100 Great British Actors
100 British actors from the last 100 years
List activity
295K views
• 342 this weekCreate a new list
List your movie, TV & celebrity picks.
100 people
- Actor
- Writer
- Soundtrack
One of the oldest actors on the screen in the 1920s and 1930s, George Arliss starred on the London stage from an early age. He came to the United States and starred in several films, but it was his role as British Prime Minister Benjamin Disraeli in Disraeli (1929) that brought him his greatest success.- Actor
- Writer
- Soundtrack
Arthur Askey was a diminutive British comedian, born in 1900. He began his professional career as a music hall performer in 1924, but it wasn't until 1938's Band Waggon (1940) (which lasted for three seasons), that he became a household name in England. His film debut was in the 1937 British feature Calling All Stars (1937), but then, in 1939, Band Waggon (1940) swooped in again and made him a film star with a film following on from when Arthur and co-star Richard "Stinker" Murdoch were evicted from their beloved flat. Film stardom carried Arthur through to the mid-1940s, but it wasn't till 1956 when he starred in another film, Ramsbottom Rides Again (1956). He started his own television show: The Arthur Askey Show (1961), where, of course, he was the main player and that carried on till his retirement. He died in 1982.- Actor
- Writer
- Producer
Rowan Sebastian Atkinson was born on 6 January, 1955, in Consett, Co. Durham, UK, to Ella May (Bainbridge) and Eric Atkinson. His father owned a farm, where Rowan grew up with his two older brothers, Rupert and Rodney. He attended Newcastle University and Oxford University where he earned degrees in electrical engineering. During that time, he met screenwriter Richard Curtis, with whom he wrote and performed comedy revues.
Later, he co-wrote and appeared in Not the Nine O'Clock News (1979), which was a huge success and spawned several best-selling books. It won an International Emmy Award and the British Academy Award for "Best Light Entertainment Programme of 1980." He won the "British Academy Award" and was named "BBC Personality of the Year" for his performance in Not the Nine O'Clock News (1979).
Atkinson also appeared in several movies, including Dead on Time (1983), Pleasure at Her Majesty's (1976) (aka "Monty Python Meets Beyond the Fringe"), Never Say Never Again (1983), and The Tall Guy (1989). He played "Mr. Bean" in the TV series, Mr. Bean (1990) but, apart from that and Not the Nine O'Clock News (1979), he also appeared in several other series like Blackadder (1982) and Funny Business (1992), etc.
Atkinson enjoys nothing more than fast cars. He has two children, named Benjamin and Lily, with ex-wife Sunetra Sastry.- Actor
- Producer
- Director
Richard Attenborough, Baron Attenborough of Richmond-upon-Thames, was born in Cambridge, England, the son of Mary (née Clegg), a founding member of the Marriage Guidance Council, and Frederick Levi Attenborough, a scholar and academic administrator who was a don at Emmanuel College and wrote a standard text on Anglo-Saxon law. The family later moved to Leicester where his father was appointed Principal of the university while Richard was educated at Wyggeston Grammar School for Boys in Leicester and at the Royal Academy of Dramatic Art (RADA).
His film career began with a role as a deserting sailor in In Which We Serve (1942), a part that contributed to his being typecast for many years as a coward in films like Dulcimer Street (1948), Operation Disaster (1950) and his breakthrough role as a psychopathic young gangster in the film adaptation of Graham Greene's novel, Brighton Rock (1948). During World War II, Attenborough served in the Royal Air Force.
He worked prolifically in British films for the next 30 years, and in the 1950s appeared in several successful comedies for John Boulting and Roy Boulting, including Private's Progress (1956) and I'm All Right Jack (1959). Early in his stage career, Attenborough starred in the London West End production of Agatha Christie's "The Mousetrap", which went on to become one of the world's longest-running stage productions. Both he and his wife were among the original cast members of the production, which opened in 1952 and (as of 2007) is still running.
In the 1960s, he expanded his range of character roles in films such as Seance on a Wet Afternoon (1964) and Guns at Batasi (1964), for which he won the BAFTA Award for Best Actor for his portrayal of the regimental Sergeant Major. He appeared in the ensemble cast of The Great Escape (1963), as Squadron Leader "Roger Bartlett" ("Big X"), the head of the escape committee.
In 1967 and 1968, he won back-to-back Golden Globe Awards in the category of Best Supporting Actor, the first time for The Sand Pebbles (1966), starring Steve McQueen, and the second time for Doctor Dolittle (1967), starring Rex Harrison. He would win another Golden Globe for Best Director, for Gandhi (1982), in 1983. Six years prior to "Gandhi", he played the ruthless "Gen. Outram" in Indian director Satyajit Ray's period piece, The Chess Players (1977). He has never been nominated for an Academy Award in an acting category.
He took no acting roles following his appearance in Otto Preminger's The Human Factor (1979), until his appearance as the eccentric developer "John Hammond" in Steven Spielberg's Jurassic Park (1993). The following year, he starred as "Kris Kringle" in Miracle on 34th Street (1994), a remake of the 1947 classic. Since then, he has made occasional appearances in supporting roles, including the historical drama, Elizabeth (1998), as "Sir William Cecil".
In the late 1950s, Attenborough formed a production company, "Beaver Films", with Bryan Forbes and began to build a profile as a producer on projects, including The League of Gentlemen (1960), The Angry Silence (1960) and Whistle Down the Wind (1961), also appearing in the first two of these as an actor.
His feature film directorial debut was the all-star screen version of the hit musical, Oh! What a Lovely War (1969), and his acting appearances became more sporadic - the most notable being his portrayal of serial killer "John Christie" in 10 Rillington Place (1971). He later directed two epic period films: Young Winston (1972), based on the early life of Winston Churchill, and A Bridge Too Far (1977), an all-star account of Operation Market Garden in World War II. He won the 1982 Academy Award for Directing for his historical epic, Gandhi (1982), a project he had been attempting to get made for many years. As the film's producer, he also won the Academy Award for Best Picture. His most recent films, as director and producer, include Chaplin (1992), starring Robert Downey Jr. as Charles Chaplin, and Shadowlands (1993), based on the relationship between C.S. Lewis and Joy Gresham. Both films starred Anthony Hopkins, who also appeared in three other films for Attenborough: "Young Winston", "A Bridge Too Far" and the thriller, Magic (1978).
Attenborough also directed the screen version of the hit Broadway musical, "A Chorus Line" (A Chorus Line (1985)), and the apartheid drama, Cry Freedom (1987), based on the experiences of Donald Woods. He was nominated for a Golden Globe Award for Best Director for both films. His most recent film as director was another biographical film, Grey Owl (1999), starring Pierce Brosnan.
Attenborough is the President of RADA, Chairman of Capital Radio, President of BAFTA, President of the Gandhi Foundation, and President of the British National Film and Television School. He is also a vice patron of the Cinema and Television Benevolent Fund.
He is also the patron of the UWC movement (United World Colleges), whereby he continually contributes greatly to the colleges that are part of the organization. He has frequented the United World College of Southern Africa(UWCSA) Waterford Kamhlaba. His wife and he founded the "Richard and Sheila Attenborough Visual Arts Center". He also founded the "Jane Holland Creative Center for Learning" at Waterford Kamhlaba in Swaziland in memory of his daughter, who died in the Tsunami on Boxing Day, 2004. He passionately believes in education, primarily education that does not judge upon color, race, creed or religion. His attachment to Waterford is his passion for non-racial education, which were the grounds on which Waterford Kamhlaba was founded. Waterford was one of his inspirations for directing Cry Freedom (1987), based on the life of Steve Biko.
He was elected to the post of Chancellor of the University of Sussex on 20 March 1998, replacing the Duke of Richmond and Gordon. A lifelong supporter of Chelsea Football Club, Attenborough served as a director of the club from 1969-1982 and, since 1993, has held the honorary position of Life Vice President. He is also the head of the consortium, "Dragon International", which is constructing a film and television studio complex in Llanilid, Wales, often referred to as "Valleywood".
