first role on the London stage, however, was with the Nottingham Repertory Company at the Embassy Theatre as Cassio in Othello. From there, he moved to the world famous Old Vic in Bristol, where he not only took the lead role in such classics as Cyrano de Bergerac and Taming of the Shrew, but also tried his hand at directing, most notably with Long Day's Journey Into Night.<br/><br/>In 1956, Peter was invited over to the United States to take a screen test for the part of Pausanius in Robert Rosen's epic feature film, Alexander the Great opposite Richard Burton and Fredric March, but after almost a year's work on location in Spain, he watched in horror as his role was cut almost out of existence.<br/><br/>Disillusioned with Hollywood, Peter returned to his first love - the British stage, where he took the role of Yang Sun, a Chinese fighter pilot, in Bertold Brecht's, The Good Woman of Setzuan, at the Royal Court Theatre in London's West End. It was here that he first made the acquaintance of the Oliviers - Laurence and his wife, Vivien Leigh, the latter of whom he later played opposite in the critically acclaimed Duel of Angels.<br/><br/>Following the plays hugely successful run at the Apollo Theatre in London in 1958 Ms Leigh, who had since become a close friend of Peter's, begged her leading man to join her in the New York production of the play. Although reluctant at first, Peter was at last persuaded to reprise his role as Count Marcellus, and he made his Broadway debut at the Helen Hayes Theatre in 1959, taking the coveted award for Best Actor in a Foreign Play.<br/><br/>On his triumphant return to Britain in 1960, he was almost immediately cast as the enigmatic Peter the Painter in Monty Barman's production of The Siege of Sidney Street - a film which was based on the true story of the British Governments legendary battle with a notorious gang of Slavonic anarchist, whose reputation throughout Europe for robbery and murder lead to one of the bloodiest confrontations in British criminal history.<br/><br/>Between numerous starring roles in television productions such as Independent Televisions popular Armchair Theatre and Play of the Week, Peter made two more big screen appearances - both Albert Fennell productions.<br/><br/>The first, in 1961, was The Innocents - a feature-length adaptation of the Henry James novella The Turn of the Screw, which was followed in 1962 by the classic supernatural thriller, Night of the Eagle (aka Burn, Witch, Burn) which was once again based on a novel - this time Fritz Leiber's Conjure Wife.<br/><br/>Between July of 1960 and March of 1969, Peter appeared in no less than thirty television plays, and guest starred in such classic series as The Avengers, I Love Lucy, The Baron, The Saint, The Champions and The Prisoner. In 1969, Peter was cast in what was undoubtedly his most famous role as the legendary author-cum-investigator, Jason King, in the ITC action series, Department S, and soon became the idol of thousands of women the world over. So overwhelming was his effect on television viewers that in 1971, a brand new series - Jason King - was devised, which allowed the handsome novelist to go adventuring without restriction.<br/><br/>Following the cancellation of the series at the end of 1972, Peter decided to return to the theatre, and after being greeted at Melbourne Airport by more than 30,000 screaming fans, he took the city by storm in the world premiere of Butley before packed houses every night. Once back in London, Peter took the lead role in Charles Dyers Mother Adam at the Hampstead Theatre, and then went on to tour Britain in the lead role of the King in Rodgers and Hammerstein's The King and I opposite Sally Ann Howes. The following year, he once again took up the mantle of actor/director with Present Laughter, stopping off along the way to host the 1974 Miss Television Contest.<br/><br/>In 1975, Peter headed out to Austria to work at the English Theatre in Vienna, to both act in and direct productions of The Merchant of Venice and Big Toys, before returning to the big screen in an Austrian film (Himmel, Scheich Und Wolkenbrunch) in the role of a latter-day Rudolph Valentino. The following year, he returned to the British stage in the Lawrence Parnes production of Anastasia, and then on to the big screen courtesy of Dino De Laurentiis' lavish 1980s sci-fi blockbuster, Flash Gordon, in which he was cast in the role of General Klytus. It was then back to the stage for a nine-months' tour of South Africa in Deathtrap.<br/><br/>In 1984, after an absence of almost 12 years, Peter returned to the small screen with a rare television appearance in the four-part Doctor Who installment, Planet of Fire, which was followed in short succession by the Hammer House of Mystery and Suspense story, And The Wall Came Tumbling Down, and a memorable guest-starring role in Granada Television's Bulman.<br/><br/>Having been cast as the somewhat unsavory character of Sir Robert Knights in the stylish, yet overtly violent British thriller, Tank Malling in 1989 Peter, who scarcely ever agrees to be interviewed, consented to appear on SKY TV's Jameson Show, plus a hearing on Channel 4s Right To Reply and the BBC's daytime magazine, Pebble Mill. More recently, Peter appeared in 1994 in Granada Televisions popular Sherlock Holmes series opposite Jeremy Brett, playing the newspaper gossip-columnist, Langdale Pike, in The Three Gables.<br/><br/>The long-overdue release of both Department S and Jason King on video in 1993 helped rekindle huge interest in the debonair Mr Wyngarde, with repeats of the series being shown on satellite and cable channels, and public pressure resulting in the re-release of his infamous 1970 album on CD.<br/><br/>In recent years, Peter has made numerous TV appearances, which include Astleys Way, Dee Time, 100 Greatest TV Characters, Don't Knock Yourself Out and narrated the acclaimed Timeshift documentary, The Many Faces of Sherlock Holmes in 2014.<br/><br/>Peter remains one of the most popular British actors of the past 50 years, with a thriving fan club and devoted worldwide following. His appearances at TV and Sci-Fi conventions have drawn thousands of attendees, eager to meet him and to shake the hand of a true acting legend.</div></div></div></div></div></div></li><li class="ipc-metadata-list-summary-item"><div class="ipc-metadata-list-summary-item__c"><div class="ipc-metadata-list-summary-item__tc"><span class="ipc-metadata-list-summary-item__t" aria-disabled="false"></span><div class="sc-77f37b3d-0 jCbCZO dli-parent"><div class="sc-77f37b3d-1 gJmTWZ"><div class="sc-ada31d55-0 kAJLzR"><div data-testid="nlib-img-container" class="sc-ada31d55-1 DLfwP"><div class="ipc-avatar ipc-avatar--base" role="group"><div class="ipc-media ipc-media--avatar ipc-image-media-ratio--avatar ipc-media--circle-radius ipc-media--base ipc-media--custom ipc-avatar__avatar-image ipc-media__img" style="width:60px"><img alt="Joan Greenwood" class="ipc-image" loading="lazy" src="https://m.media-amazon.com/images/M/MV5BMTU1MTE0OTQ1Nl5BMl5BanBnXkFtZTcwNjQ5NDAxOA@@._V1_QL75_UX60_CR0,0,60,60_.jpg" srcSet="https://m.media-amazon.com/images/M/MV5BMTU1MTE0OTQ1Nl5BMl5BanBnXkFtZTcwNjQ5NDAxOA@@._V1_QL75_UX60_CR0,0,60,60_.jpg 60w, https://m.media-amazon.com/images/M/MV5BMTU1MTE0OTQ1Nl5BMl5BanBnXkFtZTcwNjQ5NDAxOA@@._V1_QL75_UX90_CR0,0,90,90_.jpg 90w, https://m.media-amazon.com/images/M/MV5BMTU1MTE0OTQ1Nl5BMl5BanBnXkFtZTcwNjQ5NDAxOA@@._V1_QL75_UX120_CR0,0,120,120_.jpg 120w" sizes="50vw, (min-width: 480px) 34vw, (min-width: 600px) 26vw, (min-width: 1024px) 16vw, (min-width: 1280px) 16vw" width="60"/></div><a class="ipc-lockup-overlay ipc-focusable" href="/name/nm0339343/?ref_=sr_i_11" aria-label="Joan Greenwood"><div class="ipc-lockup-overlay__screen"></div></a></div></div><div class="sc-ada31d55-3 eFSukE"><div data-testid="nlib-meter-const-container"></div><div class="ipc-title ipc-title--base ipc-title--title ipc-title-link-no-icon ipc-title--on-textPrimary sc-ada31d55-2 gRltAT" data-testid="nlib-title"><a href="/name/nm0339343/?ref_=sr_t_11" class="ipc-title-link-wrapper" tabindex="0"><h3 class="ipc-title__text">11. Joan Greenwood</h3></a></div><div class="sc-ada31d55-6 uTkpb"><ul class="ipc-inline-list ipc-inline-list--show-dividers sc-ada31d55-4 jKxHhY base" role="presentation" data-testid="nlib-professions"><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Actress</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Additional Crew</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Soundtrack</li></ul><a class="ipc-link ipc-link--base sc-a3c468bb-0 ecChlM" tabindex="0" aria-disabled="false" data-testid="nlib-known-for-title" href="/title/tt0041546/?ref_=sr_knf_11">Kind Hearts and Coronets (1949)</a></div></div></div><div><button data-testid="dli-add-to-list-button" class="ipc-icon-button ipc-icon-button--base ipc-icon-button--onAccent2" title="Add to list" tabindex="0" aria-label="Add to list" aria-disabled="false"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--add" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M18 13h-5v5c0 .55-.45 1-1 1s-1-.45-1-1v-5H6c-.55 0-1-.45-1-1s.45-1 1-1h5V6c0-.55.45-1 1-1s1 .45 1 1v5h5c.55 0 1 .45 1 1s-.45 1-1 1z"></path></svg></button></div></div><div data-testid="dli-bio" class="sc-77f37b3d-2 dpXpaE"><div class="ipc-html-content ipc-html-content--base sc-77f37b3d-3 huKIYr" role="presentation"><div class="ipc-html-content-inner-div" role="presentation">Joan Greenwood, of the plummy feline voice, was born in the well-to-do London district of Chelsea, the daughter of renowned portrait painter Sydney Earnshaw Greenwood (1887-1949). Dancing from the age of eight, she took ballet lessons and later enrolled at the Royal Academy of Dramatic Art (RADA). Graduating at age 18, Joan made her theatrical debut in <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0596942/?ref_=sr">Molière</a>'s "Malade Imaginaire" at the Apollo Theatre. Performing some time later in <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0524403/?ref_=sr">Clare Boothe Luce</a>'s "The Women", she was noticed by <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001366/?ref_=sr">Leslie Howard</a>, who cast the diminutive lass as his leading lady in his wartime flag waver <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0035931/?ref_=sr">The Gentle Sex (1943)</a>. From this time onward, Joan began to alternate between stage and screen, comedy and drama. She worked during the London Blitz and toured with the Entertainment National Service Association (ENSA).<br/><br/>The theatre saw her in classical plays with the <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0938372/?ref_=sr">Donald Wolfit</a> Company, ranging from <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0789737/?ref_=sr">George Bernard Shaw</a>'s "Heartbreak House" to <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000636/?ref_=sr">William Shakespeare</a>'s "Hamlet" (as Ophelia), and <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0406585/?ref_=sr">Henrik Ibsen</a>'s "Hedda Gabler". On screen she gave a strong, sensitive performance in <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001907/?ref_=sr">Eric Ambler</a>'s psychological thriller <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0039676/?ref_=sr">The October Man (1947)</a>. She was also effectively cast opposite <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001289/?ref_=sr">Stewart Granger</a> as the fragile, conflicted Sophie Dorothea, imprisoned in a loveless marriage, in <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0213136/?ref_=sr">Basil Dearden</a>'s period romance <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0040758/?ref_=sr">Saraband for Dead Lovers (1948)</a>. Above all, she is fondly remembered for a trio of classic Ealing comedies, conveying a measure of eroticism while remaining quintessentially "correct" and "properly British". She purred her way through <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0041546/?ref_=sr">Kind Hearts and Coronets (1949)</a> (as the beguiling, but manipulative Sibella) and as Scottish Peggy Macroon she taunted straight-laced <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0705509/?ref_=sr">Basil Radford</a> in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0042040/?ref_=sr">Whisky Galore! (1949)</a>. She was Lady Caroline Lamb in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0041145/?ref_=sr">The Bad Lord Byron (1949)</a> and she dutifully undermined idealistic, naive inventor Sidney Stratton (<a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000027/?ref_=sr">Alec Guinness</a>) in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0044876/?ref_=sr">The Man in the White Suit (1951)</a>.<br/><br/>In between her two other major screen roles--Gwendolen Fairfax in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0044744/?ref_=sr">The Importance of Being Earnest (1952)</a> and lascivious Lady Bellaston in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0057590/?ref_=sr">Tom Jones (1963)</a>--Joan had a brief spell in Hollywood, paired again with Stewart Granger for <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000485/?ref_=sr">Fritz Lang</a>'s gothic period melodrama <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0048387/?ref_=sr">Moonfleet (1955)</a>. She did not enjoy the experience. Eschewing the trimmings of Hollywood stardom, she opted instead for the uncomplicated life at Ealing, where actors "washed their hair in buckets" and lived on "toasted sandwiches, chocolates and soup".<br/><br/>Joan Greenwood died following a period of ill health on February 28, 1987, less than a week before her 66th birthday.</div></div></div></div></div></div></li><li class="ipc-metadata-list-summary-item"><div class="ipc-metadata-list-summary-item__c"><div class="ipc-metadata-list-summary-item__tc"><span class="ipc-metadata-list-summary-item__t" aria-disabled="false"></span><div class="sc-77f37b3d-0 jCbCZO dli-parent"><div class="sc-77f37b3d-1 gJmTWZ"><div class="sc-ada31d55-0 kAJLzR"><div data-testid="nlib-img-container" class="sc-ada31d55-1 DLfwP"><div class="ipc-avatar ipc-avatar--base" role="group"><div class="ipc-media ipc-media--avatar ipc-image-media-ratio--avatar ipc-media--circle-radius ipc-media--base ipc-media--custom ipc-avatar__avatar-image ipc-media__img" style="width:60px"><img alt="Liz Fraser in Double Bunk (1961)" class="ipc-image" loading="lazy" src="https://m.media-amazon.com/images/M/MV5BNWUzZjZiZDktNWU2My00ZjUzLTlhMWYtNTkyOTQ4MDBkMDEwXkEyXkFqcGc@._V1_QL75_UX60_CR0,0,60,60_.jpg" srcSet="https://m.media-amazon.com/images/M/MV5BNWUzZjZiZDktNWU2My00ZjUzLTlhMWYtNTkyOTQ4MDBkMDEwXkEyXkFqcGc@._V1_QL75_UX60_CR0,0,60,60_.jpg 60w, https://m.media-amazon.com/images/M/MV5BNWUzZjZiZDktNWU2My00ZjUzLTlhMWYtNTkyOTQ4MDBkMDEwXkEyXkFqcGc@._V1_QL75_UX90_CR0,0,90,90_.jpg 90w, https://m.media-amazon.com/images/M/MV5BNWUzZjZiZDktNWU2My00ZjUzLTlhMWYtNTkyOTQ4MDBkMDEwXkEyXkFqcGc@._V1_QL75_UX120_CR0,0,120,120_.jpg 120w" sizes="50vw, (min-width: 480px) 34vw, (min-width: 600px) 26vw, (min-width: 1024px) 16vw, (min-width: 1280px) 16vw" width="60"/></div><a class="ipc-lockup-overlay ipc-focusable" href="/name/nm0292187/?ref_=sr_i_12" aria-label="Liz Fraser"><div class="ipc-lockup-overlay__screen"></div></a></div></div><div class="sc-ada31d55-3 eFSukE"><div data-testid="nlib-meter-const-container"></div><div class="ipc-title ipc-title--base ipc-title--title ipc-title-link-no-icon ipc-title--on-textPrimary sc-ada31d55-2 gRltAT" data-testid="nlib-title"><a href="/name/nm0292187/?ref_=sr_t_12" class="ipc-title-link-wrapper" tabindex="0"><h3 class="ipc-title__text">12. Liz Fraser</h3></a></div><div class="sc-ada31d55-6 uTkpb"><ul class="ipc-inline-list ipc-inline-list--show-dividers sc-ada31d55-4 jKxHhY base" role="presentation" data-testid="nlib-professions"><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Actress</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Soundtrack</li></ul><a class="ipc-link ipc-link--base sc-a3c468bb-0 ecChlM" tabindex="0" aria-disabled="false" data-testid="nlib-known-for-title" href="/title/tt0052911/?ref_=sr_knf_12">I'm All Right Jack (1959)</a></div></div></div><div><button data-testid="dli-add-to-list-button" class="ipc-icon-button ipc-icon-button--base ipc-icon-button--onAccent2" title="Add to list" tabindex="0" aria-label="Add to list" aria-disabled="false"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--add" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M18 13h-5v5c0 .55-.45 1-1 1s-1-.45-1-1v-5H6c-.55 0-1-.45-1-1s.45-1 1-1h5V6c0-.55.45-1 1-1s1 .45 1 1v5h5c.55 0 1 .45 1 1s-.45 1-1 1z"></path></svg></button></div></div><div data-testid="dli-bio" class="sc-77f37b3d-2 dpXpaE"><div class="ipc-html-content ipc-html-content--base sc-77f37b3d-3 huKIYr" role="presentation"><div class="ipc-html-content-inner-div" role="presentation">Best known for playing the perpetually-ditzy blonde bimbo in several installments of the "Carry On" franchise, buxom Liz Fraser (born Elizabeth Joan Winch above a corner shop in south London) studied at RADA on a scholarship and first acted in repertory theatre and television before breaking into films. Her first role of note was Cynthia, the daughter of radical left-wing shop steward Fred Kite in <a class="ipc-md-link ipc-md-link--entity" href="/name/nm1803013/?ref_=sr">The Boulting Brothers</a> comedy <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0052911/?ref_=sr">I'm All Right Jack (1959)</a> (the film which made <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000634/?ref_=sr">Peter Sellers</a> a star). In a second outing with Sellers, (<a class="ipc-md-link ipc-md-link--entity" href="/title/tt0054417/?ref_=sr">Two Way Stretch (1960)</a>, she played his girlfriend Ethel; up next were eight guest appearances on <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0124703/?ref_=sr">Hancock's Half Hour (1956)</a>. By that time, her screen personae were firmly established as scatterbrained blondes or feisty gum-chewing working-class Cockneys. Though she often managed to rise above her material, the typecasting sadly continued through a series of dreadful low-brow '70s sex comedies in the 'Adventures' and 'Confessions' series, which represented a significant step-down from the "Carry Ons" and did nothing for her reputation.<br/><br/>Liz attempted to change her image by playing straight dramatic roles in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0060395/?ref_=sr">The Family Way (1966)</a> and <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0062426/?ref_=sr">Up the Junction (1968)</a> (as the mother) and her later career prospered as a fine character actress with guest spots on <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0075561/?ref_=sr">The Professionals (1977)</a>, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0078657/?ref_=sr">Minder (1979)</a>, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0310455/?ref_=sr">Foyle's War (2002)</a>, and <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0118401/?ref_=sr">Midsomer Murders (1997)</a>, along with a string of successes on the West End stage. In her private life, she was known to be fond of animals, and she loved to play bridge and ladies' bowls at the exclusive Hurlingham club in Fulham. Her financial astuteness brought substantial gains at the stock market, which she in turn developed into a healthy property portfolio. She always spoke fondly of her co-stars, many of whom she regarded as her close 'mates' during the sixties, in particular <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0416228/?ref_=sr">Sidney James</a>, <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0801330/?ref_=sr">Joan Sims</a>, <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0359437/?ref_=sr">Tony Hancock</a> and <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0178426/?ref_=sr">Tommy Cooper</a>.</div></div></div></div></div></div></li><li class="ipc-metadata-list-summary-item"><div class="ipc-metadata-list-summary-item__c"><div class="ipc-metadata-list-summary-item__tc"><span class="ipc-metadata-list-summary-item__t" aria-disabled="false"></span><div class="sc-77f37b3d-0 jCbCZO dli-parent"><div class="sc-77f37b3d-1 gJmTWZ"><div class="sc-ada31d55-0 kAJLzR"><div data-testid="nlib-img-container" class="sc-ada31d55-1 DLfwP"><div class="ipc-avatar ipc-avatar--base" role="group"><div class="ipc-media ipc-media--avatar ipc-image-media-ratio--avatar ipc-media--circle-radius ipc-media--base ipc-media--custom ipc-avatar__avatar-image ipc-media__img" style="width:60px"><img alt="Joan Sims and Kenneth Williams in Don't Lose Your Head (1967)" class="ipc-image" loading="lazy" src="https://m.media-amazon.com/images/M/MV5BZGRmOWM0YTktNWU5Yi00OTYwLWE0YWQtMjdkMThlZGYwMDZiXkEyXkFqcGc@._V1_QL75_UY60_CR3,0,60,60_.jpg" srcSet="https://m.media-amazon.com/images/M/MV5BZGRmOWM0YTktNWU5Yi00OTYwLWE0YWQtMjdkMThlZGYwMDZiXkEyXkFqcGc@._V1_QL75_UY60_CR3,0,60,60_.jpg 60w, https://m.media-amazon.com/images/M/MV5BZGRmOWM0YTktNWU5Yi00OTYwLWE0YWQtMjdkMThlZGYwMDZiXkEyXkFqcGc@._V1_QL75_UY90_CR5,0,90,90_.jpg 90w, https://m.media-amazon.com/images/M/MV5BZGRmOWM0YTktNWU5Yi00OTYwLWE0YWQtMjdkMThlZGYwMDZiXkEyXkFqcGc@._V1_QL75_UY120_CR7,0,120,120_.jpg 120w" sizes="50vw, (min-width: 480px) 34vw, (min-width: 600px) 26vw, (min-width: 1024px) 16vw, (min-width: 1280px) 16vw" width="60"/></div><a class="ipc-lockup-overlay ipc-focusable" href="/name/nm0801330/?ref_=sr_i_13" aria-label="Joan Sims"><div class="ipc-lockup-overlay__screen"></div></a></div></div><div class="sc-ada31d55-3 eFSukE"><div data-testid="nlib-meter-const-container"></div><div class="ipc-title ipc-title--base ipc-title--title ipc-title-link-no-icon ipc-title--on-textPrimary sc-ada31d55-2 gRltAT" data-testid="nlib-title"><a href="/name/nm0801330/?ref_=sr_t_13" class="ipc-title-link-wrapper" tabindex="0"><h3 class="ipc-title__text">13. Joan Sims</h3></a></div><div class="sc-ada31d55-6 uTkpb"><ul class="ipc-inline-list ipc-inline-list--show-dividers sc-ada31d55-4 jKxHhY base" role="presentation" data-testid="nlib-professions"><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Actress</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Soundtrack</li></ul><a class="ipc-link ipc-link--base sc-a3c468bb-0 ecChlM" tabindex="0" aria-disabled="false" data-testid="nlib-known-for-title" href="/title/tt0062782/?ref_=sr_knf_13">Carry On... Up the Khyber (1968)</a></div></div></div><div><button data-testid="dli-add-to-list-button" class="ipc-icon-button ipc-icon-button--base ipc-icon-button--onAccent2" title="Add to list" tabindex="0" aria-label="Add to list" aria-disabled="false"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--add" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M18 13h-5v5c0 .55-.45 1-1 1s-1-.45-1-1v-5H6c-.55 0-1-.45-1-1s.45-1 1-1h5V6c0-.55.45-1 1-1s1 .45 1 1v5h5c.55 0 1 .45 1 1s-.45 1-1 1z"></path></svg></button></div></div><div data-testid="dli-bio" class="sc-77f37b3d-2 dpXpaE"><div class="ipc-html-content ipc-html-content--base sc-77f37b3d-3 huKIYr" role="presentation"><div class="ipc-html-content-inner-div" role="presentation">Joan Sims, the "First Lady of Carry On", was born Irene Joan Marion Sims on 9 May 1930. The daughter of an Essex railway station master, Joan was interested in pursuing show-business, and soon became a familiar face in a growing number of amateur productions. In 1946, Joan first applied to RADA, her audition was unsuccessful. She did succeed in being admitted to the academy's preparatory school, and finally, on her fourth attempt, trained at RADA. She graduated in 1950 at the age of nineteen.<br/><br/>A cameo appearance in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0046921/?ref_=sr">Doctor in the House (1954)</a> as the sexually repressed Nurse Rigor Mortis led to Joan being first spotted by <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0737127/?ref_=sr">Peter Rogers</a>; Rogers' wife <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0101489/?ref_=sr">Betty E. Box</a> was the producer of the Doctor series, in which Joan herself became a regular.<br/><br/>A few years later, in 1958, Joan received another script from <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0737127/?ref_=sr">Peter Rogers</a>, it was <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0051452/?ref_=sr">Carry on Nurse (1959)</a>. The film had been a huge success at the box office and in the autumn of that year Rogers and Gerald Thomas began planning a follow up. She went on to appear in 24 of the films, making her the longest serving female member of the team.<br/><br/>She first starred in the following three Carry On films: <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0052676/?ref_=sr">Carry on Teacher (1959)</a>, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0053699/?ref_=sr">Carry on Constable (1960)</a> and <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0054727/?ref_=sr">Carry on Regardless (1961)</a>, before taking a break from the next four films to concentrate on stage work. She rejoined the team with <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0057918/?ref_=sr">Carry on Cleo (1964)</a> and remained all the way through to <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0077300/?ref_=sr">Carry on Emmannuelle (1978)</a> in 1978.<br/><br/>Ironically, she was never proclaimed Queen of Carry On. This title went to saucy <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0934774/?ref_=sr">Barbara Windsor</a>, even though she had only appeared in nine Carry On films.<br/><br/>One could argue that her final performances in the Carry On films were rather sentimental, as though she knew that the series was coming to an end and two scenes come to mind. The scene in which she plays cards with <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0125350/?ref_=sr">Peter Butterworth</a> in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0072764/?ref_=sr">Carry on Behind (1975)</a> in his caravan late at night, and also in the launderette where she dances with an early Carry Oner <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0534658/?ref_=sr">Victor Maddern</a> in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0077300/?ref_=sr">Carry on Emmannuelle (1978)</a>. Both of these are memorable sentimental film scene stealers.<br/><br/>With the end of the Carry On series in 1978, Joan went on to become a familiar face on TV screens, with ongoing roles in a number of highly successful sitcoms <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0098881/?ref_=sr">On the Up (1990)</a> and <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0105943/?ref_=sr">As Time Goes By (1992)</a> and the BBC's prestigious classic drama adaptations such as <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0112062/?ref_=sr">Martin Chuzzlewit (1994)</a>.<br/><br/>Joan's autobiography, High Spirits, was released in 2000. She complains in the last few pages of her book at the lack of information on her on the IMDB trivia page, something that was only significantly expanded after her death.<br/><br/>In her later years she became a cult figure and something of a British National Institution as the only surviving major Carry On star from early days. However, years of heavy drinking took their toll and she suffered in her later years with ill health. She was admitted to Hospital in Chelsea in London in mid 2001 and slipped into a coma. She died on 28 June 2001, with her lifelong friend and Carry On <a class="ipc-md-link ipc-md-link--entity" href="/name/nm1216714/?ref_=sr">Norah Holland</a> holding her hand.<br/><br/>Following her death, surviving Carry On stars celebrated her achievement in the Carry On films. <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0934774/?ref_=sr">Barbara Windsor</a>, said at the time of her death, "To me she was the last of the great Carry Ons, she was there at the beginning. Her talent was wonderful, she could do any accent, dialect, she could dance, sing, play dowdy and glam. We laughed all the time and giggled a lot. I will sorely miss her." That quote is so true, throughout her whole Carry On career she alone stands apart as the most versatile actress in the whole series. She was never typecast in the films like the other actors and actresses.<br/><br/>Others also paid tribute, even ex-Government Cabinet Ministers. Her agent Richard Hatton said, "It's wonderful to be able to say that she really did have all the qualities that her many fans would have wished. A great sense of humour, a sympathetic and endearing personality, terrific talent and consideration for others.<br/><br/>"Over and above this, she discovered a new side of herself when she wrote her autobiography last year, which was untypical for the genre - honest, frank and intelligent. Everyone who knew her is going to remember her forever."</div></div></div></div></div></div></li><li class="ipc-metadata-list-summary-item"><div class="ipc-metadata-list-summary-item__c"><div class="ipc-metadata-list-summary-item__tc"><span class="ipc-metadata-list-summary-item__t" aria-disabled="false"></span><div class="sc-77f37b3d-0 jCbCZO dli-parent"><div class="sc-77f37b3d-1 gJmTWZ"><div class="sc-ada31d55-0 kAJLzR"><div data-testid="nlib-img-container" class="sc-ada31d55-1 DLfwP"><div class="ipc-avatar ipc-avatar--base" role="group"><div class="ipc-media ipc-media--avatar ipc-image-media-ratio--avatar ipc-media--circle-radius ipc-media--base ipc-media--custom ipc-avatar__avatar-image ipc-media__img" style="width:60px"><img alt="Anthony Quayle in The Fall of the Roman Empire (1964)" class="ipc-image" loading="lazy" src="https://m.media-amazon.com/images/M/MV5BMjE0NzE5NjkyNl5BMl5BanBnXkFtZTcwMDg4NTUwOA@@._V1_QL75_UX60_CR0,0,60,60_.jpg" srcSet="https://m.media-amazon.com/images/M/MV5BMjE0NzE5NjkyNl5BMl5BanBnXkFtZTcwMDg4NTUwOA@@._V1_QL75_UX60_CR0,0,60,60_.jpg 60w, https://m.media-amazon.com/images/M/MV5BMjE0NzE5NjkyNl5BMl5BanBnXkFtZTcwMDg4NTUwOA@@._V1_QL75_UX90_CR0,0,90,90_.jpg 90w, https://m.media-amazon.com/images/M/MV5BMjE0NzE5NjkyNl5BMl5BanBnXkFtZTcwMDg4NTUwOA@@._V1_QL75_UX120_CR0,0,120,120_.jpg 120w" sizes="50vw, (min-width: 480px) 34vw, (min-width: 600px) 26vw, (min-width: 1024px) 16vw, (min-width: 1280px) 16vw" width="60"/></div><a class="ipc-lockup-overlay ipc-focusable" href="/name/nm0703033/?ref_=sr_i_14" aria-label="Anthony Quayle"><div class="ipc-lockup-overlay__screen"></div></a></div></div><div class="sc-ada31d55-3 eFSukE"><div data-testid="nlib-meter-const-container"></div><div class="ipc-title ipc-title--base ipc-title--title ipc-title-link-no-icon ipc-title--on-textPrimary sc-ada31d55-2 gRltAT" data-testid="nlib-title"><a href="/name/nm0703033/?ref_=sr_t_14" class="ipc-title-link-wrapper" tabindex="0"><h3 class="ipc-title__text">14. Anthony Quayle</h3></a></div><div class="sc-ada31d55-6 uTkpb"><ul class="ipc-inline-list ipc-inline-list--show-dividers sc-ada31d55-4 jKxHhY base" role="presentation" data-testid="nlib-professions"><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Actor</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Additional Crew</li></ul><a class="ipc-link ipc-link--base sc-a3c468bb-0 ecChlM" tabindex="0" aria-disabled="false" data-testid="nlib-known-for-title" href="/title/tt0056172/?ref_=sr_knf_14">Lawrence of Arabia (1962)</a></div></div></div><div><button data-testid="dli-add-to-list-button" class="ipc-icon-button ipc-icon-button--base ipc-icon-button--onAccent2" title="Add to list" tabindex="0" aria-label="Add to list" aria-disabled="false"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--add" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M18 13h-5v5c0 .55-.45 1-1 1s-1-.45-1-1v-5H6c-.55 0-1-.45-1-1s.45-1 1-1h5V6c0-.55.45-1 1-1s1 .45 1 1v5h5c.55 0 1 .45 1 1s-.45 1-1 1z"></path></svg></button></div></div><div data-testid="dli-bio" class="sc-77f37b3d-2 dpXpaE"><div class="ipc-html-content ipc-html-content--base sc-77f37b3d-3 huKIYr" role="presentation"><div class="ipc-html-content-inner-div" role="presentation">Anthony Quayle was born in Ainsdale, Southport, Lancashire, England in September 1913. He completed his education at Rugby School and had a brief spell at RADA, before treading the boards for the first time as the straight man in a music hall comedy act in 1931. Tall, burly, round-faced and possessed of a powerful and resonant voice, he was mentored early on in his career by the well-known stage director <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0349310/?ref_=sr">Tyrone Guthrie</a>. Letters of introduction led to steady employment with the Old Vic Company by September 1932, and a succession of small roles in classical parts. Quayle's reputation as an actor grew steadily, and, in 1936, he appeared on Broadway opposite <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0002106/?ref_=sr">Ruth Gordon</a> in 'The Country Wife'. For the next few years, he consolidated his position as a Shakespearean actor. When the Second World War began, he was among the first in his profession to enlist, serving with the Royal Artillery and rising to the rank of major. Some of his wartime experiences, such as coordinating operations with Albanian partisans as part of the secret Special Operations Executive, were destined to be paralleled by his fictional post-war screen exploits as incisive army officers or spies. With the war still fresh in his mind, he subsequently published two novels (respectively in 1945, and in 1947), 'Eight Hours from England' and 'On Such a Night'.<br/><br/>In 1946, Quayle also made his debut as a theatrical director with a London production of 'Crime and Punishment'. Between 1948 and 1956, he had a distinguished tenure as director of the Shakespeare Memorial Theatre in Stratford-upon-Avon, bringing into the company some of the biggest stars of the stage, including <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000059/?ref_=sr">Laurence Olivier</a> and <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000024/?ref_=sr">John Gielgud</a>. Though acting in films from 1938, the theatre remained his favorite medium. He played diverse roles with great intensity and professionalism, achieving critical acclaim as Petruchio and Falstaff, Tamburlaine and Galileo (on Broadway) and the original role of Andrew Wyke in <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0787289/?ref_=sr">Anthony Shaffer</a>'s play 'Sleuth' (played in the first screen version by Olivier). In motion pictures Quayle tended to portray tough, dependable authority figures. He was good value for money as Commodore Harwood in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0048990/?ref_=sr">The Battle of the River Plate (1956)</a>, as the enigmatic Afrikaner captain in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0053935/?ref_=sr">Ice Cold in Alex (1958)</a> and as the stuffy, by-the-book Colonel Harry Brighton, who nonetheless appears to have a degree of admiration for <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0056172/?ref_=sr">Lawrence of Arabia (1962)</a>. Due to his classical training, Quayle was often used in historical epics, giving one of his best performances as Cardinal Wolsey in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0064030/?ref_=sr">Anne of the Thousand Days (1969)</a>, earning him an Academy Award nomination. His voice was heard as narrator of <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0066714/?ref_=sr">The Six Wives of Henry VIII (1970)</a> and on radio in anything from 'The Ballad of Robin Hood' to <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000590/?ref_=sr">Edgar Allan Poe</a>'s 'The Purloined Letter'.<br/><br/>The year prior to receiving his knighthood, Quayle founded the touring Compass Theatre Company, and served as its director until a few months before his death from cancer in October 1989.