British Actors Archives - Page 109 of 137

Eileen Herlie

Eileen Herlie was born in 1920 in Glasgow. In 1948 she played Gertrud, mother to the “Hamlet” of Laurence Oliver despite the fact that she was 13 years younger than him. Her film credits are not extensive but include “The Story of Gilbert & Sullivan” in 1953, “Freud” in 1962 and “The Seagull” in 1968. She starred on the long running television soap opera “All My Children”. She died in 2008. Robert Stephens was born in Bristol in 1931. His career too was mainly on stage but his films include “Romeo & Juliet” in 1968, “The Prime of Miss Jean Brodie”, “The Private Life of Sherlock Holmes” and “Travels With My Aunt”. Robert Stephens and Maggie Smith’s son is the actor Toby Stephens. Robert Stephens died in 1995 at the age of 64.

Gary Brumburgh’s entry on Eileen Herlie:

This vibrant Scottish character actress managed in her seven-decade career trek to not only brighten up the Broadway stage during the 1950s and 1960s in roles ranging from the man-searching milliner Irene Malloy to Hamlet’s mother Queen Gertrude, but conquered the TV market too, delighting daytime audiences for not only standing toe-to-toe against Susan Lucci‘s Erica Kane character (and later becoming her surrogate mom), but issuing in-your-face lessons on morality to other infamous Pine Valley characters on the classic soap opera All My Children (1970).

Eileen Herlie was born Eileen Herlihy on March 8, 1918, in Glasgow, Scotland, the daughter of a Catholic father and a Protestant mother. She studied and performed for many years with the Scottish National Players before transporting herself to England where she became professionally associated with the late and great director Tyrone Guthrie. Making her official stage debut with “Sweet Aloes” in 1938, she went on to advance in such plays as “Rebecca” (1942), “Peg o’ My Heart (1943), “The Little Foxes” (1944), “John Gabriel Borkman” (1944), “The Second Mrs. Tanqueray” (1944), “The School for Scandal” (1945) and “Anna Christie” (1945) before making a strong impression as Queen Gertrude in “Hamlet” in late 1945. Her film debut came in support of Margaret Lockwood and Dennis Price in the costume drama Hungry Hill (1947), but her huge breakthrough came about when Laurence Olivier cast her as his mother, Queen Gertrude, in his film adaptation of Hamlet (1948) — this despite Eileen being 11 years younger than Olivier, who won the Oscar for his superb work in the title role. Years down the road Eileen would again earn acclaim playing Gertrude in the 1964 Broadway production of “Hamlet” starring Richard Burton and in its accompanying Hamlet (1964) film effort.

Surprisingly, Eileen was seen very infrequently on film after this initial success opposite Olivier. Instead she stayed true blue to her first love — the theatre. Although she appeared to fine advantage on celluloid in The Angel with the Trumpet (1950), Gilbert and Sullivan (1953), Uncle Willie’s Bicycle Shop (1954), Cocktails in the Kitchen (1954),She Didn’t Say No! (1958) and Freud (1962), she found even more rewarding roles under the theatre lights where she earned enviable notices for her work in “The Eagle Has Two Heads” (1946), “Medea” (1948) (title role), “The Way of the World” (1953) and “Venice Preserv’d” (1953).

The feisty, flaming red-haired Scot took her first Broadway bow in 1955 as hat shop owner Irene Molloy in the highly successful production of “The Matchmaker” with Ruth Gordon starring as Dolly Levi. Eileen also appeared in New York musicals, co-starring with Jackie Gleason in the nostalgic “Take Me Along” (1960), which merited her a Tony nomination, and Ray Bolger in “All-American” (1962). Elsewhere, she graced two of Peter Ustinov‘s plays (“Photo Finish (1963) and “Halfway Up the Tree” (1967)) and continued in classic regal fashion with her Queen Mary role opposite George Grizzard‘s Edward VIII in “Crown Matrimonial” (1973). She played the same role a year earlier in a TV film version opposite Richard Chamberlain as the abdicating King Edward and Faye Dunaway as paramour Wallis Simpson. Eileen’s last stage role was in “The Great Sebastians” (1974) in Chicago co-starring Werner Klemperer, and her final film part came with a featured role in Chekhov’s The Sea Gull (1968), directed by Sidney Lumet and surrounded by a superb cast that included Simone Signoret, Vanessa Redgrave, David Warner and James Mason.