In 1967, he was made a Commander of the Order of the British Empire (CBE). He was knighted in 1976 and, in 1993, he was made a life peer as Baron Attenborough, of Richmond-upon-Thames in the London Borough of Richmond upon Thames.
On 13 July 2006, Attenborough and his brother, David Attenborough, were awarded the titles of Distinguished Honorary Fellows of the University of Leicester "in recognition of a record of continuing distinguished service to the University". Lord Attenborough is also listed as an Honorary Fellow of Bangor University for his continued efforts to film making.
Attenborough has been married to English actress Sheila Sim, since 1945. They had three children. In December 2004, his elder daughter, Jane Holland, as well as her daughter Lucy and her mother-in-law, also named Jane, were killed in the tsunami caused by the Indian Ocean earthquake. A memorial service was held on 8 March 2005, and Attenborough read a lesson at the national memorial service on 11 May 2005. His grandson, Samuel Holland, and granddaughter, Alice Holland, also read in the service.
Attenborough's father was principal of University College, Leicester, now the city's university. This has resulted in a long association with the university, with Lord Attenborough a patron. A commemorative plaque was placed on the floor of Richmond Parish Church. The university's "Richard Attenborough Centre for Disability and the Arts", which opened in 1997, is named in his Honor.
His son, Michael Attenborough, is also a director. He has two younger brothers, the famous naturalist Sir David Attenborough and John Attenborough, who has made a career in the motor trade.
He has collected Pablo Picasso ceramics since the 1950s. More than 100 items went on display at the New Walk Museum and Art Gallery in Leicester in 2007; the exhibition is dedicated to his family members lost in the tsunami.- British character actor Felix Aylmer was educated at Oxford and later studied drama, making his stage debut at the London Coliseum in 1911. During World War I he served in the Royal Naval Volunteer Reserve and resumed his stage career after the war ended. He entered films in 1930 and stayed in them for the next 40 years, specializing in elderly, doddering characters (often clerics). Arguably his most memorable film appearance is that of the Archbishop of Canterbury in Laurence Olivier's Henry V (1944). He is also well-known for his portrayal of Father Anselm in the television series Oh Brother! (1968).
- Actor
- Producer
Stanley Baker was unusual star material to emerge during the Fifties - when impossibly handsome and engagingly romantic leading men were almost de rigueur. Baker was forged from a rougher mould. His was good-looking, but his features were angular, taut, austere and unwelcoming. His screen persona was taciturn, even surly, and the young actor displayed a predilection for introspection and blunt speaking, and was almost wilfully unromantic. For the times a potential leading actor cast heavily against the grain. Baker immediately proved a unique screen presence - tough, gritty, combustible - and possessing an aura of dark, even menacing power.
Stanley Baker came from rugged Welsh mining stock - and as a lad was unruly, quick to flare, and first to fight. But like his compatriot and friend Richard Burton, the young Baker was rescued from a gruelling life of coal mining by a local teacher, Glyn Morse, who recognized in the proud and self-willed lad a potent combination of a fine speaking voice, a smouldering intensity, and a strong spirit. And like Burton, Stanley Baker was specially and specifically tutored for theatrical success. In fact, early on, Burton and Baker appeared together on stage as juveniles in The Druid's Rest, in Cardiff, in Wales. But later, by way of Birmingham Repertory Theatre and then the London stage, Stanley Baker charted his inevitable course toward the Cinema.
Film welcomed the adult Baker as the embodiment of evil. Memorable early roles cast the actor in feisty unsympathetic parts - from the testy bosun in Captain Horatio Hornblower (1951) to his modern-day counterpart in The Cruel Sea (1953), to the arch villains in Hell Below Zero (1954) and Campbell's Kingdom (1957) to the dastardly Mordred in Knights of the Round Table (1953) and the wily Achilles in Helen of Troy (1956). For a time there was a distillation of Baker's screen persona in a series of roles as stern and uncompromising policemen - in Violent Playground (1958), Chance Meeting (1959), and Hell Is a City (1960). But despite never having been cast as a romantic leading man, and being almost wholly associated with villainous roles, Stanley Baker nevertheless became a star by dint of his potent personality.
Although now enthroned by enthusiastic audiences Stanley Baker was obviously aware he need not desert unsympathetic parts - and his relish in playing the scheming Astaroth in Sodom and Gomorrah (1962) and the unscrupulous mobster Johnny Bannion in The Concrete Jungle (1960) was readily evident. But soon there were more principled, if still surly characters, in The Guns of Navarone (1961), The Games (1970), Eva (1962), and Accident (1967), the latter two films reuniting Baker with the American expatriot director of The Criminal, Joseph Losey. Stanley Baker also established a fruitful working relationship with the American director Cy Endfield, following their early collaboration on Hell Drivers (1957). When Baker inaugurated his own film production company - it was Endfield he commissioned to write and direct both Zulu (1964) and Sands of the Kalahari (1965), with Baker allotting himself the downbeat roles of the martinet officer John Chard in Zulu and the reluctant hero Mike Bain in The Sands Of The Kalahari.
Baker must have felt more assured in disenchanted roles - as further films from Baker's own stable still promoted the actor in either criminal or villainous mode - as gangster Paul Clifton in Robbery (1967) and the corrupt thief-taker Jonathan Wild in Where's Jack? (1969). The success of Baker's own productions was timely and did much to enhance the prestige of what was then considered an ailing British film industry. Stanley Baker also took the opportunity to move into the realm of television, appearing in, among other productions, the dramas The Changeling (1974) and Robinson Crusoe (1974), and also in the series How Green Was My Valley (1975).
Knighted in 1976 it was evident that Stanley Baker may well have continued to greater heights, both as an actor and a producer, but he succumbed to lung cancer and died at the early age of forty-eight. But his legacy is unquestioned. He was a unique force on screen, championing characterizations that were not clichéd or compromised. He established his own niche as an actor content to be admired for peerlessly portraying the disreputable and the unsympathetic. In that he was a dark mirror, more accurately reflecting human frailty and the vagaries of life than many of his more romantically or heroically inclined contemporaries. There have forever been legions of seemingly interchangeable charming and virile leading men populating the movies - but Stanley Baker stood almost alone in his determination to be characterized and judged by portraying the bleaker aspects of the human condition. Consequently, more than twenty-five years after his death, his sombre, potent personality still illuminates the screen in a way few others have achieved.- Actor
- Producer
- Editorial Department
Christian Charles Philip Bale was born in Pembrokeshire, Wales, UK on January 30, 1974, to English parents Jennifer "Jenny" (James) and David Bale. His mother was a circus performer and his father, who was born in South Africa, was a commercial pilot. The family lived in different countries throughout Bale's childhood, including England, Portugal, and the United States. Bale acknowledges the constant change was one of the influences on his career choice.
His first acting job was a cereal commercial in 1983; amazingly, the next year, he debuted on the West End stage in "The Nerd". A role in the 1986 NBC mini-series Anastasia: The Mystery of Anna (1986) caught Steven Spielberg's eye, leading to Bale's well-documented role in Empire of the Sun (1987). For the range of emotions he displayed as the star of the war epic, he earned a special award by the National Board of Review for Best Performance by a Juvenile Actor.
Adjusting to fame and his difficulties with attention (he thought about quitting acting early on), Bale appeared in Kenneth Branagh's 1989 adaptation of Shakespeare's Henry V (1989) and starred as Jim Hawkins in a TV movie version of Treasure Island (1990). Bale worked consistently through the 1990s, acting and singing in Newsies (1992), Swing Kids (1993), Little Women (1994), The Portrait of a Lady (1996), The Secret Agent (1996), Metroland (1997), Velvet Goldmine (1998), All the Little Animals (1998), and A Midsummer Night's Dream (1999). Toward the end of the decade, with the rise of the Internet, Bale found himself becoming one of the most popular online celebrities around, though he, with a couple notable exceptions, maintained a private, tabloid-free mystique.