</div></div></div></div></div></div></li><li class="ipc-metadata-list-summary-item"><div class="ipc-metadata-list-summary-item__c"><div class="ipc-metadata-list-summary-item__tc"><span class="ipc-metadata-list-summary-item__t" aria-disabled="false"></span><div class="sc-77f37b3d-0 jCbCZO dli-parent"><div class="sc-77f37b3d-1 gJmTWZ"><div class="sc-ada31d55-0 kAJLzR"><div data-testid="nlib-img-container" class="sc-ada31d55-1 DLfwP"><div class="ipc-avatar ipc-avatar--base" role="group"><div class="ipc-media ipc-media--avatar ipc-image-media-ratio--avatar ipc-media--circle-radius ipc-media--base ipc-media--custom ipc-avatar__avatar-image ipc-media__img" style="width:60px"><img alt="Ann Todd in The Sound Barrier (1952)" class="ipc-image" loading="lazy" src="https://m.media-amazon.com/images/M/MV5BNTkzMTNkMTUtYzM3Yi00MTdkLTk0MWEtMGMzOThkYzA4NDQwXkEyXkFqcGc@._V1_QL75_UX60_CR0,0,60,60_.jpg" srcSet="https://m.media-amazon.com/images/M/MV5BNTkzMTNkMTUtYzM3Yi00MTdkLTk0MWEtMGMzOThkYzA4NDQwXkEyXkFqcGc@._V1_QL75_UX60_CR0,0,60,60_.jpg 60w, https://m.media-amazon.com/images/M/MV5BNTkzMTNkMTUtYzM3Yi00MTdkLTk0MWEtMGMzOThkYzA4NDQwXkEyXkFqcGc@._V1_QL75_UX90_CR0,0,90,90_.jpg 90w, https://m.media-amazon.com/images/M/MV5BNTkzMTNkMTUtYzM3Yi00MTdkLTk0MWEtMGMzOThkYzA4NDQwXkEyXkFqcGc@._V1_QL75_UX120_CR0,0,120,120_.jpg 120w" sizes="50vw, (min-width: 480px) 34vw, (min-width: 600px) 26vw, (min-width: 1024px) 16vw, (min-width: 1280px) 16vw" width="60"/></div><a class="ipc-lockup-overlay ipc-focusable" href="/name/nm0002897/?ref_=sr_i_15" aria-label="Ann Todd"><div class="ipc-lockup-overlay__screen"></div></a></div></div><div class="sc-ada31d55-3 eFSukE"><div data-testid="nlib-meter-const-container"></div><div class="ipc-title ipc-title--base ipc-title--title ipc-title-link-no-icon ipc-title--on-textPrimary sc-ada31d55-2 gRltAT" data-testid="nlib-title"><a href="/name/nm0002897/?ref_=sr_t_15" class="ipc-title-link-wrapper" tabindex="0"><h3 class="ipc-title__text">15. Ann Todd</h3></a></div><div class="sc-ada31d55-6 uTkpb"><ul class="ipc-inline-list ipc-inline-list--show-dividers sc-ada31d55-4 jKxHhY base" role="presentation" data-testid="nlib-professions"><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Actress</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Soundtrack</li></ul><a class="ipc-link ipc-link--base sc-a3c468bb-0 ecChlM" tabindex="0" aria-disabled="false" data-testid="nlib-known-for-title" href="/title/tt0039694/?ref_=sr_knf_15">The Paradine Case (1947)</a></div></div></div><div><button data-testid="dli-add-to-list-button" class="ipc-icon-button ipc-icon-button--base ipc-icon-button--onAccent2" title="Add to list" tabindex="0" aria-label="Add to list" aria-disabled="false"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--add" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M18 13h-5v5c0 .55-.45 1-1 1s-1-.45-1-1v-5H6c-.55 0-1-.45-1-1s.45-1 1-1h5V6c0-.55.45-1 1-1s1 .45 1 1v5h5c.55 0 1 .45 1 1s-.45 1-1 1z"></path></svg></button></div></div><div data-testid="dli-bio" class="sc-77f37b3d-2 dpXpaE"><div class="ipc-html-content ipc-html-content--base sc-77f37b3d-3 huKIYr" role="presentation"><div class="ipc-html-content-inner-div" role="presentation">Ann Todd was a beautiful English actress best known as <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000060/?ref_=sr">Gregory Peck</a>'s wife in <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000033/?ref_=sr">Alfred Hitchcock</a>'s <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0039694/?ref_=sr">The Paradine Case (1947)</a>. Her third husband was the legendary director <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000180/?ref_=sr">David Lean</a>, for whom she appeared in three films, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0041735/?ref_=sr">The Passionate Friends (1949)</a>, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0042700/?ref_=sr">Madeleine (1950)</a>, and <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0044446/?ref_=sr">The Sound Barrier (1952)</a>.</div></div></div></div></div></div></li><li class="ipc-metadata-list-summary-item"><div class="ipc-metadata-list-summary-item__c"><div class="ipc-metadata-list-summary-item__tc"><span class="ipc-metadata-list-summary-item__t" aria-disabled="false"></span><div class="sc-77f37b3d-0 jCbCZO dli-parent"><div class="sc-77f37b3d-1 gJmTWZ"><div class="sc-ada31d55-0 kAJLzR"><div data-testid="nlib-img-container" class="sc-ada31d55-1 DLfwP"><div class="ipc-avatar ipc-avatar--base" role="group"><div class="ipc-media ipc-media--avatar ipc-image-media-ratio--avatar ipc-media--circle-radius ipc-media--base ipc-media--custom ipc-avatar__avatar-image ipc-media__img" style="width:60px"><img alt="Kay Walsh" class="ipc-image" loading="lazy" src="https://m.media-amazon.com/images/M/MV5BZGE0ZGVjZGYtMDY1Ni00YWM0LWE1ZmYtNDZmMTJlM2JmZmQ3XkEyXkFqcGc@._V1_QL75_UX60_CR0,0,60,60_.jpg" srcSet="https://m.media-amazon.com/images/M/MV5BZGE0ZGVjZGYtMDY1Ni00YWM0LWE1ZmYtNDZmMTJlM2JmZmQ3XkEyXkFqcGc@._V1_QL75_UX60_CR0,0,60,60_.jpg 60w, https://m.media-amazon.com/images/M/MV5BZGE0ZGVjZGYtMDY1Ni00YWM0LWE1ZmYtNDZmMTJlM2JmZmQ3XkEyXkFqcGc@._V1_QL75_UX90_CR0,0,90,90_.jpg 90w, https://m.media-amazon.com/images/M/MV5BZGE0ZGVjZGYtMDY1Ni00YWM0LWE1ZmYtNDZmMTJlM2JmZmQ3XkEyXkFqcGc@._V1_QL75_UX120_CR0,0,120,120_.jpg 120w" sizes="50vw, (min-width: 480px) 34vw, (min-width: 600px) 26vw, (min-width: 1024px) 16vw, (min-width: 1280px) 16vw" width="60"/></div><a class="ipc-lockup-overlay ipc-focusable" href="/name/nm0909727/?ref_=sr_i_16" aria-label="Kay Walsh"><div class="ipc-lockup-overlay__screen"></div></a></div></div><div class="sc-ada31d55-3 eFSukE"><div data-testid="nlib-meter-const-container"></div><div class="ipc-title ipc-title--base ipc-title--title ipc-title-link-no-icon ipc-title--on-textPrimary sc-ada31d55-2 gRltAT" data-testid="nlib-title"><a href="/name/nm0909727/?ref_=sr_t_16" class="ipc-title-link-wrapper" tabindex="0"><h3 class="ipc-title__text">16. Kay Walsh</h3></a></div><div class="sc-ada31d55-6 uTkpb"><ul class="ipc-inline-list ipc-inline-list--show-dividers sc-ada31d55-4 jKxHhY base" role="presentation" data-testid="nlib-professions"><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Actress</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Writer</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Soundtrack</li></ul><a class="ipc-link ipc-link--base sc-a3c468bb-0 ecChlM" tabindex="0" aria-disabled="false" data-testid="nlib-known-for-title" href="/title/tt0051739/?ref_=sr_knf_16">The Horse's Mouth (1958)</a></div></div></div><div><button data-testid="dli-add-to-list-button" class="ipc-icon-button ipc-icon-button--base ipc-icon-button--onAccent2" title="Add to list" tabindex="0" aria-label="Add to list" aria-disabled="false"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--add" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M18 13h-5v5c0 .55-.45 1-1 1s-1-.45-1-1v-5H6c-.55 0-1-.45-1-1s.45-1 1-1h5V6c0-.55.45-1 1-1s1 .45 1 1v5h5c.55 0 1 .45 1 1s-.45 1-1 1z"></path></svg></button></div></div><div data-testid="dli-bio" class="sc-77f37b3d-2 dpXpaE"><div class="ipc-html-content ipc-html-content--base sc-77f37b3d-3 huKIYr" role="presentation"><div class="ipc-html-content-inner-div" role="presentation">Kay Walsh graced the British Cinema of the 1930s and 1940s as a leading lady, before maturing into character roles. She was born Kathleen Walsh in London, England of Irish parentage. She and her sister Peggy were raised in Pimlico by their grandmother. She began her career as a dancer in the chorus of several Andre Charlot revues, before performing solo in New York and Berlin.<br/><br/>Kay made her screen debut in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0025168/?ref_=sr">Get Your Man (1934)</a> and later appeared in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0168979/?ref_=sr">The Luck of the Irish (1936)</a>. After appearing as a dancer in the West End show "The Melody that Got Lost", the producer <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0212704/?ref_=sr">Basil Dean</a> signed her to a contract with Ealing Studios. She starred opposite <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0286399/?ref_=sr">George Formby</a> in the comedies <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0029078/?ref_=sr">Keep Fit (1937)</a> and <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0030257/?ref_=sr">I See Ice! (1938)</a>. She met an aspiring film editor <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000180/?ref_=sr">David Lean</a> in 1936 and they were married in 1940. She collaborated on several of his films by writing additional dialogue and advising on production and casting.<br/><br/>She made an impression in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0034891/?ref_=sr">In Which We Serve (1942)</a>, as Queenie Gibbons in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0037367/?ref_=sr">This Happy Breed (1944)</a>, as Nancy in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0040662/?ref_=sr">Oliver Twist (1948)</a>, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0040940/?ref_=sr">Vice Versa (1948)</a>, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0042994/?ref_=sr">Stage Fright (1950)</a>, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0043772/?ref_=sr">The Magnet (1950)</a>, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0042665/?ref_=sr">Last Holiday (1950)</a>, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0044586/?ref_=sr">Encore (1951)</a>, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0046564/?ref_=sr">Young Bess (1953)</a>, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0047165/?ref_=sr">Lease of Life (1954)</a>, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0054412/?ref_=sr">Tunes of Glory (1960)</a> and <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0066344/?ref_=sr">Scrooge (1970)</a>. She won a BAFTA nomination and a National Board of Review award for Best Actress for "The Horse's Mouth" (1958). She retired from acting after appearing in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0082810/?ref_=sr">Night Crossing (1982)</a>.<br/><br/>She was twice married. Following her divorce from <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000180/?ref_=sr">David Lean</a> in 1949, she married the Canadian psychologist Elliott Jaques (1917-2003). They adopted a daughter Gemma in 1956, but the marriage was later dissolved. Kay Walsh died at age 93 on April 16, 2005 at the Chelsea and Westminister Hospital from multiple burns, days after being injured in a fire at her London residence.</div></div></div></div></div></div></li><li class="ipc-metadata-list-summary-item"><div class="ipc-metadata-list-summary-item__c"><div class="ipc-metadata-list-summary-item__tc"><span class="ipc-metadata-list-summary-item__t" aria-disabled="false"></span><div class="sc-77f37b3d-0 jCbCZO dli-parent"><div class="sc-77f37b3d-1 gJmTWZ"><div class="sc-ada31d55-0 kAJLzR"><div data-testid="nlib-img-container" class="sc-ada31d55-1 DLfwP"><div class="ipc-avatar ipc-avatar--base" role="group"><div class="ipc-media ipc-media--avatar ipc-image-media-ratio--avatar ipc-media--circle-radius ipc-media--base ipc-media--custom ipc-avatar__avatar-image ipc-media__img" style="width:60px"><img alt="Carol Reed" class="ipc-image" loading="lazy" src="https://m.media-amazon.com/images/M/MV5BYzNlZWI4YzItZGJmYy00NmIzLTljYmYtMzVhYWI4YzM2MTZiXkEyXkFqcGc@._V1_QL75_UX60_CR0,0,60,60_.jpg" srcSet="https://m.media-amazon.com/images/M/MV5BYzNlZWI4YzItZGJmYy00NmIzLTljYmYtMzVhYWI4YzM2MTZiXkEyXkFqcGc@._V1_QL75_UX60_CR0,0,60,60_.jpg 60w, https://m.media-amazon.com/images/M/MV5BYzNlZWI4YzItZGJmYy00NmIzLTljYmYtMzVhYWI4YzM2MTZiXkEyXkFqcGc@._V1_QL75_UX90_CR0,0,90,90_.jpg 90w, https://m.media-amazon.com/images/M/MV5BYzNlZWI4YzItZGJmYy00NmIzLTljYmYtMzVhYWI4YzM2MTZiXkEyXkFqcGc@._V1_QL75_UX120_CR0,0,120,120_.jpg 120w" sizes="50vw, (min-width: 480px) 34vw, (min-width: 600px) 26vw, (min-width: 1024px) 16vw, (min-width: 1280px) 16vw" width="60"/></div><a class="ipc-lockup-overlay ipc-focusable" href="/name/nm0715346/?ref_=sr_i_17" aria-label="Carol Reed"><div class="ipc-lockup-overlay__screen"></div></a></div></div><div class="sc-ada31d55-3 eFSukE"><div data-testid="nlib-meter-const-container"></div><div class="ipc-title ipc-title--base ipc-title--title ipc-title-link-no-icon ipc-title--on-textPrimary sc-ada31d55-2 gRltAT" data-testid="nlib-title"><a href="/name/nm0715346/?ref_=sr_t_17" class="ipc-title-link-wrapper" tabindex="0"><h3 class="ipc-title__text">17. Carol Reed</h3></a></div><div class="sc-ada31d55-6 uTkpb"><ul class="ipc-inline-list ipc-inline-list--show-dividers sc-ada31d55-4 jKxHhY base" role="presentation" data-testid="nlib-professions"><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Director</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Producer</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Second Unit Director or Assistant Director</li></ul><a class="ipc-link ipc-link--base sc-a3c468bb-0 ecChlM" tabindex="0" aria-disabled="false" data-testid="nlib-known-for-title" href="/title/tt0041959/?ref_=sr_knf_17">The Third Man (1949)</a></div></div></div><div><button data-testid="dli-add-to-list-button" class="ipc-icon-button ipc-icon-button--base ipc-icon-button--onAccent2" title="Add to list" tabindex="0" aria-label="Add to list" aria-disabled="false"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--add" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M18 13h-5v5c0 .55-.45 1-1 1s-1-.45-1-1v-5H6c-.55 0-1-.45-1-1s.45-1 1-1h5V6c0-.55.45-1 1-1s1 .45 1 1v5h5c.55 0 1 .45 1 1s-.45 1-1 1z"></path></svg></button></div></div><div data-testid="dli-bio" class="sc-77f37b3d-2 dpXpaE"><div class="ipc-html-content ipc-html-content--base sc-77f37b3d-3 huKIYr" role="presentation"><div class="ipc-html-content-inner-div" role="presentation">Carol Reed was the second son of stage actor, dramatics teacher and impresario founder of the Royal School of Dramatic Art Sir <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0002504/?ref_=sr">Herbert Beerbohm Tree</a>. Reed was one of Tree's six illegitimate children with Beatrice Mae Pinney, who Tree established in a second household apart from his married life. There were no social scars here; Reed grew up in a well-mannered, middle-class atmosphere. His public school days were at King's School, Canterbury, and he was only too glad to push on with the idea of following his father and becoming an actor. His mother wanted no such thing and shipped him off to Massachusetts in 1922, where his older brother resided on--of all things--a chicken ranch.<br/><br/>It was a wasted six months before Reed was back in England and joined a stage company of Dame <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0861345/?ref_=sr">Sybil Thorndike</a>, making his stage debut in 1924. He forthwith met British writer <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0908624/?ref_=sr">Edgar Wallace</a>, who cashed in on his constant output of thrillers by establishing a road troupe to do stage adaptations of them. Reed was in three of these, also working as an assistant stage manager. Wallace became chairman of the newly formed British Lion Film Corp. in 1927, and Reed followed to become his personal assistant. As such he began learning the film trade by assisting in supervising the filmed adaptations of Wallace's works. This was essentially his day job. At night he continued stage acting and managing. It was something of a relief when Wallace passed on in 1932; Reed decided to drop the stage for film and joined historic Ealing Studios as dialog director for Associated Talking Pictures under <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0212704/?ref_=sr">Basil Dean</a>.<br/><br/>Reed rose from dialog director to second-unit director and assistant director in record time, his first solo directorship being the adventure <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0026713/?ref_=sr">Midshipman Easy (1935)</a>. This and his subsequent effort, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0027859/?ref_=sr">Laburnum Grove (1936)</a>, attracted high praise from a future collaborator, novelist/critic <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001294/?ref_=sr">Graham Greene</a>, who said that once Reed "gets the right script, [he] will prove far more than efficient." However, Reed would endure the sort of staid, boilerplate filmmaking that characterized British "B" movies until he left this behind with <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0031976/?ref_=sr">The Stars Look Down (1940)</a>, his second film with <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0714878/?ref_=sr">Michael Redgrave</a>, and his openly Hitchcockian <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0032842/?ref_=sr">Night Train to Munich (1940)</a>, a comedy-thriller with <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001322/?ref_=sr">Rex Harrison</a>. It has often been seen as a sequel to <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000033/?ref_=sr">Alfred Hitchcock</a>'s <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0030341/?ref_=sr">The Lady Vanishes (1938)</a> with the same screenwriters and comedy relief--<a class="ipc-md-link ipc-md-link--entity" href="/name/nm0705509/?ref_=sr">Basil Radford</a> and <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0915614/?ref_=sr">Naunton Wayne</a>, who would just about make careers as the cricket zealots Charters and Caldicott, from "Vanishes".<br/><br/>The British liked these films and, significantly, so did America, where Hollywood still wondered whether their patronage of the British film industry was worth the gamble of a payoff via the US public. Dean was just one of several powerhouse producers rising in Britain in the 1930s. Other names are more familiar: <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0466099/?ref_=sr">Alexander Korda</a> and <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0710217/?ref_=sr">J. Arthur Rank</a> stand out. For Reed, who would wisely decide to start producing his own films in order to have more control over them, finding his niche was still a challenge into the 1940s. He was only too well aware that the film director led a team effort--his was partly a coordinator's task, harmonizing the talents of the creative team. The modest Reed would admit to his success being this partnership time and again. So he gravitated toward the same scriptwriters, art directors and cinematographers as his movie list spread out.<br/><br/>There were more thrillers and some historical bios: <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0033790/?ref_=sr">Kipps (1941)</a> with Redgrave and <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0035586/?ref_=sr">The Young Mr. Pitt (1942)</a> with <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0232196/?ref_=sr">Robert Donat</a>. He did service and war effort fare through World War II, but these were more than flag wavers, for Reed dealt with the psychology of transitioning to military life. His Anglo-American documentary of combat (co-directed by <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0437717/?ref_=sr">Garson Kanin</a>), <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0038192/?ref_=sr">The True Glory (1945)</a>, won the 1946 Oscar for Best Documentary. With that under his belt, Reed was now recognized as Britain's ablest director and could pick and choose his projects. He also had the clout--and the all-important funds--to do what he thought was essential to ensure realism on a location shoot, something missing in British film work prior to Reed.<br/><br/><a class="ipc-md-link ipc-md-link--entity" href="/title/tt0039677/?ref_=sr">Odd Man Out (1947)</a> with <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000051/?ref_=sr">James Mason</a> as an IRA hit man on the run did just that and was Reed's first real independent effort, and he had gone to Rank to do it. All too soon, however, that organization began subjugating directors' wishes to studio needs, and Reed made perhaps his most important associative decision and joined Korda's London Films. Here was one very important harmony--he and Korda thought along the same lines. Though <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0454028/?ref_=sr">Anthony Kimmins</a> had scripted four films for Reed, it was time for Korda to introduce the director to <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001294/?ref_=sr">Graham Greene</a>. Their association would bring Reed his greatest successes. <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0040338/?ref_=sr">The Fallen Idol (1948)</a> was based on a Greene short story, with <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0724732/?ref_=sr">Ralph Richardson</a> as a do-everything head butler in a diplomatic household. Idolized by the lonely, small son of his employer, he becomes caught up in a liaison with a woman on the work staff, who was much younger than his shrewish wife. It may seem slow to an American audience, but with the focus on the boy's wide-eyed view of rather gloomy surroundings, as well as the adult drama around him, it was innovative and a solid success.<br/><br/>What came next was a landmark--the best known of Reed's films. <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0041959/?ref_=sr">The Third Man (1949)</a> was yet another Greene story, molded into a gem of a screenplay by him, though Reed added some significant elements of his own. The film has been endlessly summarized and analyzed and, whether defined as an international noir or post-war noir or just noir, it was cutting-edge noir and unforgettable. This was Reed in full control--well, almost-- and the money was coming from yet another wide-vision producer, <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0006388/?ref_=sr">David O. Selznick</a>, along with Korda. Tension did develop in this effort keep a predominantly Anglo effort in this Anglo-American collaboration.<br/><br/>There were complications, though. For one thing, Korda--old friend and somewhat kindred spirit of wunderkind director <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000080/?ref_=sr">Orson Welles</a>--had a gentlemen's agreement with the latter for three pictures, but these were not forthcoming. Korda could be as evasive as Welles was known to be, and Welles had come to Europe to further his inevitable film projects after troubles in Hollywood. Always desperate for seed money, Welles was forced to take acting parts in Europe to build up his bank account in order to finance his more personal projects. He thus accepted the role of the larger-than-life American flim-flam man turned criminal, Harry Lime. The extended time spent filming the Vienna sewer scenes on location and at the elaborate set for them at Shepperton Studios in London, entailed the longest of the ten minutes or so of Welles' screen time. Here was a potential source of directorial intimidation if ever there was one. Welles took it upon himself to direct Reed's veteran cinematographer <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0005761/?ref_=sr">Robert Krasker</a> with his own vision of some sewer sequences in London (after leaving the location shoot in Vienna), using many takes. Supposedly, Reed did not use any of Welles' footage, and in fact whatever there was got conveniently lost. Yet <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0033467/?ref_=sr">Citizen Kane (1941)</a>'s shadow was so looming that Welles was given credit for a lot of camera work, atmospherics and the chase scenes. He had referred to the movie as "my film" later on and had said he wrote all his dialog. Some of the ferris wheel dialog with its famous famous "cuckoo clock" speech (which Reed and Greene both attributed to him) was probably the essence of Welles' contributions.<br/><br/>Krasker's quirky angles under Reed's direction perfectly framed the ready-made-for-an-art designer bombed-out shadows and stark, isolated street lights of postwar Vienna and its underworld. Unique to cinema history, the whole score (except for some canned incidental café music) was just the brilliant zither playing of <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0438934/?ref_=sr">Anton Karas</a>, adding his nuances to every dramatic transition. Krasker won an Oscar, and Karas was nominated for one.<br/><br/>Reed's attention to detailed casting also paid off, particularly in casting German-speaking actors and background players. Selznick insisted on <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001072/?ref_=sr">Joseph Cotten</a> as Holly Martins, the benighted protagonist, and his clipped and sharp voice and subterranean drawl were perfect for the part. Reed had wanted <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000071/?ref_=sr">James Stewart</a>--definitely a different perception than Americans of its leading men. Selznick parted ways with Reed on other issues, however; there was a laundry list of reasons for his re-editing and changing some incidentals for the shorter American version, partly based on negative comments from sneak preview responses. Perhaps it was the constant interruptions from the other side of the Atlantic that drove Reed to personally narrate the introduction describing Martins in the British version of the film (given the basic tenets of noir films, the star always played narrator to introduce the story and voice over where appropriate). Selznick showed himself--in this instance, anyway--to have a better directorial sense by substituting Cotten introducing himself in the American cut. It made far more sense and was much more effective. On the other hand, Selznick's editing of the pivotal railway café scenes with Cotten and <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0885098/?ref_=sr">Alida Valli</a> had continuity problems.<br/><br/>Nonetheless, the film was an international smash, and all the principal players reaped the rewards. Reed did not get an Oscar, but he did win the Cannes Film Grand Prix. Greene was motivated enough to take the story and expand it into a best-selling novel. Even Welles, with his minimum screen time--he was spending most of his time in Europe trying to obtain financing for his newest project, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0048455/?ref_=sr">Otello (1956)</a>--milked the movie for all it was worth. He did not deny directorial influences (though in a 1984 interview he did), and even developed a Harry Lime radio show back home.<br/><br/>However, the movie had its detractors. It was called too melodramatic and too cynical. The short scenes of untranslated German dialog were also criticized, yet that lent to the atmosphere of confusion and helplessness of Martins caught in a wary, potentially dangerous environment--something the audience inevitably was able to share. It was all too ironic that Reed, now declared by some as the greatest living director of the time, found his career in decline thereafter. Of his total output, four were based on plays, three on stories and 15 on novels. With less than half of them to go, he was to be disappointed for the most part. His <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0046031/?ref_=sr">The Man Between (1953)</a> with James Mason was too much of a "Third Man" reprise, and <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0048250/?ref_=sr">A Kid for Two Farthings (1955)</a> was too sentimental.<br/><br/>By now Reed was being sought by enterprising Hollywood producers. He had--as he usually did--the material for a first-rate movie with two popular American actors, <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000044/?ref_=sr">Burt Lancaster</a> and <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000348/?ref_=sr">Tony Curtis</a> for <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0049875/?ref_=sr">Trapeze (1956)</a>. However, it suffered from a slow script, as would the British-produced <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0051816/?ref_=sr">The Key (1958)</a>, despite another international cast. Things finally picked up with his venture into another Greene-scripted film from his novel, with <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000027/?ref_=sr">Alec Guinness</a> in the lead in the UK spy spoof <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0054152/?ref_=sr">Our Man in Havana (1959)</a> with yet another winning international cast.<br/><br/>When Hollywood called again, the chance at such a British piece of history as <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0056264/?ref_=sr">Mutiny on the Bounty (1962)</a> with a mostly British cast and <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000008/?ref_=sr">Marlon Brando</a> seemed bound for success. It was the second version of the movie produced by MGM (the first being the <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000022/?ref_=sr">Clark Gable</a> starrer <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0026752/?ref_=sr">Mutiny on the Bounty (1935)</a>). However, Brando's history of being temperamental was much in evidence on location in Tahiti. Reed shot a small part of the picture but finally left, having more than his fill of the star's ego (and, evidently, being allowed too much artistic control by the studio) and the film was finished by <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0587277/?ref_=sr">Lewis Milestone</a>. Reed would ultimately be branded as a failure in directing historical movies, but it was an unfair appraisal based on the random aspect of film success and such forces of nature as Brando, not artistic and technical expertise.<br/><br/>The opportunity to make another film came knocking again with Reed and American money forming the production company International Classics to produce <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0831919/?ref_=sr">Irving Stone</a>'s best-selling story of Michelangelo and the painting of the Sistine Chapel, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0058886/?ref_=sr">The Agony and the Ecstasy (1965)</a>. Here is perhaps the prime example of Reed being given short shrift for a really valiant effort at an historical, artistically significant and cultural epic because it was a "flop" at the box office. Shot on location in Rome and its environs, the film had a first-rate cast headed by <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000032/?ref_=sr">Charlton Heston</a> doing his method best as the temperamental artist with <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001322/?ref_=sr">Rex Harrison</a>, an effortless standout as the equally volatile Pope Julius II. <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0162283/?ref_=sr">Diane Cilento</a> did fine work as the Contessina de Medici, with the always stalwart <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0028674/?ref_=sr">Harry Andrews</a> as architect rival Donato Bramante. Most of the other roles were filled by Italians dubbed in English, but they all look good.<br/><br/>Reed's attention to historical detail provided perhaps the most accurate depiction of early 16th-century Italy--from costumes and manners to military action and weapons (especially firearms)--ever brought to the screen. The script by <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0242897/?ref_=sr">Philip Dunne</a> was brisk and always entertaining in the verbal battle between the artist and his pontiff. Yet by the 1960s costume epics were going out of style and bigger flops, such as <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0056937/?ref_=sr">Cleopatra (1963)</a> (talk about agony) despite the wealth of stars which included Harrison, tended to spread like a disease to those few that came later. Despite a high-powered distribution campaign by Twentieth Century-Fox, Reed's exemplary effort would ultimately be appreciated by art scholars and historians--not the stuff of Hollywood's money mentality.<br/><br/>For Reed the only remaining triumph was, of all things, a musical--his first and only--yet again he was working with children. However, the adaptation of the great <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0002042/?ref_=sr">Charles Dickens</a> novel "Oliver Twistt" top the screen (as <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0063385/?ref_=sr">Oliver! (1968)</a>) was a sensation with a lively script and music amid a realistic 19th-century London that was up to Reed's usual standards. The film was nominated for no less than 11 Oscars, wining five and two of the big ones--Best Picture and Best Director. Reed had finally achieved that bit of elusiveness. He could never be so simplistically stamped with an uneven career; Reed had always kept to a precise craftsman's movie-making formula.<br/><br/>Fellow British director <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0003836/?ref_=sr">Michael Powell</a> had said that Reed "could put a film together like a watchmaker puts together a watch". It was Graham Greene, however, who gave Reed perhaps the more important personal accolade: "The only director I know with that particular warmth of human sympathy, the extraordinary feeling for the right face in the right part, the exactitude of cutting, and not least important the power of sympathizing with an author's worries and an ability to guide him."</div></div></div></div></div></div></li><li class="ipc-metadata-list-summary-item"><div class="ipc-metadata-list-summary-item__c"><div class="ipc-metadata-list-summary-item__tc"><span class="ipc-metadata-list-summary-item__t" aria-disabled="false"></span><div class="sc-77f37b3d-0 jCbCZO dli-parent"><div class="sc-77f37b3d-1 gJmTWZ"><div class="sc-ada31d55-0 kAJLzR"><div data-testid="nlib-img-container" class="sc-ada31d55-1 DLfwP"><div class="ipc-avatar ipc-avatar--base" role="group"><div class="ipc-media ipc-media--avatar ipc-image-media-ratio--avatar ipc-media--circle-radius ipc-media--base ipc-media--custom ipc-avatar__avatar-image ipc-media__img" style="width:60px"><img alt="Michael Winner" class="ipc-image" loading="lazy" src="https://m.media-amazon.com/images/M/MV5BMTU3NzY5MjcyMl5BMl5BanBnXkFtZTcwNTg5OTg5OA@@._V1_QL75_UX60_CR0,0,60,60_.jpg" srcSet="https://m.media-amazon.com/images/M/MV5BMTU3NzY5MjcyMl5BMl5BanBnXkFtZTcwNTg5OTg5OA@@._V1_QL75_UX60_CR0,0,60,60_.jpg 60w, https://m.media-amazon.com/images/M/MV5BMTU3NzY5MjcyMl5BMl5BanBnXkFtZTcwNTg5OTg5OA@@._V1_QL75_UX90_CR0,0,90,90_.jpg 90w, https://m.media-amazon.com/images/M/MV5BMTU3NzY5MjcyMl5BMl5BanBnXkFtZTcwNTg5OTg5OA@@._V1_QL75_UX120_CR0,0,120,120_.jpg 120w" sizes="50vw, (min-width: 480px) 34vw, (min-width: 600px) 26vw, (min-width: 1024px) 16vw, (min-width: 1280px) 16vw" width="60"/></div><a class="ipc-lockup-overlay ipc-focusable" href="/name/nm0935382/?ref_=sr_i_18" aria-label="Michael Winner"><div class="ipc-lockup-overlay__screen"></div></a></div></div><div class="sc-ada31d55-3 eFSukE"><div data-testid="nlib-meter-const-container"></div><div class="ipc-title ipc-title--base ipc-title--title ipc-title-link-no-icon ipc-title--on-textPrimary sc-ada31d55-2 gRltAT" data-testid="nlib-title"><a href="/name/nm0935382/?ref_=sr_t_18" class="ipc-title-link-wrapper" tabindex="0"><h3 class="ipc-title__text">18. Michael Winner</h3></a></div><div class="sc-ada31d55-6 uTkpb"><ul class="ipc-inline-list ipc-inline-list--show-dividers sc-ada31d55-4 jKxHhY base" role="presentation" data-testid="nlib-professions"><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Director</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Writer</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Producer</li></ul><a class="ipc-link ipc-link--base sc-a3c468bb-0 ecChlM" tabindex="0" aria-disabled="false" data-testid="nlib-known-for-title" href="/title/tt0071402/?ref_=sr_knf_18">Death Wish (1974)</a></div></div></div><div><button data-testid="dli-add-to-list-button" class="ipc-icon-button ipc-icon-button--base ipc-icon-button--onAccent2" title="Add to list" tabindex="0" aria-label="Add to list" aria-disabled="false"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--add" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M18 13h-5v5c0 .55-.45 1-1 1s-1-.45-1-1v-5H6c-.55 0-1-.45-1-1s.45-1 1-1h5V6c0-.55.45-1 1-1s1 .45 1 1v5h5c.55 0 1 .45 1 1s-.45 1-1 1z"></path></svg></button></div></div><div data-testid="dli-bio" class="sc-77f37b3d-2 dpXpaE"><div class="ipc-html-content ipc-html-content--base sc-77f37b3d-3 huKIYr" role="presentation"><div class="ipc-html-content-inner-div" role="presentation">Winner was an only child, born in Hampstead, London, England, to Helen (née Zlota) and George Joseph Winner (1910-1975), a company director. His family was Jewish; his mother was Polish and his father of Russian extraction. Following his father's death, Winner's mother gambled recklessly and sold art and furniture worth around £10m at the time, bequeathed to her not only for her life but to Michael thereafter. She died aged 78 in 1984.<br/><br/>He was educated at St Christopher School, Letchworth, and Downing College, Cambridge, where he read law and economics. He also edited the university's student newspaper, Varsity (he was the youngest ever editor up to that time, both in age and in terms of his university career, being only in the second term of his second year). Winner had earlier written a newspaper column, 'Michael Winner's Showbiz Gossip,' in the Kensington Post from the age of 14. The first issue of Showgirl Glamour Revue in 1955 has him writing another film and showbusiness gossip column, "Winner's World". Such jobs allowed him to meet and interview several leading film personalities, including <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000071/?ref_=sr">James Stewart</a> and <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000017/?ref_=sr">Marlene Dietrich</a>. He also wrote for the New Musical Express.<br/><br/>He began his screen career as an assistant director of BBC television programmes, cinema shorts, and full-length "B" productions, occasionally writing screenplays. In 1957 he directed his first travelogue, This is Belgium, shot largely on location in East Grinstead. His first on-screen credit was earned as a writer for the crime film <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0183489/?ref_=sr">Man with a Gun (1958)</a> directed by <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0876440/?ref_=sr">Montgomery Tully</a>. Winner's first credit on a cinema short was Associate Producer on the film <a class="ipc-md-link ipc-md-link--entity" href="/title/tt1726162/?ref_=sr">Floating Fortress (1959)</a> produced by <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0047672/?ref_=sr">Harold Baim</a>. Winner's first project as a lead director involved another story he wrote, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0275674/?ref_=sr">Shoot to Kill (1960)</a>. He would regularly edit his own movies, using the pseudonym "Arnold Crust". He graduated to first features with <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0056353/?ref_=sr">Play It Cool (1962)</a>, a pop musical starring <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0299233/?ref_=sr">Billy Fury</a>.<br/><br/>Winner's first significant film was <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0057677/?ref_=sr">West 11 (1963)</a>, a sympathetic study of rootless drifters in the then seedy Notting Hill area of London. Filmed on location (always Winner's preference), with a script by <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0356227/?ref_=sr">Willis Hall</a> and <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0913961/?ref_=sr">Keith Waterhouse</a>, the film remains an interesting contribution to the working-class realism wave of the early 1960s. Following differences with his producer, <a class="ipc-md-link ipc-md-link--entity" href="/name/nm6302781/?ref_=sr">Daniel Angel</a>, Winner (who had wanted to cast <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001046/?ref_=sr">Julie Christie</a> in the main female role) resolved to produce as well as direct his films and set up his own company, Scimitar. <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0060461/?ref_=sr">The System (1964)</a> and the hectic, dystopian <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0061801/?ref_=sr">I'll Never Forget What's'isname (1967)</a> were paired pieces starring <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001657/?ref_=sr">Oliver Reed</a> that continued Winner's exploration of alienated youth adrift in a rising tide of affluence, dreaming of an alternative life they can never achieve. These films and the exuberant 'Swinging London' comedy <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0060566/?ref_=sr">The Jokers (1967)</a>, also starring Reed, were well-suited to Winner's restless, intrusive camera style and staccato editing. They were followed by <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0064403/?ref_=sr">Hannibal Brooks (1969)</a>, a witty Second World War comedy written by <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0166074/?ref_=sr">Dick Clement</a> and <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0478588/?ref_=sr">Ian La Frenais</a>, which attracted attention in America and led to Winner pursuing a Hollywood career in the 1970s.<br/><br/>Winner now developed a new reputation as an efficient maker of violent action thrillers, often starring <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000314/?ref_=sr">Charles Bronson</a>. The most successful and controversial was <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0071402/?ref_=sr">Death Wish (1974)</a>, with Bronson cast as a liberal architect who embraces vengeance after the murder of his wife and daughter. An intelligent analysis of the deep roots of vigilantism in American society, Death Wish is restrained in its depiction of violence. With his obsessive need to work, Winner accepted many inferior projects, including two weak Death Wish sequels, though occasionally he tried to make more prestigious films, notably <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0069007/?ref_=sr">The Nightcomers (1971)</a>, a prequel to <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0416556/?ref_=sr">Henry James</a>' The Turn of the Screw, made in Britain with <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000008/?ref_=sr">Marlon Brando</a>; and <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0094871/?ref_=sr">A Chorus of Disapproval (1989)</a>, a satisfying version of <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0043697/?ref_=sr">Alan Ayckbourn</a>'s bittersweet comedy.<br/><br/>By the 1990s Winner had become less prolific, and reaped no benefit from the Lottery-prompted rise in genre film-making, which favoured the young and inexperienced. <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0106727/?ref_=sr">Dirty Weekend (1993)</a>, a rape-revenge movie with a female vigilante, aroused considerable controversy, but hardly enhanced Winner's reputation; <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0123215/?ref_=sr">Parting Shots (1998)</a>, a comedy revenge thriller suffused with allusions to Death Wish and restaurant scenes invoking Winner's current incarnation as a food critic, is perhaps his swan song.<br/><br/>In an interview with The Times newspaper, Winner said liver specialists had told him in summer 2012 that he had between 18 months and two years to live. He said he had researched assisted suicide offered at the Dignitas clinic in Switzerland, but found the bureaucracy of the process off-putting. Winner died at his home, Woodland House in Holland Park, on 21 January 2013, aged 77. Winner was buried following a traditional Jewish funeral at Willesden Jewish Cemetery.</div></div></div></div></div></div></li><li class="ipc-metadata-list-summary-item"><div class="ipc-metadata-list-summary-item__c"><div class="ipc-metadata-list-summary-item__tc"><span class="ipc-metadata-list-summary-item__t" aria-disabled="false"></span><div class="sc-77f37b3d-0 jCbCZO dli-parent"><div class="sc-77f37b3d-1 gJmTWZ"><div class="sc-ada31d55-0 kAJLzR"><div data-testid="nlib-img-container" class="sc-ada31d55-1 DLfwP"><div class="ipc-avatar ipc-avatar--base" role="group"><div class="ipc-media ipc-media--avatar ipc-image-media-ratio--avatar ipc-media--circle-radius ipc-media--base ipc-media--custom ipc-avatar__avatar-image ipc-media__img" style="width:60px"><img alt="Michael Bates in Last of the Summer Wine (1973)" class="ipc-image" loading="lazy" src="https://m.media-amazon.com/images/M/MV5BMTM5NDk3MDIxNF5BMl5BanBnXkFtZTcwNjc1Mzk5Nw@@._V1_QL75_UX60_CR0,0,60,60_.jpg" srcSet="https://m.media-amazon.com/images/M/MV5BMTM5NDk3MDIxNF5BMl5BanBnXkFtZTcwNjc1Mzk5Nw@@._V1_QL75_UX60_CR0,0,60,60_.jpg 60w, https://m.media-amazon.com/images/M/MV5BMTM5NDk3MDIxNF5BMl5BanBnXkFtZTcwNjc1Mzk5Nw@@._V1_QL75_UX90_CR0,0,90,90_.jpg 90w, https://m.media-amazon.com/images/M/MV5BMTM5NDk3MDIxNF5BMl5BanBnXkFtZTcwNjc1Mzk5Nw@@._V1_QL75_UX120_CR0,0,120,120_.jpg 120w" sizes="50vw, (min-width: 480px) 34vw, (min-width: 600px) 26vw, (min-width: 1024px) 16vw, (min-width: 1280px) 16vw" width="60"/></div><a class="ipc-lockup-overlay ipc-focusable" href="/name/nm0060988/?ref_=sr_i_19" aria-label="Michael Bates"><div class="ipc-lockup-overlay__screen"></div></a></div></div><div class="sc-ada31d55-3 eFSukE"><div data-testid="nlib-meter-const-container"></div><div class="ipc-title ipc-title--base ipc-title--title ipc-title-link-no-icon ipc-title--on-textPrimary sc-ada31d55-2 gRltAT" data-testid="nlib-title"><a href="/name/nm0060988/?ref_=sr_t_19" class="ipc-title-link-wrapper" tabindex="0"><h3 class="ipc-title__text">19. Michael Bates</h3></a></div><div class="sc-ada31d55-6 uTkpb"><ul class="ipc-inline-list ipc-inline-list--show-dividers sc-ada31d55-4 jKxHhY base" role="presentation" data-testid="nlib-professions"><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Actor</li></ul><a class="ipc-link ipc-link--base sc-a3c468bb-0 ecChlM" tabindex="0" aria-disabled="false" data-testid="nlib-known-for-title" href="/title/tt0066921/?ref_=sr_knf_19">A Clockwork Orange (1971)</a></div></div></div><div><button data-testid="dli-add-to-list-button" class="ipc-icon-button ipc-icon-button--base ipc-icon-button--onAccent2" title="Add to list" tabindex="0" aria-label="Add to list" aria-disabled="false"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--add" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M18 13h-5v5c0 .55-.45 1-1 1s-1-.45-1-1v-5H6c-.55 0-1-.45-1-1s.45-1 1-1h5V6c0-.55.45-1 1-1s1 .45 1 1v5h5c.55 0 1 .45 1 1s-.45 1-1 1z"></path></svg></button></div></div><div data-testid="dli-bio" class="sc-77f37b3d-2 dpXpaE"><div class="ipc-html-content ipc-html-content--base sc-77f37b3d-3 huKIYr" role="presentation"><div class="ipc-html-content-inner-div" role="presentation">Michael Bates was born on 4 December 1920 in Jhansi, United Provinces of Agra and Oudh, British India. He was an actor, known for <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0066921/?ref_=sr">A Clockwork Orange (1971)</a>, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0068611/?ref_=sr">Frenzy (1972)</a> and <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0066206/?ref_=sr">Patton (1970)</a>. He was married to Margaret M. J. Chisholm. He died on 11 January 1978 in Chelsea, London, England, UK.</div></div></div></div></div></div></li><li class="ipc-metadata-list-summary-item"><div class="ipc-metadata-list-summary-item__c"><div class="ipc-metadata-list-summary-item__tc"><span class="ipc-metadata-list-summary-item__t" aria-disabled="false"></span><div class="sc-77f37b3d-0 jCbCZO dli-parent"><div class="sc-77f37b3d-1 gJmTWZ"><div class="sc-ada31d55-0 kAJLzR"><div data-testid="nlib-img-container" class="sc-ada31d55-1 DLfwP"><div class="ipc-avatar ipc-avatar--base" role="group"><div class="ipc-media ipc-media--avatar ipc-image-media-ratio--avatar ipc-media--circle-radius ipc-media--base ipc-media--custom ipc-avatar__avatar-image ipc-media__img" style="width:60px"><img alt="Joseph Losey" class="ipc-image" loading="lazy" src="https://m.media-amazon.com/images/M/MV5BNDM3ZTllYWYtYWQ1Mi00MmMwLTk5YWMtZmI1ZDUwZDZlY2E3XkEyXkFqcGc@._V1_QL75_UX60_CR0,0,60,60_.jpg" srcSet="https://m.media-amazon.com/images/M/MV5BNDM3ZTllYWYtYWQ1Mi00MmMwLTk5YWMtZmI1ZDUwZDZlY2E3XkEyXkFqcGc@._V1_QL75_UX60_CR0,0,60,60_.jpg 60w, https://m.media-amazon.com/images/M/MV5BNDM3ZTllYWYtYWQ1Mi00MmMwLTk5YWMtZmI1ZDUwZDZlY2E3XkEyXkFqcGc@._V1_QL75_UX90_CR0,0,90,90_.jpg 90w, https://m.media-amazon.com/images/M/MV5BNDM3ZTllYWYtYWQ1Mi00MmMwLTk5YWMtZmI1ZDUwZDZlY2E3XkEyXkFqcGc@._V1_QL75_UX120_CR0,0,120,120_.jpg 120w" sizes="50vw, (min-width: 480px) 34vw, (min-width: 600px) 26vw, (min-width: 1024px) 16vw, (min-width: 1280px) 16vw" width="60"/></div><a class="ipc-lockup-overlay ipc-focusable" href="/name/nm0521334/?ref_=sr_i_20" aria-label="Joseph Losey"><div class="ipc-lockup-overlay__screen"></div></a></div></div><div class="sc-ada31d55-3 eFSukE"><div data-testid="nlib-meter-const-container"></div><div class="ipc-title ipc-title--base ipc-title--title ipc-title-link-no-icon ipc-title--on-textPrimary sc-ada31d55-2 gRltAT" data-testid="nlib-title"><a href="/name/nm0521334/?ref_=sr_t_20" class="ipc-title-link-wrapper" tabindex="0"><h3 class="ipc-title__text">20. Joseph Losey</h3></a></div><div class="sc-ada31d55-6 uTkpb"><ul class="ipc-inline-list ipc-inline-list--show-dividers sc-ada31d55-4 jKxHhY base" role="presentation" data-testid="nlib-professions"><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Director</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Producer</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Writer</li></ul><a class="ipc-link ipc-link--base sc-a3c468bb-0 ecChlM" tabindex="0" aria-disabled="false" data-testid="nlib-known-for-title" href="/title/tt0057490/?ref_=sr_knf_20">The Servant (1963)</a></div></div></div><div><button data-testid="dli-add-to-list-button" class="ipc-icon-button ipc-icon-button--base ipc-icon-button--onAccent2" title="Add to list" tabindex="0" aria-label="Add to list" aria-disabled="false"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--add" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M18 13h-5v5c0 .55-.45 1-1 1s-1-.45-1-1v-5H6c-.55 0-1-.45-1-1s.45-1 1-1h5V6c0-.55.45-1 1-1s1 .45 1 1v5h5c.55 0 1 .45 1 1s-.45 1-1 1z"></path></svg></button></div></div><div data-testid="dli-bio" class="sc-77f37b3d-2 dpXpaE"><div class="ipc-html-content ipc-html-content--base sc-77f37b3d-3 huKIYr" role="presentation"><div class="ipc-html-content-inner-div" role="presentation">Belonging to an important family clan in Wisconsin, Joseph Losey studied philosophy but was always interested in theater and thus worked together with <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0106517/?ref_=sr">Bertolt Brecht</a>. After directing some shorts for MGM, he made his first important film, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0040185/?ref_=sr">The Boy with Green Hair (1948)</a>, for RKO. While he was filming <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0043938/?ref_=sr">The Prowler (1951)</a> in Italy he was summoned to testify before the House Un-American Activities Committee, the congressional committee charged with "rooting out" Communist "subversion" in the motion picture industry. Unwilling to subject himself to the committee's well-known intimidation tactics, Losey decided to seek exile in Great Britain. In the following years he used a pseudonym--"Joseph Walton"--for his films, which were of minor quality. He regained his prestige with the thrillers <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0052634/?ref_=sr">Blind Date (1959)</a>, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0053740/?ref_=sr">The Criminal (1960)</a> and <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0059160/?ref_=sr">Eva (1962)</a>. From that point on his films varied between top-quality work like <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0061328/?ref_=sr">Accident (1967)</a> and much lower-quality projects such as <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0060708/?ref_=sr">Modesty Blaise (1966)</a>, which was a box-office success, and <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0073029/?ref_=sr">Galileo (1975)</a>, which wasn't.</div></div></div></div></div></div></li><li class="ipc-metadata-list-summary-item"><div class="ipc-metadata-list-summary-item__c"><div class="ipc-metadata-list-summary-item__tc"><span class="ipc-metadata-list-summary-item__t" aria-disabled="false"></span><div class="sc-77f37b3d-0 jCbCZO dli-parent"><div class="sc-77f37b3d-1 gJmTWZ"><div class="sc-ada31d55-0 kAJLzR"><div data-testid="nlib-img-container" class="sc-ada31d55-1 DLfwP"><div class="ipc-avatar ipc-avatar--base" role="group"><div class="ipc-media ipc-media--avatar ipc-image-media-ratio--avatar ipc-media--circle-radius ipc-media--base ipc-media--custom ipc-avatar__avatar-image ipc-media__img" style="width:60px"><img alt="Allan Cuthbertson in The Avengers (1961)" class="ipc-image" loading="lazy" src="https://m.media-amazon.com/images/M/MV5BNjkxMDg3MzIyN15BMl5BanBnXkFtZTgwNjg3MjU2MjE@._V1_QL75_UY60_CR10,0,60,60_.jpg" srcSet="https://m.media-amazon.com/images/M/MV5BNjkxMDg3MzIyN15BMl5BanBnXkFtZTgwNjg3MjU2MjE@._V1_QL75_UY60_CR10,0,60,60_.jpg 60w, https://m.media-amazon.com/images/M/MV5BNjkxMDg3MzIyN15BMl5BanBnXkFtZTgwNjg3MjU2MjE@._V1_QL75_UY90_CR15,0,90,90_.jpg 90w, https://m.media-amazon.com/images/M/MV5BNjkxMDg3MzIyN15BMl5BanBnXkFtZTgwNjg3MjU2MjE@._V1_QL75_UY120_CR20,0,120,120_.jpg 120w" sizes="50vw, (min-width: 480px) 34vw, (min-width: 600px) 26vw, (min-width: 1024px) 16vw, (min-width: 1280px) 16vw" width="60"/></div><a class="ipc-lockup-overlay ipc-focusable" href="/name/nm0193862/?ref_=sr_i_21" aria-label="Allan Cuthbertson"><div class="ipc-lockup-overlay__screen"></div></a></div></div><div class="sc-ada31d55-3 eFSukE"><div data-testid="nlib-meter-const-container"></div><div class="ipc-title ipc-title--base ipc-title--title ipc-title-link-no-icon ipc-title--on-textPrimary sc-ada31d55-2 gRltAT" data-testid="nlib-title"><a href="/name/nm0193862/?ref_=sr_t_21" class="ipc-title-link-wrapper" tabindex="0"><h3 class="ipc-title__text">21. Allan Cuthbertson</h3></a></div><div class="sc-ada31d55-6 uTkpb"><ul class="ipc-inline-list ipc-inline-list--show-dividers sc-ada31d55-4 jKxHhY base" role="presentation" data-testid="nlib-professions"><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Actor</li></ul><a class="ipc-link ipc-link--base sc-a3c468bb-0 ecChlM" tabindex="0" aria-disabled="false" data-testid="nlib-known-for-title" href="/title/tt0054953/?ref_=sr_knf_21">The Guns of Navarone (1961)</a></div></div></div><div><button data-testid="dli-add-to-list-button" class="ipc-icon-button ipc-icon-button--base ipc-icon-button--onAccent2" title="Add to list" tabindex="0" aria-label="Add to list" aria-disabled="false"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--add" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M18 13h-5v5c0 .55-.45 1-1 1s-1-.45-1-1v-5H6c-.55 0-1-.45-1-1s.45-1 1-1h5V6c0-.55.45-1 1-1s1 .45 1 1v5h5c.55 0 1 .45 1 1s-.45 1-1 1z"></path></svg></button></div></div><div data-testid="dli-bio" class="sc-77f37b3d-2 dpXpaE"><div class="ipc-html-content ipc-html-content--base sc-77f37b3d-3 huKIYr" role="presentation"><div class="ipc-html-content-inner-div" role="presentation">Cuthbertson arrived in Britain in 1947, and appeared shortly thereafter as Romeo in Romeo and Juliet at the Boltons. In London's West End, he appeared as Laertes in Hamlet, Aimwell in The Beaux Stratagem, and Octavius Robinson in Man & Superman, among many other roles.</div></div></div></div></div></div></li><li class="ipc-metadata-list-summary-item"><div class="ipc-metadata-list-summary-item__c"><div class="ipc-metadata-list-summary-item__tc"><span class="ipc-metadata-list-summary-item__t" aria-disabled="false"></span><div class="sc-77f37b3d-0 jCbCZO dli-parent"><div class="sc-77f37b3d-1 gJmTWZ"><div class="sc-ada31d55-0 kAJLzR"><div data-testid="nlib-img-container" class="sc-ada31d55-1 DLfwP"><div class="ipc-avatar ipc-avatar--base" role="group"><div class="ipc-media ipc-media--avatar ipc-image-media-ratio--avatar ipc-media--circle-radius ipc-media--base ipc-media--custom ipc-avatar__avatar-image ipc-media__img" style="width:60px"><img alt="Robin Gibb" class="ipc-image" loading="lazy" src="https://m.media-amazon.com/images/M/MV5BMTg0NjQ3MzY1Ml5BMl5BanBnXkFtZTcwNDU3NDcwNw@@._V1_QL75_UX60_CR0,0,60,60_.jpg" srcSet="https://m.media-amazon.com/images/M/MV5BMTg0NjQ3MzY1Ml5BMl5BanBnXkFtZTcwNDU3NDcwNw@@._V1_QL75_UX60_CR0,0,60,60_.jpg 60w, https://m.media-amazon.com/images/M/MV5BMTg0NjQ3MzY1Ml5BMl5BanBnXkFtZTcwNDU3NDcwNw@@._V1_QL75_UX90_CR0,0,90,90_.jpg 90w, https://m.media-amazon.com/images/M/MV5BMTg0NjQ3MzY1Ml5BMl5BanBnXkFtZTcwNDU3NDcwNw@@._V1_QL75_UX120_CR0,0,120,120_.jpg 120w" sizes="50vw, (min-width: 480px) 34vw, (min-width: 600px) 26vw, (min-width: 1024px) 16vw, (min-width: 1280px) 16vw" width="60"/></div><a class="ipc-lockup-overlay ipc-focusable" href="/name/nm0316471/?ref_=sr_i_22" aria-label="Robin Gibb"><div class="ipc-lockup-overlay__screen"></div></a></div></div><div class="sc-ada31d55-3 eFSukE"><div data-testid="nlib-meter-const-container"></div><div class="ipc-title ipc-title--base ipc-title--title ipc-title-link-no-icon ipc-title--on-textPrimary sc-ada31d55-2 gRltAT" data-testid="nlib-title"><a href="/name/nm0316471/?ref_=sr_t_22" class="ipc-title-link-wrapper" tabindex="0"><h3 class="ipc-title__text">22. Robin Gibb</h3></a></div><div class="sc-ada31d55-6 uTkpb"><ul class="ipc-inline-list ipc-inline-list--show-dividers sc-ada31d55-4 jKxHhY base" role="presentation" data-testid="nlib-professions"><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Actor</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Composer</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Music Department</li></ul><a class="ipc-link ipc-link--base sc-a3c468bb-0 ecChlM" tabindex="0" aria-disabled="false" data-testid="nlib-known-for-title" href="/title/tt0076666/?ref_=sr_knf_22">Saturday Night Fever (1977)</a></div></div></div><div><button data-testid="dli-add-to-list-button" class="ipc-icon-button ipc-icon-button--base ipc-icon-button--onAccent2" title="Add to list" tabindex="0" aria-label="Add to list" aria-disabled="false"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--add" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M18 13h-5v5c0 .55-.45 1-1 1s-1-.45-1-1v-5H6c-.55 0-1-.45-1-1s.45-1 1-1h5V6c0-.55.45-1 1-1s1 .45 1 1v5h5c.55 0 1 .45 1 1s-.45 1-1 1z"></path></svg></button></div></div><div data-testid="dli-bio" class="sc-77f37b3d-2 dpXpaE"><div class="ipc-html-content ipc-html-content--base sc-77f37b3d-3 huKIYr" role="presentation"><div class="ipc-html-content-inner-div" role="presentation">Robin Gibb was born in 1949 on the Isle of Man, about half an hour before his twin brother Maurice. His parents, Barbara and Hugh, were both musical. Barbara sang and Hugh was a drummer and bandleader. Robin had four siblings - an older sister and brother, Lesley and Barry, twin Maurice and younger brother Andy. The family moved for some time to Manchester, England before emigrating to Australia in 1958.<br/><br/>During their childhood, Robin, Maurice and Barry began performing together. They played under various band names, but finally settled on <a class="ipc-md-link ipc-md-link--entity" href="/name/nm1397320/?ref_=sr">The Bee Gees</a>. It was in Australia that the band first tasted success, topping the charts there in 1965 with 'Spicks and Specks'. In 1966 they relocated back to the UK and landed a recording contract with Polydor. Chart success followed in the UK and USA.<br/><br/>In the late 60s, tensions arose in the band, and Robin briefly left to pursue a solo career, but the group reunited and continued having success, including switching to a more disco sound. In 1977, The Bee Gees wrote and produced five songs for the soundtrack of <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0076666/?ref_=sr">Saturday Night Fever (1977)</a>. The film was a smash and the soundtrack album went on to become one of the biggest selling of all time, elevating The Bee Gees to superstar group status.<br/><br/>Robin and the group also became known for penning hit records for other artists including <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000659/?ref_=sr">Barbra Streisand</a>, <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0005384/?ref_=sr">Diana Ross</a>, <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000573/?ref_=sr">Dolly Parton</a> and <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0737006/?ref_=sr">Kenny Rogers</a>. The band continued writing and performing into the 1990s, but disbanded officially in 2003 when <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0316465/?ref_=sr">Maurice Gibb</a> died suddenly at 53. Robin continued to write and perform solo material, and became involved in charity work in support of British troops. In 2011 it was announced that he was suffering with cancer. After a brave battle with the disease and other health problems, Robin Gibb passed away on May 20th 2012.</div></div></div></div></div></div></li><li class="ipc-metadata-list-summary-item"><div class="ipc-metadata-list-summary-item__c"><div class="ipc-metadata-list-summary-item__tc"><span class="ipc-metadata-list-summary-item__t" aria-disabled="false"></span><div class="sc-77f37b3d-0 jCbCZO dli-parent"><div class="sc-77f37b3d-1 gJmTWZ"><div class="sc-ada31d55-0 kAJLzR"><div data-testid="nlib-img-container" class="sc-ada31d55-1 DLfwP"><div class="ipc-avatar ipc-avatar--base" role="group"><div class="ipc-media ipc-media--avatar ipc-image-media-ratio--avatar ipc-media--circle-radius ipc-media--base ipc-media--custom ipc-avatar__avatar-image ipc-media__img" style="width:60px"><img alt="Michael Coles in The Informers (1963)" class="ipc-image" loading="lazy" src="https://m.media-amazon.com/images/M/MV5BNTE4ZTlkMGUtYmZhYi00NGMyLTkzNmEtZTJiNTg5OWIwYWE0XkEyXkFqcGc@._V1_QL75_UX60_CR0,0,60,60_.jpg" srcSet="https://m.media-amazon.com/images/M/MV5BNTE4ZTlkMGUtYmZhYi00NGMyLTkzNmEtZTJiNTg5OWIwYWE0XkEyXkFqcGc@._V1_QL75_UX60_CR0,0,60,60_.jpg 60w, https://m.media-amazon.com/images/M/MV5BNTE4ZTlkMGUtYmZhYi00NGMyLTkzNmEtZTJiNTg5OWIwYWE0XkEyXkFqcGc@._V1_QL75_UX90_CR0,0,90,90_.jpg 90w, https://m.media-amazon.com/images/M/MV5BNTE4ZTlkMGUtYmZhYi00NGMyLTkzNmEtZTJiNTg5OWIwYWE0XkEyXkFqcGc@._V1_QL75_UX120_CR0,0,120,120_.jpg 120w" sizes="50vw, (min-width: 480px) 34vw, (min-width: 600px) 26vw, (min-width: 1024px) 16vw, (min-width: 1280px) 16vw" width="60"/></div><a class="ipc-lockup-overlay ipc-focusable" href="/name/nm0171326/?ref_=sr_i_23" aria-label="Michael Coles"><div class="ipc-lockup-overlay__screen"></div></a></div></div><div class="sc-ada31d55-3 eFSukE"><div data-testid="nlib-meter-const-container"></div><div class="ipc-title ipc-title--base ipc-title--title ipc-title-link-no-icon ipc-title--on-textPrimary sc-ada31d55-2 gRltAT" data-testid="nlib-title"><a href="/name/nm0171326/?ref_=sr_t_23" class="ipc-title-link-wrapper" tabindex="0"><h3 class="ipc-title__text">23. Michael Coles</h3></a></div><div class="sc-ada31d55-6 uTkpb"><ul class="ipc-inline-list ipc-inline-list--show-dividers sc-ada31d55-4 jKxHhY base" role="presentation" data-testid="nlib-professions"><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Actor</li></ul><a class="ipc-link ipc-link--base sc-a3c468bb-0 ecChlM" tabindex="0" aria-disabled="false" data-testid="nlib-known-for-title" href="/title/tt0059126/?ref_=sr_knf_23">Dr. Who and the Daleks (1965)</a></div></div></div><div><button data-testid="dli-add-to-list-button" class="ipc-icon-button ipc-icon-button--base ipc-icon-button--onAccent2" title="Add to list" tabindex="0" aria-label="Add to list" aria-disabled="false"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--add" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M18 13h-5v5c0 .55-.45 1-1 1s-1-.45-1-1v-5H6c-.55 0-1-.45-1-1s.45-1 1-1h5V6c0-.55.45-1 1-1s1 .45 1 1v5h5c.55 0 1 .45 1 1s-.45 1-1 1z"></path></svg></button></div></div><div data-testid="dli-bio" class="sc-77f37b3d-2 dpXpaE"><div class="ipc-html-content ipc-html-content--base sc-77f37b3d-3 huKIYr" role="presentation"><div class="ipc-html-content-inner-div" role="presentation">Michael Coles was born on 12 August 1934 in London, England, UK. He was an actor, known for <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0059126/?ref_=sr">Dr. Who and the Daleks (1965)</a>, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0070634/?ref_=sr">The Satanic Rites of Dracula (1973)</a> and <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0068505/?ref_=sr">Dracula A.D. 1972 (1972)</a>. He was married to <a class="ipc-md-link ipc-md-link--entity" href="/name/nm6602971/?ref_=sr">Maryon Kantaroff</a>. He died on 26 April 2005 in Chelsea, England, UK.</div></div></div></div></div></div></li><li class="ipc-metadata-list-summary-item"><div class="ipc-metadata-list-summary-item__c"><div class="ipc-metadata-list-summary-item__tc"><span class="ipc-metadata-list-summary-item__t" aria-disabled="false"></span><div class="sc-77f37b3d-0 jCbCZO dli-parent"><div class="sc-77f37b3d-1 gJmTWZ"><div class="sc-ada31d55-0 kAJLzR"><div data-testid="nlib-img-container" class="sc-ada31d55-1 DLfwP"><div class="ipc-avatar ipc-avatar--base" role="group"><div class="ipc-media ipc-media--avatar ipc-image-media-ratio--avatar ipc-media--circle-radius ipc-media--base ipc-media--custom ipc-avatar__avatar-image ipc-media__img" style="width:60px"><img alt="Howard Marion-Crawford" class="ipc-image" loading="lazy" src="https://m.media-amazon.com/images/M/MV5BYWYwZGQ4NDQtYzAzMS00ZDgyLWI0ZWUtZmY2NGJmYzM3NzMxXkEyXkFqcGc@._V1_QL75_UX60_CR0,0,60,60_.jpg" srcSet="https://m.media-amazon.com/images/M/MV5BYWYwZGQ4NDQtYzAzMS00ZDgyLWI0ZWUtZmY2NGJmYzM3NzMxXkEyXkFqcGc@._V1_QL75_UX60_CR0,0,60,60_.jpg 60w, https://m.media-amazon.com/images/M/MV5BYWYwZGQ4NDQtYzAzMS00ZDgyLWI0ZWUtZmY2NGJmYzM3NzMxXkEyXkFqcGc@._V1_QL75_UX90_CR0,0,90,90_.jpg 90w, https://m.media-amazon.com/images/M/MV5BYWYwZGQ4NDQtYzAzMS00ZDgyLWI0ZWUtZmY2NGJmYzM3NzMxXkEyXkFqcGc@._V1_QL75_UX120_CR0,0,120,120_.jpg 120w" sizes="50vw, (min-width: 480px) 34vw, (min-width: 600px) 26vw, (min-width: 1024px) 16vw, (min-width: 1280px) 16vw" width="60"/></div><a class="ipc-lockup-overlay ipc-focusable" href="/name/nm0548010/?ref_=sr_i_24" aria-label="Howard Marion-Crawford"><div class="ipc-lockup-overlay__screen"></div></a></div></div><div class="sc-ada31d55-3 eFSukE"><div data-testid="nlib-meter-const-container"></div><div class="ipc-title ipc-title--base ipc-title--title ipc-title-link-no-icon ipc-title--on-textPrimary sc-ada31d55-2 gRltAT" data-testid="nlib-title"><a href="/name/nm0548010/?ref_=sr_t_24" class="ipc-title-link-wrapper" tabindex="0"><h3 class="ipc-title__text">24. Howard Marion-Crawford</h3></a></div><div class="sc-ada31d55-6 uTkpb"><ul class="ipc-inline-list ipc-inline-list--show-dividers sc-ada31d55-4 jKxHhY base" role="presentation" data-testid="nlib-professions"><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Actor</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Additional Crew</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Soundtrack</li></ul><a class="ipc-link ipc-link--base sc-a3c468bb-0 ecChlM" tabindex="0" aria-disabled="false" data-testid="nlib-known-for-title" href="/title/tt0059162/?ref_=sr_knf_24">The Face of Fu Manchu (1965)</a></div></div></div><div><button data-testid="dli-add-to-list-button" class="ipc-icon-button ipc-icon-button--base ipc-icon-button--onAccent2" title="Add to list" tabindex="0" aria-label="Add to list" aria-disabled="false"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--add" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M18 13h-5v5c0 .55-.45 1-1 1s-1-.45-1-1v-5H6c-.55 0-1-.45-1-1s.45-1 1-1h5V6c0-.55.45-1 1-1s1 .45 1 1v5h5c.55 0 1 .45 1 1s-.45 1-1 1z"></path></svg></button></div></div><div data-testid="dli-bio" class="sc-77f37b3d-2 dpXpaE"><div class="ipc-html-content ipc-html-content--base sc-77f37b3d-3 huKIYr" role="presentation"><div class="ipc-html-content-inner-div" role="presentation">Howard Marion-Crawford was born on 17 January 1914 in London, England, UK. He was an actor, known for <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0059162/?ref_=sr">The Face of Fu Manchu (1965)</a>, <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0056172/?ref_=sr">Lawrence of Arabia (1962)</a> and <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0064338/?ref_=sr">The Castle of Fu Manchu (1969)</a>. He was married to Germaine Tighe-Umbers, <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0186848/?ref_=sr">Junia Crawford</a>, <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0934451/?ref_=sr">Mary Wimbush</a> and Jeanne Scott-Gunn. He died on 24 November 1969 in Chelsea, London, England, UK.</div></div></div></div></div></div></li><li class="ipc-metadata-list-summary-item"><div class="ipc-metadata-list-summary-item__c"><div class="ipc-metadata-list-summary-item__tc"><span class="ipc-metadata-list-summary-item__t" aria-disabled="false"></span><div class="sc-77f37b3d-0 jCbCZO dli-parent"><div class="sc-77f37b3d-1 gJmTWZ"><div class="sc-ada31d55-0 kAJLzR"><div data-testid="nlib-img-container" class="sc-ada31d55-1 DLfwP"><div class="ipc-avatar ipc-avatar--base" role="group"><div class="ipc-media ipc-media--avatar ipc-image-media-ratio--avatar ipc-media--circle-radius ipc-media--base ipc-media--custom ipc-avatar__avatar-image ipc-media__img" style="width:60px"><img alt="Donald Hewlett in It Ain't Half Hot Mum (1974)" class="ipc-image" loading="lazy" src="https://m.media-amazon.com/images/M/MV5BYWEyZmEzMjktNGU1Ni00MjhiLWE5ZTAtOTg1N2IzMjNiMmYwXkEyXkFqcGc@._V1_QL75_UX60_CR0,0,60,60_.jpg" srcSet="https://m.media-amazon.com/images/M/MV5BYWEyZmEzMjktNGU1Ni00MjhiLWE5ZTAtOTg1N2IzMjNiMmYwXkEyXkFqcGc@._V1_QL75_UX60_CR0,0,60,60_.jpg 60w, https://m.media-amazon.com/images/M/MV5BYWEyZmEzMjktNGU1Ni00MjhiLWE5ZTAtOTg1N2IzMjNiMmYwXkEyXkFqcGc@._V1_QL75_UX90_CR0,0,90,90_.jpg 90w, https://m.media-amazon.com/images/M/MV5BYWEyZmEzMjktNGU1Ni00MjhiLWE5ZTAtOTg1N2IzMjNiMmYwXkEyXkFqcGc@._V1_QL75_UX120_CR0,0,120,120_.jpg 120w" sizes="50vw, (min-width: 480px) 34vw, (min-width: 600px) 26vw, (min-width: 1024px) 16vw, (min-width: 1280px) 16vw" width="60"/></div><a class="ipc-lockup-overlay ipc-focusable" href="/name/nm0382111/?ref_=sr_i_25" aria-label="Donald Hewlett"><div class="ipc-lockup-overlay__screen"></div></a></div></div><div class="sc-ada31d55-3 eFSukE"><div data-testid="nlib-meter-const-container"></div><div class="ipc-title ipc-title--base ipc-title--title ipc-title-link-no-icon ipc-title--on-textPrimary sc-ada31d55-2 gRltAT" data-testid="nlib-title"><a href="/name/nm0382111/?ref_=sr_t_25" class="ipc-title-link-wrapper" tabindex="0"><h3 class="ipc-title__text">25. Donald Hewlett</h3></a></div><div class="sc-ada31d55-6 uTkpb"><ul class="ipc-inline-list ipc-inline-list--show-dividers sc-ada31d55-4 jKxHhY base" role="presentation" data-testid="nlib-professions"><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Actor</li><li role="presentation" class="ipc-inline-list__item sc-ada31d55-5 kwvPJV">Writer</li></ul><a class="ipc-link ipc-link--base sc-a3c468bb-0 ecChlM" tabindex="0" aria-disabled="false" data-testid="nlib-known-for-title" href="/title/tt0081878/?ref_=sr_knf_25">It Ain't Half Hot Mum (1974–1981)</a></div></div></div><div><button data-testid="dli-add-to-list-button" class="ipc-icon-button ipc-icon-button--base ipc-icon-button--onAccent2" title="Add to list" tabindex="0" aria-label="Add to list" aria-disabled="false"><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--add" viewBox="0 0 24 24" fill="currentColor" role="presentation"><path d="M18 13h-5v5c0 .55-.45 1-1 1s-1-.45-1-1v-5H6c-.55 0-1-.45-1-1s.45-1 1-1h5V6c0-.55.45-1 1-1s1 .45 1 1v5h5c.55 0 1 .45 1 1s-.45 1-1 1z"></path></svg></button></div></div><div data-testid="dli-bio" class="sc-77f37b3d-2 dpXpaE"><div class="ipc-html-content ipc-html-content--base sc-77f37b3d-3 huKIYr" role="presentation"><div class="ipc-html-content-inner-div" role="presentation">Best known for his portrayals of upper-class military types, Donald Hewlett's father was Conservative MP for Manchester Exchange. He studied geography and meteorology at St. John's College, Cambridge. Early in World War II, he served at the Fleet Air Arm station of Kirkwall in the Orkneys, providing weather reports for Atlantic convoys. He was later assigned to the Royal Navy during North Atlantic action aboard the light cruisers Malaya and Galatea. He rose to the rank of lieutenant. He was subsequently posted to Singapore, in charge of Japanese POW's and as entertainments officer.<br/><br/>He graduated from RADA with the Athene Seyler Prize for Comedy and his first professional stage appearance was in repertory at the Oxford Playhouse. Hewlett became most familiar to British television viewers for his regular role in the sitcom <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0081878/?ref_=sr">It Ain't Half Hot Mum (1974)</a>, a series which was very popular at the time but is never repeated now because it is considered very politically incorrect. Cult television fans also remember him as Hardiman in <a class="ipc-md-link ipc-md-link--entity" href="/title/tt0562899/?ref_=sr">The Claws of Axos: Episode One (1971)</a>, one of the many British officials who came up against <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0675727/?ref_=sr">Jon Pertwee</a>'s Doctor in the series.</div></div></div></div></div></div></li></ul><div class="sc-619d2eab-0 dxnOGI"><div class="sc-f09bd1f5-1 hoKmdt pagination-container"><span class="ipc-see-more sc-33e570c-0 cMGrFN single-page-see-more-button"><button class="ipc-btn ipc-btn--single-padding ipc-btn--center-align-content ipc-btn--default-height ipc-btn--core-base ipc-btn--theme-base ipc-btn--button-radius ipc-btn--on-accent2 ipc-text-button ipc-see-more__button" tabindex="0" aria-disabled="false"><span class="ipc-btn__text"><span class="ipc-see-more__text">50 more</span></span><svg xmlns="http://www.w3.org/2000/svg" width="24" height="24" class="ipc-icon ipc-icon--expand-more 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}</script><script>window.addEventListener('load', (event) => { if (typeof window.csa !== 'undefined' && typeof window.csa === 'function') { var csaLatencyPlugin = window.csa('Content', { element: { slotId: 'LoadFooterJS', type: 'service-call' } }); csaLatencyPlugin('mark', 'clickToBodyBegin', 1732389090744); } })</script><script id="__NEXT_DATA__" type="application/json">{"props":{"pageProps":{"currentTab":{"labelId":"search_main_advanced_search_tabs_names","defaultMessage":"Names","subPageType":"name","refTagBase":"adv_srch_people","preIconName":"people"},"tabID":"name","searchInput":{"nameSearchInput":{"pageTopics":{"withinTopicMap":{"DEATH_PLACE":["chelsea"," london"," england"," uk"]}}}},"initialStringCache":{},"searchResults":{"nameResults":{"nameListItems":[{"bio":"One of the world\u0026#39;s most famous and distinguished actresses, Dame Maggie\nSmith was born Margaret Natalie Smith in Essex. Her Scottish mother,\nMargaret (Hutton), worked as a secretary, and her English father,\nNathaniel Smith, was a teacher at Oxford University. Smith has been\nmarried twice: to actor\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0827137/?ref_=sr\"\u003eRobert Stephens\u003c/a\u003e and to\nplaywright \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0189117/?ref_=sr\"\u003eBeverley Cross\u003c/a\u003e. Her marriage\nto Stephens ended in divorce in 1974. She was married to Cross until\nhis death in 1998. She had two sons with Stephens,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0488271/?ref_=sr\"\u003eChris Larkin\u003c/a\u003e and\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0827170/?ref_=sr\"\u003eToby Stephens\u003c/a\u003e who are also actors.\u003cbr/\u003e\u003cbr/\u003eMaggie Smith\u0026#39;s career began at the Oxford Playhouse in the 1950s. She\nmade her film debut in 1956 as one of the party guests in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0049067/?ref_=sr\"\u003eChild in the House (1956)\u003c/a\u003e. She\nhas since performed in over sixty films and television series with some\nof the most prominent actors and actresses in the world. These include:\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0059555/?ref_=sr\"\u003eOthello (1965)\u003c/a\u003e with\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000059/?ref_=sr\"\u003eLaurence Olivier\u003c/a\u003e,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0064840/?ref_=sr\"\u003eThe Prime of Miss Jean Brodie (1969)\u003c/a\u003e,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0077289/?ref_=sr\"\u003eCalifornia Suite (1978)\u003c/a\u003e with\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000323/?ref_=sr\"\u003eMichael Caine\u003c/a\u003e and\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000404/?ref_=sr\"\u003eJane Fonda\u003c/a\u003e,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0091867/?ref_=sr\"\u003eA Room with a View (1985)\u003c/a\u003e,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0114279/?ref_=sr\"\u003eRichard III (1995)\u003c/a\u003e with\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0005212/?ref_=sr\"\u003eIan McKellen\u003c/a\u003e and\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000980/?ref_=sr\"\u003eJim Broadbent\u003c/a\u003e,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001874/?ref_=sr\"\u003eFranco Zeffirelli\u003c/a\u003e\u0026#39;s\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0120857/?ref_=sr\"\u003eUn tè con Mussolini (1999)\u003c/a\u003e with\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001132/?ref_=sr\"\u003eJudi Dench\u003c/a\u003e,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0687506/?ref_=sr\"\u003eJoan Plowright\u003c/a\u003e and\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000333/?ref_=sr\"\u003eCher\u003c/a\u003e and\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0280707/?ref_=sr\"\u003eGosford Park (2001)\u003c/a\u003e with\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000218/?ref_=sr\"\u003eKristin Scott Thomas\u003c/a\u003e and\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0654110/?ref_=sr\"\u003eClive Owen\u003c/a\u003e, directed by\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000265/?ref_=sr\"\u003eRobert Altman\u003c/a\u003e. Maggie Smith has\nalso been nominated for an Oscar six times and won twice, for\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0064840/?ref_=sr\"\u003eThe Prime of Miss Jean Brodie (1969)\u003c/a\u003e\nand \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0077289/?ref_=sr\"\u003eCalifornia Suite (1978)\u003c/a\u003e.