Bale roared into the next decade with a lead role in American Psycho (2000), director Mary Harron's adaptation of the controversial Bret Easton Ellis novel. In the film, Bale played a murderous Wall Street executive obsessed with his own physicality - a trait for which Bale would become a specialist. Subsequently, the 10th Anniversary issue for "Entertainment Weekly" crowned Bale one of the "Top 8 Most Powerful Cult Figures" of the past decade, citing his cult status on the Internet. EW also called Bale one of the "Most Creative People in Entertainment", and "Premiere" lauded him as one of the "Hottest Leading Men Under 30".
Bale was truly on the Hollywood radar at this time, and he turned in a range of performances in the remake Shaft (2000), Captain Corelli's Mandolin (2001), the balmy Laurel Canyon (2002), and Reign of Fire (2002), a dragons-and-magic commercial misfire that has its share of defenders.
Two more cult films followed: Equilibrium (2002) and The Machinist (2004), the latter of which gained attention mainly due to Bale's physical transformation - he dropped a reported 60+ pounds for the role of a lathe operator with a secret that causes him to suffer from insomnia for over a year.
Bale's abilities to transform his body and to disappear into a character influenced the decision to cast him in Batman Begins (2005), the first chapter in Christopher Nolan's definitive trilogy that proved a dark-themed narrative could resonate with audiences worldwide. The film also resurrected a character that had been shelved by Warner Bros. after a series of demising returns, capped off by the commercial and critical failure of Batman & Robin (1997). A quiet, personal victory for Bale: he accepted the role after the passing of his father in late 2003, an event that caused him to question whether he would continue performing.
Bale segued into two indie features in the wake of Batman's phenomenal success: The New World (2005) and Harsh Times (2005). He continued working with respected independent directors in 2006's Rescue Dawn (2006), Werner Herzog's feature version of his earlier, Emmy-nominated documentary, Little Dieter Needs to Fly (1997). Leading up to the second Batman film, Bale starred in The Prestige (2006), the remake of 3:10 to Yuma (2007), and a reunion with director Todd Haynes in the experimental Bob Dylan biography, I'm Not There (2007).
Anticipation for The Dark Knight (2008) was spun into unexpected heights with the tragic passing of Heath Ledger, whose performance as The Joker became the highlight of the sequel. Bale's graceful statements to the press reminded us of the days of the refined Hollywood star as the second installment exceeded the box-office performance of its predecessor.
Bale's next role was the eyebrow-raising decision to take over the role of John Connor in the Schwarzenegger-less Terminator Salvation (2009), followed by a turn as federal agent Melvin Purvis in Michael Mann's Public Enemies (2009). Both films were hits but not the blockbusters they were expected to be.
For all his acclaim and box-office triumphs, Bale would earn his first Oscar in 2011 in the wake of The Fighter (2010)'s critical and commercial success. Bale earned the Best Supporting Actor award for his portrayal of Dicky Eklund, brother to and trainer of boxer "Irish" Micky Ward, played by Mark Wahlberg. Bale again showed his ability to reshape his body with another gaunt, skeletal transformation.
Bale then turned to another auteur, Yimou Zhang, for the epic The Flowers of War (2011), in which Bale portrayed a priest trapped in the midst of the Rape of Nanking. Bale earned headlines for his attempt to visit with Chinese civil-rights activist Chen Guangcheng, which was blocked by the Chinese government.
Bale capped his role as Bruce Wayne/Batman in The Dark Knight Rises (2012); in the wake of the Aurora, Colorado tragedy, Bale made a quiet pilgrimage to the state to visit with survivors of the attack that left theatergoers dead and injured. He also starred in the thriller Out of the Furnace (2013) with Crazy Heart (2009) writer/director Scott Cooper, and the drama-comedy American Hustle (2013), reuniting with David O. Russell.
Bale will re-team with The New World (2005) director Terrence Malick for two upcoming projects: Knight of Cups (2015) and an as-yet-untitled drama.
In his personal life, he devotes time to charities including Greenpeace and the World Wildlife Foundation. He lives with his wife, Sibi Blazic, and their two children.- English actor Leslie Banks' film career would be negligible compared to his prestigious theatrical one if it were not for four exceptions. Hitchcock, for one, gave him the occasion to shine in two of his films, in a sympathetic role in "The Man Who Knew Too Much" (1934) and in an outright unsympathetic one in "Jamaica Inn" (1938) - a telltale illustration, by the way, of the extent of his talent. The actor is also remembered for "Henry V" (1944), Laurence Olivier's masterful adaptation of Shakespeare's tragedy. It is fun to hear Banks roll his r's (hey! The year is 1600 after all!) while he introduces and comments the play to the audience of the Globe Theatre. But oddly enough, the thespian never made a bigger impression than in his first screen appearance, way back in 1932. Who indeed has forgotten the ruthless, ferocious, evil Count Zaroff, specializing in human game hunting, from Cooper and Schoedsack's horror classic "The Most Dangerous Game"? Banks' other movies, consisting mostly of B movies and World War II propaganda fare, did not leave a comparable impact. Maybe because Leslie Banks, always more interested in the theatre of which he was a big name, was not demanding enough in the choice of his films. On the boards, that is where he got great parts in great plays: Captain Hook in "Peter Pan", Petruchio in "The Taming of the Shrew", Mr. Chipping in "Goodbye Mr. Chips", James Jarvis in the Kurt Weill musical "Lost in the Stars", and many many others. Born in 1890 in West Derby near Liverpool, he studied at Keble College, Oxford. First wanting to be a parson, he became an actor instead, making his debut in 1911. His reputation rapidly rose, and Banks never stopped working until his untimely death, not only in England but also in the USA where he toured as early as 1912. With only one interruption, though a big one, due to World War I. Banks, who served with the Essex Regiment then, was wounded in the face, one side remaining permanently paralyzed. Which did not prevent him from quickly resuming his activities, at the Birmingham Repertory Theatre first, then in London, New York and Hollywood. Unfortunately, if the delightfully threatening figure of Zaroff will rest forever in our minds, Leslie Banks physically disappeared in 1952, only aged 61, hit by a sudden stroke. He has been missed since.
- Actor
- Writer
- Music Department
Ronnie Barker's remarkable versatility as a performer can be traced back to his time in repertory theatre, where he was able to play a wide range of roles and develop his talent for accents, voices and verbal dexterity. It was during this time that he met Glenn Melvyn, who taught him how to stammer (something he would later use to great effect in the sitcom Open All Hours (1976)). Melvyn also gave Ronnie his break into television by offering him a role in I'm Not Bothered (1956). During the 1960s, Ronnie became well-established in radio, providing multiple voices for "The Navy Lark" and working with comedy great Jon Pertwee. He also became a regular face on television, appearing in The Frost Report (1966) (perhaps most memorably in a sketch about Britain's class system, with John Cleese and Ronnie Corbett) and playing character roles on The Saint (1962) and The Avengers (1961).