\u003cbr/\u003e\u003cbr/\u003eSmith later appeared in the very successful\n\u0026#39;Harry Potter\u0026#39;\nfranchise as the formidable Professor McGonagall as well as in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0271501/?ref_=sr\"\u003eJulian Fellowes\u003c/a\u003e\u0026#39;\nITV drama series,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt1606375/?ref_=sr\"\u003eDownton Abbey (2010)\u003c/a\u003e\n(2010-2011) as the Dowager Countess of Grantham.","knownFor":{"originalTitleText":"Gosford Park","titleId":"tt0280707","titleText":"Gosford Park","canHaveEpisodes":false,"yearRange":{"year":2001}},"nameId":"nm0001749","nameText":"Maggie Smith","primaryProfessions":["Actress","Soundtrack"],"primaryImage":{"caption":"Maggie Smith","height":400,"width":270,"url":"https://m.media-amazon.com/images/M/MV5BMjA4NzYxNjc5Ml5BMl5BanBnXkFtZTYwMTMzOTg1._V1_.jpg"}},{"bio":"Sir Christopher Frank Carandini Lee was perhaps the only actor of his generation to have starred in so many films and cult saga. Although most notable for personifying bloodsucking vampire, Dracula, on screen, he portrayed other varied characters on screen, most of which were villains, whether it be Francisco Scaramanga in the James Bond film, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0071807/?ref_=sr\"\u003eThe Man with the Golden Gun (1974)\u003c/a\u003e, or Count Dooku in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0121765/?ref_=sr\"\u003eStar Wars: Episode II - Attack of the Clones (2002)\u003c/a\u003e, or as the title monster in the Hammer Horror film, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0053085/?ref_=sr\"\u003eThe Mummy (1959)\u003c/a\u003e.\u003cbr/\u003e\u003cbr/\u003eLee was born in 1922 in London, England, where he and his older sister Xandra were raised by their parents, Contessa Estelle Marie (Carandini di Sarzano) and Geoffrey Trollope Lee, a professional soldier, until their divorce in 1926. Later, while Lee was still a child, his mother married (and later divorced) Harcourt George St.-Croix (nicknamed Ingle), who was a banker. Lee\u0026#39;s maternal great-grandfather was an Italian political refugee, while Lee\u0026#39;s great-grandmother was English opera singer Marie (Burgess) Carandini.\u003cbr/\u003e\u003cbr/\u003eAfter attending Wellington College from age 14 to 17, Lee worked as an office clerk in a couple of London shipping companies until 1941 when he enlisted in the Royal Air Force during World War II. Following his release from military service, Lee joined the Rank Organisation in 1947, training as an actor in their \u0026quot;Charm School\u0026quot; and playing a number of bit parts in such films as \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0040246/?ref_=sr\"\u003eCorridor of Mirrors (1948)\u003c/a\u003e. He made a brief appearance in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000059/?ref_=sr\"\u003eLaurence Olivier\u003c/a\u003e\u0026#39;s \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0040416/?ref_=sr\"\u003eHamlet (1948)\u003c/a\u003e, in which his future partner-in-horror \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001088/?ref_=sr\"\u003ePeter Cushing\u003c/a\u003e also appeared. Both actors also appeared later in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0044926/?ref_=sr\"\u003eMoulin Rouge (1952)\u003c/a\u003e but did not meet until their horror films together.\u003cbr/\u003e\u003cbr/\u003eLee had numerous parts in film and television throughout the 1950s. He struggled initially in his new career because he was discriminated as being taller than the leading male actors of his time and being too foreign-looking. However, playing the monster in the Hammer film \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0050280/?ref_=sr\"\u003eThe Curse of Frankenstein (1957)\u003c/a\u003e proved to be a blessing in disguise, since the was successful, leading to him being signed on for future roles in Hammer Film Productions.\u003cbr/\u003e\u003cbr/\u003eLee\u0026#39;s association with Hammer Film Productions brought him into contact with Peter Cushing, and they became good friends. Lee and Cushing often than not played contrasting roles in Hammer films, where Cushing was the protagonist and Lee the villain, whether it be Van Helsing and Dracula respectively in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0051554/?ref_=sr\"\u003eDracula (1958)\u003c/a\u003e, or John Banning and Kharis the Mummy respectively in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0053085/?ref_=sr\"\u003eThe Mummy (1959)\u003c/a\u003e.\u003cbr/\u003e\u003cbr/\u003eLee continued his role as \u0026quot;Dracula\u0026quot; in a number of Hammer sequels throughout the 1960s and into the early 1970s. During this time, he co-starred in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0052905/?ref_=sr\"\u003eThe Hound of the Baskervilles (1959)\u003c/a\u003e, and made numerous appearances as Fu Manchu, most notably in the first of the series \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0059162/?ref_=sr\"\u003eThe Face of Fu Manchu (1965)\u003c/a\u003e, and also appeared in a number of films in Europe. With his own production company, Charlemagne Productions, Ltd., Lee made \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0069024/?ref_=sr\"\u003eNothing But the Night (1973)\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0075334/?ref_=sr\"\u003eTo the Devil a Daughter (1976)\u003c/a\u003e.\u003cbr/\u003e\u003cbr/\u003eBy the mid-1970s, Lee was tiring of his horror image and tried to widen his appeal by participating in several mainstream films, such as \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0066249/?ref_=sr\"\u003eThe Private Life of Sherlock Holmes (1970)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0072281/?ref_=sr\"\u003eThe Three Musketeers (1973)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0073012/?ref_=sr\"\u003eThe Four Musketeers (1974)\u003c/a\u003e, and the James Bond film \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0071807/?ref_=sr\"\u003eThe Man with the Golden Gun (1974)\u003c/a\u003e.\u003cbr/\u003e\u003cbr/\u003eThe success of these films prompted him in the late 1970s to move to Hollywood, where he remained a busy actor but made mostly unremarkable film and television appearances, and eventually moved back to England. The beginning of the new millennium relaunched his career to some degree, during which he has played Count Dooku in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0121765/?ref_=sr\"\u003eStar Wars: Episode II - Attack of the Clones (2002)\u003c/a\u003e and as Saruman the White in the Lord of the Rings trilogy. Lee played Count Dooku again in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0121766/?ref_=sr\"\u003eStar Wars: Episode III - Revenge of the Sith (2005)\u003c/a\u003e, and portrayed the father of Willy Wonka, played by \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000136/?ref_=sr\"\u003eJohnny Depp\u003c/a\u003e, in the \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000318/?ref_=sr\"\u003eTim Burton\u003c/a\u003e film, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0367594/?ref_=sr\"\u003eCharlie and the Chocolate Factory (2005)\u003c/a\u003e.\u003cbr/\u003e\u003cbr/\u003eOn 16 June 2001, he was created a Commander of the Order of the British Empire in recognition of his services to drama. He was created a Knight Bachelor on 13 June 2009 in the Queen\u0026#39;s Birthday Honours List for his services to drama and charity. In addition he was made a Commander of the Order of St John on 16 January 1997.\u003cbr/\u003e\u003cbr/\u003eLee died at the Chelsea and Westminster Hospital on 7 June 2015 at 8:30 am after being admitted for respiratory problems and heart failure, shortly after celebrating his 93rd birthday there. His wife delayed the public announcement until 11 June, in order to break the news to their family.","knownFor":{"originalTitleText":"Star Wars: Episode II - Attack of the Clones","titleId":"tt0121765","titleText":"Star Wars: Episode II - Attack of the Clones","canHaveEpisodes":false,"yearRange":{"year":2002}},"nameId":"nm0000489","nameText":"Christopher Lee","primaryProfessions":["Actor","Additional Crew","Producer"],"primaryImage":{"caption":"Christopher Lee at an event for The Lord of the Rings: The Two Towers (2002)","height":400,"width":269,"url":"https://m.media-amazon.com/images/M/MV5BMTMzMjU5NDA0NV5BMl5BanBnXkFtZTYwMTUwMzI0._V1_.jpg"}},{"bio":"Ingrid Bergman was one of the greatest actresses from Hollywood\u0026#39;s lamented Golden Era. Her natural and unpretentious beauty and her immense acting talent made her one of the most celebrated figures in the history of American cinema. Bergman is also one of the most Oscar-awarded actresses, tied with \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000658/?ref_=sr\"\u003eMeryl Streep\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000531/?ref_=sr\"\u003eFrances McDormand\u003c/a\u003e, all three of them second only to \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000031/?ref_=sr\"\u003eKatharine Hepburn\u003c/a\u003e.\u003cbr/\u003e\u003cbr/\u003eIngrid Bergman was born on August 29, 1915 in Stockholm, Sweden, to a German mother, Frieda Henrietta (Adler), and a Swedish father, Justus Samuel Bergman, an artist and photographer. Her mother died when she was only two and her father died when she was 12. She went to live with an elderly uncle.\u003cbr/\u003e\u003cbr/\u003eThe woman who would be one of the top stars in Hollywood in the 1940s had decided to become an actress after finishing her formal schooling. She had had a taste of acting at age 17 when she played an uncredited role of a girl standing in line in the Swedish film \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0023113/?ref_=sr\"\u003eLandskamp (1932)\u003c/a\u003e in 1932 - not much of a beginning for a girl who would be known as \u0026quot;Sweden\u0026#39;s illustrious gift to Hollywood.\u0026quot; Her parents died when she was just a girl and the uncle she lived with didn\u0026#39;t want to stand in the way of Ingrid\u0026#39;s dream. The next year she enrolled at the Royal Dramatic Theatre School in Stockholm but decided that stage acting was not for her. It would be three more years before she would have another chance at a film. When she did, it was more than just a bit part. The film in question was \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0026737/?ref_=sr\"\u003eMunkbrogreven (1935)\u003c/a\u003e, where she had a speaking part as Elsa Edlund. After several films that year that established her as a class actress, Ingrid appeared in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0027796/?ref_=sr\"\u003eIntermezzo (1936)\u003c/a\u003e as Anita Hoffman. Luckily for her, American producer \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0006388/?ref_=sr\"\u003eDavid O. Selznick\u003c/a\u003e saw it and sent a representative from Selznick International Pictures to gain rights to the story and have Ingrid signed to a contract. Once signed, she came to California and starred in United Artists\u0026#39; 1939 remake of her 1936 film, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0031491/?ref_=sr\"\u003eIntermezzo: A Love Story (1939)\u003c/a\u003e, reprising her original role. The film was a hit and so was Ingrid.\u003cbr/\u003e\u003cbr/\u003eHer beauty was unlike anything the movie industry had seen before and her acting was superb. Hollywood was about to find out that they had the most versatile actress the industry had ever seen. Here was a woman who truly cared about the craft she represented. The public fell in love with her. Ingrid was under contract to go back to Sweden to film \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0031270/?ref_=sr\"\u003eEn enda natt (1939)\u003c/a\u003e in 1939 and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0032655/?ref_=sr\"\u003eJuninatten (1940)\u003c/a\u003e in 1940. Back in the US she appeared in three films, all well-received. She made only one film in 1942, but it was the classic \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0034583/?ref_=sr\"\u003eCasablanca (1942)\u003c/a\u003e opposite \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000007/?ref_=sr\"\u003eHumphrey Bogart\u003c/a\u003e.\u003cbr/\u003e\u003cbr/\u003eIngrid was choosing her roles well. In 1943 she was nominated for an Academy Award for her role in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0035896/?ref_=sr\"\u003eFor Whom the Bell Tolls (1943)\u003c/a\u003e, the only film she made that year. The critics and public didn\u0026#39;t forget her when she made \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0036855/?ref_=sr\"\u003eGaslight (1944)\u003c/a\u003e the following year--her role of Paula Alquist got her the Oscar for Best Actress. In 1945 Ingrid played in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0038109/?ref_=sr\"\u003eSpellbound (1945)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0038053/?ref_=sr\"\u003eSaratoga Trunk (1945)\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0037536/?ref_=sr\"\u003eThe Bells of St. Mary\u0026#39;s (1945)\u003c/a\u003e, for which she received her third Oscar nomination for her role of Sister Benedict. She made no films in 1947, but bounced back with a fourth nomination for \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0040491/?ref_=sr\"\u003eJoan of Arc (1948)\u003c/a\u003e. In 1949 she went to Italy to film \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0041931/?ref_=sr\"\u003eStromboli (Terra di Dio) (1950)\u003c/a\u003e, directed by\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0744023/?ref_=sr\"\u003eRoberto Rossellini\u003c/a\u003e. She fell in love with him and left her husband, Dr. Peter Lindstrom, and daughter, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0512523/?ref_=sr\"\u003ePia Lindström\u003c/a\u003e. America\u0026#39;s \u0026quot;moral guardians\u0026quot; in the press and the pulpits were outraged. She was pregnant and decided to remain in Italy, where her son was born. In 1952 Ingrid had twins, Isotta and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000618/?ref_=sr\"\u003eIsabella Rossellini\u003c/a\u003e, who became an outstanding actress in her own right, as did Pia.\u003cbr/\u003e\u003cbr/\u003eIngrid continued to make films in Italy and finally returned to Hollywood in 1956 in the title role in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0048947/?ref_=sr\"\u003eAnastasia (1956)\u003c/a\u003e, which was filmed in England. For this she won her second Academy Award. She had scarcely missed a beat. Ingrid continued to bounce between Europe and the US making movies, and fine ones at that. A film with Ingrid Bergman was sure to be a quality production. In her final big-screen performance in 1978\u0026#39;s \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0077711/?ref_=sr\"\u003eHöstsonaten (1978)\u003c/a\u003e she had her final Academy Award nomination. Though she didn\u0026#39;t win, many felt it was the most sterling performance of her career. Ingrid retired, but not before she gave an outstanding performance in the mini-series \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0084914/?ref_=sr\"\u003eA Woman Called Golda (1982)\u003c/a\u003e, a film about Israeli prime minister \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0576954/?ref_=sr\"\u003eGolda Meir\u003c/a\u003e. For this she won an Emmy Award as Best Actress, but, unfortunately, she did not live to see the fruits of her labor.\u003cbr/\u003e\u003cbr/\u003eIngrid died from cancer on August 29, 1982, her 67th birthday, in London, England.","knownFor":{"originalTitleText":"Casablanca","titleId":"tt0034583","titleText":"Casablanca","canHaveEpisodes":false,"yearRange":{"year":1942}},"nameId":"nm0000006","nameText":"Ingrid Bergman","primaryProfessions":["Actress","Producer","Soundtrack"],"primaryImage":{"caption":"Ingrid Bergman in Casablanca (1942)","height":2048,"width":1671,"url":"https://m.media-amazon.com/images/M/MV5BMjQyMTYxODQzMF5BMl5BanBnXkFtZTgwMDA1MTI2NDM@._V1_.jpg"}},{"bio":"The son of a Lancashire bookmaker, Albert Finney came to motion pictures via the theatre. In 1956, he won a scholarship to RADA where his fellow alumni included \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000564/?ref_=sr\"\u003ePeter O\u0026#39;Toole\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000869/?ref_=sr\"\u003eAlan Bates\u003c/a\u003e. He joined the Birmingham Repertory where he excelled in plays by \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000636/?ref_=sr\"\u003eWilliam Shakespeare\u003c/a\u003e. A member of the Royal Shakespeare Company, Finney understudied \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000059/?ref_=sr\"\u003eLaurence Olivier\u003c/a\u003e at Stratford-upon-Avon, eventually acquiring a reputation as \u0026#39;the new Olivier\u0026#39;. He first came to critical attention by creating the title role in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0913961/?ref_=sr\"\u003eKeith Waterhouse\u003c/a\u003e\u0026#39;s \u0026quot;Billy Liar\u0026quot; on the London stage. His film debut soon followed with \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0053796/?ref_=sr\"\u003eThe Entertainer (1960)\u003c/a\u003e by \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0724798/?ref_=sr\"\u003eTony Richardson\u003c/a\u003e with whom had earlier worked in the theatre. With the changing emphasis in 60s British cinema towards gritty realism and working-class milieus, Finney\u0026#39;s typical screen personae became good-looking, often brooding proletarian types and rebellious anti-heroes as personified by his Arthur Seaton in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0718554/?ref_=sr\"\u003eKarel Reisz\u003c/a\u003e\u0026#39;s \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0054269/?ref_=sr\"\u003eSaturday Night and Sunday Morning (1960)\u003c/a\u003e. His exuberant defining role, however, was in the bawdy period romp \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0057590/?ref_=sr\"\u003eTom Jones (1963)\u003c/a\u003e in which Finney revealed a substantial talent for comedy. In the same vein, he scored another hit opposite \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000030/?ref_=sr\"\u003eAudrey Hepburn\u003c/a\u003e in the charming marital comedy \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0062407/?ref_=sr\"\u003eTwo for the Road (1967)\u003c/a\u003e.\u003cbr/\u003e\u003cbr/\u003eBy 1965, Finney had branched out into production, setting up Memorial Enterprises in conjunction with \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0575974/?ref_=sr\"\u003eMichael Medwin\u003c/a\u003e. In 1968, he directed himself in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0062792/?ref_=sr\"\u003eCharlie Bubbles (1968)\u003c/a\u003e and three years later produced the Chandleresque homage \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0068669/?ref_=sr\"\u003eGumshoe (1971)\u003c/a\u003e, in which he also starred as Eddie Ginley, a bingo-caller with delusions of becoming a private eye. From 1972 to 1975, Finney served as artistic director of the Royal Court Theatre. His intermittent forays to the screen confirmed him as a versatile international actor of note, though not what one might describe as a mainstream star. His roles have ranged from Ebenezer Scrooge in the musical version of \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0066344/?ref_=sr\"\u003eScrooge (1970)\u003c/a\u003e to Daddy Warbucks in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0083564/?ref_=sr\"\u003eAnnie (1982)\u003c/a\u003e and (in flamboyant over-the-top make-up) Hercule Poirot in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0071877/?ref_=sr\"\u003eMurder on the Orient Express (1974)\u003c/a\u003e. He appeared as Minister of Police Joseph Fouché in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000631/?ref_=sr\"\u003eRidley Scott\u003c/a\u003e\u0026#39;s superb period drama \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0075968/?ref_=sr\"\u003eThe Duellists (1977)\u003c/a\u003e and as a grandiloquent Shakespearean actor in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0085461/?ref_=sr\"\u003eThe Dresser (1983)\u003c/a\u003e for which he received an Oscar nomination. For the small screen Finney essayed \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0087931/?ref_=sr\"\u003ePope John Paul II (1984)\u003c/a\u003e and was a totally believable \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0161476/?ref_=sr\"\u003eWinston Churchill\u003c/a\u003e in the acclaimed \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0314097/?ref_=sr\"\u003eThe Gathering Storm (2002)\u003c/a\u003e. His final movie credit was in the James Bond thriller \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt1074638/?ref_=sr\"\u003eSkyfall (2012)\u003c/a\u003e.\u003cbr/\u003e\u003cbr/\u003eFinney was five-times nominated for Academy Awards in 1964, 1975, 1984, 1985 and 2001. He won two BAFTA Awards in 1961 and 2004. True to his working-class roots, he spurned a CBE in 1980 and a knighthood in 2000, later explaining his decision by stating that the \u0026#39;Sir thing\u0026#39; \u0026quot;slightly perpetuates one of our diseases in England, which is snobbery\u0026quot;. Albert Finney was diagnosed with kidney cancer in 2011. He died on February 7 2019 at a London hospital from a chest infection at the age of 82. Upon his death, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000092/?ref_=sr\"\u003eJohn Cleese\u003c/a\u003e described him as \u0026quot;the best\u0026quot; and \u0026quot;our greatest actor\u0026quot;.","knownFor":{"originalTitleText":"Murder on the Orient Express","titleId":"tt0071877","titleText":"Murder on the Orient Express","canHaveEpisodes":false,"yearRange":{"year":1974}},"nameId":"nm0001215","nameText":"Albert Finney","primaryProfessions":["Actor","Producer","Director"],"primaryImage":{"caption":"Albert Finney at an event for Erin Brockovich (2000)","height":2048,"width":1371,"url":"https://m.media-amazon.com/images/M/MV5BMjA5NzkzMjQ4MF5BMl5BanBnXkFtZTgwMzA0NzczNzM@._V1_.jpg"}},{"bio":"Sir Dirk Bogarde, distinguished film actor and writer, was born Derek\nJules Gaspard Ulric Niven van den Bogaerde on March 28, 1921, to Ulric\nvan den Bogaerde, the art editor of \u0026quot;The Times\u0026quot; (London) newspaper, and\nactress Margaret Niven in the London suburb of Hampstead. He was one of\nthree children, with sister Elizabeth and younger brother Gareth. His\nfather was Flemish and his mother was of Scottish descent.\u003cbr/\u003e\u003cbr/\u003eUlric Bogaerde started the Times\u0026#39; arts department and served as its\nfirst art editor. Derek\u0026#39;s mother, Margaret - the daughter of actor and\npainter Forrest Niven - appeared in the play \u0026quot;Bunty Pulls The Strings\u0026quot;,\nbut she quit the boards in accordance with her husband\u0026#39;s wishes. The\nyoung Derek Bogaerde was raised at the family home in Sussex by his\nsister, Elizabeth, and his nanny, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm4441907/?ref_=sr\"\u003eLally Holt\u003c/a\u003e.\u003cbr/\u003e\u003cbr/\u003eEducated at the Allen Glen\u0026#39;s School in Glasgow, he also attended\nLondon\u0026#39;s University College School before majoring in commercial art at\nChelsea Polytechnic, where his teachers included\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm1814271/?ref_=sr\"\u003eHenry Moore\u003c/a\u003e. Though his father\nwanted his eldest son to follow him into the \u0026quot;Times\u0026quot; as an art critic\nand had groomed him for that role, Derek dropped out of his commercial\nart course and became a drama student, though his acting talent at that\ntime was unpromising. In the 1930s he went to work as a commercial\nartist and a scene designer.\u003cbr/\u003e\u003cbr/\u003eHe apprenticed as an actor with the Amersham Repertory Company, and\nmade his acting debut in 1939 on a small London stage, the Q Theatre,\nin a role in which he delivered only one line. His debut in London\u0026#39;s\nWest End came a few months later in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0697362/?ref_=sr\"\u003eJ.B. Priestley\u003c/a\u003e\u0026#39;s play \u0026quot;Cornelius,\u0026quot; in\nwhich he was billed as \u0026quot;Derek Bogaerde\u0026quot;. He made his uncredited debut\nas an extra in the pre-war \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0286399/?ref_=sr\"\u003eGeorge Formby\u003c/a\u003e\ncomedy \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0031169/?ref_=sr\"\u003eCome on George! (1939)\u003c/a\u003e.\u003cbr/\u003e\u003cbr/\u003eThe September 1939 invasion of Poland by Nazi Germany and the Soviet\nUnion triggered World War II, and in 1940 Bogarde joined the Queen\u0026#39;s\nRoyal Regiment as an officer. He served in the Air Photographic\nIntelligence Unit and eventually attained the rank of major. Nicknamed\n\u0026quot;Pippin\u0026quot; and \u0026quot;Pip\u0026quot; during the war, he was awarded seven medals in his\nfive years of active duty. He wrote poems and painted during the war,\nand in 1943, a small magazine published one of his poems, \u0026quot;Steel\nCathedrals,\u0026quot; which subsequently was anthologized. His paintings of the\nwar are part of the Imperial War Museum\u0026#39;s collection.\u003cbr/\u003e\u003cbr/\u003eSimilar to his character, Captain Hargreaves, in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0058263/?ref_=sr\"\u003eKing and Country (1964)\u003c/a\u003e, he was\ncalled upon to put a wounded soldier out of his misery, a tale\nrecounted in one of his seven volumes of autobiography. While serving\nwith the Air Photographic Intelligence Unit, he took part in the\nliberation of the Bergen-Belsen concentration camp, which he said was\nakin to \u0026quot;looking into Dante\u0026#39;s Inferno\u0026quot;.\u003cbr/\u003e\u003cbr/\u003eIn one of his autobiographies, he wrote, \u0026quot;At 24, the age I was then,\ndeep shock stays registered forever. An internal tattooing which is\nremovable only by surgery, it cannot be conveniently sponged away by\ntime.\u0026quot;\u003cbr/\u003e\u003cbr/\u003eAfter being demobilized, he returned to acting. His agent re-christened\nhim \u0026quot;Dirk Bogarde,\u0026quot; a name that he would make famous within a decade.\nIn 1947 he appeared in \u0026quot;Power Without Glory\u0026quot; at the New Lindsay\nTheatre, a performance that was praised by\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0002021/?ref_=sr\"\u003eNoël Coward\u003c/a\u003e, who urged him to continue his\nacting career. The Rank Organization had signed him to a contract after\na talent scout saw him in the play, and he made his credited movie\ndebut in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0039297/?ref_=sr\"\u003eDancing with Crime (1947)\u003c/a\u003e with\na one-line bit as a policeman.\u003cbr/\u003e\u003cbr/\u003eHis first lead in a movie came that year when Wessex Films, distributed\nby Rank, gave him a part in the proposed\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001289/?ref_=sr\"\u003eStewart Granger\u003c/a\u003e film\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0040328/?ref_=sr\"\u003eEsther Waters (1948)\u003c/a\u003e. When Granger\ndropped out, Bogarde took over the lead. Rank subsequently signed him\nto a long-term contract and he appeared in a variety of parts during\nthe 14 years he was under contract to the studio.\u003cbr/\u003e\u003cbr/\u003eFor three years he toiled in Rank movies as an apprentice actor without\nmaking much of a ripple; then in 1950, he was given the role of young\nhood Tom Riley in the crime thriller\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0042265/?ref_=sr\"\u003eThe Blue Lamp (1950)\u003c/a\u003e (the title\ncomes from the blue-colored light on police call-boxes in London), the\nmost successful British film of 1950, which established Bogarde as an\nactor of note. Playing a cop killer, an unspeakable crime in the\nEngland of the time, it was the first of the intense neurotics and\nattractive villains that Bogarde would often play.\u003cbr/\u003e\u003cbr/\u003eHe continued to act on-stage, appearing in the West End in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0030478/?ref_=sr\"\u003eJean Anouilh\u003c/a\u003e\u0026#39;s \u0026quot;Point of\nDeparture\u0026quot;. While he was praised for his performance, stage acting made\nhim nervous, and as he became more famous, he began to be mobbed by\nfans. The pressure of the public adulation proved overwhelming,\nparticularly as he suffered from stage fright. He was accosted by\ncrowds of fans at the stage door during the 1955 touring production of\n\u0026quot;Summertime,\u0026quot; and his more enthusiastic admirers even shouted at him\nduring the play. He was to appear in only one more play, the Oxford\nPlayhouse production of \u0026quot;Jezebel,\u0026quot; in 1958. He never again took to the\nboards, despite receiving attractive offers.\u003cbr/\u003e\u003cbr/\u003eHe first acted for American expatriate director\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0521334/?ref_=sr\"\u003eJoseph Losey\u003c/a\u003e in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0047505/?ref_=sr\"\u003eThe Sleeping Tiger (1954)\u003c/a\u003e.\nLosey, a Communist and self-described Stalinist at the time, had\nemigrated to England after being blacklisted in Hollywood after he\nrefused to direct\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0041495/?ref_=sr\"\u003eThe Woman on Pier 13 (1949)\u003c/a\u003e\nat RKO Pictures, which was owned by right-wing multi-millionaire\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0400652/?ref_=sr\"\u003eHoward Hughes\u003c/a\u003e at the time, and he\nwas accused in testimony before the House Un-American Activities\nCommittee of being a Communist. The director, like Bogarde, would not\nfind his stride until the early 1960s, and Losey and Bogarde would\nbuild their reputations together.\u003cbr/\u003e\u003cbr/\u003eFirst, however, Losey had to overcome Bogarde\u0026#39;s reluctance to star in a\nlow-budget film (shot for $300,000) with a blacklisted American\ndirector. Losey, who had never heard of Bogarde until he was proposed\nfor the film, met with him and asked Bogarde to view one of his\npictures. After seeing the film, Bogarde was enthusiastic, and Losey\ntalked him into taking the role, which he accepted at a reduced fee\n(Losey originally was not credited with directing the film due to his\nbeing blacklisted in the States). A decade later they would make more\nmemorable films that would be watersheds in their careers.\u003cbr/\u003e\u003cbr/\u003eIt was not drama but comedy that made Dirk Bogarde a star. He achieved\nthe first rank of English movie stardom playing Dr. Simon Sparrow in\nthe comedy\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0046921/?ref_=sr\"\u003eDoctor in the House (1954)\u003c/a\u003e.\nThe film was a smash hit, becoming one of the most popular British\nfilms in history, with 17 million admissions in its first year of\nrelease. As Sparrow, Bogarde became a heartthrob and the most popular\nBritish movie star of the mid-50s. He reprised the character in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0048001/?ref_=sr\"\u003eDoctor at Sea (1955)\u003c/a\u003e,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0050323/?ref_=sr\"\u003eDoctor at Large (1957)\u003c/a\u003e.\u003cbr/\u003e\u003cbr/\u003eThe title of the latter film may have described his mood as a serious\nactor having to do another turn as Dr. Sparrow between his\ncareer-making performances in Losey\u0026#39;s\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0057490/?ref_=sr\"\u003eThe Servant (1963)\u003c/a\u003e, with a script by\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0056217/?ref_=sr\"\u003eHarold Pinter\u003c/a\u003e, and Losey\u0026#39;s adaptation of\nthe stage play\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0058263/?ref_=sr\"\u003eKing and Country (1964)\u003c/a\u003e, in which\nBogarde memorably played the attorney for a young deserter (played by\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0183822/?ref_=sr\"\u003eTom Courtenay\u003c/a\u003e).\u003cbr/\u003e\u003cbr/\u003eBogarde, hailed as \u0026quot;the idol of the Odeons\u0026quot; in honor of his box-office\nclout, was offered the role of Jimmy Porter in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0051879/?ref_=sr\"\u003eLook Back in Anger (1959)\u003c/a\u003e by producer \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0759162/?ref_=sr\"\u003eHarry Saltzman\u003c/a\u003e and\ndirector \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0724798/?ref_=sr\"\u003eTony Richardson\u003c/a\u003e, based\non the play that touched off the \u0026quot;Angry Young Man\u0026quot; and \u0026quot;Kitchen Sink\nSchool\u0026quot; of contemporary English drama in the 1950s. Though Bogarde\nwanted to take the part, Rank refused to let him make the film on the\ngrounds that there was \u0026quot;altogether too much dialog.\u0026quot; The part went to\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000009/?ref_=sr\"\u003eRichard Burton\u003c/a\u003e instead, who went\nover-the-top in portraying his very angry, not-so-young man.\u003cbr/\u003e\u003cbr/\u003eAfter this disappointment, Bogarde went to Hollywood to play\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0006172/?ref_=sr\"\u003eFranz Liszt\u003c/a\u003e in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0054324/?ref_=sr\"\u003eSong Without End (1960)\u003c/a\u003e and to\nappear in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0425913/?ref_=sr\"\u003eNunnally Johnson\u003c/a\u003e\u0026#39;s Spanish\nCivil War drama\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0053601/?ref_=sr\"\u003eThe Angel Wore Red (1960)\u003c/a\u003e with\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001257/?ref_=sr\"\u003eAva Gardner\u003c/a\u003e. Both were big-budgeted films,\nbut hampered by poor scripts, and after both films failed, Bogarde\navoided Hollywood from then on.\u003cbr/\u003e\u003cbr/\u003eHe was reportedly quite smitten with his French \u0026quot;Song Without End\u0026quot;\nco-star \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001010/?ref_=sr\"\u003eCapucine\u003c/a\u003e, and wanted to marry\nher. Capucine, who suffered from bi-polar disorder, was bisexual with\nan admitted preference for women. The relationship did not lead to\nmarriage, but did result in a long-term friendship. It apparently was\nhis only serious relationship with a woman, though he had many women\nfriends, including his\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0057168/?ref_=sr\"\u003eI Could Go on Singing (1963)\u003c/a\u003e\nco-star \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000023/?ref_=sr\"\u003eJudy Garland\u003c/a\u003e.\u003cbr/\u003e\u003cbr/\u003eIn the early 1960s, with the expiration of his Rank contract, Bogarde\nmade the decision to abandon his hugely successful career in commercial\nmovies and concentrate on more complex, art house films (at the same\ntime, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000044/?ref_=sr\"\u003eBurt Lancaster\u003c/a\u003e made a similar\ndecision, though Lancaster continued to alternate his artistic ventures\nwith more crassly commercial endeavors). Bogarde appeared in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0213136/?ref_=sr\"\u003eBasil Dearden\u003c/a\u003e\u0026#39;s seminal film\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0055597/?ref_=sr\"\u003eVictim (1961)\u003c/a\u003e, the first British movie to\nsympathetically address the persecution of homosexuals. His career\nchoice alienated many of his old fans, but he was no longer interested\nin being a commercial movie star; he, like Lancaster, was interested in\ndeveloping as an actor and artist (however, that sense of finding\nhimself as an actor did not extend to the stage. His reputation was\nsuch in 1963 that he was invited by National Theatre director\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000059/?ref_=sr\"\u003eLaurence Olivier\u003c/a\u003e to appear as Hamlet to\nopen the newly built Chichester Festival Theatre. That production of\nthe eponymous play also was intended to open the National Theatre\u0026#39;s\nfirst season in London. Bogarde declined, and the honor went instead to\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000564/?ref_=sr\"\u003ePeter O\u0026#39;Toole\u003c/a\u003e, who floundered in\nthe part.)\u003cbr/\u003e\u003cbr/\u003eJack Grimston, in Bogarde\u0026#39;s \u0026quot;Sunday Times\u0026quot; obituary of May 9, 1999,\nentitled \u0026quot;Bogarde, a solitary star at the edge of the spotlight,\u0026quot; said\nof the late actor that he \u0026quot;belonged to a group that was rare in the\nBritish cinema. He was a fine screen player who owed little to the\nstage. Dilys Powell, the Sunday Times film critic, wrote of him before\nher own death: \u0026#39;Most of our gifted film players really belonged to the\ntheater. Bogarde belonged to the screen.\u0026#39;\u0026quot; Bogarde had won the London\nCritics Circle\u0026#39;s Dilys Powell award for outstanding contribution to\ncinema in 1992.\u003cbr/\u003e\u003cbr/\u003eAppearing in \u0026quot;Victim\u0026quot; was a huge career gamble. In the film, Bogarde\nplayed a married barrister who is being blackmailed over his closeted\nhomosexuality. Rather than let the blackmail continue, and allow the\nperpetrators to victimize other gay men, Bogarde\u0026#39;s character\neffectively sacrifices himself, specifically his marriage and his\ncareer, by bravely confessing to be gay (homosexuality was an offence\nin the United Kingdom until 1967, and there reportedly had been a\npolice crackdown against homosexuals after World War II which made gay\nmen particularly vulnerable to blackmail).\u003cbr/\u003e\u003cbr/\u003eThe film was not released in mainstream theaters in the US, as the\nProduction Code Administration (PCA) refused to classify the film and\nmost theaters would not show films that did not carry the PCA seal of\napproval. \u0026quot;Victim\u0026quot; was the antithesis of the light comedy of Bogarde\u0026#39;s\n\u0026quot;Doctor\u0026quot; movies, and many fans of his character Simon Sparrow were\nforever alienated by his portrayal of a homosexual. For himself,\nBogarde was proud of the film and his participation in it, which many\nthink stimulated public debate over homosexuality. The film undoubtedly\nraised the public consciousness over the egregious and unjust\nindividual costs of anti-gay bigotry. The public attitude towards the\n\u0026quot;love that dared not speak its name\u0026quot; changed enough so that within six\nyears, the 1967 Sexual Offences Act decriminalizing homosexual acts\nbetween adults passed Parliament. Bogarde reported that he received\nmany letters praising him for playing the role. His courage in taking\non such a role is even more significant in that he most likely was gay\nhimself, and thus exposed himself to a backlash.\u003cbr/\u003e\u003cbr/\u003eBogarde always publicly denied he was a homosexual, though later in\nlife he did confess that he and his manager,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0287494/?ref_=sr\"\u003eAnthony Forwood\u003c/a\u003e, had a long-term\nrelationship. When Bogarde met him in 1939, Forwood was a theatrical\nmanager, who eventually married and divorced\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0424318/?ref_=sr\"\u003eGlynis Johns\u003c/a\u003e. Forwood became Bogarde\u0026#39;s\nfriend and subsequently his life partner, and the two moved to France\ntogether in 1968. They bought a 15th-century farmhouse near Grasse in\nProvence in the early 1970s, which they restored. Bogarde and Forwood\nlived in the house until 1983, when they returned to London so that\nForwood could be treated for cancer, from which he eventually died in\n1988. Bogarde nursed him in the last few months of his life. After\nForwood died, Bogarde was left rudderless and he became more reclusive,\neventually retiring from films after\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0099341/?ref_=sr\"\u003eDaddy Nostalgie (1990)\u003c/a\u003e.\u003cbr/\u003e\u003cbr/\u003eMark Rowe and Jeremy Kay, in their obituary of\nBogarde, \u0026quot;Two brilliant lives - on film and in print,\u0026quot; published in\n\u0026quot;The Independent\u0026quot; on May, 9, 1999, wrote, \u0026quot;Although he documented with\nfrankness his early sexual encounters with girls and later his adoring\nlove for \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0447608/?ref_=sr\"\u003eKay Kendall\u003c/a\u003e and\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000023/?ref_=sr\"\u003eJudy Garland\u003c/a\u003e, he never wrote about his\nlongest and closest relationship - with his friend and manager for more\nthan 50 years, Tony Forwood. Sir Dirk said the clues to his private\nlife were in his books. \u0026quot;If you\u0026#39;ve got your wits about you, you will\nknow who I am.\u0026quot; The British documentary \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0416140/?ref_=sr\"\u003eThe Private Dirk Bogarde: Part One (2001)\u003c/a\u003e made with the permission of his family, stressed the\nfact that he and Forwood were committed lifelong partners.\u003cbr/\u003e\u003cbr/\u003eIn the same issue, the National Film Theatre\u0026#39;s David Thompson, in the\narticle \u0026quot;The public understood he was essentially gay,\u0026quot; wrote about\nBogarde at his high-water mark in the 1950s, that \u0026quot;Audiences of that\ntime loved him . . . Very few people picked up on the fact that there\nwas a distinct gay undertone. It says something about British audiences\nof the time. He had the good fortune to break out of that prison, and\nit came through the film \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0055597/?ref_=sr\"\u003eVictim (1961)\u003c/a\u003e,\nwhere he played a gay character, and through meeting with\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0521334/?ref_=sr\"\u003eJoseph Losey\u003c/a\u003e, who directed him in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0057490/?ref_=sr\"\u003eThe Servant (1963)\u003c/a\u003e. For the first\ntime, Bogarde\u0026#39;s ambivalence was exploited and used by film.\u0026quot;\u003cbr/\u003e\u003cbr/\u003eBogarde\u0026#39;s sexuality is not the issue; what was striking was that it was\nan act of personal courage for one of Britian\u0026#39;s leading box-office\nattractions to appear in such a provocative and controversial film.\nEven in the 21st century, many mainstream actors are afraid to play a\ngay character lest they engender a public backlash against themselves,\nwhich is much less likely than it was more than 40 years ago when\nBogarde made \u0026quot;Victim.\u0026quot;\u003cbr/\u003e\u003cbr/\u003eApart from sociology, \u0026quot;Victim\u0026quot; marks the milestone in which critics and\naudiences could discern the metamorphosis of Bogarde into the mature\nactor who went on to become one of the cinema\u0026#39;s finest performers. Most\nof Bogarde\u0026#39;s best and most serious roles come after \u0026quot;Victim,\u0026quot; the film\nin which he first stretched himself and broke out of the mold of \u0026quot;movie\nstar.\u0026quot; He received the first of his six nominations as Best Actor from\nthe British Academy of Film \u0026amp; Television Arts (BAFTA) for the film.\u003cbr/\u003e\u003cbr/\u003eBogarde co-starred with \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0590055/?ref_=sr\"\u003eJohn Mills\u003c/a\u003e in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0054740/?ref_=sr\"\u003eThe Singer Not the Song (1961)\u003c/a\u003e,\nand with \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000027/?ref_=sr\"\u003eAlec Guinness\u003c/a\u003e in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0055884/?ref_=sr\"\u003eH.M.S. Defiant (1962)\u003c/a\u003e (a.k.a.\n\u0026quot;Damn the Defiant!\u0026quot;). In 1963 he reunited with Losey to film the first\nof two Losey films with screenplays by Pinter. Bogarde\u0026#39;s participation\nin the two Losey/Pinter collaborations,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0057490/?ref_=sr\"\u003eThe Servant (1963)\u003c/a\u003e and\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0061328/?ref_=sr\"\u003eAccident (1967)\u003c/a\u003e, in addition to 1964\u0026#39;s\n\u0026quot;King \u0026amp; Country\u0026quot;, solidified his reputation. Critics and savvy\nmoviegoers appreciated the fact that Bogarde had developed into a\nfirst-rate actor. For his role as the eponymous servant, Bogarde won\nBAFTA\u0026#39;s Best Actor Award. He had now \u0026quot;officially\u0026quot; arrived in the inner\ncircle of the best British film actors.\u003cbr/\u003e\u003cbr/\u003eThese three films also elevated Losey into the ranks of major directors\n(Bogarde also starred in Losey\u0026#39;s 1966 spy spoof\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0060708/?ref_=sr\"\u003eModesty Blaise (1966)\u003c/a\u003e, but that\nfilm did little to enhance either man\u0026#39;s reputation. He turned down the\nopportunity to appear in Losey\u0026#39;s\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0068226/?ref_=sr\"\u003eThe Assassination of Trotsky (1972)\u003c/a\u003e\ndue to the poor quality of the script).\u003cbr/\u003e\u003cbr/\u003ePhilip French, in his obituary \u0026quot;Dark, exotic and yet essentially\nEnglish\u0026quot;, published in \u0026quot;The Observer\u0026quot; on May 9, 1999, said of Bogarde,\n\u0026quot;Losey discovered something more complex and sinister in his English\npersona and his performance as Barrett, the malevolent valet in \u0026#39;The\nServant,\u0026#39; scripted by Harold Pinter, is possibly the most subtle,\nrevealing thing he ever did - by confronting his homosexuality in a\nnon-gay context.\u0026quot;\u003cbr/\u003e\u003cbr/\u003eLosey told interviewer Michel Ciment that his work with Bogarde\nrepresented a turning point in the actor\u0026#39;s career, when he developed\ninto an actor of depth and power. He also frankly admitted to Ciment\nthat without Bogarde, his career would have stagnated and never reached\nthe heights of success and critical acclaim that it did in the 1960s.\u003cbr/\u003e\u003cbr/\u003eInterestingly during the filming of \u0026quot;The Servant.\u0026quot; Losey was\nhospitalized with pneumonia. He asked Bogarde to direct the film in\norder to keep shooting so that the producers would not cancel the film.\nA reluctant Bogarde complied with Losey\u0026#39;s wishes and directed for ten\ndays. He later said that he would never direct again.\u003cbr/\u003e\u003cbr/\u003eBogarde co-starred with up-and-coming actress\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001046/?ref_=sr\"\u003eJulie Christie\u003c/a\u003e in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0772259/?ref_=sr\"\u003eJohn Schlesinger\u003c/a\u003e\u0026#39;s\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0059084/?ref_=sr\"\u003eDarling (1965)\u003c/a\u003e, for which Christie won a\nBest Actress Oscar and was vaulted into 1960s cinema superstardom.\nDuring the filming of the movie, both Bogarde and Christie were waiting\nto hear whether they would be cast as Yuri Zhivago and his lover Lara\nin \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000180/?ref_=sr\"\u003eDavid Lean\u003c/a\u003e\u0026#39;s upcoming blockbuster\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0059113/?ref_=sr\"\u003eDoctor Zhivago (1965)\u003c/a\u003e. Christie\ngot the call, Bogarde didn\u0026#39;t, but he was well along in the process of\nestablishing himself as one of the screen\u0026#39;s best and most important\nactors. He won his second BAFTA Best Actor Award for his performance in\n\u0026quot;Darling.\u0026quot;\u003cbr/\u003e\u003cbr/\u003eBogarde went on to major starring roles in such important pictures as\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0062977/?ref_=sr\"\u003eThe Fixer (1968)\u003c/a\u003e, for which\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000869/?ref_=sr\"\u003eAlan Bates\u003c/a\u003e won a Best Actor\nAcademy Award nomination. While Bogarde never was nominated for an\nOscar, he had the honor of starring in two films for\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0899581/?ref_=sr\"\u003eLuchino Visconti\u003c/a\u003e,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0064118/?ref_=sr\"\u003eLa caduta degli dei (Götterdämmerung) (1969)\u003c/a\u003e\n(\u0026quot;The Damned\u0026quot;) and\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0067445/?ref_=sr\"\u003eMorte a Venezia (1971)\u003c/a\u003e, based on\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0003407/?ref_=sr\"\u003eThomas Mann\u003c/a\u003e\u0026#39;s novella \u0026quot;Death in\nVenice.\u0026quot; Bogarde felt that his performance as Gustav von Aschenbach,\nthe dying composer in love with a young boy and with the concept of\nbeauty, in \u0026quot;Death in Venice\u0026quot; was the \u0026quot;the peak and end of my career . .\n. I can never hope to give a better performance in a better film.\u0026quot;\u003cbr/\u003e\u003cbr/\u003eVisconti told Bogarde that when the lights went up in a Los Angeles\nscreening room after a showing of \u0026quot;Death in Venice\u0026quot; for American studio\nexecutives, no one said anything. The silence encouraged Visconti, who\nbelieved it meant that the executives were undergoing a catharsis after\nwatching his masterpiece. However, he soon realized that, in Bogarde\u0026#39;s\nown words, \u0026quot;Apparently they were stunned into horrified silence . . . A\ngroup of slumped nylon-suited men stared dully at the blank screen.\u0026quot;\nOne nervous executive, feeling something should be said, got up and\nasked, \u0026quot;Signore Visconti, who was responsible for the score of the\nfilm?\u0026quot;\u003cbr/\u003e\u003cbr/\u003e\u0026quot;\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0006178/?ref_=sr\"\u003eGustav Mahler\u003c/a\u003e,\u0026quot; Visconti replied.\u003cbr/\u003e\u003cbr/\u003e\u0026quot;Just great!\u0026quot;, said the nervous man. \u0026quot;I think we should sign him.\u0026quot;\u003cbr/\u003e\u003cbr/\u003eAfter \u0026quot;Venice\u0026quot;, Bogarde made only seven films over the next two\ndecades and was scathing about the quality of the scripts he was offered. To express himself artistically, he began to write. In his\nthird volumes of autobiography, he wrote, \u0026quot;No longer do the great\nJewish dynasties hold power: the people who were, when all is said and\ndone, the Picture People. Now the cinema is controlled by vast firms\nlike Xerox, Gulf \u0026amp; Western, and many others who deal in anything from\nsanitary-ware to property development. These huge conglomerates,\nfaceless, soulless, are concerned only with making a profit; never a\nwork of art . . . \u0026quot;\u003cbr/\u003e\u003cbr/\u003eHe rued the fact that \u0026quot;it is pointless to be \u0026#39;superb\u0026#39; in a commercial\nfailure; and most of the films which I had deliberately chosen to make\nin the last few years were, by and large, just that. Or so I am always\ninformed by the businessmen. The critics may have liked them\nextravagantly, but the distributors shy away from what they term \u0026#39;A\nCritic\u0026#39;s Film\u0026#39;, for it often means that the public will stay away.\nWhich, in the mass, they do: and if you don\u0026#39;t make money at the\nbox-office you are not asked back to play again.\u0026quot;\u003cbr/\u003e\u003cbr/\u003eHowever, the courageous artist was not to be daunted: \u0026quot;But I\u0026#39;d had very\ngood innings. Better than most. So what the hell?\u0026quot; His well-written\nworks were enthusiastically received by critics and the book-buying\npublic.\u003cbr/\u003e\u003cbr/\u003eBogarde appeared in another film that flirted with the theme of German\nfascism, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0146960/?ref_=sr\"\u003eLiliana Cavani\u003c/a\u003e\u0026#39;s highly\ncontroversial\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0071910/?ref_=sr\"\u003eIl portiere di notte (1974)\u003c/a\u003e\n(\u0026quot;The Night Porter\u0026quot;). He played an ex-SS officer who encounters a woman\nwith whom he had been engaged in a sado-masochistic affair at a World\nWar II Nazi extermination camp. Many critics found the film, which\nfeatured extensive nudity courtesy of\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001648/?ref_=sr\"\u003eCharlotte Rampling\u003c/a\u003e, crassly\noffensive, but no one faulted Bogarde\u0026#39;s performance.\u003cbr/\u003e\u003cbr/\u003eHe played Lt. Gen. Frederick \u0026quot;Boy\u0026quot; Browning in the all-star blockbuster\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0075784/?ref_=sr\"\u003eA Bridge Too Far (1977)\u003c/a\u003e.\nAlthough some of his fellow actors were World War II veterans, only\nBogarde had been involved in the actual battle. His performance\narguably is the best in the film. Appearing in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0720297/?ref_=sr\"\u003eAlain Resnais\u003c/a\u003e\u0026#39; art house hit\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0076574/?ref_=sr\"\u003eProvidence (1977)\u003c/a\u003e gave Bogarde the\nopportunity to co-star with \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000024/?ref_=sr\"\u003eJohn Gielgud\u003c/a\u003e.\nHe also starred in German wunderkind\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001202/?ref_=sr\"\u003eRainer Werner Fassbinder\u003c/a\u003e\u0026#39;s\nadaptation of \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0618603/?ref_=sr\"\u003eVladimir Nabokov\u003c/a\u003e\u0026#39;s\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0077421/?ref_=sr\"\u003eDespair (1978)\u003c/a\u003e, with a script by\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001779/?ref_=sr\"\u003eTom Stoppard\u003c/a\u003e. Though the film was not much\nof a critical success, Bogarde\u0026#39;s acting as 1930s German businessman\nHermann Hermann, a man who chooses to go mad when faced with the\nparadoxes of his life in his proto-fascist fatherland, was highly\npraised.\u003cbr/\u003e\u003cbr/\u003eBogarde enjoyed working with Fassbinder. He wrote that \u0026quot;Rainer\u0026#39;s work\nwas extraordinarily similar to that of Visconti\u0026#39;s; despite their age\ndifference, they both behaved, on set, in much the same manner. Both\nhad an incredible knowledge of the camera: the first essential. Both\nknew how it could be made to function; they had the same feeling for\nmovement on the screen, of the all-important (and often-neglected)\n\u0026#39;pacing\u0026#39; of a film, from start to finish, of composition, of texture,\nand probably most of all they shared that strange ability to explore\nand probe into the very depths of the character which one had offered\nthem.\u0026quot;\u003cbr/\u003e\u003cbr/\u003eAfter his experience with Fassbinder, he acted only four more times,\ntwice in feature films and twice on television. Bogarde was nominated\nfor a Golden Globe for playing \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001094/?ref_=sr\"\u003eRoald Dahl\u003c/a\u003e in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0082887/?ref_=sr\"\u003eThe Patricia Neal Story (1981)\u003c/a\u003e.\nHe got rave reviews playing \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000945/?ref_=sr\"\u003eJane Birkin\u003c/a\u003e\u0026#39;s\nfather in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0851724/?ref_=sr\"\u003eBertrand Tavernier\u003c/a\u003e\u0026#39;s\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0099341/?ref_=sr\"\u003eDaddy Nostalgie (1990)\u003c/a\u003e, his last\nfilm.\u003cbr/\u003e\u003cbr/\u003eIn 1984 Bogarde was asked to serve as president of the jury at the\nCannes Film Festival, a huge honor for the actor, as he was the first\nBriton ever to serve in that capacity. Two years earlier he had been\nmade a Chevalier de l\u0026#39;Ordre des lettres 1982. A decade later, he was\nknighted by \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0703070/?ref_=sr\"\u003eQueen Elizabeth II\u003c/a\u003e on\nFebruary 13, 1992.\u003cbr/\u003e\u003cbr/\u003eBogarde won two Best Actor Awards out of six nominations from the\nBritish Academy of Film \u0026amp; Television Arts, for \u0026quot;The Servant\u0026quot; and\n\u0026quot;Darling\u0026quot; in 1964 and 1966, respectively. He was also nominated in 1962\nfor \u0026quot;Victim,\u0026quot; in 1968 for \u0026quot;Accident\u0026quot; and\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0062089/?ref_=sr\"\u003eOur Mother\u0026#39;s House (1967)\u003c/a\u003e and\nin 1972 for \u0026quot;Morte a Venezia.\u0026quot;\u003cbr/\u003e\u003cbr/\u003eBogarde suffered a stroke in 1996, and though it rendered him partially\nparalyzed, he was able to recover and live in his own flat in Chelsea.\nHowever, by May of 1998 he required around-the-clock nursing care, and\nhe had his lawyers draw up a \u0026quot;living will,\u0026quot; also known as a\nno-resuscitation order. Bogarde publicly came out in favor of voluntary\neuthanasia, becoming Vice President of the Voluntary Euthanasia\nSociety. He publicly addressed the subject of his own \u0026quot;living will,\u0026quot;\nwhich ordered that no extraordinary measures be taken to keep him alive\nshould he become terminally ill.\u003cbr/\u003e\u003cbr/\u003eThe living will proved unnecessary. Dirk Bogarde died of a heart attack\non May 8, 1999, in his home in Chelsea, London, England. According to\nhis nephew Brock Van den Bogaerde, the family planned to hold a private\nfuneral but no memorial service in accordance with his uncle\u0026#39;s wish\n\u0026quot;just to forget me.\u0026quot; Bogarde wanted to be cremated and have his ashes\nscattered in France, and accordingly, his remains were returned to\nProvence.\u003cbr/\u003e\u003cbr/\u003eMargaret Hinxman, in her May 10, 1999, obituary in \u0026quot;The Guardian\u0026quot;, said\nof him, \u0026quot;At his peak and with directors he trusted - Joseph Losey,\nLuchino Visconti and Alain Resnais - Dirk Bogarde . . . was probably\nthe finest, most complete, actor on the screen.\u0026quot;\u003cbr/\u003e\u003cbr/\u003eClive Fisher\u0026#39;s obituary in \u0026quot;The Independent\u0026quot; on May 10, 1999, praised\nBogarde as \u0026quot;a major figure because, wherever they were made, his finest\nfilms are all somehow about him. He was a great self-portraitist and\nthe screen persona he fashioned, a stylization of his private being,\nnot only dominated its surroundings but spoke subliminally and\npowerfully to British audiences about the tensions of the time, about\nconnivances and cruel respectabilities of England in the Fifties and\nSixties.\u0026quot;\u003cbr/\u003e\u003cbr/\u003eThe secret of Dirk Bogarde\u0026#39;s success as a great cinema actor was his\nintimate relationship with the camera. Bogarde believed that the key to\nacting on film was the eyes, specifically, the \u0026quot;look\u0026quot; of the actor.\nLike \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000042/?ref_=sr\"\u003eAlan Ladd\u003c/a\u003e, it didn\u0026#39;t matter if an\nactor was good with line readings if they had mastery over the \u0026quot;look.\u0026quot;\nFor many critics and movie-goers at the end of the 20th century, Dirk\nBogarde\u0026#39;s face epitomized the \u0026quot;look\u0026quot; of Britain in the tumultuous\ndecades after the Second World War.\u003cbr/\u003e\u003cbr/\u003eDavid Tindle\u0026#39;s portrait of Bogarde is part of the collection of\nLondon\u0026#39;s National Portrait Gallery, London. In 1999, the portrait, on\ntemporary loan, was displayed at 10 Downing Street, the Prime\nMinister\u0026#39;s official residence, with other modern works of art.\nOfficially, Dirk Bogarde had become the look of Britain.","knownFor":{"originalTitleText":"The Servant","titleId":"tt0057490","titleText":"The Servant","canHaveEpisodes":false,"yearRange":{"year":1963}},"nameId":"nm0001958","nameText":"Dirk Bogarde","primaryProfessions":["Actor","Writer","Soundtrack"],"primaryImage":{"caption":"Dirk Bogarde, c. 1952.","height":450,"width":323,"url":"https://m.media-amazon.com/images/M/MV5BMTUxNDY0NjAwMl5BMl5BanBnXkFtZTYwMTUxNjI2._V1_.jpg"}},{"bio":"Born in Upminster, Essex, England in 1927, Richard Johnson attended the\nRoyal Academy of Dramatic Art in London and then performed in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000024/?ref_=sr\"\u003eJohn Gielgud\u003c/a\u003e\u0026#39;s repertory company until\njoining the navy in 1945 until 1948. After the war, he appeared\nsuccessfully in the West End and made his film debut in the early\n1950s. The debonair and handsome Johnson was a natural to portray\nplayboy type characters, perhaps the most memorable being \u0026quot;Bulldog\nDrummond\u0026quot; in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0060288/?ref_=sr\"\u003eDeadlier Than the Male (1967)\u003c/a\u003e\nand \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0065009/?ref_=sr\"\u003eSome Girls Do (1969)\u003c/a\u003e. Later in\nhis career, he turned to more serious roles, such as \u0026quot;Marc Antony\u0026quot; in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0175447/?ref_=sr\"\u003eAntony and Cleopatra (1974)\u003c/a\u003e,\nand also tried his hand at producing in the late 1980s.","knownFor":{"originalTitleText":"The Haunting","titleId":"tt0057129","titleText":"The Haunting","canHaveEpisodes":false,"yearRange":{"year":1963}},"nameId":"nm0426062","nameText":"Richard Johnson","primaryProfessions":["Actor","Producer","Writer"],"primaryImage":{"caption":"Richard Johnson in Turtle Diary (1985)","height":2048,"width":1791,"url":"https://m.media-amazon.com/images/M/MV5BMjEyMDcxMDk1NF5BMl5BanBnXkFtZTcwMDMzOTgwMw@@._V1_.jpg"}},{"bio":"Haydn Gwynne was fluent in French and Italian. She studied Modern Languages at the University of Warwick before taking a five-year lectureship in Italy, where she taught English. She also drove across the United States before becoming an actress in her mid-twenties.\u003cbr/\u003e\u003cbr/\u003eShe first came to notice on television as starring in the David Lodge campus comedy/drama \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0131679/?ref_=sr\"\u003eNice Work (1989)\u003c/a\u003e, before joining the sharp comedy series set in a television newsroom, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0098781/?ref_=sr\"\u003eDrop the Dead Donkey (1990)\u003c/a\u003e. She was known for her roles in the medical series \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0106097/?ref_=sr\"\u003ePeak Practice (1993)\u003c/a\u003e and the\npolice drama \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0289817/?ref_=sr\"\u003eMerseybeat (2001)\u003c/a\u003e, but later\nplayed in the stage musicals \u0026#39;Billy Elliot\u0026#39;\nand \u0026#39;Ziegfeld\u0026#39;.\u003cbr/\u003e\u003cbr/\u003eShe lived in London with her partner Jason Phipps, a psychotherapist, and their two sons, Orlando and Harry. Offscreen, she volunteered for Sightsavers, a group committed to combating blindness in under-developed countries.","knownFor":{"originalTitleText":"Beauty and the Beast","titleId":"tt2771200","titleText":"Beauty and the Beast","canHaveEpisodes":false,"yearRange":{"year":2017}},"nameId":"nm0006522","nameText":"Haydn Gwynne","primaryProfessions":["Actress"],"primaryImage":{"caption":"Haydn Gwynne","height":400,"width":278,"url":"https://m.media-amazon.com/images/M/MV5BMTc4NjgxNjgyM15BMl5BanBnXkFtZTcwNTU4OTI2Mg@@._V1_.jpg"}},{"bio":"In Britain, special Christmas plays called pantomimes are produced for\nchildren. Jack Hawkins made his London theatrical debut at age 12,\nplaying the elf king in \u0026quot;Where The Rainbow Ends\u0026quot;. At 17, he got the\nlead role of St. George in the same play. At 18, he made his debut on\nBroadway in \u0026quot;Journey\u0026#39;s End\u0026quot;. At 21, he was back in London playing a\nyoung lover in \u0026quot;Autumn Crocus\u0026quot;. He married his leading lady,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001788/?ref_=sr\"\u003eJessica Tandy\u003c/a\u003e. That year he also played\nhis first real film role in the 1931 sound version of\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000033/?ref_=sr\"\u003eAlfred Hitchcock\u003c/a\u003e\u0026#39;s\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0023145/?ref_=sr\"\u003eThe Lodger (1932)\u003c/a\u003e. During the 30s, he\ntook his roles in plays more seriously than the films he made. In 1940,\nJessica accepted a role in America and Jack volunteered to serve in the\nRoyal Welch Fusiliers. He spent most of his military career arranging\nentertainment for the British forces in India. One of the actresses who\ncame out to India was\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0492729/?ref_=sr\"\u003eDoreen Lawrence\u003c/a\u003e who became his\nsecond wife after the war.\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0466099/?ref_=sr\"\u003eAlexander Korda\u003c/a\u003e advised Jack to\ngo into films and offered him a three-year contract. In his\nautobiography, Jack recalled: \u0026quot;Eight years later I was voted the number\none box office draw of 1954. I was even credited with irresistible sex\nappeal, which is another quality I had not imagined I possessed.\u0026quot; A\nlate 1940s film,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0042256/?ref_=sr\"\u003eThe Black Rose (1950)\u003c/a\u003e, where he\nplayed a secondary role to \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000061/?ref_=sr\"\u003eTyrone Power\u003c/a\u003e,\nwould be one of his most fortunate choices of roles. The director was\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0368871/?ref_=sr\"\u003eHenry Hathaway\u003c/a\u003e who Jack said was\n\u0026quot;probably the most feared, yet respected director in America, for he\nhad a sharp tongue and fired people at the drop of a hat. Years later,\nafter my operation when I lost my voice, he went out of his way to help\nme get back into films. What I did not know was that during the filming\nof \u0026#39;The Black Rose\u0026#39; he was himself suffering from cancer.\u0026quot; In the 1950s\ncame the film that made Hawkins a star,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0045659/?ref_=sr\"\u003eThe Cruel Sea (1953)\u003c/a\u003e. Suffering\nfrom life-long, real-life seasickness, he played the captain of the\nCompass Rose. After surgery for throat cancer in 1966, requiring the\nremoval of his larynx, Jack continued to make films. He mimed his lines\nand the voice was dubbed by either\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0336509/?ref_=sr\"\u003eCharles Gray\u003c/a\u003e or\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0726403/?ref_=sr\"\u003eRobert Rietty\u003c/a\u003e. His motto during those last\nyears came from Milton\u0026#39;s \u0026quot;Comus\u0026quot;, a verse play in which he acted early\nin his career in Regent\u0026#39;s Park. The lines: \u0026quot;Yet where an equal poise of\nhope and fear does arbitrate the event, my nature is that I incline to\nhope, rather than to fear.\u0026quot;","knownFor":{"originalTitleText":"The Bridge on the River Kwai","titleId":"tt0050212","titleText":"The Bridge on the River Kwai","canHaveEpisodes":false,"yearRange":{"year":1957}},"nameId":"nm0370144","nameText":"Jack Hawkins","primaryProfessions":["Actor","Producer"],"primaryImage":{"caption":"Jack Hawkins","height":2048,"width":1529,"url":"https://m.media-amazon.com/images/M/MV5BMTU0MTk0NzI5OF5BMl5BanBnXkFtZTcwNTI1NjQwOA@@._V1_.jpg"}},{"bio":"A statuesque and striking actress with vaguely reptilian aspects, at once sinister and alluring; a smile never more than a whisker away from a sneer and a commanding, imperious presence suggesting innate superiority. Difficult to cast, Patricia Laffan seemed destined to portray the villainous or the eccentric. The daughter of Irish rubber planter Arthur Charles Laffan (1870-1948) and London-born Elvira Alice née Vitali (1896-1979), Patricia was schooled at the Institut français du Royaume-Uni in London and trained in dramatic arts at the prestigious Douglas-Webber School. She emerged on stage in 1937 and made her screen debut by 1945. In between a cluster of nondescript or uncredited roles, we remember her for two indelible cinematic performances: first, as that sumptuously decadent, scheming, malicious Empress Poppaea in MGM\u0026#39;s epic blockbuster \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0043949/?ref_=sr\"\u003eQuo Vadis (1951)\u003c/a\u003e -- sardonic and disdainful in her delivery, at times running close to overshadowing even the great \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001811/?ref_=sr\"\u003ePeter Ustinov\u003c/a\u003e in his most famous role as Nero. One of her lavish outfits included a 14 carat gold dress designed by \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0380855/?ref_=sr\"\u003eHerschel McCoy\u003c/a\u003e. A contemporary BBC interview with Laffan also recounts an incident during the making of Quo Vadis. In this, the actress, while reclining on a divan next to a couple of cheetahs at the end of a love scene with \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001791/?ref_=sr\"\u003eRobert Taylor\u003c/a\u003e, was set upon by one of the not so tame cats but managed to escape with a torn dress (the gold one ?) -- \u0026quot;on the other hand, the lions in the arena scene were so bored that they went to sleep in the shade instead of looking hungrily at the Christians\u0026quot;.\u003cbr/\u003e\u003cbr/\u003eLaffan\u0026#39;s other fondly remembered showing on screen was in the campy \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0046907/?ref_=sr\"\u003eDevil Girl from Mars (1954)\u003c/a\u003e, a typically low-budget Danziger Brothers attempt at emulating the success of \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0043456/?ref_=sr\"\u003eThe Day the Earth Stood Still (1951)\u003c/a\u003e. Justifiably derided at the time (for such valid reasons as inane writing, lacklustre direction and props acutely reminiscent of kitchen appliances), it has become a surprising cult touchstone for sci-fi aficionados. Why? Certainly because of the picture\u0026#39;s sole meritorious component: Patricia Laffan as the Martian invader Nyah, exotically made up, outfitted in PVC jumpsuit, miniskirt, Darth Vader-style cape and skullcap and making the most of her scenes, delivering her lines with practised cold, languid authority.\u003cbr/\u003e\u003cbr/\u003eSadly underused, there were to be few other roles of note for this commanding actress in the wake of \u0026#39;Devil Girl\u0026#39;, except, perhaps, for an integral bit in the enjoyable psychological thriller \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0048919/?ref_=sr\"\u003e23 Paces to Baker Street (1956)\u003c/a\u003e. Subsequent TV appearances saw her mostly confined to conventional aristocratic ladies in period or crime dramas. Patricia Laffan retired from the screen in 1965, apparently to a quiet life in Chelsea, London, where she may have pursued her passions for fast cars, story-writing and breeding bull terriers.","knownFor":{"originalTitleText":"Quo Vadis","titleId":"tt0043949","titleText":"Quo Vadis","canHaveEpisodes":false,"yearRange":{"year":1951}},"nameId":"nm0480784","nameText":"Patricia Laffan","primaryProfessions":["Actress"],"primaryImage":{"caption":"Patricia Laffan in Quo Vadis (1951)","height":2048,"width":1642,"url":"https://m.media-amazon.com/images/M/MV5BMjI3MTg2NDc3NV5BMl5BanBnXkFtZTcwMDc2MTUwNA@@._V1_.jpg"}},{"bio":"Peter Paul Wyngarde was born at the home of an aunt in Marseille, Southern France, and is the son of an English father and French mother. Owing to his father\u0026#39;s work as a member of the British Diplomatic Service, Peter spent much of his early childhood moving from one country to another, and was educated in a number of different schools.\u003cbr/\u003e\u003cbr/\u003eOne city which left a lasting impression on him was Shanghai, where he had been temporarily left in the care of a Swiss family whilst his father was away in India on business. The year was 1941, and amid a mass of turmoil and confusion, news broke that the Japanese had captured the city, and before long, Peter and his surrogate family found themselves in Lunghua concentration camp.\u003cbr/\u003e\u003cbr/\u003eConfined in these desperately brutal conditions for four years, Peter struggled to prevent his family and friends from dying at the hands of the cruel and barbaric soldiers who governed the camp, and on one occasion while running errands between accommodation huts, he was discovered and punished by having both his feet broken with a rifle butt, and then put into solitary confinement for two weeks.\u003cbr/\u003e\u003cbr/\u003eDuring better times however, the young Mr. Wyngarde worked in the camp laundry and gardens, and began to write and appear in plays staged by, and for, his fellow inmates, making his acting debut in his own production of Dr Jekyll and Mr Hyde. When the camp was finally liberated in 1945 Peter, who was then suffering from malnutrition, beriberi and malaria, was taken to a sanatorium in the Swiss mountains where he remained for the next two years.\u003cbr/\u003e\u003cbr/\u003eAfter completing his education in Switzerland, France and England, Peter reluctantly honored his parents\u0026#39; wishes, and entered university, where he began studying law, but soon dropped the idea in favor of a career in advertising. After a brief spell with an agency in London, he walked into an audition, read the part, and was cast as the understudy for the lead in a play in Brighton.\u003cbr/\u003e\u003cbr/\u003eHis first role on the London stage, however, was with the Nottingham Repertory Company at the Embassy Theatre as Cassio in Othello. From there, he moved to the world famous Old Vic in Bristol, where he not only took the lead role in such classics as Cyrano de Bergerac and Taming of the Shrew, but also tried his hand at directing, most notably with Long Day\u0026#39;s Journey Into Night.