In 1971, Ronnie teamed up with Ronnie Corbett again, this time for a BBC sketch series called The Two Ronnies (1971). This series proved enormously popular, continuing until the late 1980s. In addition to "The Two Ronnies", Barker starred on the popular BBC sitcoms Porridge (1974) (as a cockney prisoner) and Open All Hours (1976) (as a stammering Northern shopkeeper). In fact, only Leonard Rossiter could be said to have rivaled him during this time for the crown of British television's most popular comedy star. In 1982, he revived silent comedy in By the Sea (1982). Despite his extrovert performances on television, Barker remained a quiet, retiring individual in his personal life, much preferring to spend time with his family rather than mix with the celebrity crowd. This humility, combined with memories of his extraordinary abilities, meant that he continued to be greatly respected by his fellow professionals. In a BAFTA special shown by the BBC in 2004, stars as diverse as Gene Wilder, Peter Kay and Peter Hall paid tribute to his contribution to comedy and British television in general. Ronnie Barker died on 3 October 2005 after suffering from heart problems.- Actor
- Producer
- Soundtrack
Alan Bates decided to be an actor at age 11. After grammar school in Derbyshire, he earned a scholarship to the Royal Academy of Dramatic Arts in London. Following two years in the Royal Air Force, he joined the new English Stage Company at the Royal Court Theatre. His West End debut in 1956, at 22, was also the company's first production. In the same year Bates appeared in John Osborne's "Look Back in Anger," a play that gave a name to a generation of postwar "angry young men." It made Bates a star and launched a lifetime of his performing in works written by great modern playwrights -- Harold Pinter, Simon Gray, Storey, Bennett, Peter Shaffer and Tom Stoppard (as well as such classic playwrights as Anton Chekhov, Henrik Ibsen, August Strindberg and William Shakespeare). Four years later Bates appeared in his first film, a classic: The Entertainer (1960), in which he plays one of Laurence Olivier's sons. More than 50 film roles have followed, one of which, The Fixer (1968) (from a novel by Bernard Malamud) earned an Academy Award nomination for Bates. He married Victoria Ward in 1970. Their twin sons, Benedick and Tristan, were born in 1971. Tristan died during an asthma attack in 1990; Ward died in 1992. Bates threw himself into his work to get through these tragedies, and spoke movingly about the effects of his losses in interviews. He was the Patron of the Actors Centre in Covent Garden, London; Bates and his family endowed a theatre there in memory of Tristan Bates, who, like his father and brother, was an actor. With few exceptions, Bates performed in premium works, guided by intuition rather than by box office. For each role he created a three-dimensional, unique person; there is no stereotypical Alan Bates character. Women appreciate the sensitivity he brought to his romantic roles; gay fans appreciate his well-rounded, unstereotyped gay characters; and the intelligence, humor and detail - the smile that started in the eyes, the extra pat or squeeze, the subtle nuances he gave to his lines, his beautiful, flexible voice - are Bates hallmarks that made him special to all his admirers. The rumpled charm of his youth weathered into a softer but still attractive (and still rumpled) maturity. In his 60s Alan Bates continued to divide his time among films, theatre and television. His 1997 stage portrayal of a travel writer facing life's big questions at the bedside of his comatose wife in Simon Gray's "Life Support" was called "a magnificent performance, one of the finest of his career" (Charles Spencer, Sunday Telegraph, 10 August 97). His last two roles in New York earned critical praise and all the Best Actor awards Broadway can bestow. He was knighted in January 2003, and only a few weeks later began treatment for pancreatic cancer. He was positive that he would beat the disease, and continued to work during its course, only admitting to being "a bit tired." His courage and strength were remarkable, and even in his final days his humor remained intact. After his death, there was an outpouring of affection and respect. As Ken Russell said in his Evening Standard tribute, "The airwaves have been heavy with unstinted praise for Alan Bates since his untimely death . . . All the tributes were more than justified for one of the great actors ever to grace the screen and stage."- Actor
- Director
- Art Department
Boisterous British actor Brian Blessed is known for his hearty, king-sized portrayals on film and television. A giant of a man accompanied by an eloquent wit and booming, operatic voice, Brian was born in 1936 and grew up in the mining village of Goldthorpe in South Yorkshire. His father was a miner who wanted a better life for his son; Brian lost three uncles in the pit. At a young age, he displayed an acute talent for acting in school productions, but also had a penchant for boxing, a direction that would be short-lived.
Working various blue-collar jobs from undertaker's assistant to plasterer, Brian managed to attend the Bristol Old Vic and was off and running. He has lent his musical talents to several productions - from playing "Old Deuteronomy" in "Cats" to "The Baron" in the more recent "Chitty Chitty Bang Bang". In the 1970s, he began appearing more and more on-camera with both classical and contemporary performances. In costumed television movies, he has played "Porthos" in The Three Musketeers (1966) and The Further Adventures of the Musketeers (1967), "Augustus" in I, Claudius (1976), and "Long John Silver" in Return to Treasure Island (1986) and has been a part of various reenactments including Catherine the Great (1995), Lady Chatterley (1993), The Hound of the Baskervilles (1983) and Kidnapped (1995).
On film, he has appeared in robust support in several William Shakespeare adaptations, including Henry V (1989), Much Ado About Nothing (1993), Hamlet (1996), Macbeth (1997) and the title role in King Lear (1999), which he also directed.
More recently, he appeared in Oliver Stone's epic-scale Alexander (2004) and in Kenneth Branagh's film version of William Shakespeare's As You Like It (2006).
In recent years, the octogenarian has been heard more than seen with voice work in video games, documentaries and such animated TV programs as Kika & Bob (2007) (as Bob); The Amazing World of Gumball (2011) (as Santa Claus); Wizards vs. Aliens (2012) (as the Necross King); Henry Hugglemonster (2013) (as Eduardo Enormomonster); and Peppa Pig (2004) as Grampy Rabbit.
He is married to British actress Hildegard Neil, who made an appearance with him in Macbeth (1997).- Actor
- Producer
- Soundtrack
Orlando Jonathan Blanchard Copeland Bloom was born on January 13, 1977 in Canterbury, Kent, England. His mother, Sonia Constance Josephine Bloom (née Copeland), was born in Kolkata, India, to an English family then-resident there. The man he first knew as his father, Harry Bloom, was a legendary political activist who fought for civil rights in South Africa. But Harry died of a stroke when Orlando was only four years old. After that, Orlando and his older sister, Samantha Bloom, were raised by their mother and family friend, Colin Stone. When Orlando was 13, Sonia revealed to him that Colin is actually the biological father of Orlando and his sister; the two were conceived after an agreement by his parents, since Harry, who suffered a stroke in 1975, was unable to have children.
Orlando attended St. Edmund's School in Canterbury but struggled in many courses because of dyslexia. He did embrace the arts, however, and enjoyed pottery, photography and sculpturing. He also participated in school plays and was active at his local theater. As a teen, Orlando landed his first job: he was a clay trapper at a pigeon shooting range. Encouraged by his mother, he and his sister began studying poetry and prose, eventually giving readings at Kent Festival. Orlando and Samantha won many poetry and Bible reciting competitions. Then Orlando, who always idolized larger-than-life characters, gravitated towards serious acting. At the age of 16, he moved to London and joined the National Youth Theatre, spending two seasons there and gaining a scholarship to train with the British American Drama Academy. Like many young actors, he also auditioned for a number of television roles to further his career, landing bit parts in British television shows Casualty (1986), Midsomer Murders (1997) and Smack the Pony (1999). He also appeared in the critically acclaimed movie Wilde (1997).
He then attended the Guildhall School of Music and Drama. It was there, in 1998, that Orlando fell three stories from a rooftop terrace and broke his back. Despite fears that he would be permanently paralyzed, he quickly recovered and returned to the stage. As fate would have it, seated in the audience one night in 1999 was a director named Peter Jackson. After the show, he met with Orlando and asked him to audition for his new set of movies. After graduating from Guildhall, Orlando began work on the "Lord of the Rings" trilogy, spending 18 months in New Zealand bringing to life "Legolas", a part which made him a household name. Today, he is one of the busiest and most sought-after actors in the industry.- Actor
- Writer
- Soundtrack
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.
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, Lally Holt.
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 Henry Moore. 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.
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 J.B. Priestley's play "Cornelius," in which he was billed as "Derek Bogaerde". He made his uncredited debut as an extra in the pre-war George Formby comedy Come on George! (1939).
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.
Similar to his character, Captain Hargreaves, in King & Country (1964), 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".
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."
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 Noël Coward, 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 Dancing with Crime (1947) with a one-line bit as a policeman.
His first lead in a movie came that year when Wessex Films, distributed by Rank, gave him a part in the proposed Stewart Granger film Sin of Esther Waters (1948). 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.
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 The Blue Lamp (1950) (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.
He continued to act on-stage, appearing in the West End in Jean Anouilh'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.
He first acted for American expatriate director Joseph Losey in The Sleeping Tiger (1954). Losey, a Communist and self-described Stalinist at the time, had emigrated to England after being blacklisted in Hollywood after he refused to direct The Woman on Pier 13 (1949) at RKO Pictures, which was owned by right-wing multi-millionaire Howard Hughes 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.