\u003cbr/\u003e\u003cbr/\u003eIn 1956, Peter was invited over to the United States to take a screen test for the part of Pausanius in Robert Rosen\u0026#39;s epic feature film, Alexander the Great opposite Richard Burton and Fredric March, but after almost a year\u0026#39;s work on location in Spain, he watched in horror as his role was cut almost out of existence.\u003cbr/\u003e\u003cbr/\u003eDisillusioned with Hollywood, Peter returned to his first love - the British stage, where he took the role of Yang Sun, a Chinese fighter pilot, in Bertold Brecht\u0026#39;s, The Good Woman of Setzuan, at the Royal Court Theatre in London\u0026#39;s West End. It was here that he first made the acquaintance of the Oliviers - Laurence and his wife, Vivien Leigh, the latter of whom he later played opposite in the critically acclaimed Duel of Angels.\u003cbr/\u003e\u003cbr/\u003eFollowing the plays hugely successful run at the Apollo Theatre in London in 1958 Ms Leigh, who had since become a close friend of Peter\u0026#39;s, begged her leading man to join her in the New York production of the play. Although reluctant at first, Peter was at last persuaded to reprise his role as Count Marcellus, and he made his Broadway debut at the Helen Hayes Theatre in 1959, taking the coveted award for Best Actor in a Foreign Play.\u003cbr/\u003e\u003cbr/\u003eOn his triumphant return to Britain in 1960, he was almost immediately cast as the enigmatic Peter the Painter in Monty Barman\u0026#39;s production of The Siege of Sidney Street - a film which was based on the true story of the British Governments legendary battle with a notorious gang of Slavonic anarchist, whose reputation throughout Europe for robbery and murder lead to one of the bloodiest confrontations in British criminal history.\u003cbr/\u003e\u003cbr/\u003eBetween numerous starring roles in television productions such as Independent Televisions popular Armchair Theatre and Play of the Week, Peter made two more big screen appearances - both Albert Fennell productions.\u003cbr/\u003e\u003cbr/\u003eThe first, in 1961, was The Innocents - a feature-length adaptation of the Henry James novella The Turn of the Screw, which was followed in 1962 by the classic supernatural thriller, Night of the Eagle (aka Burn, Witch, Burn) which was once again based on a novel - this time Fritz Leiber\u0026#39;s Conjure Wife.\u003cbr/\u003e\u003cbr/\u003eBetween July of 1960 and March of 1969, Peter appeared in no less than thirty television plays, and guest starred in such classic series as The Avengers, I Love Lucy, The Baron, The Saint, The Champions and The Prisoner. In 1969, Peter was cast in what was undoubtedly his most famous role as the legendary author-cum-investigator, Jason King, in the ITC action series, Department S, and soon became the idol of thousands of women the world over. So overwhelming was his effect on television viewers that in 1971, a brand new series - Jason King - was devised, which allowed the handsome novelist to go adventuring without restriction.\u003cbr/\u003e\u003cbr/\u003eFollowing the cancellation of the series at the end of 1972, Peter decided to return to the theatre, and after being greeted at Melbourne Airport by more than 30,000 screaming fans, he took the city by storm in the world premiere of Butley before packed houses every night. Once back in London, Peter took the lead role in Charles Dyers Mother Adam at the Hampstead Theatre, and then went on to tour Britain in the lead role of the King in Rodgers and Hammerstein\u0026#39;s The King and I opposite Sally Ann Howes. The following year, he once again took up the mantle of actor/director with Present Laughter, stopping off along the way to host the 1974 Miss Television Contest.\u003cbr/\u003e\u003cbr/\u003eIn 1975, Peter headed out to Austria to work at the English Theatre in Vienna, to both act in and direct productions of The Merchant of Venice and Big Toys, before returning to the big screen in an Austrian film (Himmel, Scheich Und Wolkenbrunch) in the role of a latter-day Rudolph Valentino. The following year, he returned to the British stage in the Lawrence Parnes production of Anastasia, and then on to the big screen courtesy of Dino De Laurentiis\u0026#39; lavish 1980s sci-fi blockbuster, Flash Gordon, in which he was cast in the role of General Klytus. It was then back to the stage for a nine-months\u0026#39; tour of South Africa in Deathtrap.\u003cbr/\u003e\u003cbr/\u003eIn 1984, after an absence of almost 12 years, Peter returned to the small screen with a rare television appearance in the four-part Doctor Who installment, Planet of Fire, which was followed in short succession by the Hammer House of Mystery and Suspense story, And The Wall Came Tumbling Down, and a memorable guest-starring role in Granada Television\u0026#39;s Bulman.\u003cbr/\u003e\u003cbr/\u003eHaving been cast as the somewhat unsavory character of Sir Robert Knights in the stylish, yet overtly violent British thriller, Tank Malling in 1989 Peter, who scarcely ever agrees to be interviewed, consented to appear on SKY TV\u0026#39;s Jameson Show, plus a hearing on Channel 4s Right To Reply and the BBC\u0026#39;s daytime magazine, Pebble Mill. More recently, Peter appeared in 1994 in Granada Televisions popular Sherlock Holmes series opposite Jeremy Brett, playing the newspaper gossip-columnist, Langdale Pike, in The Three Gables.\u003cbr/\u003e\u003cbr/\u003eThe long-overdue release of both Department S and Jason King on video in 1993 helped rekindle huge interest in the debonair Mr Wyngarde, with repeats of the series being shown on satellite and cable channels, and public pressure resulting in the re-release of his infamous 1970 album on CD.\u003cbr/\u003e\u003cbr/\u003eIn recent years, Peter has made numerous TV appearances, which include Astleys Way, Dee Time, 100 Greatest TV Characters, Don\u0026#39;t Knock Yourself Out and narrated the acclaimed Timeshift documentary, The Many Faces of Sherlock Holmes in 2014.\u003cbr/\u003e\u003cbr/\u003ePeter remains one of the most popular British actors of the past 50 years, with a thriving fan club and devoted worldwide following. His appearances at TV and Sci-Fi conventions have drawn thousands of attendees, eager to meet him and to shake the hand of a true acting legend.","knownFor":{"originalTitleText":"Flash Gordon","titleId":"tt0080745","titleText":"Flash Gordon","canHaveEpisodes":false,"yearRange":{"year":1980}},"nameId":"nm0943936","nameText":"Peter Wyngarde","primaryProfessions":["Actor","Soundtrack"],"primaryImage":{"caption":"Peter Wyngarde","height":2048,"width":1538,"url":"https://m.media-amazon.com/images/M/MV5BMTg0MDU2OTY0Nl5BMl5BanBnXkFtZTgwNDg0MzA2NDM@._V1_.jpg"}},{"bio":"Joan Greenwood, of the plummy feline voice, was born in the well-to-do\nLondon district of Chelsea, the daughter of renowned portrait painter\nSydney Earnshaw Greenwood (1887-1949).\nDancing from the age of eight, she took ballet lessons and later\nenrolled at the Royal Academy of Dramatic Art (RADA). Graduating at age\n18, Joan made her theatrical debut in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0596942/?ref_=sr\"\u003eMolière\u003c/a\u003e\u0026#39;s\n\u0026quot;Malade Imaginaire\u0026quot; at the Apollo Theatre. Performing some time later\nin \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0524403/?ref_=sr\"\u003eClare Boothe Luce\u003c/a\u003e\u0026#39;s \u0026quot;The Women\u0026quot;,\nshe was noticed by \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001366/?ref_=sr\"\u003eLeslie Howard\u003c/a\u003e,\nwho cast the diminutive lass as his leading lady in his wartime flag\nwaver \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0035931/?ref_=sr\"\u003eThe Gentle Sex (1943)\u003c/a\u003e. From\nthis time onward, Joan began to alternate between stage and screen,\ncomedy and drama. She worked during the London Blitz and toured with\nthe Entertainment National Service Association (ENSA).\u003cbr/\u003e\u003cbr/\u003eThe theatre saw her in classical plays with the\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0938372/?ref_=sr\"\u003eDonald Wolfit\u003c/a\u003e Company, ranging from\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0789737/?ref_=sr\"\u003eGeorge Bernard Shaw\u003c/a\u003e\u0026#39;s \u0026quot;Heartbreak\nHouse\u0026quot; to\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000636/?ref_=sr\"\u003eWilliam Shakespeare\u003c/a\u003e\u0026#39;s\n\u0026quot;Hamlet\u0026quot; (as Ophelia), and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0406585/?ref_=sr\"\u003eHenrik Ibsen\u003c/a\u003e\u0026#39;s\n\u0026quot;Hedda Gabler\u0026quot;. On screen she gave a strong, sensitive performance in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001907/?ref_=sr\"\u003eEric Ambler\u003c/a\u003e\u0026#39;s psychological thriller\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0039676/?ref_=sr\"\u003eThe October Man (1947)\u003c/a\u003e. She was\nalso effectively cast opposite\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001289/?ref_=sr\"\u003eStewart Granger\u003c/a\u003e as the fragile,\nconflicted Sophie Dorothea, imprisoned in a loveless marriage, in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0213136/?ref_=sr\"\u003eBasil Dearden\u003c/a\u003e\u0026#39;s period romance\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0040758/?ref_=sr\"\u003eSaraband for Dead Lovers (1948)\u003c/a\u003e.\nAbove all, she is fondly remembered for a trio of classic Ealing\ncomedies, conveying a measure of eroticism while remaining\nquintessentially \u0026quot;correct\u0026quot; and \u0026quot;properly British\u0026quot;. She purred her way\nthrough\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0041546/?ref_=sr\"\u003eKind Hearts and Coronets (1949)\u003c/a\u003e\n(as the beguiling, but manipulative Sibella) and as Scottish Peggy\nMacroon she taunted straight-laced\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0705509/?ref_=sr\"\u003eBasil Radford\u003c/a\u003e in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0042040/?ref_=sr\"\u003eWhisky Galore! (1949)\u003c/a\u003e. She was\nLady Caroline Lamb in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0041145/?ref_=sr\"\u003eThe Bad Lord Byron (1949)\u003c/a\u003e and\nshe dutifully undermined idealistic, naive inventor Sidney Stratton\n(\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000027/?ref_=sr\"\u003eAlec Guinness\u003c/a\u003e) in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0044876/?ref_=sr\"\u003eThe Man in the White Suit (1951)\u003c/a\u003e.\u003cbr/\u003e\u003cbr/\u003eIn between her two other major screen roles--Gwendolen Fairfax in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0044744/?ref_=sr\"\u003eThe Importance of Being Earnest (1952)\u003c/a\u003e\nand lascivious Lady Bellaston in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0057590/?ref_=sr\"\u003eTom Jones (1963)\u003c/a\u003e--Joan had a brief\nspell in Hollywood, paired again with Stewart Granger for\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000485/?ref_=sr\"\u003eFritz Lang\u003c/a\u003e\u0026#39;s gothic period melodrama\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0048387/?ref_=sr\"\u003eMoonfleet (1955)\u003c/a\u003e. She did not enjoy the\nexperience. Eschewing the trimmings of Hollywood stardom, she opted\ninstead for the uncomplicated life at Ealing, where actors \u0026quot;washed\ntheir hair in buckets\u0026quot; and lived on \u0026quot;toasted sandwiches, chocolates and\nsoup\u0026quot;.\u003cbr/\u003e\u003cbr/\u003eJoan Greenwood died following a period of ill health on February 28, 1987, less than a\nweek before her 66th birthday.","knownFor":{"originalTitleText":"Kind Hearts and Coronets","titleId":"tt0041546","titleText":"Kind Hearts and Coronets","canHaveEpisodes":false,"yearRange":{"year":1949}},"nameId":"nm0339343","nameText":"Joan Greenwood","primaryProfessions":["Actress","Additional Crew","Soundtrack"],"primaryImage":{"caption":"Joan Greenwood","height":2048,"width":1638,"url":"https://m.media-amazon.com/images/M/MV5BMTU1MTE0OTQ1Nl5BMl5BanBnXkFtZTcwNjQ5NDAxOA@@._V1_.jpg"}},{"bio":"Best known for playing the perpetually-ditzy blonde bimbo in several installments of the \u0026quot;Carry On\u0026quot; franchise, buxom Liz Fraser (born Elizabeth Joan Winch above a corner shop in south London) studied at RADA on a scholarship and first acted in repertory theatre and television before breaking into films. Her first role of note was Cynthia, the daughter of radical left-wing shop steward Fred Kite in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm1803013/?ref_=sr\"\u003eThe Boulting Brothers\u003c/a\u003e comedy \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0052911/?ref_=sr\"\u003eI\u0026#39;m All Right Jack (1959)\u003c/a\u003e (the film which made \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000634/?ref_=sr\"\u003ePeter Sellers\u003c/a\u003e a star). In a second outing with Sellers, (\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0054417/?ref_=sr\"\u003eTwo Way Stretch (1960)\u003c/a\u003e, she played his girlfriend Ethel; up next were eight guest appearances on \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0124703/?ref_=sr\"\u003eHancock\u0026#39;s Half Hour (1956)\u003c/a\u003e. By that time, her screen personae were firmly established as scatterbrained blondes or feisty gum-chewing working-class Cockneys. Though she often managed to rise above her material, the typecasting sadly continued through a series of dreadful low-brow \u0026#39;70s sex comedies in the \u0026#39;Adventures\u0026#39; and \u0026#39;Confessions\u0026#39; series, which represented a significant step-down from the \u0026quot;Carry Ons\u0026quot; and did nothing for her reputation.\u003cbr/\u003e\u003cbr/\u003eLiz attempted to change her image by playing straight dramatic roles in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0060395/?ref_=sr\"\u003eThe Family Way (1966)\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0062426/?ref_=sr\"\u003eUp the Junction (1968)\u003c/a\u003e (as the mother) and her later career prospered as a fine character actress with guest spots on \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0075561/?ref_=sr\"\u003eThe Professionals (1977)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0078657/?ref_=sr\"\u003eMinder (1979)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0310455/?ref_=sr\"\u003eFoyle\u0026#39;s War (2002)\u003c/a\u003e, and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0118401/?ref_=sr\"\u003eMidsomer Murders (1997)\u003c/a\u003e, along with a string of successes on the West End stage. In her private life, she was known to be fond of animals, and she loved to play bridge and ladies\u0026#39; bowls at the exclusive Hurlingham club in Fulham. Her financial astuteness brought substantial gains at the stock market, which she in turn developed into a healthy property portfolio. She always spoke fondly of her co-stars, many of whom she regarded as her close \u0026#39;mates\u0026#39; during the sixties, in particular \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0416228/?ref_=sr\"\u003eSidney James\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0801330/?ref_=sr\"\u003eJoan Sims\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0359437/?ref_=sr\"\u003eTony Hancock\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0178426/?ref_=sr\"\u003eTommy Cooper\u003c/a\u003e.","knownFor":{"originalTitleText":"I'm All Right Jack","titleId":"tt0052911","titleText":"I'm All Right Jack","canHaveEpisodes":false,"yearRange":{"year":1959}},"nameId":"nm0292187","nameText":"Liz Fraser","primaryProfessions":["Actress","Soundtrack"],"primaryImage":{"caption":"Liz Fraser in Double Bunk (1961)","height":2676,"width":2084,"url":"https://m.media-amazon.com/images/M/MV5BNWUzZjZiZDktNWU2My00ZjUzLTlhMWYtNTkyOTQ4MDBkMDEwXkEyXkFqcGc@._V1_.jpg"}},{"bio":"Joan Sims, the \u0026quot;First Lady of Carry On\u0026quot;, was born Irene Joan Marion Sims on 9 May\n1930. The daughter of an Essex railway station master, Joan was\ninterested in pursuing show-business, and soon became a familiar face\nin a growing number of amateur productions. In 1946, Joan first applied\nto RADA, her audition was unsuccessful. She did succeed in being\nadmitted to the academy\u0026#39;s preparatory school, and finally, on\nher fourth attempt, trained at RADA. She graduated in 1950 at the age of nineteen.\u003cbr/\u003e\u003cbr/\u003eA cameo appearance in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0046921/?ref_=sr\"\u003eDoctor in the House (1954)\u003c/a\u003e as\nthe sexually repressed Nurse Rigor Mortis led to Joan being first\nspotted by \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0737127/?ref_=sr\"\u003ePeter Rogers\u003c/a\u003e; Rogers\u0026#39;\nwife \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0101489/?ref_=sr\"\u003eBetty E. Box\u003c/a\u003e was the producer of the\nDoctor series, in which Joan herself became a regular.\u003cbr/\u003e\u003cbr/\u003eA few years later, in 1958, Joan received another script from\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0737127/?ref_=sr\"\u003ePeter Rogers\u003c/a\u003e, it was\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0051452/?ref_=sr\"\u003eCarry on Nurse (1959)\u003c/a\u003e. The film\nhad been a huge success at the box office and in the autumn of that\nyear Rogers and Gerald Thomas began planning a follow up. She went on\nto appear in 24 of the films, making her the longest serving female\nmember of the team.\u003cbr/\u003e\u003cbr/\u003eShe first starred in the following three Carry On films:\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0052676/?ref_=sr\"\u003eCarry on Teacher (1959)\u003c/a\u003e,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0053699/?ref_=sr\"\u003eCarry on Constable (1960)\u003c/a\u003e\nand\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0054727/?ref_=sr\"\u003eCarry on Regardless (1961)\u003c/a\u003e,\nbefore taking a break from the next four films to concentrate on stage\nwork. She rejoined the team with\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0057918/?ref_=sr\"\u003eCarry on Cleo (1964)\u003c/a\u003e and remained\nall the way through to\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0077300/?ref_=sr\"\u003eCarry on Emmannuelle (1978)\u003c/a\u003e\nin 1978.\u003cbr/\u003e\u003cbr/\u003eIronically, she was never proclaimed Queen of Carry On. This title went\nto saucy \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0934774/?ref_=sr\"\u003eBarbara Windsor\u003c/a\u003e, even though\nshe had only appeared in nine Carry On films.\u003cbr/\u003e\u003cbr/\u003eOne could argue that her final performances in the Carry On films were\nrather sentimental, as though she knew that the series was coming to an\nend and two scenes come to mind. The scene in which she plays cards\nwith \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0125350/?ref_=sr\"\u003ePeter Butterworth\u003c/a\u003e in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0072764/?ref_=sr\"\u003eCarry on Behind (1975)\u003c/a\u003e in his\ncaravan late at night, and also in the launderette where she dances with\nan early Carry Oner \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0534658/?ref_=sr\"\u003eVictor Maddern\u003c/a\u003e in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0077300/?ref_=sr\"\u003eCarry on Emmannuelle (1978)\u003c/a\u003e.\nBoth of these are memorable sentimental film scene stealers.\u003cbr/\u003e\u003cbr/\u003eWith the end of the Carry On series in 1978, Joan went on to become a\nfamiliar face on TV screens, with ongoing roles in a number of highly\nsuccessful sitcoms \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0098881/?ref_=sr\"\u003eOn the Up (1990)\u003c/a\u003e\nand \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0105943/?ref_=sr\"\u003eAs Time Goes By (1992)\u003c/a\u003e\nand the BBC\u0026#39;s prestigious classic drama adaptations such as\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0112062/?ref_=sr\"\u003eMartin Chuzzlewit (1994)\u003c/a\u003e.\u003cbr/\u003e\u003cbr/\u003eJoan\u0026#39;s autobiography, High Spirits, was released in 2000. She complains\nin the last few pages of her book at the lack of information on her on\nthe IMDB trivia page, something that was only significantly expanded\nafter her death.\u003cbr/\u003e\u003cbr/\u003eIn her later years she became a cult figure and something of a British\nNational Institution as the only surviving major Carry On star from\nearly days. However, years of heavy drinking took their toll and she\nsuffered in her later years with ill health. She was admitted to\nHospital in Chelsea in London in mid 2001 and slipped into a coma. She\ndied on 28 June 2001, with her lifelong friend and Carry On\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm1216714/?ref_=sr\"\u003eNorah Holland\u003c/a\u003e holding her hand.\u003cbr/\u003e\u003cbr/\u003eFollowing her death, surviving Carry On stars celebrated her\nachievement in the Carry On films.\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0934774/?ref_=sr\"\u003eBarbara Windsor\u003c/a\u003e, said at the time of her\ndeath, \u0026quot;To me she was the last of the great Carry Ons, she was there at\nthe beginning. Her talent was wonderful, she could do any accent,\ndialect, she could dance, sing, play dowdy and glam. We laughed all the\ntime and giggled a lot. I will sorely miss her.\u0026quot; That quote is so true,\nthroughout her whole Carry On career she alone stands apart as the most\nversatile actress in the whole series. She was never typecast in the\nfilms like the other actors and actresses.\u003cbr/\u003e\u003cbr/\u003eOthers also paid tribute, even ex-Government Cabinet Ministers. Her\nagent Richard Hatton said, \u0026quot;It\u0026#39;s wonderful to be able to say that she\nreally did have all the qualities that her many fans would have wished.\nA great sense of humour, a sympathetic and endearing personality,\nterrific talent and consideration for others.\u003cbr/\u003e\u003cbr/\u003e\u0026quot;Over and above this, she discovered a new side of herself when she\nwrote her autobiography last year, which was untypical for the genre -\nhonest, frank and intelligent. Everyone who knew her is going to\nremember her forever.\u0026quot;","knownFor":{"originalTitleText":"Carry On... Up the Khyber","titleId":"tt0062782","titleText":"Carry On... Up the Khyber","canHaveEpisodes":false,"yearRange":{"year":1968}},"nameId":"nm0801330","nameText":"Joan Sims","primaryProfessions":["Actress","Soundtrack"],"primaryImage":{"caption":"Joan Sims and Kenneth Williams in Don't Lose Your Head (1967)","height":556,"width":615,"url":"https://m.media-amazon.com/images/M/MV5BZGRmOWM0YTktNWU5Yi00OTYwLWE0YWQtMjdkMThlZGYwMDZiXkEyXkFqcGc@._V1_.jpg"}},{"bio":"Anthony Quayle was born in Ainsdale, Southport, Lancashire, England in September 1913. He completed his education at Rugby School and had a\nbrief spell at RADA, before treading the boards for the first time as\nthe straight man in a music hall comedy act in 1931. Tall, burly,\nround-faced and possessed of a powerful and resonant voice, he was\nmentored early on in his career by the well-known stage director\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0349310/?ref_=sr\"\u003eTyrone Guthrie\u003c/a\u003e. Letters of introduction\nled to steady employment with the Old Vic Company by September 1932,\nand a succession of small roles in classical parts. Quayle\u0026#39;s reputation\nas an actor grew steadily, and, in 1936, he appeared on Broadway\nopposite \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0002106/?ref_=sr\"\u003eRuth Gordon\u003c/a\u003e in \u0026#39;The Country\nWife\u0026#39;. For the next few years, he consolidated his position as a\nShakespearean actor. When the Second World War began, he was among the\nfirst in his profession to enlist, serving with the Royal Artillery and\nrising to the rank of major. Some of his wartime experiences, such as\ncoordinating operations with Albanian partisans as part of the secret\nSpecial Operations Executive, were destined to be paralleled by his\nfictional post-war screen exploits as incisive army officers or spies.\nWith the war still fresh in his mind, he subsequently published two\nnovels (respectively in 1945, and in 1947), \u0026#39;Eight Hours from England\u0026#39;\nand \u0026#39;On Such a Night\u0026#39;.\u003cbr/\u003e\u003cbr/\u003eIn 1946, Quayle also made his debut as a theatrical director with a\nLondon production of \u0026#39;Crime and Punishment\u0026#39;. Between 1948 and 1956, he\nhad a distinguished tenure as director of the Shakespeare Memorial\nTheatre in Stratford-upon-Avon, bringing into the company some of the\nbiggest stars of the stage, including\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000059/?ref_=sr\"\u003eLaurence Olivier\u003c/a\u003e and\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000024/?ref_=sr\"\u003eJohn Gielgud\u003c/a\u003e. Though acting in films from\n1938, the theatre remained his favorite medium. He played diverse\nroles with great intensity and professionalism, achieving critical\nacclaim as Petruchio and Falstaff, Tamburlaine and Galileo (on\nBroadway) and the original role of Andrew Wyke in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0787289/?ref_=sr\"\u003eAnthony Shaffer\u003c/a\u003e\u0026#39;s play \u0026#39;Sleuth\u0026#39; (played\nin the first screen version by Olivier). In motion pictures Quayle\ntended to portray tough, dependable authority figures. He was good\nvalue for money as Commodore Harwood in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0048990/?ref_=sr\"\u003eThe Battle of the River Plate (1956)\u003c/a\u003e,\nas the enigmatic Afrikaner captain in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0053935/?ref_=sr\"\u003eIce Cold in Alex (1958)\u003c/a\u003e and as\nthe stuffy, by-the-book Colonel Harry Brighton, who nonetheless appears\nto have a degree of admiration for\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0056172/?ref_=sr\"\u003eLawrence of Arabia (1962)\u003c/a\u003e. Due\nto his classical training, Quayle was often used in historical epics,\ngiving one of his best performances as Cardinal Wolsey in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0064030/?ref_=sr\"\u003eAnne of the Thousand Days (1969)\u003c/a\u003e,\nearning him an Academy Award nomination. His voice was heard as\nnarrator of\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0066714/?ref_=sr\"\u003eThe Six Wives of Henry VIII (1970)\u003c/a\u003e\nand on radio in anything from\n\u0026#39;The Ballad of Robin Hood\u0026#39; to \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000590/?ref_=sr\"\u003eEdgar Allan Poe\u003c/a\u003e\u0026#39;s\n\u0026#39;The Purloined Letter\u0026#39;.\u003cbr/\u003e\u003cbr/\u003eThe year prior to receiving his knighthood, Quayle founded the touring\nCompass Theatre Company, and served as its director until a few months\nbefore his death from cancer in October 1989.","knownFor":{"originalTitleText":"Lawrence of Arabia","titleId":"tt0056172","titleText":"Lawrence of Arabia","canHaveEpisodes":false,"yearRange":{"year":1962}},"nameId":"nm0703033","nameText":"Anthony Quayle","primaryProfessions":["Actor","Additional Crew"],"primaryImage":{"caption":"Anthony Quayle in The Fall of the Roman Empire (1964)","height":2048,"width":1640,"url":"https://m.media-amazon.com/images/M/MV5BMjE0NzE5NjkyNl5BMl5BanBnXkFtZTcwMDg4NTUwOA@@._V1_.jpg"}},{"bio":"Ann Todd was a beautiful English actress best known as\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000060/?ref_=sr\"\u003eGregory Peck\u003c/a\u003e\u0026#39;s wife in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000033/?ref_=sr\"\u003eAlfred Hitchcock\u003c/a\u003e\u0026#39;s\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0039694/?ref_=sr\"\u003eThe Paradine Case (1947)\u003c/a\u003e. Her\nthird husband was the legendary director\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000180/?ref_=sr\"\u003eDavid Lean\u003c/a\u003e, for whom she appeared in\nthree films,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0041735/?ref_=sr\"\u003eThe Passionate Friends (1949)\u003c/a\u003e,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0042700/?ref_=sr\"\u003eMadeleine (1950)\u003c/a\u003e, and\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0044446/?ref_=sr\"\u003eThe Sound Barrier (1952)\u003c/a\u003e.","knownFor":{"originalTitleText":"The Paradine Case","titleId":"tt0039694","titleText":"The Paradine Case","canHaveEpisodes":false,"yearRange":{"year":1947}},"nameId":"nm0002897","nameText":"Ann Todd","primaryProfessions":["Actress","Soundtrack"],"primaryImage":{"caption":"Ann Todd in The Sound Barrier (1952)","height":1020,"width":839,"url":"https://m.media-amazon.com/images/M/MV5BNTkzMTNkMTUtYzM3Yi00MTdkLTk0MWEtMGMzOThkYzA4NDQwXkEyXkFqcGc@._V1_.jpg"}},{"bio":"Kay Walsh graced the British Cinema of the 1930s and 1940s as a leading\nlady, before maturing into character roles. She was born Kathleen Walsh\nin London, England of Irish parentage. She and her sister Peggy were\nraised in Pimlico by their grandmother. She began her career as a\ndancer in the chorus of several Andre Charlot revues, before performing\nsolo in New York and Berlin.\u003cbr/\u003e\u003cbr/\u003eKay made her screen debut in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0025168/?ref_=sr\"\u003eGet Your Man (1934)\u003c/a\u003e and later\nappeared in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0168979/?ref_=sr\"\u003eThe Luck of the Irish (1936)\u003c/a\u003e.\nAfter appearing as a dancer in the West End show \u0026quot;The Melody that Got\nLost\u0026quot;, the producer \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0212704/?ref_=sr\"\u003eBasil Dean\u003c/a\u003e signed her to\na contract with Ealing Studios. She starred opposite\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0286399/?ref_=sr\"\u003eGeorge Formby\u003c/a\u003e in the comedies\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0029078/?ref_=sr\"\u003eKeep Fit (1937)\u003c/a\u003e and\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0030257/?ref_=sr\"\u003eI See Ice! (1938)\u003c/a\u003e. She met an aspiring\nfilm editor \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000180/?ref_=sr\"\u003eDavid Lean\u003c/a\u003e in 1936 and\nthey were married in 1940. She collaborated on several of his films by\nwriting additional dialogue and advising on production and casting.\u003cbr/\u003e\u003cbr/\u003eShe made an impression in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0034891/?ref_=sr\"\u003eIn Which We Serve (1942)\u003c/a\u003e, as\nQueenie Gibbons in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0037367/?ref_=sr\"\u003eThis Happy Breed (1944)\u003c/a\u003e, as\nNancy in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0040662/?ref_=sr\"\u003eOliver Twist (1948)\u003c/a\u003e,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0040940/?ref_=sr\"\u003eVice Versa (1948)\u003c/a\u003e,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0042994/?ref_=sr\"\u003eStage Fright (1950)\u003c/a\u003e,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0043772/?ref_=sr\"\u003eThe Magnet (1950)\u003c/a\u003e,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0042665/?ref_=sr\"\u003eLast Holiday (1950)\u003c/a\u003e,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0044586/?ref_=sr\"\u003eEncore (1951)\u003c/a\u003e,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0046564/?ref_=sr\"\u003eYoung Bess (1953)\u003c/a\u003e,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0047165/?ref_=sr\"\u003eLease of Life (1954)\u003c/a\u003e,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0054412/?ref_=sr\"\u003eTunes of Glory (1960)\u003c/a\u003e and\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0066344/?ref_=sr\"\u003eScrooge (1970)\u003c/a\u003e. She won a BAFTA\nnomination and a National Board of Review award for Best Actress for\n\u0026quot;The Horse\u0026#39;s Mouth\u0026quot; (1958). She retired from acting after appearing in\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0082810/?ref_=sr\"\u003eNight Crossing (1982)\u003c/a\u003e.\u003cbr/\u003e\u003cbr/\u003eShe was twice married. Following her divorce from\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000180/?ref_=sr\"\u003eDavid Lean\u003c/a\u003e in 1949, she married the\nCanadian psychologist Elliott Jaques (1917-2003). They adopted a\ndaughter Gemma in 1956, but the marriage was later dissolved. Kay Walsh\ndied at age 93 on April 16, 2005 at the Chelsea and Westminister\nHospital from multiple burns, days after being injured in a fire at\nher London residence.","knownFor":{"originalTitleText":"The Horse's Mouth","titleId":"tt0051739","titleText":"The Horse's Mouth","canHaveEpisodes":false,"yearRange":{"year":1958}},"nameId":"nm0909727","nameText":"Kay Walsh","primaryProfessions":["Actress","Writer","Soundtrack"],"primaryImage":{"caption":"Kay Walsh","height":640,"width":503,"url":"https://m.media-amazon.com/images/M/MV5BZGE0ZGVjZGYtMDY1Ni00YWM0LWE1ZmYtNDZmMTJlM2JmZmQ3XkEyXkFqcGc@._V1_.jpg"}},{"bio":"Carol Reed was the second son of stage actor, dramatics teacher and\nimpresario founder of the Royal School of Dramatic Art Sir \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0002504/?ref_=sr\"\u003eHerbert Beerbohm Tree\u003c/a\u003e. Reed was one of Tree\u0026#39;s six illegitimate children with\nBeatrice Mae Pinney, who Tree established in a second household apart\nfrom his married life. There were no social scars here; Reed grew up in\na well-mannered, middle-class atmosphere. His public school days were\nat King\u0026#39;s School, Canterbury, and he was only too glad to push on with\nthe idea of following his father and becoming an actor. His mother wanted no\nsuch thing and shipped him off to Massachusetts in 1922, where his\nolder brother resided on--of all things--a chicken ranch.\u003cbr/\u003e\u003cbr/\u003eIt was a wasted six months before Reed was back in England and joined a\nstage company of Dame \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0861345/?ref_=sr\"\u003eSybil Thorndike\u003c/a\u003e,\nmaking his stage debut in 1924. He forthwith met British writer\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0908624/?ref_=sr\"\u003eEdgar Wallace\u003c/a\u003e, who cashed in on his\nconstant output of thrillers by establishing a road troupe to do stage\nadaptations of them. Reed was in three of these, also working as an\nassistant stage manager. Wallace became chairman of the newly formed\nBritish Lion Film Corp. in 1927, and Reed followed to become his\npersonal assistant. As such he began learning the film trade by\nassisting in supervising the filmed adaptations of Wallace\u0026#39;s works.\nThis was essentially his day job. At night he continued stage acting\nand managing. It was something of a relief when Wallace passed on in\n1932; Reed decided to drop the stage for film and joined historic\nEaling Studios as dialog director for Associated Talking Pictures under\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0212704/?ref_=sr\"\u003eBasil Dean\u003c/a\u003e.\u003cbr/\u003e\u003cbr/\u003eReed rose from dialog director to second-unit director and assistant\ndirector in record time, his first solo directorship being the\nadventure \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0026713/?ref_=sr\"\u003eMidshipman Easy (1935)\u003c/a\u003e.\nThis and his subsequent effort,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0027859/?ref_=sr\"\u003eLaburnum Grove (1936)\u003c/a\u003e, attracted\nhigh praise from a future collaborator, novelist/critic\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001294/?ref_=sr\"\u003eGraham Greene\u003c/a\u003e, who said that once\nReed \u0026quot;gets the right script, [he] will prove far more than efficient.\u0026quot;\nHowever, Reed would endure the sort of staid, boilerplate filmmaking\nthat characterized British \u0026quot;B\u0026quot; movies until he left this behind with\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0031976/?ref_=sr\"\u003eThe Stars Look Down (1940)\u003c/a\u003e,\nhis second film with \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0714878/?ref_=sr\"\u003eMichael Redgrave\u003c/a\u003e,\nand his openly Hitchcockian\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0032842/?ref_=sr\"\u003eNight Train to Munich (1940)\u003c/a\u003e,\na comedy-thriller with\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001322/?ref_=sr\"\u003eRex Harrison\u003c/a\u003e. It has often been\nseen as a sequel to \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000033/?ref_=sr\"\u003eAlfred Hitchcock\u003c/a\u003e\u0026#39;s \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0030341/?ref_=sr\"\u003eThe Lady Vanishes (1938)\u003c/a\u003e with\nthe same screenwriters and comedy relief--\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0705509/?ref_=sr\"\u003eBasil Radford\u003c/a\u003e and\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0915614/?ref_=sr\"\u003eNaunton Wayne\u003c/a\u003e, who would just about make\ncareers as the cricket zealots Charters and Caldicott, from \u0026quot;Vanishes\u0026quot;.\u003cbr/\u003e\u003cbr/\u003eThe British liked these films and, significantly, so did America, where\nHollywood still wondered whether their patronage of the British film\nindustry was worth the gamble of a payoff via the US public. Dean was\njust one of several powerhouse producers rising in Britain in the\n1930s. Other names are more familiar:\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0466099/?ref_=sr\"\u003eAlexander Korda\u003c/a\u003e and\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0710217/?ref_=sr\"\u003eJ. Arthur Rank\u003c/a\u003e stand out. For Reed, who\nwould wisely decide to start producing his own films in order to have\nmore control over them, finding his niche was still a challenge into\nthe 1940s. He was only too well aware that the film director led a team\neffort--his was partly a coordinator\u0026#39;s task, harmonizing the talents of\nthe creative team. The modest Reed would admit to his success being\nthis partnership time and again. So he gravitated toward the same\nscriptwriters, art directors and cinematographers as his movie list\nspread out.\u003cbr/\u003e\u003cbr/\u003eThere were more thrillers and some historical bios:\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0033790/?ref_=sr\"\u003eKipps (1941)\u003c/a\u003e with Redgrave and\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0035586/?ref_=sr\"\u003eThe Young Mr. Pitt (1942)\u003c/a\u003e with\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0232196/?ref_=sr\"\u003eRobert Donat\u003c/a\u003e. He did service and war effort\nfare through World War II, but these were more than flag wavers, for\nReed dealt with the psychology of transitioning to military life. His\nAnglo-American documentary of combat (co-directed by\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0437717/?ref_=sr\"\u003eGarson Kanin\u003c/a\u003e),\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0038192/?ref_=sr\"\u003eThe True Glory (1945)\u003c/a\u003e, won the\n1946 Oscar for Best Documentary. With that under his belt, Reed was now\nrecognized as Britain\u0026#39;s ablest director and could pick and choose his\nprojects. He also had the clout--and the all-important funds--to do\nwhat he thought was essential to ensure realism on a location shoot,\nsomething missing in British film work prior to Reed.\u003cbr/\u003e\u003cbr/\u003e\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0039677/?ref_=sr\"\u003eOdd Man Out (1947)\u003c/a\u003e with\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000051/?ref_=sr\"\u003eJames Mason\u003c/a\u003e as an IRA hit man on the\nrun did just that and was Reed\u0026#39;s first real independent effort, and he\nhad gone to Rank to do it. All too soon, however, that organization\nbegan subjugating directors\u0026#39; wishes to studio needs, and Reed made\nperhaps his most important associative decision and joined Korda\u0026#39;s\nLondon Films. Here was one very important harmony--he and Korda thought\nalong the same lines. Though\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0454028/?ref_=sr\"\u003eAnthony Kimmins\u003c/a\u003e had scripted four films\nfor Reed, it was time for Korda to introduce the director to\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001294/?ref_=sr\"\u003eGraham Greene\u003c/a\u003e. Their association\nwould bring Reed his greatest successes.\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0040338/?ref_=sr\"\u003eThe Fallen Idol (1948)\u003c/a\u003e was based\non a Greene short story, with\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0724732/?ref_=sr\"\u003eRalph Richardson\u003c/a\u003e as a\ndo-everything head butler in a diplomatic household. Idolized by the\nlonely, small son of his employer, he becomes caught up in a liaison\nwith a woman on the work staff, who was much younger than his shrewish\nwife. It may seem slow to an American audience, but with the focus on\nthe boy\u0026#39;s wide-eyed view of rather gloomy surroundings, as well as the\nadult drama around him, it was innovative and a solid success.\u003cbr/\u003e\u003cbr/\u003eWhat came next was a landmark--the best known of Reed\u0026#39;s films.\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0041959/?ref_=sr\"\u003eThe Third Man (1949)\u003c/a\u003e was yet\nanother Greene story, molded into a gem of a screenplay by him, though\nReed added some significant elements of his own. The film has been\nendlessly summarized and analyzed and, whether defined as an\ninternational noir or post-war noir or just noir, it was cutting-edge\nnoir and unforgettable. This was Reed in full control--well, almost--\nand the money was coming from yet another wide-vision producer,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0006388/?ref_=sr\"\u003eDavid O. Selznick\u003c/a\u003e, along with Korda.\nTension did develop in this effort keep a predominantly Anglo effort in\nthis Anglo-American collaboration.\u003cbr/\u003e\u003cbr/\u003eThere were complications, though. For one thing, Korda--old friend and\nsomewhat kindred spirit of wunderkind director\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000080/?ref_=sr\"\u003eOrson Welles\u003c/a\u003e--had a gentlemen\u0026#39;s agreement\nwith the latter for three pictures, but these were not forthcoming.\nKorda could be as evasive as Welles was known to be, and Welles had\ncome to Europe to further his inevitable film projects after troubles\nin Hollywood. Always desperate for seed money, Welles was forced to\ntake acting parts in Europe to build up his bank account in order to\nfinance his more personal projects. He thus accepted the role of the\nlarger-than-life American flim-flam man turned criminal, Harry Lime.\nThe extended time spent filming the Vienna sewer scenes on location and\nat the elaborate set for them at Shepperton Studios in London, entailed\nthe longest of the ten minutes or so of Welles\u0026#39; screen time. Here was a\npotential source of directorial intimidation if ever there was one.\nWelles took it upon himself to direct Reed\u0026#39;s veteran cinematographer\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0005761/?ref_=sr\"\u003eRobert Krasker\u003c/a\u003e with his own vision of\nsome sewer sequences in London (after leaving the location shoot in\nVienna), using many takes. Supposedly, Reed did not use any of Welles\u0026#39;\nfootage, and in fact whatever there was got conveniently lost. Yet\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0033467/?ref_=sr\"\u003eCitizen Kane (1941)\u003c/a\u003e\u0026#39;s shadow was so\nlooming that Welles was given credit for a lot of camera work,\natmospherics and the chase scenes. He had referred to the movie as \u0026quot;my\nfilm\u0026quot; later on and had said he wrote all his dialog. Some of the ferris\nwheel dialog with its famous famous \u0026quot;cuckoo clock\u0026quot; speech (which Reed\nand Greene both attributed to him) was probably the essence of Welles\u0026#39;\ncontributions.\u003cbr/\u003e\u003cbr/\u003eKrasker\u0026#39;s quirky angles under Reed\u0026#39;s direction perfectly framed the\nready-made-for-an-art designer bombed-out shadows and stark, isolated\nstreet lights of postwar Vienna and its underworld. Unique to cinema\nhistory, the whole score (except for some canned incidental café music) was\njust the brilliant zither playing of\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0438934/?ref_=sr\"\u003eAnton Karas\u003c/a\u003e, adding his nuances to every\ndramatic transition. Krasker won an Oscar, and Karas was nominated for one.\u003cbr/\u003e\u003cbr/\u003eReed\u0026#39;s attention to detailed casting also paid off, particularly in\ncasting German-speaking actors and background players. Selznick\ninsisted on \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001072/?ref_=sr\"\u003eJoseph Cotten\u003c/a\u003e as Holly\nMartins, the benighted protagonist, and his clipped and sharp voice and\nsubterranean drawl were perfect for the part. Reed had wanted\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000071/?ref_=sr\"\u003eJames Stewart\u003c/a\u003e--definitely a\ndifferent perception than Americans of its leading men. Selznick parted\nways with Reed on other issues, however; there was a laundry list of\nreasons for his re-editing and changing some incidentals for the\nshorter American version, partly based on negative comments from sneak\npreview responses. Perhaps it was the constant interruptions from the\nother side of the Atlantic that drove Reed to personally narrate the\nintroduction describing Martins in the British version of the film\n(given the basic tenets of noir films, the star always played narrator\nto introduce the story and voice over where appropriate). Selznick\nshowed himself--in this instance, anyway--to have a better directorial\nsense by substituting Cotten introducing himself in the American cut.\nIt made far more sense and was much more effective. On the other hand,\nSelznick\u0026#39;s editing of the pivotal railway café scenes with Cotten and\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0885098/?ref_=sr\"\u003eAlida Valli\u003c/a\u003e had continuity problems.\u003cbr/\u003e\u003cbr/\u003eNonetheless, the film was an international smash, and all the principal\nplayers reaped the rewards. Reed did not get an Oscar, but he did win\nthe Cannes Film Grand Prix. Greene was motivated enough to take the\nstory and expand it into a best-selling novel. Even Welles, with his\nminimum screen time--he was spending most of his time in Europe\ntrying to obtain financing for his newest project,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0048455/?ref_=sr\"\u003eOtello (1956)\u003c/a\u003e--milked the movie for all it\nwas worth. He did not deny directorial influences (though in a 1984\ninterview he did), and even developed a Harry Lime radio show back\nhome.\u003cbr/\u003e\u003cbr/\u003eHowever, the movie had its detractors. It was called too melodramatic\nand too cynical. The short scenes of untranslated German dialog were\nalso criticized, yet that lent to the atmosphere of confusion and\nhelplessness of Martins caught in a wary, potentially dangerous\nenvironment--something the audience inevitably was able to share. It\nwas all too ironic that Reed, now declared by some as the greatest\nliving director of the time, found his career in decline thereafter. Of\nhis total output, four were based on plays, three on stories and 15 on\nnovels. With less than half of them to go, he was to be disappointed\nfor the most part. His\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0046031/?ref_=sr\"\u003eThe Man Between (1953)\u003c/a\u003e with James\nMason was too much of a \u0026quot;Third Man\u0026quot; reprise, and\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0048250/?ref_=sr\"\u003eA Kid for Two Farthings (1955)\u003c/a\u003e\nwas too sentimental.\u003cbr/\u003e\u003cbr/\u003eBy now Reed was being sought by enterprising Hollywood producers. He\nhad--as he usually did--the material for a first-rate movie with two\npopular American actors, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000044/?ref_=sr\"\u003eBurt Lancaster\u003c/a\u003e\nand \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000348/?ref_=sr\"\u003eTony Curtis\u003c/a\u003e for\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0049875/?ref_=sr\"\u003eTrapeze (1956)\u003c/a\u003e. However, it suffered from\na slow script, as would the British-produced\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0051816/?ref_=sr\"\u003eThe Key (1958)\u003c/a\u003e, despite another\ninternational cast. Things finally picked up with his venture into\nanother Greene-scripted film from his novel, with\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000027/?ref_=sr\"\u003eAlec Guinness\u003c/a\u003e in the lead in the UK spy\nspoof \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0054152/?ref_=sr\"\u003eOur Man in Havana (1959)\u003c/a\u003e\nwith yet another winning international cast.\u003cbr/\u003e\u003cbr/\u003eWhen Hollywood called again, the chance at such a British piece of\nhistory as\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0056264/?ref_=sr\"\u003eMutiny on the Bounty (1962)\u003c/a\u003e\nwith a mostly British cast and\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000008/?ref_=sr\"\u003eMarlon Brando\u003c/a\u003e seemed bound for success. It\nwas the second version of the movie produced by MGM (the first being the\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000022/?ref_=sr\"\u003eClark Gable\u003c/a\u003e starrer\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0026752/?ref_=sr\"\u003eMutiny on the Bounty (1935)\u003c/a\u003e).\nHowever, Brando\u0026#39;s history of being temperamental was much in evidence\non location in Tahiti. Reed shot a small part of the picture but\nfinally left, having more than his fill of the star\u0026#39;s ego (and,\nevidently, being allowed too much artistic control by the studio) and\nthe film was finished by\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0587277/?ref_=sr\"\u003eLewis Milestone\u003c/a\u003e. Reed would ultimately\nbe branded as a failure in directing historical movies, but it was an\nunfair appraisal based on the random aspect of film success and such\nforces of nature as Brando, not artistic and technical expertise.\u003cbr/\u003e\u003cbr/\u003eThe opportunity to make another film came knocking again with Reed and\nAmerican money forming the production company International Classics to\nproduce \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0831919/?ref_=sr\"\u003eIrving Stone\u003c/a\u003e\u0026#39;s best-selling story\nof Michelangelo and the painting of the Sistine Chapel,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0058886/?ref_=sr\"\u003eThe Agony and the Ecstasy (1965)\u003c/a\u003e.\nHere is perhaps the prime example of Reed being given short shrift for\na really valiant effort at an historical, artistically significant and\ncultural epic because it was a \u0026quot;flop\u0026quot; at the box office. Shot on\nlocation in Rome and its environs, the film had a first-rate cast\nheaded by \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000032/?ref_=sr\"\u003eCharlton Heston\u003c/a\u003e doing his\nmethod best as the temperamental artist with\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001322/?ref_=sr\"\u003eRex Harrison\u003c/a\u003e, an effortless\nstandout as the equally volatile Pope Julius II.\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0162283/?ref_=sr\"\u003eDiane Cilento\u003c/a\u003e did fine work as the\nContessina de Medici, with the always stalwart\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0028674/?ref_=sr\"\u003eHarry Andrews\u003c/a\u003e as architect rival Donato\nBramante. Most of the other roles were filled by Italians dubbed in\nEnglish, but they all look good.\u003cbr/\u003e\u003cbr/\u003eReed\u0026#39;s attention to historical detail provided perhaps the most\naccurate depiction of early 16th-century Italy--from costumes and\nmanners to military action and weapons (especially firearms)--ever\nbrought to the screen. The script by\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0242897/?ref_=sr\"\u003ePhilip Dunne\u003c/a\u003e was brisk and always\nentertaining in the verbal battle between the artist and his pontiff.\nYet by the 1960s costume epics were going out of style and bigger\nflops, such as \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0056937/?ref_=sr\"\u003eCleopatra (1963)\u003c/a\u003e (talk\nabout agony) despite the wealth of stars which included Harrison,\ntended to spread like a disease to those few that came later. Despite a\nhigh-powered distribution campaign by Twentieth Century-Fox, Reed\u0026#39;s\nexemplary effort would ultimately be appreciated by art scholars and\nhistorians--not the stuff of Hollywood\u0026#39;s money mentality.\u003cbr/\u003e\u003cbr/\u003eFor Reed the only remaining triumph was, of all things, a musical--his\nfirst and only--yet again he was working with children. However, the\nadaptation of the great \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0002042/?ref_=sr\"\u003eCharles Dickens\u003c/a\u003e\nnovel \u0026quot;Oliver Twistt\u0026quot; top the screen (as \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0063385/?ref_=sr\"\u003eOliver! (1968)\u003c/a\u003e) was a\nsensation with a lively script and music amid a realistic 19th-century\nLondon that was up to Reed\u0026#39;s usual standards. The film was nominated\nfor no less than 11 Oscars, wining five and two of the big ones--Best\nPicture and Best Director. Reed had finally achieved that bit of\nelusiveness. He could never be so simplistically stamped with an uneven\ncareer; Reed had always kept to a precise craftsman\u0026#39;s movie-making\nformula.\u003cbr/\u003e\u003cbr/\u003eFellow British director\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0003836/?ref_=sr\"\u003eMichael Powell\u003c/a\u003e had said that Reed\n\u0026quot;could put a film together like a watchmaker puts together a watch\u0026quot;. It\nwas Graham Greene, however, who gave Reed perhaps the more important\npersonal accolade: \u0026quot;The only director I know with that particular\nwarmth of human sympathy, the extraordinary feeling for the right face\nin the right part, the exactitude of cutting, and not least important\nthe power of sympathizing with an author\u0026#39;s worries and an ability to\nguide him.\u0026quot;","knownFor":{"originalTitleText":"The Third Man","titleId":"tt0041959","titleText":"The Third Man","canHaveEpisodes":false,"yearRange":{"year":1949}},"nameId":"nm0715346","nameText":"Carol Reed","primaryProfessions":["Director","Producer","Second Unit Director or Assistant Director"],"primaryImage":{"caption":"Carol Reed","height":831,"width":624,"url":"https://m.media-amazon.com/images/M/MV5BYzNlZWI4YzItZGJmYy00NmIzLTljYmYtMzVhYWI4YzM2MTZiXkEyXkFqcGc@._V1_.jpg"}},{"bio":"Winner was an only child, born in Hampstead, London, England, to Helen (née Zlota) and George Joseph Winner (1910-1975), a company director. His family was Jewish; his mother was Polish and his father of Russian extraction. Following his father\u0026#39;s death, Winner\u0026#39;s mother gambled recklessly and sold art and furniture worth around £10m at the time, bequeathed to her not only for her life but to Michael thereafter. She died aged 78 in 1984.\u003cbr/\u003e\u003cbr/\u003eHe was educated at St Christopher School, Letchworth, and Downing College, Cambridge, where he read law and economics. He also edited the university\u0026#39;s student newspaper, Varsity (he was the youngest ever editor up to that time, both in age and in terms of his university career, being only in the second term of his second year). Winner had earlier written a newspaper column, \u0026#39;Michael Winner\u0026#39;s Showbiz Gossip,\u0026#39; in the Kensington Post from the age of 14. The first issue of Showgirl Glamour Revue in 1955 has him writing another film and showbusiness gossip column, \u0026quot;Winner\u0026#39;s World\u0026quot;. Such jobs allowed him to meet and interview several leading film personalities, including \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000071/?ref_=sr\"\u003eJames Stewart\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000017/?ref_=sr\"\u003eMarlene Dietrich\u003c/a\u003e. He also wrote for the New Musical Express.\u003cbr/\u003e\u003cbr/\u003eHe began his screen career as an assistant director of BBC television programmes, cinema shorts, and full-length \u0026quot;B\u0026quot; productions, occasionally writing screenplays. In 1957 he directed his first travelogue, This is Belgium, shot largely on location in East Grinstead. His first on-screen credit was earned as a writer for the crime film \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0183489/?ref_=sr\"\u003eMan with a Gun (1958)\u003c/a\u003e directed by \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0876440/?ref_=sr\"\u003eMontgomery Tully\u003c/a\u003e. Winner\u0026#39;s first credit on a cinema short was Associate Producer on the film \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt1726162/?ref_=sr\"\u003eFloating Fortress (1959)\u003c/a\u003e produced by \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0047672/?ref_=sr\"\u003eHarold Baim\u003c/a\u003e. Winner\u0026#39;s first project as a lead director involved another story he wrote, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0275674/?ref_=sr\"\u003eShoot to Kill (1960)\u003c/a\u003e. He would regularly edit his own movies, using the pseudonym \u0026quot;Arnold Crust\u0026quot;. He graduated to first features with \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0056353/?ref_=sr\"\u003ePlay It Cool (1962)\u003c/a\u003e, a pop musical starring \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0299233/?ref_=sr\"\u003eBilly Fury\u003c/a\u003e.\u003cbr/\u003e\u003cbr/\u003eWinner\u0026#39;s first significant film was \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0057677/?ref_=sr\"\u003eWest 11 (1963)\u003c/a\u003e, a sympathetic study of rootless drifters in the then seedy Notting Hill area of London. Filmed on location (always Winner\u0026#39;s preference), with a script by \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0356227/?ref_=sr\"\u003eWillis Hall\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0913961/?ref_=sr\"\u003eKeith Waterhouse\u003c/a\u003e, the film remains an interesting contribution to the working-class realism wave of the early 1960s. Following differences with his producer, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm6302781/?ref_=sr\"\u003eDaniel Angel\u003c/a\u003e, Winner (who had wanted to cast \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001046/?ref_=sr\"\u003eJulie Christie\u003c/a\u003e in the main female role) resolved to produce as well as direct his films and set up his own company, Scimitar. \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0060461/?ref_=sr\"\u003eThe System (1964)\u003c/a\u003e and the hectic, dystopian \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0061801/?ref_=sr\"\u003eI\u0026#39;ll Never Forget What\u0026#39;s\u0026#39;isname (1967)\u003c/a\u003e were paired pieces starring \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001657/?ref_=sr\"\u003eOliver Reed\u003c/a\u003e that continued Winner\u0026#39;s exploration of alienated youth adrift in a rising tide of affluence, dreaming of an alternative life they can never achieve. These films and the exuberant \u0026#39;Swinging London\u0026#39; comedy \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0060566/?ref_=sr\"\u003eThe Jokers (1967)\u003c/a\u003e, also starring Reed, were well-suited to Winner\u0026#39;s restless, intrusive camera style and staccato editing. They were followed by \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0064403/?ref_=sr\"\u003eHannibal Brooks (1969)\u003c/a\u003e, a witty Second World War comedy written by \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0166074/?ref_=sr\"\u003eDick Clement\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0478588/?ref_=sr\"\u003eIan La Frenais\u003c/a\u003e, which attracted attention in America and led to Winner pursuing a Hollywood career in the 1970s.\u003cbr/\u003e\u003cbr/\u003eWinner now developed a new reputation as an efficient maker of violent action thrillers, often starring \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000314/?ref_=sr\"\u003eCharles Bronson\u003c/a\u003e. The most successful and controversial was \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0071402/?ref_=sr\"\u003eDeath Wish (1974)\u003c/a\u003e, with Bronson cast as a liberal architect who embraces vengeance after the murder of his wife and daughter. An intelligent analysis of the deep roots of vigilantism in American society, Death Wish is restrained in its depiction of violence. With his obsessive need to work, Winner accepted many inferior projects, including two weak Death Wish sequels, though occasionally he tried to make more prestigious films, notably \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0069007/?ref_=sr\"\u003eThe Nightcomers (1971)\u003c/a\u003e, a prequel to \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0416556/?ref_=sr\"\u003eHenry James\u003c/a\u003e\u0026#39; The Turn of the Screw, made in Britain with \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000008/?ref_=sr\"\u003eMarlon Brando\u003c/a\u003e; and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0094871/?ref_=sr\"\u003eA Chorus of Disapproval (1989)\u003c/a\u003e, a satisfying version of \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0043697/?ref_=sr\"\u003eAlan Ayckbourn\u003c/a\u003e\u0026#39;s bittersweet comedy.\u003cbr/\u003e\u003cbr/\u003eBy the 1990s Winner had become less prolific, and reaped no benefit from the Lottery-prompted rise in genre film-making, which favoured the young and inexperienced. \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0106727/?ref_=sr\"\u003eDirty Weekend (1993)\u003c/a\u003e, a rape-revenge movie with a female vigilante, aroused considerable controversy, but hardly enhanced Winner\u0026#39;s reputation; \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0123215/?ref_=sr\"\u003eParting Shots (1998)\u003c/a\u003e, a comedy revenge thriller suffused with allusions to Death Wish and restaurant scenes invoking Winner\u0026#39;s current incarnation as a food critic, is perhaps his swan song.\u003cbr/\u003e\u003cbr/\u003eIn an interview with The Times newspaper, Winner said liver specialists had told him in summer 2012 that he had between 18 months and two years to live. He said he had researched assisted suicide offered at the Dignitas clinic in Switzerland, but found the bureaucracy of the process off-putting. Winner died at his home, Woodland House in Holland Park, on 21 January 2013, aged 77. Winner was buried following a traditional Jewish funeral at Willesden Jewish Cemetery.","knownFor":{"originalTitleText":"Death Wish","titleId":"tt0071402","titleText":"Death Wish","canHaveEpisodes":false,"yearRange":{"year":1974}},"nameId":"nm0935382","nameText":"Michael Winner","primaryProfessions":["Director","Writer","Producer"],"primaryImage":{"caption":"Michael Winner","height":2048,"width":1417,"url":"https://m.media-amazon.com/images/M/MV5BMTU3NzY5MjcyMl5BMl5BanBnXkFtZTcwNTg5OTg5OA@@._V1_.jpg"}},{"bio":"Michael Bates was born on 4 December 1920 in Jhansi, United Provinces of Agra and Oudh, British India. He was an actor, known for \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0066921/?ref_=sr\"\u003eA Clockwork Orange (1971)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0068611/?ref_=sr\"\u003eFrenzy (1972)\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0066206/?ref_=sr\"\u003ePatton (1970)\u003c/a\u003e. He was married to Margaret M. J. Chisholm. He died on 11 January 1978 in Chelsea, London, England, UK.","knownFor":{"originalTitleText":"A Clockwork Orange","titleId":"tt0066921","titleText":"A Clockwork Orange","canHaveEpisodes":false,"yearRange":{"year":1971}},"nameId":"nm0060988","nameText":"Michael Bates","primaryProfessions":["Actor"],"primaryImage":{"caption":"Michael Bates in Last of the Summer Wine (1973)","height":1190,"width":883,"url":"https://m.media-amazon.com/images/M/MV5BMTM5NDk3MDIxNF5BMl5BanBnXkFtZTcwNjc1Mzk5Nw@@._V1_.jpg"}},{"bio":"Belonging to an important family clan in Wisconsin, Joseph Losey\nstudied philosophy but was always interested in theater and thus worked\ntogether with \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0106517/?ref_=sr\"\u003eBertolt Brecht\u003c/a\u003e. After directing some shorts for MGM, he made his\nfirst important film, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0040185/?ref_=sr\"\u003eThe Boy with Green Hair (1948)\u003c/a\u003e, for RKO. While he was filming \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0043938/?ref_=sr\"\u003eThe Prowler (1951)\u003c/a\u003e in\nItaly he was summoned to testify before the House Un-American\nActivities Committee, the congressional committee charged with \u0026quot;rooting\nout\u0026quot; Communist \u0026quot;subversion\u0026quot; in the motion picture industry. Unwilling\nto subject himself to the committee\u0026#39;s well-known intimidation tactics,\nLosey decided to seek exile in Great Britain. In the following years he\nused a pseudonym--\u0026quot;Joseph Walton\u0026quot;--for his films, which were of minor\nquality. He regained his prestige with the thrillers \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0052634/?ref_=sr\"\u003eBlind Date (1959)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0053740/?ref_=sr\"\u003eThe Criminal (1960)\u003c/a\u003e\nand \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0059160/?ref_=sr\"\u003eEva (1962)\u003c/a\u003e. From that point on his films varied between top-quality\nwork like \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0061328/?ref_=sr\"\u003eAccident (1967)\u003c/a\u003e and much lower-quality projects such as \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0060708/?ref_=sr\"\u003eModesty Blaise (1966)\u003c/a\u003e,\nwhich was a box-office success, and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0073029/?ref_=sr\"\u003eGalileo (1975)\u003c/a\u003e, which\nwasn\u0026#39;t.","knownFor":{"originalTitleText":"The Servant","titleId":"tt0057490","titleText":"The Servant","canHaveEpisodes":false,"yearRange":{"year":1963}},"nameId":"nm0521334","nameText":"Joseph Losey","primaryProfessions":["Director","Producer","Writer"],"primaryImage":{"caption":"Joseph Losey","height":711,"width":510,"url":"https://m.media-amazon.com/images/M/MV5BNDM3ZTllYWYtYWQ1Mi00MmMwLTk5YWMtZmI1ZDUwZDZlY2E3XkEyXkFqcGc@._V1_.jpg"}},{"bio":"Cuthbertson arrived in Britain in 1947, and appeared shortly thereafter\nas Romeo in Romeo and Juliet at the Boltons. In London\u0026#39;s West End, he\nappeared as Laertes in Hamlet, Aimwell in The Beaux Stratagem, and\nOctavius Robinson in Man \u0026amp; Superman, among many other roles.","knownFor":{"originalTitleText":"The Guns of Navarone","titleId":"tt0054953","titleText":"The Guns of Navarone","canHaveEpisodes":false,"yearRange":{"year":1961}},"nameId":"nm0193862","nameText":"Allan Cuthbertson","primaryProfessions":["Actor"],"primaryImage":{"caption":"Allan Cuthbertson in The Avengers (1961)","height":375,"width":500,"url":"https://m.media-amazon.com/images/M/MV5BNjkxMDg3MzIyN15BMl5BanBnXkFtZTgwNjg3MjU2MjE@._V1_.jpg"}},{"bio":"Robin Gibb was born in 1949 on the Isle of Man, about half an hour before his twin brother Maurice. His parents, Barbara and Hugh, were both musical. Barbara sang and Hugh was a drummer and bandleader. Robin had four siblings - an older sister and brother, Lesley and Barry, twin Maurice and younger brother Andy. The family moved for some time to Manchester, England before emigrating to Australia in 1958.\u003cbr/\u003e\u003cbr/\u003eDuring their childhood, Robin, Maurice and Barry began performing together. They played under various band names, but finally settled on \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm1397320/?ref_=sr\"\u003eThe Bee Gees\u003c/a\u003e. It was in Australia that the band first tasted success, topping the charts there in 1965 with \u0026#39;Spicks and Specks\u0026#39;. In 1966 they relocated back to the UK and landed a recording contract with Polydor. Chart success followed in the UK and USA.\u003cbr/\u003e\u003cbr/\u003eIn the late 60s, tensions arose in the band, and Robin briefly left to pursue a solo career, but the group reunited and continued having success, including switching to a more disco sound. In 1977, The Bee Gees wrote and produced five songs for the soundtrack of \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0076666/?ref_=sr\"\u003eSaturday Night Fever (1977)\u003c/a\u003e. The film was a smash and the soundtrack album went on to become one of the biggest selling of all time, elevating The Bee Gees to superstar group status.\u003cbr/\u003e\u003cbr/\u003eRobin and the group also became known for penning hit records for other artists including \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000659/?ref_=sr\"\u003eBarbra Streisand\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0005384/?ref_=sr\"\u003eDiana Ross\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000573/?ref_=sr\"\u003eDolly Parton\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0737006/?ref_=sr\"\u003eKenny Rogers\u003c/a\u003e. The band continued writing and performing into the 1990s, but disbanded officially in 2003 when \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0316465/?ref_=sr\"\u003eMaurice Gibb\u003c/a\u003e died suddenly at 53. Robin continued to write and perform solo material, and became involved in charity work in support of British troops. In 2011 it was announced that he was suffering with cancer. After a brave battle with the disease and other health problems, Robin Gibb passed away on May 20th 2012.","knownFor":{"originalTitleText":"Saturday Night Fever","titleId":"tt0076666","titleText":"Saturday Night Fever","canHaveEpisodes":false,"yearRange":{"year":1977}},"nameId":"nm0316471","nameText":"Robin Gibb","primaryProfessions":["Actor","Composer","Music Department"],"primaryImage":{"caption":"Robin Gibb","height":1900,"width":1480,"url":"https://m.media-amazon.com/images/M/MV5BMTg0NjQ3MzY1Ml5BMl5BanBnXkFtZTcwNDU3NDcwNw@@._V1_.jpg"}},{"bio":"Michael Coles was born on 12 August 1934 in London, England, UK. He was an actor, known for \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0059126/?ref_=sr\"\u003eDr. Who and the Daleks (1965)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0070634/?ref_=sr\"\u003eThe Satanic Rites of Dracula (1973)\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0068505/?ref_=sr\"\u003eDracula A.D. 1972 (1972)\u003c/a\u003e. He was married to \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm6602971/?ref_=sr\"\u003eMaryon Kantaroff\u003c/a\u003e. He died on 26 April 2005 in Chelsea, England, UK.","knownFor":{"originalTitleText":"Dr. Who and the Daleks","titleId":"tt0059126","titleText":"Dr. Who and the Daleks","canHaveEpisodes":false,"yearRange":{"year":1965}},"nameId":"nm0171326","nameText":"Michael Coles","primaryProfessions":["Actor"],"primaryImage":{"caption":"Michael Coles in The Informers (1963)","height":1476,"width":1024,"url":"https://m.media-amazon.com/images/M/MV5BNTE4ZTlkMGUtYmZhYi00NGMyLTkzNmEtZTJiNTg5OWIwYWE0XkEyXkFqcGc@._V1_.jpg"}},{"bio":"Howard Marion-Crawford was born on 17 January 1914 in London, England, UK. He was an actor, known for \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0059162/?ref_=sr\"\u003eThe Face of Fu Manchu (1965)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0056172/?ref_=sr\"\u003eLawrence of Arabia (1962)\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0064338/?ref_=sr\"\u003eThe Castle of Fu Manchu (1969)\u003c/a\u003e. He was married to Germaine Tighe-Umbers, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0186848/?ref_=sr\"\u003eJunia Crawford\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0934451/?ref_=sr\"\u003eMary Wimbush\u003c/a\u003e and Jeanne Scott-Gunn. He died on 24 November 1969 in Chelsea, London, England, UK.","knownFor":{"originalTitleText":"The Face of Fu Manchu","titleId":"tt0059162","titleText":"The Face of Fu Manchu","canHaveEpisodes":false,"yearRange":{"year":1965}},"nameId":"nm0548010","nameText":"Howard Marion-Crawford","primaryProfessions":["Actor","Additional Crew","Soundtrack"],"primaryImage":{"caption":"Howard Marion-Crawford","height":804,"width":600,"url":"https://m.media-amazon.com/images/M/MV5BYWYwZGQ4NDQtYzAzMS00ZDgyLWI0ZWUtZmY2NGJmYzM3NzMxXkEyXkFqcGc@._V1_.jpg"}},{"bio":"Best known for his portrayals of upper-class military types, Donald Hewlett\u0026#39;s father was Conservative MP for Manchester Exchange. He studied geography and meteorology at St. John\u0026#39;s College, Cambridge. Early in World War II, he served at the Fleet Air Arm station of Kirkwall in the Orkneys, providing weather reports for Atlantic convoys. He was later assigned to the Royal Navy during North Atlantic action aboard the light cruisers Malaya and Galatea. He rose to the rank of lieutenant. He was subsequently posted to Singapore, in charge of Japanese POW\u0026#39;s and as entertainments officer.\u003cbr/\u003e\u003cbr/\u003eHe graduated from RADA with the Athene Seyler Prize for Comedy and his first professional stage appearance was in repertory at the Oxford Playhouse. Hewlett became most familiar to British television viewers for his regular role in the sitcom \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0081878/?ref_=sr\"\u003eIt Ain\u0026#39;t Half Hot Mum (1974)\u003c/a\u003e, a series which was very popular at the time but is never repeated now because it is considered very politically incorrect. Cult television fans also remember him as Hardiman in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0562899/?ref_=sr\"\u003eThe Claws of Axos: Episode One (1971)\u003c/a\u003e, one of the many British officials who came up against \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0675727/?ref_=sr\"\u003eJon Pertwee\u003c/a\u003e\u0026#39;s Doctor in the series.","knownFor":{"originalTitleText":"It Ain't Half Hot Mum","titleId":"tt0081878","titleText":"It Ain't Half Hot Mum","canHaveEpisodes":true,"yearRange":{"year":1974,"endYear":1981}},"nameId":"nm0382111","nameText":"Donald Hewlett","primaryProfessions":["Actor","Writer"],"primaryImage":{"caption":"Donald Hewlett in It Ain't Half Hot Mum (1974)","height":576,"width":430,"url":"https://m.media-amazon.com/images/M/MV5BYWEyZmEzMjktNGU1Ni00MjhiLWE5ZTAtOTg1N2IzMjNiMmYwXkEyXkFqcGc@._V1_.jpg"}},{"bio":"William Thompson Hay was probably one of the most versatile of\nentertainers. He was not only a character comedian of the first rank,\nbut was also an astronomer of high repute - he discovered the spot on\nthe planet Saturn in 1933 - and a fully qualified air pilot; he was\nonce an engineer. Born in Stockton-on-Tees, County Durham in 1888, he became\ninterested in astronomy at school and carried on his research work in\nthis direction after he had finished his nightly stage entertainments.\nHe was first \u0026quot;on the air\u0026quot; in 1922 and his then comedy sketches of \u0026quot;St.