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.
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 Doctor in the House (1954). 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 Doctor at Sea (1955), Doctor at Large (1957).
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 The Servant (1963), with a script by Harold Pinter, and Losey's adaptation of the stage play King & Country (1964), in which Bogarde memorably played the attorney for a young deserter (played by Tom Courtenay).
Bogarde, hailed as "the idol of the Odeons" in honor of his box-office clout, was offered the role of Jimmy Porter in Look Back in Anger (1959) by producer Harry Saltzman and director Tony Richardson, 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 Richard Burton instead, who went over-the-top in portraying his very angry, not-so-young man.
After this disappointment, Bogarde went to Hollywood to play Franz Liszt in Song Without End (1960) and to appear in Nunnally Johnson's Spanish Civil War drama The Angel Wore Red (1960) with Ava Gardner. Both were big-budgeted films, but hampered by poor scripts, and after both films failed, Bogarde avoided Hollywood from then on.
He was reportedly quite smitten with his French "Song Without End" co-star Capucine, 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 I Could Go on Singing (1963) co-star Judy Garland.
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, Burt Lancaster made a similar decision, though Lancaster continued to alternate his artistic ventures with more crassly commercial endeavors). Bogarde appeared in Basil Dearden's seminal film Victim (1961), 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 Laurence Olivier 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 Peter O'Toole, who floundered in the part.)
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.
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).
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.
Bogarde always publicly denied he was a homosexual, though later in life he did confess that he and his manager, Anthony Forwood, had a long-term relationship. When Bogarde met him in 1939, Forwood was a theatrical manager, who eventually married and divorced Glynis Johns. 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 Daddy Nostalgia (1990).
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 Kay Kendall and Judy Garland, 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 The Private Dirk Bogarde: Part One (2001) made with the permission of his family, stressed the fact that he and Forwood were committed lifelong partners.
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 Victim (1961), where he played a gay character, and through meeting with Joseph Losey, who directed him in The Servant (1963). For the first time, Bogarde's ambivalence was exploited and used by film."
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."
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.
Bogarde co-starred with John Mills in The Singer Not the Song (1961), and with Alec Guinness in Damn the Defiant! (1962) (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, The Servant (1963) and Accident (1967), 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.
These three films also elevated Losey into the ranks of major directors (Bogarde also starred in Losey's 1966 spy spoof Modesty Blaise (1966), but that film did little to enhance either man's reputation. He turned down the opportunity to appear in Losey's The Assassination of Trotsky (1972) due to the poor quality of the script).
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."
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.
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.
Bogarde co-starred with up-and-coming actress Julie Christie in John Schlesinger's Darling (1965), 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 David Lean's upcoming blockbuster Doctor Zhivago (1965). 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."
Bogarde went on to major starring roles in such important pictures as The Fixer (1968), for which Alan Bates 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 Luchino Visconti, The Damned (1969) ("The Damned") and Death in Venice (1971), based on Thomas Mann'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."
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?"
"Gustav Mahler," Visconti replied.
"Just great!", said the nervous man. "I think we should sign him."
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 . . . "
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."
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.
Bogarde appeared in another film that flirted with the theme of German fascism, Liliana Cavani's highly controversial The Night Porter (1974) ("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 Charlotte Rampling, crassly offensive, but no one faulted Bogarde's performance.
He played Lt. Gen. Frederick "Boy" Browning in the all-star blockbuster A Bridge Too Far (1977). 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 Alain Resnais' art house hit Providence (1977) gave Bogarde the opportunity to co-star with John Gielgud. He also starred in German wunderkind Rainer Werner Fassbinder's adaptation of Vladimir Nabokov's Despair (1978), with a script by Tom Stoppard. 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.
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."
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 Roald Dahl in The Patricia Neal Story (1981). He got rave reviews playing Jane Birkin's father in Bertrand Tavernier's Daddy Nostalgia (1990), his last film.
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 Queen Elizabeth II on February 13, 1992.
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 Our Mother's House (1967) and in 1972 for "Morte a Venezia."
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.
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.
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."
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."
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 Alan Ladd, 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.
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.- Actor
- Producer
- Director
Kenneth Charles Branagh was born on December 10, 1960, in Belfast, Northern Ireland, to parents William Branagh, a plumber and carpenter, and Frances (Harper), both born in 1930. He has two siblings, William Branagh, Jr. (born 1955) and Joyce Branagh (born 1970). When he was nine, his family escaped The Troubles by moving to Reading, Berkshire, England. At 23, Branagh joined the Royal Shakespeare Company, where he took on starring roles in "Henry V" and "Romeo and Juliet". He soon found the RSC too large and impersonal and formed his own, the Renaissance Theatre Company, which now counts Prince Charles as one of its royal patrons. At 29, he directed Henry V (1989), where he also co-starred with his then-wife, Emma Thompson. The film brought him Best Actor and Best Director Oscar nominations. In 1993, he brought Shakespeare to mainstream audiences again with his hit adaptation of Much Ado About Nothing (1993), which featured an all-star cast that included, among others, Denzel Washington, Michael Keaton and Keanu Reeves. At 30, he published his autobiography and, at 34, he directed and starred as "Victor Frankenstein" in the big-budget adaptation of Mary Shelley's novel, Frankenstein (1994), with Robert De Niro as the monster himself. In 1996, Branagh wrote, directed and starred in a lavish adaptation of Hamlet (1996). His superb film acting work also includes a wide range of roles such as in Celebrity (1998), Wild Wild West (1999), The Road to El Dorado (2000), Valkyrie (2008) and his stunning portrayal of Laurence Olivier in My Week with Marilyn (2011), where once again he offered a great performance that was also nominated for an Academy Award.- Actor
- Soundtrack
Richard Briers was born on 14 January 1934 in Merton, Surrey, England, UK. He was an actor, known for Much Ado About Nothing (1993), Watership Down (1978) and Peter Pan (2003). He was married to Ann Davies. He died on 17 February 2013 in London, England, UK.- Actor
- Writer
- Producer
One of England's most versatile character actors, Jim Broadbent was born on May 24, 1949, in Lincolnshire, the youngest son of furniture maker Roy Laverick Broadbent and sculptress Doreen "Dee" (Findlay) Broadbent. Jim attended a Quaker boarding school in Reading before successfully applying for a place at an art school. His heart was in acting, though, and he would later transfer to the London Academy of Music and Dramatic Art (LAMDA). Following his 1972 graduation, he began his professional career on the stage, performing with the Royal National Theatre, the Royal Shakespeare Company, and as part of the National Theatre of Brent, a two-man troupe which he co-founded. In addition to his theatrical work, Broadbent did steady work on television, working for such directors as Mike Newell and Stephen Frears. Broadbent made his film debut in 1978 with a small part in Jerzy Skolimowski's The Shout (1978). He went on to work with Frears again in The Hit (1984) and with Terry Gilliam in Time Bandits (1981) and Brazil (1985), but it was through his collaboration with Mike Leigh that Broadbent first became known to an international film audience. In 1990 he starred in Leigh's Life Is Sweet (1990), a domestic comedy that cast him as a good-natured cook who dreams of running his own business. Broadbent gained further visibility the following year with substantial roles in Neil Jordan's The Crying Game (1992) and Mike Newell's Enchanted April (1991), and he could subsequently be seen in such diverse fare as Woody Allen's Bullets Over Broadway (1994), Widows' Peak (1994), Richard Loncraine's highly acclaimed adaptation of Shakespeare's Richard III (1995) and Little Voice (1998), the last of which cast him as a seedy nightclub owner. Appearing primarily as a character actor in these films, Broadbent took center stage for Leigh's Topsy-Turvy (1999), imbuing the mercurial W.S. Gilbert with emotional complexity and comic poignancy. Jim's breakthrough year was 2001, as he starred in three critically and commercially successful films. Many would consider him the definitive supporting actor of that year. First he starred as Bridget's dad (Colin Jones) in Bridget Jones's Diary (2001), which propelled Renée Zellweger to an Oscar nomination for Best Actress. Next came the multiple Oscar-nominated film (including Best Picture) Moulin Rouge! (2001), for which he won a Best Supporting Actor BAFTA award for his scene-stealing performance as Harold Zidler. Lastly, came the small biopic Iris (2001), for which he won the Oscar for Best Supporting Actor as devoted husband John Bayley to Judi Dench's Iris Murdoch, the British novelist who suffered from Alzheimer's disease. The film hit home with Jim, since his own mother had passed away from Alzheimer's in 1995.- Actor
- Writer
- Producer
Born in Scotland, Jack Buchanan made his stage acting debut in Britain in 1912, and on Broadway in 1924. Though he made his film debut in 1917 during the silent film era, Buchanan is probably best remembered for The Band Wagon (1953), co-starring with Fred Astaire, Cyd Charisse, Nanette Fabray, James Mitchell, Oscar Levant and Robert Gist.