\nMichaels School\u0026quot; (of which he was the headmaster) proved to be one of\nthe most popular comedy characters on radio at that time. This\ncharacter was transferred to film and became equally successful. He\nworked at Elstree Studios, then Gainsborough, then Ealing; the\nGainsborough period was the most consistently successfully,\nparticularly when he worked with the team of \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0890085/?ref_=sr\"\u003eMarcel Varnel\u003c/a\u003e (director),\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0346436/?ref_=sr\"\u003eVal Guest\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0249218/?ref_=sr\"\u003eMarriott Edgar\u003c/a\u003e (writers), and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0550195/?ref_=sr\"\u003eMoore Marriott\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0595598/?ref_=sr\"\u003eGraham Moffatt\u003c/a\u003e (supporting\ncast). By the time he made his first film, he was in his mid forties\nand his last role came less than a decade later. Between 1934 and 1943,\nhe was a prolific and popular film comedian. He was credited on several\nfilms as a writer or co-ordinator, and was arguably the dominant\n\u0026#39;author\u0026#39; of all the films in which he appeared, in that they were built\naround his persona and depended on the character and routines he had\ndeveloped over years on the stage.","knownFor":{"originalTitleText":"Oh, Mr. Porter!","titleId":"tt0029335","titleText":"Oh, Mr. Porter!","canHaveEpisodes":false,"yearRange":{"year":1937}},"nameId":"nm0370547","nameText":"Will Hay","primaryProfessions":["Actor","Writer","Director"],"primaryImage":{"caption":"Will Hay in Windbag the Sailor (1936)","height":475,"width":345,"url":"https://m.media-amazon.com/images/M/MV5BMjE3OTUxMjE5OF5BMl5BanBnXkFtZTcwMzgxNDAwMQ@@._V1_.jpg"}},{"bio":"Derek Nimmon was born in Liverpool in 1930. Before switching to acting, one of many jobs he held was sales manager in a paint factory. He made his stage debut at Bolton Repertory in 1951 before moving to repertory theatres at Worcester, Oldham, Rotherham, Crewe, Clacton, and Nottingham. For a while he worked as an agent for Al Martino and as a comic feed for comedian Arthur Haynes, Peter Brough, and Archie Andrews. He made his West End debut in \u0026#39;Room For Two\u0026#39; with other West End appearances in \u0026#39;Waltz of the Toreadors\u0026#39;, \u0026#39;How Say You\u0026#39;, \u0026#39;The Amorous Prawn\u0026#39;, \u0026#39;Charlie Girl\u0026#39;, \u0026#39;See How They Run\u0026#39;, and \u0026#39;The Irregular Verb to Love\u0026#39;.\u003cbr/\u003e\u003cbr/\u003eHe became particularly well-known with the television series \u0026#39;All Gas and Gaiters\u0026#39; and \u0026#39;Oh, Brother\u0026#39;, among others. He made quite a number of appearances on the big screen after making his debut in the \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000047/?ref_=sr\"\u003eSophia Loren\u003c/a\u003e film \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0054086/?ref_=sr\"\u003eThe Millionairess (1960)\u003c/a\u003e. Away from the stage and television he wrote a number of books (including \u0026#39;Not in Front of the Servants\u0026#39; and \u0026#39;As the Actress Said to the Bishop\u0026#39;).","knownFor":{"originalTitleText":"Casino Royale","titleId":"tt0061452","titleText":"Casino Royale","canHaveEpisodes":false,"yearRange":{"year":1967}},"nameId":"nm0632368","nameText":"Derek Nimmo","primaryProfessions":["Actor"]},{"bio":"Barry MacKay was born on 8 January 1906 in London, England, UK. He was an actor and writer, known for \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0029992/?ref_=sr\"\u003eA Christmas Carol (1938)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0048132/?ref_=sr\"\u003eGrand National Night (1953)\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0045030/?ref_=sr\"\u003eThe Pickwick Papers (1952)\u003c/a\u003e. He was married to \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0355946/?ref_=sr\"\u003eNatalie Hall\u003c/a\u003e. He died on 12 December 1985 in Chelsea, England, UK.","knownFor":{"originalTitleText":"A Christmas Carol","titleId":"tt0029992","titleText":"A Christmas Carol","canHaveEpisodes":false,"yearRange":{"year":1938}},"nameId":"nm0533131","nameText":"Barry MacKay","primaryProfessions":["Actor","Writer","Soundtrack"],"primaryImage":{"caption":"Barry MacKay","height":789,"width":433,"url":"https://m.media-amazon.com/images/M/MV5BNTRmYjRhN2UtZjIyMi00MTZmLWJhMGItNTgwZjA4ZmNmYmY5XkEyXkFqcGc@._V1_.jpg"}},{"bio":"Toothy, oval-faced Britisher Joyce Grenfell with her stark, equine features charmed and humored audiences both here and abroad on radio, stage, film and TV for nearly four decades. Lovingly remembered as a delightfully witty revue artist, monologist and raconteur, she inherited her bold talents from her eccentric socialite mother, who just so happened to be American and the sister of Lady Nancy Astor.\u003cbr/\u003e\u003cbr/\u003eWell-to-do Joyce Irene Phipps was born on February 10, 1910, in London, one of five daughters of renowned American-born architect Paul Phipps (1880-1953) and American socialite Nora Langhorne (1889-1955) after they established residence in England. She was the niece of British politician \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm2107289/?ref_=sr\"\u003eNancy Astor\u003c/a\u003e and second cousin to American actress \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm1812608/?ref_=sr\"\u003eRuth Draper\u003c/a\u003e. Joyce was educated both in London and Paris, attending the Francis Holland School in London, and the Claremont Fan Court School, in Surrey and Mlle Ozanne\u0026#39;s finishing school in Paris in her late teens.\u003cbr/\u003e\u003cbr/\u003eHer first job in the entertainment business was as a radio critic columnist. In 1939, she appeared in her very first revue, \u0026quot;The Little Revue,\u0026quot; wherein her spot-on impersonations, characterizations and satirical songs became an instant hit. One song \u0026quot;I\u0026#39;m Going to See You Today\u0026quot;, which she herself wrote in 1942, became her signature song. Other revues followed (\u0026quot;Diversion,\u0026quot; \u0026quot;Light and Shade,\u0026quot; \u0026quot;Penny Plain,\u0026quot; Sigh No More\u0026quot;) and she also performed in one-woman shows (\u0026quot;Meet Joyce Grenfell,\u0026quot; \u0026quot;Joyce Grenfell at Home\u0026quot;). During World War II, she often performed for British troops. Much of the music from her later shows was in collaboration with composers and pianists \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0005941/?ref_=sr\"\u003eRichard Addinsell\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0088358/?ref_=sr\"\u003eWilliam Blezard\u003c/a\u003e and in the 1960\u0026#39;s they began performing world wide (England, Australia, United States).\u003cbr/\u003e\u003cbr/\u003eEventually the irrepressible Joyce became sought after for films, finding a fine opening playing wealthy, gawky-appearing matrons in droll, rollicking comedies. She made her feature film debut in a minor role with the romantic dramedy \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0035793/?ref_=sr\"\u003eThe Demi-Paradise (1943)\u003c/a\u003e (aka The Demi-Paradise) starring \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000059/?ref_=sr\"\u003eLaurence Olivier\u003c/a\u003e. She went on to make several war-era films with her characters usually adding an eccentric twist, including \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0036095/?ref_=sr\"\u003eThe Lamp Still Burns (1943)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0039985/?ref_=sr\"\u003eWhile the Sun Shines (1947)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0042189/?ref_=sr\"\u003eAlice in Wonderland (1949)\u003c/a\u003e (as the Ugly Duchess/Doormouse), \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0041754/?ref_=sr\"\u003ePoet\u0026#39;s Pub (1949)\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0041831/?ref_=sr\"\u003eA Run for Your Money (1949)\u003c/a\u003e. The best of the campy lot came in the 1950\u0026#39;s in films starring master comic farceur \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0799237/?ref_=sr\"\u003eAlastair Sim\u003c/a\u003e. There interactions were always broad highlights -- she as the gym teacher at an all-girl\u0026#39;s school in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0042541/?ref_=sr\"\u003eThe Happiest Days of Your Life (1950)\u003c/a\u003e; as Sim\u0026#39;s longtime fiancée Elizabeth \u0026quot;Fluffy\u0026quot; Robson in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0043727/?ref_=sr\"\u003eLaughter in Paradise (1951)\u003c/a\u003e; and her second-billed role as policewoman-turned-teacher plant Sgt. Ruby Gates with Sim the headmistress in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0046766/?ref_=sr\"\u003eThe Belles of St. Trinian\u0026#39;s (1954)\u003c/a\u003e. The last mentioned was followed by two \u0026#39;Trinian\u0026#39; sequels, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0051423/?ref_=sr\"\u003eBlue Murder at St. Trinian\u0026#39;s (1957)\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0055342/?ref_=sr\"\u003eThe Pure Hell of St. Trinian\u0026#39;s (1960)\u003c/a\u003e.\u003cbr/\u003e\u003cbr/\u003eElsewhere during this productive decade, Joyce not only brightened other movie comedies such as \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0043574/?ref_=sr\"\u003eThe Galloping Major (1951)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0045808/?ref_=sr\"\u003eGenevieve (1953)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0046072/?ref_=sr\"\u003eThe Million Pound Note (1954)\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0050482/?ref_=sr\"\u003eHappy Is the Bride (1958)\u003c/a\u003e, but provided comedy relief for a few dramas as well including the Hitchcock thriller \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0042994/?ref_=sr\"\u003eStage Fright (1950)\u003c/a\u003e, plus \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0043769/?ref_=sr\"\u003eThe Magic Box (1951)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0045030/?ref_=sr\"\u003eThe Pickwick Papers (1952)\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0046992/?ref_=sr\"\u003eForbidden Cargo (1954)\u003c/a\u003e. She was a frequent guest on the BBC\u0026#39;s musical quiz show \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0403761/?ref_=sr\"\u003eFace the Music (1967)\u003c/a\u003e. Joyce\u0026#39;s comic fame extended to America as well with the Broadway shows \u0026quot;Joyce Grenfell: Requests the Pleasure (1955) and Joyce Grenfell: Monologue and Songs (1958) and appearances on \u0026quot;The Ed Sullivan Show,\u0026quot; \u0026quot;The Tonight Show,\u0026quot; \u0026quot;The Dick Cavett Show\u0026quot; and \u0026quot;The Merv Griffin Show.\u0026quot;\u003cbr/\u003e\u003cbr/\u003eEnding her career with character roles in the films \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0057379/?ref_=sr\"\u003eThe Old Dark House (1963)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0057840/?ref_=sr\"\u003eThe Americanization of Emily (1964)\u003c/a\u003e and in a scene-stealing cameo as \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000006/?ref_=sr\"\u003eIngrid Bergman\u003c/a\u003e\u0026#39;s companion in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0059927/?ref_=sr\"\u003eThe Yellow Rolls-Royce (1964)\u003c/a\u003e, Joyce would put out highly popular comedy albums over the years (\u0026quot;It Was a Funny Old Life,\u0026quot; \u0026quot;Ordinary Morning,\u0026quot; etc.). Her last performance on stage would be in 1973 before Queen Elizabeth and her guests at Windsor Castle. Soon after, a severe eye infection resulted in the loss of sight in the affected eye and she chose to retire.\u003cbr/\u003e\u003cbr/\u003eSix years later the eye was diagnosed as cancerous and, though it was removed and replaced with an artificial eye, Joyce\u0026#39;s health declined, dying of complications from her ocular cancer on November 30, 1979 at home. Long wed (from 1929) to Reginald Pascoe Grenfell (1903-1993), a lieutenant colonel in the King\u0026#39;s Royal Rifle Corps, grandson of the 4th Earl Grey, ninth Governor General of Canada, she was created an Officer of the Order of the British Empire (OBE) in 1946 and posthumously (1998) commemorated on a postage stamp.","knownFor":{"originalTitleText":"Stage Fright","titleId":"tt0042994","titleText":"Stage Fright","canHaveEpisodes":false,"yearRange":{"year":1950}},"nameId":"nm0340205","nameText":"Joyce Grenfell","primaryProfessions":["Actress","Writer","Music Department"],"primaryImage":{"caption":"Joyce Grenfell","height":545,"width":383,"url":"https://m.media-amazon.com/images/M/MV5BNWIxM2JmYjktMWU5Ny00OThkLTgzODAtMGY1ZTlmNDhlZTdkXkEyXkFqcGc@._V1_.jpg"}},{"bio":"Peter Burton was born on 4 April 1921 in Bromley, Kent, England, UK. He was an actor, known for \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0055928/?ref_=sr\"\u003eDr. No (1962)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0066921/?ref_=sr\"\u003eA Clockwork Orange (1971)\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0054518/?ref_=sr\"\u003eThe Avengers (1961)\u003c/a\u003e. He was married to \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0907974/?ref_=sr\"\u003eLillias Walker\u003c/a\u003e. He died on 27 November 1989 in Chelsea, London, England, UK.","knownFor":{"originalTitleText":"Dr. No","titleId":"tt0055928","titleText":"Dr. No","canHaveEpisodes":false,"yearRange":{"year":1962}},"nameId":"nm0078252","nameText":"Peter Burton","primaryProfessions":["Actor","Additional Crew"],"primaryImage":{"caption":"Peter Burton","height":524,"width":442,"url":"https://m.media-amazon.com/images/M/MV5BNTEyMzYwODE1Ml5BMl5BanBnXkFtZTYwMDY4MzEz._V1_.jpg"}},{"bio":"John Normington was a distinguished English actor and a veteran of stage and screen. He also trained as an opera singer at the Northern School of Music. He made his theatrical debut in the 1950 production of \u0026quot;The Happiest Days of Your Life\u0026quot;. He later became a member of the Royal Shakespeare Company (1962-1966).\u003cbr/\u003e\u003cbr/\u003ePerhaps his most prominent and enduring film role was in the classic British comedy \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0089838/?ref_=sr\"\u003eA Private Function (1984)\u003c/a\u003e, where he holds his own among a heavyweight supporting cast that included \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001749/?ref_=sr\"\u003eMaggie Smith\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001186/?ref_=sr\"\u003eDenholm Elliott\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0341743/?ref_=sr\"\u003eRichard Griffiths\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0824102/?ref_=sr\"\u003eAlison Steadman\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0141697/?ref_=sr\"\u003eJim Carter\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000592/?ref_=sr\"\u003ePete Postlethwaite\u003c/a\u003e. His television appearances were also vast. He is fondly remembered by science fiction fans for his role as the scheming villain Morgus in one of the most popular \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0056751/?ref_=sr\"\u003eDoctor Who (1963)\u003c/a\u003e serials ever produced, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0562896/?ref_=sr\"\u003eThe Caves of Androzani: Part One (1984)\u003c/a\u003e.\u003cbr/\u003e\u003cbr/\u003eHe was diagnosed with pancreatic cancer in 2004 but continued working, making his final screen appearance in \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0783233/?ref_=sr\"\u003eAtonement (2007)\u003c/a\u003e, which was released in the UK following his death. Tributes were paid by Old Vic artistic director \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000228/?ref_=sr\"\u003eKevin Spacey\u003c/a\u003e, National Theatre artistic director \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0405336/?ref_=sr\"\u003eNicholas Hytner\u003c/a\u003e and Royal Shakespeare Company artistic director Michael Boyd. Normington was gay and was survived by John Anderson, his partner of almost 40 years.","knownFor":{"originalTitleText":"Rollerball","titleId":"tt0073631","titleText":"Rollerball","canHaveEpisodes":false,"yearRange":{"year":1975}},"nameId":"nm0635712","nameText":"John Normington","primaryProfessions":["Actor"],"primaryImage":{"caption":"John Normington in Doctor Who (1963)","height":375,"width":500,"url":"https://m.media-amazon.com/images/M/MV5BMjIyODYwNTU3OF5BMl5BanBnXkFtZTgwNzI4MzYyMjE@._V1_.jpg"}},{"bio":"Patricia Lawrence was born on 19 November 1925 in Andover, Hampshire, England, UK. She was an actress, known for \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0080298/?ref_=sr\"\u003eTo Serve Them All My Days (1980)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0091867/?ref_=sr\"\u003eA Room with a View (1985)\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0104454/?ref_=sr\"\u003eHowards End (1992)\u003c/a\u003e. She was married to Greville Poke. She died on 7 March 1993 in Chelsea, London, England, UK.","knownFor":{"originalTitleText":"To Serve Them All My Days","titleId":"tt0080298","titleText":"To Serve Them All My Days","canHaveEpisodes":true,"yearRange":{"year":1980,"endYear":1981}},"nameId":"nm0492961","nameText":"Patricia Lawrence","primaryProfessions":["Actress"]},{"bio":"P.L. Travers was born on 9 August 1899 in Maryborough, Queensland, Australia. She was a writer, known for \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0058331/?ref_=sr\"\u003eMary Poppins (1964)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt5028340/?ref_=sr\"\u003eMary Poppins Returns (2018)\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0040051/?ref_=sr\"\u003eStudio One (1948)\u003c/a\u003e. She died on 23 April 1996 in Chelsea, London, England, UK.","knownFor":{"originalTitleText":"Mary Poppins","titleId":"tt0058331","titleText":"Mary Poppins","canHaveEpisodes":false,"yearRange":{"year":1964}},"nameId":"nm0871308","nameText":"P.L. Travers","primaryProfessions":["Writer","Additional Crew"],"primaryImage":{"caption":"P.L. Travers","height":1710,"width":1196,"url":"https://m.media-amazon.com/images/M/MV5BYjdlZTQ2ODAtMzU4Zi00OTJlLWEzYjYtNGQ1MzEwZTFlYTYwXkEyXkFqcGc@._V1_.jpg"}},{"bio":"Born of a prominent Irish journalist in Dublin, Ireland, Dave Allen\nstarted out working and touring through English theatres and night\nclubs. Only occasionally working on radio, he made his first TV\nappearance on the BBC\u0026#39;s \u0026quot;New Faces.\u0026quot; He managed to tour with \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm1397313/?ref_=sr\"\u003eThe Beatles\u003c/a\u003e\nwhile they were still starting out and soon managed to get an\neight-month TV engagement called \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0247897/?ref_=sr\"\u003eTonight with Dave Allen (1967)\u003c/a\u003e, which ended as still one of\nthe most successful shows in Australia. During 1969, he turned from\ncomedy to making documentaries, but then in 1971, he returned to BBC\ntelevision for \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0131163/?ref_=sr\"\u003eDave Allen at Large (1971)\u003c/a\u003e, another top-rated show. In 1972, he lived out a\nlifetime ambition to do plays, soon playing both Mr. Darling and\nCaptain Hook in \u0026quot;Peter Pan\u0026quot; for the London Coliseum. He followed up\nwith two more TV specials in Australia. Floating between stage,\ntelevision, and more documentaries, he premiered in America in 1981\nwith \u0026quot;An Evening With Dave Allen.\u0026quot; He died suddenly in March\n2005.","knownFor":{"originalTitleText":"Dave Allen at Large","titleId":"tt0131163","titleText":"Dave Allen at Large","canHaveEpisodes":true,"yearRange":{"year":1971,"endYear":1979}},"nameId":"nm0020411","nameText":"Dave Allen","primaryProfessions":["Writer","Actor","Producer"]},{"bio":"This distinguished theatrical tragedienne will be remembered forever if\nonly for the fact \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0789737/?ref_=sr\"\u003eGeorge Bernard Shaw\u003c/a\u003e wrote his classic \u0026quot;Saint Joan\u0026quot; work\nspecifically for her. Her over six-decade career allowed for a gallery\nof sterling, masterful portrayals, both classic and contemporary,\nperforming all over the world including Australia, New Zealand, South\nAfrica, India and both Western and Eastern Europe. She was created a\nDame of the British Empire in 1931, when her career was not quite half\nover, and in 1970 was made Companion of Honor to Queen Elizabeth.\u003cbr/\u003e\u003cbr/\u003eBorn Agnes Sybil Thorndike on October 24, 1882 in Gainsborough,\nLincolnshire, she was the daughter of a minor canon of Rochester\nCathedral. She was the eldest of four children. One younger brother,\nFrank, was killed in WWI action, a tragedy that left her father\ninconsolable. He himself would die a few months later. Sybil first\nbecame a concert pianist until nerve injuries in her hands quickly\naltered her destiny. She, at brother \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0861343/?ref_=sr\"\u003eRussell Thorndike\u003c/a\u003e\u0026#39;s suggestion, decided upon\nacting. Russell would later become a novelist and his sister\u0026#39;s\nbiographer.\u003cbr/\u003e\u003cbr/\u003eNot a classic beauty by any stretch, Dame Sybil had sharp features,\nprominent cheek bones and a pronounced chin that gave her a rather\nsevere look. At age 21 she and her brother began professionally in a\ntouring company guided by actor-manager Ben Greet. She performed as\nPortia in a production of The Merchant of Venice in 1907 while touring\nin New York. The following year she met playwright \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0789737/?ref_=sr\"\u003eGeorge Bernard Shaw\u003c/a\u003e while\nunderstudying the role of Candida in a tour which was being directed by\nthe writer himself. It was also during this tour that Sybil met and\nmarried actor Sir \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0144348/?ref_=sr\"\u003eLewis Casson\u003c/a\u003e and solidified one of the most respected\npersonal and professional relationships the acting realm has known. She\nstayed with The Old Vic for five years (1914-1919) and in 1924 earned\nstardom as Shaw\u0026#39;s Joan of Arc.\u003cbr/\u003e\u003cbr/\u003eSybil\u0026#39;s film career, unlike that of her esteemed contemporary \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0262725/?ref_=sr\"\u003eEdith Evans\u003c/a\u003e,\nfell far short of expectations. Silent films recreated some of her\nfinest theatrical experiences, including Lady Macbeth and, of course,\nJoan of Arc, but she would not evolve into a film star. She was\nsporadically utilized in later years as a flavorful character support\nand played a number of queens, dowagers and old crones with equal\nfinesse. Such classic costumed fare would include \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0033868/?ref_=sr\"\u003eMajor Barbara (1941)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0039657/?ref_=sr\"\u003eThe Life and Adventures of Nicholas Nickleby (1947)\u003c/a\u003e,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0042994/?ref_=sr\"\u003eStage Fright (1950)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0042513/?ref_=sr\"\u003eGone to Earth (1950)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0043724/?ref_=sr\"\u003eThe Lady with a Lamp (1951)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0046062/?ref_=sr\"\u003eMelba (1953)\u003c/a\u003e, as Queen Victoria, and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0050861/?ref_=sr\"\u003eThe Prince and the Showgirl (1957)\u003c/a\u003e in\nwhich she managed to grab focus during her scenes with \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000059/?ref_=sr\"\u003eLaurence Olivier\u003c/a\u003e and\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000054/?ref_=sr\"\u003eMarilyn Monroe\u003c/a\u003e. In 1969, Sybil lent her name to the new theatre in\nLeatherhead, Surrey, which became The Thorndike. Despite her 87 years,\nshe performed in the new play There Was An Old Woman in its first\nseason. It was to be her final theatrical performance. Always a\nhealthy, vigorous woman, she died of a heart attack on June 9, 1976 at\nthe ripe young age of 93. She was survived by four children and a\nnumber of grandchildren and great-grandchildren.","knownFor":{"originalTitleText":"Dawn","titleId":"tt0018816","titleText":"Dawn","canHaveEpisodes":false,"yearRange":{"year":1928}},"nameId":"nm0861345","nameText":"Sybil Thorndike","primaryProfessions":["Actress","Soundtrack"],"primaryImage":{"caption":"Sybil Thorndike","height":2048,"width":1623,"url":"https://m.media-amazon.com/images/M/MV5BMzEzMTI3NzgyM15BMl5BanBnXkFtZTcwNDk4OTkxOA@@._V1_.jpg"}},{"bio":"John Bailey was born on 26 June 1912 in Lewisham, London, England, UK. He was an actor, known for \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0041236/?ref_=sr\"\u003eCelia (1949)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0061253/?ref_=sr\"\u003eThe Forsyte Saga (1967)\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0056751/?ref_=sr\"\u003eDoctor Who (1963)\u003c/a\u003e. He died on 11 February 1989 in Chelsea, London, England, UK.","knownFor":{"originalTitleText":"Celia","titleId":"tt0041236","titleText":"Celia","canHaveEpisodes":false,"yearRange":{"year":1949}},"nameId":"nm0047318","nameText":"John Bailey","primaryProfessions":["Actor"],"primaryImage":{"caption":"John Bailey and Martin Benson in The Saint (1962)","height":375,"width":500,"url":"https://m.media-amazon.com/images/M/MV5BMTU3ODI4Mjc3NF5BMl5BanBnXkFtZTgwMjA1MzUyMjE@._V1_.jpg"}},{"bio":"Betty Hardy was born on 16 April 1904 in Lincoln, Lincolnshire, England, UK. She was an actress, known for \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0403722/?ref_=sr\"\u003eThe Adventures of Tom Sawyer (1960)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0163948/?ref_=sr\"\u003eMadame Bovary (1964)\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0275843/?ref_=sr\"\u003eKaty (1962)\u003c/a\u003e. She died on 1 July 1981 in Chelsea, London, England, UK.","knownFor":{"originalTitleText":"The Adventures of Tom Sawyer","titleId":"tt0403722","titleText":"The Adventures of Tom Sawyer","canHaveEpisodes":true,"yearRange":{"year":1960}},"nameId":"nm0362589","nameText":"Betty Hardy","primaryProfessions":["Actress","Soundtrack"]},{"bio":"Hughie Green was born on 2 February 1920 in London, England, UK. He was an actor and producer, known for \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0026713/?ref_=sr\"\u003eMidshipman Easy (1935)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0033169/?ref_=sr\"\u003eTom Brown\u0026#39;s School Days (1940)\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0031246/?ref_=sr\"\u003eDown Our Alley (1939)\u003c/a\u003e. He was married to Claire Wilson. He died on 3 May 1997 in Chelsea, London, England, UK.","knownFor":{"originalTitleText":"Midshipman Easy","titleId":"tt0026713","titleText":"Midshipman Easy","canHaveEpisodes":false,"yearRange":{"year":1935}},"nameId":"nm0337916","nameText":"Hughie Green","primaryProfessions":["Additional Crew","Actor","Producer"],"primaryImage":{"caption":"Hughie Green","height":2973,"width":2429,"url":"https://m.media-amazon.com/images/M/MV5BYWVlNjZmNTgtYWM0NC00MDMwLTk0NjktYzRmMDI1YjkwN2MzXkEyXkFqcGc@._V1_.jpg"}},{"bio":"Alethea Charlton was born on 9 August 1931 in Middlesbrough, North Yorkshire, England, UK. She was an actress, known for \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0056751/?ref_=sr\"\u003eDoctor Who (1963)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0424746/?ref_=sr\"\u003eThe Woman in White (1966)\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0129717/?ref_=sr\"\u003eSoftly Softly (1966)\u003c/a\u003e. She died on 6 May 1976 in Chelsea, London, England, UK.","knownFor":{"originalTitleText":"Doctor Who","titleId":"tt0056751","titleText":"Doctor Who","canHaveEpisodes":true,"yearRange":{"year":1963,"endYear":1965}},"nameId":"nm0153278","nameText":"Alethea Charlton","primaryProfessions":["Actress"],"primaryImage":{"caption":"Alethea Charlton in Softly Softly (1966)","height":728,"width":897,"url":"https://m.media-amazon.com/images/M/MV5BYmFiNDM4ZGMtZjk5Yy00NTA4LWE0ZGYtMWM2MWQxYWNkYmM0XkEyXkFqcGc@._V1_.jpg"}},{"bio":"Monty Berman was a producer of popular action series for ITC in the\n1960\u0026#39;s and early 70\u0026#39;s. He was born Nestor Montague Berman to Jewish\nparents in the poor Whitechapel district of London. After completing\nhis education at the University College School, he joined the small\nTwickenham Studio as a camera assistant in 1922. Following a lengthy\napprenticeship, he became a fully-fledged cinematographer with ABPC in\n1935, but was able to secure assignments on just two films prior to the\noutbreak of World War II. During the war, he served in North Africa,\nItaly and Germany with the Eighth Army Film and Photographic Unit,\nforming a friendship with a fellow cameraman and amateur film maker\nnamed \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0048875/?ref_=sr\"\u003eRobert S. Baker\u003c/a\u003e. Berman and Baker\ncombined forces in 1948 to establish a production company for\nlow-budget features, Tempean Films. In the course of the next thirteen\nyears, Berman worked in the dual capacity of producer and\ncinematographer on more than thirty films, invariably shot on location\nin or around London and often featuring American stars in the twilight\nof their careers.\u003cbr/\u003e\u003cbr/\u003eMost of their early endeavours were unambitious dramas or sub-film noir\ncrime stories, which attracted neither critical attention, nor made\nmuch money. This began to change once Berman and Baker tapped into the\nhorror market in an attempt to emulate the success of Hammer. Securing\nthe services of writer \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0762727/?ref_=sr\"\u003eJimmy Sangster\u003c/a\u003e,\nthey made several well-received films in the genre, including\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0051422/?ref_=sr\"\u003eBlood of the Vampire (1958)\u003c/a\u003e,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0052320/?ref_=sr\"\u003eThe Trollenberg Terror (1958)\u003c/a\u003e,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0053961/?ref_=sr\"\u003eJack the Ripper (1959)\u003c/a\u003e (their\nbiggest hit to date, which Berman also directed) and\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0052811/?ref_=sr\"\u003eThe Flesh and the Fiends (1960)\u003c/a\u003e\n(a variation on the Burke \u0026amp; Hare story). Aware of the economic\npotential of television, Berman concentrated exclusively on production\nafter 1961. Having acquired the rights to\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0153546/?ref_=sr\"\u003eLeslie Charteris\u003c/a\u003e\u0026#39;s popular creation\nSimon Templar, Berman and Baker succeeded in securing finance via\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0333528/?ref_=sr\"\u003eLew Grade\u003c/a\u003e\u0026#39;s ITC to produce\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0055701/?ref_=sr\"\u003eThe Saint (1962)\u003c/a\u003e. Launching\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000549/?ref_=sr\"\u003eRoger Moore\u003c/a\u003e to stardom and endowed\nwith a respectable budget of 30,000 pounds per episode, the series\nbecame one of the mega hits of the 60\u0026#39;s and has long since acquired\ncult status.\u003cbr/\u003e\u003cbr/\u003eAfter \u0026quot;The Saint\u0026quot;, the Berman-Baker partnership came to an end. Berman\nsubsequently worked as solo producer on another show,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0059966/?ref_=sr\"\u003eThe Baron (1966)\u003c/a\u003e, which worked on a\nsimilar premise, albeit with an American star. He then formed a new\nassociation with the writer\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0819388/?ref_=sr\"\u003eDennis Spooner\u003c/a\u003e, co-founding Scoton\nProductions in 1968. Based at Elstree, they created first\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0062551/?ref_=sr\"\u003eThe Champions (1968)\u003c/a\u003e, a series\nabout intelligence operatives with telepathic and various other\nextrasensory abilities. That was followed by two superior shows,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0063893/?ref_=sr\"\u003eDepartment S (1969)\u003c/a\u003e and\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0063946/?ref_=sr\"\u003eRandall and Hopkirk (Deceased) (1969)\u003c/a\u003e,\nshot side-by-side at the same facilities, using the same crew, sets,\nprops, and extras. Though economically made with much usage of stock\nfootage and recycled scripts, both series fared even better over the\nyears than at the time of their original release. One of the stars of\nthe former, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0943936/?ref_=sr\"\u003ePeter Wyngarde\u003c/a\u003e, became\nsomething of a cult figure as the effete, but debonair\nadventurer/novelist Jason King. However, an attempt to centre a new\nspoof series based on his character proved unsuccessful and was let\ndown by poor production values and unimaginative scripts. A subsequent\nendeavour,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0068029/?ref_=sr\"\u003eThe Adventurer (1972)\u003c/a\u003e,\nfeaturing another fading American star,\n\u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0058001/?ref_=sr\"\u003eGene Barry\u003c/a\u003e, received an even cooler\nreception. As a result, Berman was unable to find further work in\ntelevision. He subsequently retired from public life and refused\nsteadfastly to give interviews or comment on his career for the\nremainder of his life.","knownFor":{"originalTitleText":"Department S","titleId":"tt0063893","titleText":"Department S","canHaveEpisodes":true,"yearRange":{"year":1969}},"nameId":"nm0002627","nameText":"Monty Berman","primaryProfessions":["Producer","Writer","Cinematographer"],"primaryImage":{"caption":"Monty Berman in Department S (1969)","height":1139,"width":958,"url":"https://m.media-amazon.com/images/M/MV5BNDdiOTE1NTgtN2Y1NS00NWY3LTk2ZjYtMzJjMTI0N2Y3MzQwXkEyXkFqcGc@._V1_.jpg"}},{"bio":"Michael Carreras was born on 21 December 1927 in Wandsworth, London, England, UK. He was a producer and director, known for \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0051554/?ref_=sr\"\u003eDracula (1958)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0057678/?ref_=sr\"\u003eWhat a Crazy World (1963)\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0063240/?ref_=sr\"\u003eThe Lost Continent (1968)\u003c/a\u003e. He died on 19 April 1994 in Chelsea, London, England, UK.","knownFor":{"originalTitleText":"Dracula","titleId":"tt0051554","titleText":"Dracula","canHaveEpisodes":false,"yearRange":{"year":1958}},"nameId":"nm0140257","nameText":"Michael Carreras","primaryProfessions":["Producer","Director","Writer"]},{"bio":"Patric Doonan was born on 19 April 1926 in Alvaston, Derby, England, UK. He was an actor, known for \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0046123/?ref_=sr\"\u003eThe Net (1953)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0049083/?ref_=sr\"\u003eThe Cockleshell Heroes (1955)\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0046877/?ref_=sr\"\u003eSeagulls Over Sorrento (1954)\u003c/a\u003e. He was married to \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0423767/?ref_=sr\"\u003eAud Johansen\u003c/a\u003e. He died on 10 March 1958 in Chelsea, London, England, UK.","knownFor":{"originalTitleText":"The Net","titleId":"tt0046123","titleText":"The Net","canHaveEpisodes":false,"yearRange":{"year":1953}},"nameId":"nm0233247","nameText":"Patric Doonan","primaryProfessions":["Actor"],"primaryImage":{"caption":"Patric Doonan in The Blue Lamp (1950)","height":720,"width":992,"url":"https://m.media-amazon.com/images/M/MV5BYzc5YThiZDEtMzRkNS00NmEzLTliOGUtNTg0ZjJhMGFlODk0XkEyXkFqcGc@._V1_.jpg"}},{"bio":"John Profumo was born on 30 January 1915 in Kensington, London, England, UK. He was married to \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0387753/?ref_=sr\"\u003eValerie Hobson\u003c/a\u003e. He died on 9 March 2006 in Chelsea, London, England, UK.","nameId":"nm4572489","nameText":"John Profumo","primaryProfessions":[],"primaryImage":{"caption":"John Profumo","height":1012,"width":720,"url":"https://m.media-amazon.com/images/M/MV5BZjJhZjFjMmItM2Q2Mi00MDJlLTlmM2ItYTExYmNkYjM2Zjk3XkEyXkFqcGc@._V1_.jpg"}},{"bio":"When he appeared at the London Palladium in 1948 sporting an untidy black beard he brought the house down with a 5 minute act using an antique chair back which became a ships rudder , a harp, a flag, a comb and a cows udder, He was booked for the Royal Variety show and looked set for stardom but 5 years of obscurity followed during which time he toured the States and spent 2 years in Australia. Back in Britain he made the comedy film The Sandwhich Man (Oct 65) and periodically he goes to a West Londonm rifle range and fires off at clay pigeons,","knownFor":{"originalTitleText":"The Sandwich Man","titleId":"tt0060936","titleText":"The Sandwich Man","canHaveEpisodes":false,"yearRange":{"year":1966}},"nameId":"nm0072760","nameText":"Michael Bentine","primaryProfessions":["Writer","Actor","Additional Crew"]},{"bio":"Moira Mannion was born on 7 April 1918 in South Africa. She was an actress, known for \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0047728/?ref_=sr\"\u003eDixon of Dock Green (1955)\u003c/a\u003e, \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0051265/?ref_=sr\"\u003eA Christmas Night with the Stars (1958)\u003c/a\u003e and \u003ca class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0989125/?ref_=sr\"\u003eBBC Sunday-Night Theatre (1950)\u003c/a\u003e. 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