Suffering from spinal arthritis, Buchanan died in London four years later.- Actor
- Producer
- Additional Crew
Michael Caine was born as Maurice Joseph Micklewhite in London, to Ellen (née Burchell), a cook, and Maurice Micklewhite Sr., a fish-market porter. He had a younger brother, Stanley Caine, and an older maternal half-brother named David Burchell. He left school at age 15 and took a series of working-class jobs before joining the British army and serving in Korea during the Korean War, where he saw combat. Upon his return to England, he gravitated toward the theater and got a job as an assistant stage manager. He adopted the name of Caine on the advice of his agent, taking it from a marquee that advertised The Caine Mutiny (1954). In the years that followed, he worked in more than 100 television dramas, with repertory companies throughout England and eventually in the stage hit "The Long and the Short and the Tall".
Zulu (1964), the epic retelling of a historic 19th-century battle in South Africa between British soldiers and Zulu warriors, brought Caine to international attention. Instead of being typecast as a low-ranking Cockney soldier, he played a snobbish, aristocratic officer. Although "Zulu" was a major success, it was the role of Harry Palmer in The Ipcress File (1965) and the title role in Alfie (1966) that made Caine a star of the first magnitude. He epitomized the new breed of actor in mid-1960s England, the working-class bloke with glasses and a down-home accent. However, after initially starring in some excellent films, particularly in the 1960s, including Gambit (1966), Funeral in Berlin (1966), Play Dirty (1969), Battle of Britain (1969), Too Late the Hero (1970), The Last Valley (1971) and especially Get Carter (1971), he seemed to take on roles in below-average films, simply for the money he could by then command.
However, there were some gems amongst the dross. He gave a magnificent performance opposite Sean Connery in The Man Who Would Be King (1975) and turned in a solid one as a German colonel in The Eagle Has Landed (1976). Educating Rita (1983), Blame It on Rio (1984) and Hannah and Her Sisters (1986) (for which he won his first Oscar) were highlights of the 1980s, while more recently Little Voice (1998), The Cider House Rules (1999) (his second Oscar) and Last Orders (2001) have been widely acclaimed. Caine played Nigel Powers in the parody sequel Austin Powers in Goldmember (2002), and Alfred Pennyworth in Christopher Nolan's Dark Knight trilogy. He appeared in several other of Nolan's films including The Prestige (2006), Inception (2010) and Interstellar (2014). He also appeared as a supporting character in Alfonso Cuarón's Children of Men (2006) and Pixar's sequel Cars 2 (2011).
As of 2015, films in which Caine has starred have grossed over $7.4 billion worldwide. He is ranked the ninth highest grossing box office star. Caine is one of several actors nominated for an Academy Award for acting every decade from five consecutive decades (the other being Laurence Olivier and Meryl Streep). He was appointed Commander of the Order of the British Empire in the 1992 Birthday Honours, and was knighted by Queen Elizabeth II in the 2000 Birthday Honours in recognition for his contributions to the cinema.
Caine has been married twice. First to actress Patricia Haines from 1954 to 1958. They had a daughter, Dominique, in 1957. A bachelor for some dozen-plus years after the divorce, he was romantically linked to Edina Ronay (for three years), Elizabeth Ercy, Nancy Sinatra, Natalie Wood, Candice Bergen, Bianca Jagger, Françoise Pascal and Jill St. John. In 1971 he met his second wife, fashion model Shakira Caine (née Baksh), and they married in 1973, six months before their daughter Natasha was born. The couple has three grandchildren, and in 2023, they celebrated their 50th wedding anniversary.- Actor
- Soundtrack
George Cole OBE was a veteran British film, television and stage actor whose impressive career spanned over 60 years. For many, he will perhaps be best remembered for playing one of the most endearing characters of recent times on British television, "Arthur Daley", the shifty but very likable "business man" in the hit ITV drama series, Minder (1979).
However, Cole had long been a household name well before "Minder" aired on television. His successful film career began in the 1940s, appearing with Alastair Sim and Sir John Mills in the film Bombsight Stolen (1941). Further success came throughout the 1950s and 1960s, where he played the part of "Flash Harry" in the popular "St Trinians" films, alongside his close friend and mentor, Alastair Sim. By 1963, Hollywood had recognized the talents of Cole and he was cast in the iconic film, Cleopatra (1963), starring Elizabeth Taylor, Richard Burton and Rex Harrison. During the 1970s, George continued to star in films and television programmes, becoming a regular and sought after actor. It is interesting to note that, in 1971, he appeared with Dennis Waterman (who would later become his Minder (1979) co-star) in the horror film, Fright (1971). In 1979, Cole was cast as the hapless "Arthur Daley", a self-professed entrepreneur in the ITV drama Minder (1979), a role he played until 1994. The role showcased Cole's acting prowess and brought him to the attention of a younger audience.
As well as starring in Minder (1979), George continued with other projects in film and television, including Root Into Europe (1992), An Independent Man (1995), Mary Reilly (1996), Dad (1997), Station Jim (2001), Bodily Harm (2002) and, alongside his good friend Dennis Waterman, in the BBC hit drama, New Tricks (2003). He also starred in several stage productions. It is hoped that Cole will not be be remembered simply for portraying "Arthur Daley", but instead for being one of Britain's most enduring actors, one of only a handful of actors who can claim to have had a 60-year career and for being an extremely likable, charismatic man.- Actor
- Producer
- Writer
British leading man of primarily American films, one of the great stars of the Golden Age. Raised in Ealing, the son of a successful silk merchant, he attended boarding school in Sussex, where he discovered amateur theatre. He intended to attend Cambridge and become an engineer, but his father's death cost him the financial support necessary. He joined the London Scottish Regionals and at the outbreak of World War I was sent to France. Seriously wounded at the battle of Messines--he was gassed--he was invalided out of service scarcely two months after shipping out for France. Upon his recovery he tried to enter the consular service, but a chance encounter got him a small role in a London play. He dropped other plans and concentrated on the theatre, and was rewarded with a succession of increasingly prominent parts. He made extra money appearing in a few minor films, and in 1920 set out for New York in hopes of finding greater fortune there than in war-depressed England. After two years of impoverishment he was cast in a Broadway hit, "La Tendresse". Director Henry King spotted him in the show and cast him as Lillian Gish's leading man in The White Sister (1923). His success in the film led to a contract with Samuel Goldwyn, and his career as a Hollywood leading man was underway. He became a vastly popular star of silent films, in romances as well as adventure films. The coming of sound made his extraordinarily beautiful speaking voice even more important to the film industry. He played sophisticated, thoughtful characters of integrity with enormous aplomb, and swashbuckled expertly when called to do so in films like The Prisoner of Zenda (1937). A decade later he received an Academy Award for his splendid portrayal of a tormented actor in A Double Life (1947). Much of his later career was devoted to "The Halls of Ivy", a radio show that later was transferred to television The Halls of Ivy (1954). He continued to work until nearly the end of his life, which came in 1958 after a brief lung illness. He was survived by his second wife, actress Benita Hume, and their daughter Juliet Benita Colman.- Actor
- Producer
- Director
The tall, handsome and muscular Scottish actor Sean Connery is best known as the original actor to portray James Bond in the hugely successful movie franchise, starring in seven films between 1962 and 1983. Some believed that such a career-defining role might leave him unable to escape it, but he proved the doubters wrong, becoming one of the most notable film actors of his generation, with a host of great movies to his name. This arguably culminated in his greatest acclaim in 1988, when Connery won the Academy Award for Best Supporting Actor for his role as an Irish cop in The Untouchables (1987), stealing the thunder from the movie's principal star Kevin Costner. Connery was polled as "The Greatest Living Scot" and "Scotland's Greatest Living National Treasure". In 1989, he was proclaimed "Sexiest Man Alive" by People magazine, and in 1999, at age 69, he was proclaimed "Sexiest Man of the Century."
Thomas "Sean" Connery was born on August 25, 1930 in Fountainbridge, Edinburgh. His mother, Euphemia Maclean, was a cleaning lady, and his father, Joseph Connery, was a factory worker and truck driver. He also had a, Neil Connery, a plasterer in Edinburgh, who was eight years younger. Before going into acting, Sean had many different jobs, such as a milkman, lorry driver, a laborer, artist's model for the Edinburgh College of Art, coffin polisher and bodybuilder. He also joined the Royal Navy, but was later discharged because of medical problems. At the age of 23, he had a choice between becoming a professional soccer player or an actor, and even though he showed much promise in the sport, he chose acting and said it was one of his more intelligent decisions.
No Road Back (1957) was Sean's first major movie role, and it was followed by several made-for-TV movies such as Anna Christie (1957), Macbeth (1961) and Anna Karenina (1961) as well as guest appearances on TV series, and also films such as Hell Drivers (1957), Another Time, Another Place (1958), Darby O'Gill and the Little People (1959) and The Frightened City (1961). In 1962 he appeared in The Longest Day (1962) with a host of other stars.
His big breakthrough came in 1962 when he landed the role of secret agent James Bond in Dr. No (1962). He played James Bond in six more films: From Russia with Love (1963), Goldfinger (1964), Thunderball (1965), You Only Live Twice (1967), Diamonds Are Forever (1971) and Never Say Never Again (1983).
After and during the success of the Bond films, he maintained a successful career as an actor and has appeared in films, including Alfred Hitchcock's Marnie (1964), The Hill (1965), Murder on the Orient Express (1974), The Man Who Would Be King (1975), The Wind and the Lion (1975), Time Bandits (1981), Highlander (1986), The Name of the Rose (1986), Indiana Jones and the Last Crusade (1989), The Hunt for Red October (1990), Rising Sun (1993), The Rock (1996), Finding Forrester (2000) and The League of Extraordinary Gentlemen (2003).
Sean married actress Diane Cilento in 1962 and they had Sean's only child, Jason Connery, born on January 11, 1963. The couple announced their separation in February 1971 and filed for divorce 2½ years later. Sean then dated Jill St. John, Lana Wood, Magda Konopka and Carole Mallory. In 1975 he married Micheline Roquebrune and they stayed married, despite Sean's well-documented love affair with Lynsey de Paul in the late '80s. Sean had three stepchildren through his marriage to Micheline, who was one year his senior. He is also a grandfather. His son, Jason and Jason's ex-wife, actress Mia Sara had a son, Dashiell Connery, in 1997.
Sean Connery died at the age of 90 on October 31, 2020, in Nassau, the Bahamas, where he resided for many years.- Actor
- Soundtrack
Acting chameleon Sir Tom Courtenay, along with Sir Alan Bates and Albert Finney, became a front-runner in an up-and-coming company of rebel upstarts who created quite a stir in British "kitchen sink" cinema during the early '60s. An undying love for the theatre, however, had Courtenay channeling a different course from the aforementioned greats and he never, by his own choosing, attained comparable cinematic stardom.
The gaunt and glum, fair-haired actor was born Thomas Daniel Courtenay into modest surroundings on February 25, 1937, in Hull, East Yorkshire, England, the son of Thomas Henry Courtenay, a ship painter, and his wife, Anne Eliza (née Quest). Graduating from Kingston High School there, he trained in drama at London's Royal Academy of Dramatic Arts. His reputation as an actor grew almost immediately with his professional debut in 1960 as Konstantin in "The Seagull" at the Old Vic. Following tours in Scotland and London with the play, Tom performed in "Henry IV, Part I" and "Twelfth Night" (also at the Old Vic) before assuming the title role of Billy from Albert Finney in the critically acclaimed drama "Billy Liar" at the Cambridge Theatre in 1961. The story, which tells of a Yorkshire man who creates a fantasy world to shield himself from his mundane middle-class woes, was the initial spark in Tom's rise to fame.
The recognition he received landed him squarely into the heap of things as a new wave of "angry young men" were taking over British cinema during the swinging '60s. Singled out for his earlier stage work at RADA, he was eventually handed the title role in the war film Private Potter (1963), but it was his second movie that clinched stardom. Winning the role of Colin Smith in The Loneliness of the Long Distance Runner (1962), Courtenay invested everything he had in this bruising portrayal of youthful desolation and rebellion. As a reform school truant whose solitary sentencing for robbing a bakery leads to a reawakening and subsequent recognition as a long distance runner, he was awarded a "Promising Newcomer" award from the British Film Academy, It was Courtenay then, and not Finney, who recreated his stage triumph as Billy Fisher in the stark film version of Billy Liar (1963). British Film Academy nominations came his way for this and for his fourth movie role in King & Country (1964). Vivid contributions to the films King Rat (1965), the ever-popular Doctor Zhivago (1965), which earned him his first Oscar nomination, and The Night of the Generals (1967) followed.
Despite all this cinematic glory, Courtenay did not enjoy the process of movie-making and reverted to his first passion -- the theatre -- beginning in 1966. Displaying his versatility with roles in such classic works as "The Cherry Orchard," "Macbeth" (as Malcolm), "Charley's Aunt," "The Playboy of the Western World," "Hamlet," "She Stoops to Conquer," "Peer Gynt" and "Arms and the Man," he still found scattered work in films, including The Day the Fish Came Out (1967), A Dandy in Aspic (1968) and Otley (1969), but none matched his earlier brilliance. In 1971 he took a self-imposed, decade-long sabbatical from filming.
Forming a sturdy association with the Royal Exchange Theatre in Manchester that would last over a decade, he continued to impress with lead roles in "The Rivals" and "The Prince of Homburg". Following his huge success as the libidinous Norman in "The Norman Conquests" in London, he made his Broadway debut with "Otherwise Engaged" (1977) and earned a Tony nomination and Drama League Award in the process. It was his second Tony-nominated triumph in "The Dresser" in 1980-1981, however, that lured Courtenay back to films when he was asked to recreate the role for the large screen. The Dresser (1983) co-starred Tom as the mincing personal assistant to an appallingly self-destructive stage star played by Albert Finney (Paul Rogers played the role with Tom on Broadway) who struggles to get the actor through a rigorous performance of "King Lear". Both British actors received Oscar nominations but lost the 1984 "Best Actor" award to American Robert Duvall.
Since then Tom has appeared on occasion in TV and film roles -- usually in support. A few standouts include the films Let Him Have It (1991), Whatever Happened to Harold Smith? (1999), Last Orders (2001) and Nicholas Nickleby (2002), as well as the TV mini-series A Rather English Marriage (1998), for which he earned a British Television Award, Little Dorrit (2008) and the series Unforgotten (2015) for which he won a BAFTA award.
Over the years Sir Tom has excelled in solo stage shows as well. As a chronic alcoholic in "Moscow Stations," he won the 1994 London Critics Circle Theatre and London Evening Standard Theatre awards for "Best Actor." In 2002, he wrote the one-man show "Pretending To Be Me," based on the letters and writings of poet Philip Larkin. In the past decade he has continued to distinguish himself on both the classical ("King Lear," "Uncle Vanya") and contemporary ("Art") stages.
Courtenay's marriage to actress Cheryl Kennedy lasted about a decade (from 1973 to 1982). In 1988 he married Isabel Crossley, a stage manager at the Royal Exchange Theatre in London. He has no children from either marriage. In 1999, Sir Tom Courtenay was awarded an honorary doctorate from Hull University and in 2000 published his memoir "Dear Tom: Letters From Home", which earned strong reviews. Knighthood came a year after that.- Actor
- Producer
- Soundtrack
One of the British theatre's most famous faces, Daniel Craig, who waited tables as a struggling teenage actor with the National Youth Theatre, has gone on to star as James Bond in Casino Royale (2006), Quantum of Solace (2008), Skyfall (2012), Spectre (2015) and No Time to Die (2021).
He was born Daniel Wroughton Craig on March 2, 1968, at 41 Liverpool Road, Chester, Cheshire, England. His father, Timothy John Wroughton Craig, was a merchant seaman turned steel erector, and then became landlord of the "Ring O'Bells" pub in Frodsham, Cheshire. His mother, Carol Olivia (Williams), was an art teacher. Craig has English, as well as Irish, Scottish and Welsh, ancestry. His parents split up in 1972, and young Daniel was raised with his older sister, Lea, in Liverpool, then in Hoylake, Wirral, in the home of his mother. His interest in acting was encouraged by visits to the Liverpool Everyman Theatre arranged by his mother. From the age of six, Craig started acting in school plays, making his debut in the Frodsham Primary School production of "Oliver!", and his mother was the driving force behind his artistic aspirations. The first Bond movie he ever saw at the cinema was Roger Moore's Live and Let Die (1973); young Daniel Craig saw it with his father, so it took a special place in his heart. He was also a good athlete and was a rugby player at Hoylake Rugby Club.
At age 14, Craig played roles in "Oliver", "Romeo and Juliet" and "Cinderella" at Hilbre High School in West Kirby, Wirral. He left Hilbre High School at age 16 to audition at the National Youth Theatre's (NYT) troupe on their tour in Manchester in 1984. He was accepted and moved down to London. There, his mother and father watched his stage debut as Agamemnon in Shakespeare's "Troilus and Cressida". As a struggling actor with the NYT, he was toiling in restaurant kitchens and as a waiter. Craig performed with NYT on tours to Valencia, Spain, and to Moscow, Russia, under the leadership of director Edward Wilson. He failed at repeated auditions at the Guildhall, but eventually his persistence paid off, and in 1988, he entered the Guildhall School of Music and Drama at the Barbican. There, he studied alongside Ewan McGregor and Alistair McGowan, then later Damian Lewis and Joseph Fiennes, among others. He graduated in 1991, after a three-year course under the tutelage of Colin McCormack, the actor from the Royal Shakespeare Company. From 1992-1994, he was married to Scottish actress Fiona Loudon, their daughter, named Ella Craig (born 1992).
Craig made his film debut in The Power of One (1992). His film career continued on television, notably the BBC2 serial Our Friends in the North (1996). He shot to international fame after playing supporting roles in Lara Croft: Tomb Raider (2001) and Road to Perdition (2002). He was nominated for his performances in the leading role in Layer Cake (2004), and received other awards and nominations. Craig was named as the sixth actor to portray James Bond, in October 2005, weeks after he finished his work in Munich (2005), where he co-starred with Eric Bana under the directorship of Steven Spielberg. Craig's reserved demeanor and his avoidance of the showbiz-party-red-carpet milieu makes him a cool 007. He is the first blond actor to play Bond, and also the first to be born after the start of the film series, and also the first to be born after the death of author Ian Fleming in 1964. Four of the past Bond actors: Sean Connery, Roger Moore, Timothy Dalton and Pierce Brosnan have indicated that Craig is a good choice as Bond.
He was appointed Companion of the Order of St. Michael and St. George (CMG) by Queen Elizabeth II at the 2022 Queen's New Years Honours for his services to Film and Theatre.- Actor
- Writer
A veritable everyman of stage and screen, both big and small, but relatively unfamiliar to American audiences, Michael Craig is of Scots heritage, born in India to a father on military assignment. When he was three, the family returned to England, but by his eleventh year, they moved on to Canada - where he undoubtedly acquired his North American accent. He left school for the Merchant Navy at 16, but finally returned to England and the lure of the theater. By 1947, he debuted on stage and, in 1953, Sir Peter Hall gave him his first lead stage role. In the meantime, he was trying his hand at extra work and had speaking roles by 1954. This eventually led to discovery by Rank Films and a list of lead movie roles into the early 1960s. When his 7-year contract with that company expired, he was optioned by Columbia Pictures and his Hollywood career commenced. Yet his American work is perhaps only modestly remembered in two films, ironically co-American productions with the UK, Mysterious Island (1961), and Australia, the Disney TV installment, Ride a Wild Pony (1975).
By the mid-1970s, Craig's TV and film work was heavily concentrated in Australia (where he still resides) and composed a depth or roles, both comedic and dramatic, that has included memorable and solid character pieces as he has matured in age. As a screen writer, he has written for and created several British TV series. And he has never been far from the stage, remaining a familiar face in both London and New York theater.- Actor
- Writer
- Art Department
Peter Wilton Cushing was born on May 26, 1913 in Kenley, Surrey, England, to Nellie Maria (King) and George Edward Cushing, a quantity surveyor. He and his older brother David were raised first in Dulwich Village, a south London suburb, and then later back in Surrey. At an early age, Cushing was attracted to acting, inspired by his favorite aunt, who was a stage actress. While at school, Cushing pursued his acting interest in acting and also drawing, a talent he put to good use later in his first job as a government surveyor's assistant in Surrey. At this time, he also dabbled in local amateur theater until moving to London to attend the Guildhall School of Music and Drama on scholarship. He then performed in repertory theater in Worthing, deciding in 1939 to head for Hollywood, where he made his film debut in The Man in the Iron Mask (1939). Other Hollywood films included A Chump at Oxford (1940) with Stan Laurel and Oliver Hardy, Vigil in the Night (1940) and They Dare Not Love (1941). However, after a short stay, he returned to England by way of New York (making brief appearances on Broadway) and Canada. Back in his homeland, he contributed to the war effort during World War II by joining the Entertainment National Services Association.
After the war, he performed in the West End and had his big break appearing with Laurence Olivier in Hamlet (1948), in which Cushing's future partner-in-horror Christopher Lee had a bit part. Both actors also appeared in Moulin Rouge (1952) but did not meet until their later horror films. During the 1950s, Cushing became a familiar face on British television, appearing in numerous teleplays, such as 1984 (1954) and Beau Brummell (1954), until the end of the decade when he began his legendary association with Hammer Film Productions in its remakes of the 1930s Universal horror classics. His first Hammer roles included Dr. Frankenstein in The Curse of Frankenstein (1957), Dr. Van Helsing in Horror of Dracula (1958), and Sherlock Holmes in The Hound of the Baskervilles (1959).
Cushing continued playing the roles of Drs. Frankenstein and Van Helsing, as well as taking on other horror characters, in Hammer films over the next 20 years. He also appeared in films for the other major horror producer of the time, Amicus Productions, including Dr. Terror's House of Horrors (1965) and its later horror anthologies, a couple of Dr. Who films (1965, 1966), I, Monster (1971), and others. By the mid-1970s, these companies had stopped production, but Cushing, firmly established as a horror star, continued in the genre for some time thereafter.
Perhaps his best-known appearance outside of horror films was as Grand Moff Tarkin in George Lucas' phenomenally successful science fiction film Star Wars: Episode IV - A New Hope (1977). Biggles: Adventures in Time (1986) was Cushing's last film before his retirement, during which he made a few television appearances, wrote two autobiographies and pursued his hobbies of bird watching and painting. In 1989, he was made an Officer of the Order of the British Empire in recognition of his contributions to the acting profession in Britain and worldwide. Peter Cushing died at age 81 of prostate cancer on August 11, 1994.