In 1976, Herlie made a long and permanent switch to daytime soaps. As bawdy, plump-figured carny Myrtle Lum Fargate who later refined herself to a point and operated a frilly boutique store on All My Children (1970), audiences took a special liking to her down-to-earth character whose impulsive bluntness, staunch integrity, briny tongue and heart of gold made her one of Pine Valley’s more beloved residents. She remained in town for over thirty years.

Divorced twice with no children, Eileen died at age 90 on October 8, 2008, due to complications from pneumonia. The stalwart actress continued to act almost to the end, last playing her “All My Children” character in June of 2008.

– IMDb Mini Biography By: Gary Brumburgh / gr-home@pacbell.net

TCM Overview for Robert Stephens:

Tall leading and character player whose long face and crisp demeanor have seen wide exposure in a distinguished stage career. Stephens’s film credits, though fairly regular since the early 1960s, have generally been less exciting, with the actor playing a series of passive suitors, sensitive artistic types and character roles calling on him largely to embody middle-aged, professional Englishmen.

Stephens began acting as a teen in repertory theater and continued after studies at drama school. He joined the Royal Court in London in 1956 for important plays like “Look Back in Anger” and “The Crucible”. Work in features began with parts which laid the grounds for future film roles: He made pirate Henry Morgan a robust Britisher in his US debut in the routine “Pirates of Tortuga”, and he played the colorless, along-for-the-ride boyfriend of the heroine’s domineering mother in the classic “A Taste of Honey” (both 1961). After joining the completely overwhelmed cast of the gargantuan “Cleopatra” (1963), Stephens played the nice, ordinary guy engaged to a woman desperately wanted by her loony ex-husband, the anti-hero protagonist of the landmark anarchic comedy “Morgan” (1966). Stephens and director Karel Reisz admirably refrained from making his role a dull, standardized comic villain, but David Warner and Vanessa Redgrave stole the acting thunder just the same.

Stephens’ third wife (1967-74) was actor Maggie Smith, and the pair teamed for two films in which he played her lover. He was quite good as the sharp, lusty but feckless teacher colleague who witnesses “The Prime of Miss Jean Brodie” (1969) and was touching as the peripatetic protagonist’s paramour in “Travels With My Aunt” (1972), but in each case Smith’s zany comic elan was practically the whole show. His one major showcase came with his funny, profoundly troubled and yet stalwart sleuth in Billy Wilder’s splendid “The Private Life of Sherlock Holmes” (1970). Subsequent character roles have been as military men (“The Duelists” 1977), artists (“Testimony” 1987), and titled Englishmen (“Bonfire of the Vanities” 1990). His best parts have came in offbeat fare, from “The Fruit Machine” (1988, as an opera star) to Kenneth Branagh’s “Henry V” (1988, as Pistol).

Stephens’ TV work has been modest but effective with the actor appearing mostly in highly prestigious miniseries such as “QB VII” (1974), “Holocaust” (1978), “War and Remembrance” (1988) and “Adam Bede” (1992). Much of his most important work has remained on the stage, with acting at the Royal Shakespeare Company and practically every other major theater running the gamut from “The Entertainer”, “Saint Joan”, “Royal Hunt of the Sun” and “Apropos of Falling Sleet” (which he also directed) to New York work in “Epitaph for George Dillon” and “Sherlock Holmes”. In the 1990s, Stephens returned to the London stage and earned critical praise and awards for his performances as Falstaff and Lear. Father of actors Toby Stephens and Chris Larkin.

The above TCM overview can also be accessed online here.

Punch cartoons by Robert Sherriffs Film Review ; The Angel with the Trumpet ; Basil Sydney and Eileen Herlie

Kevin Whatley was born in Northumberland in 1951. He is a powerhouse actor on quality British dramas such as “Auf Wiedersehen Pet”, “Peak Practice” and “Morse”. Recently he has starred as “Lewis” in the follow up to “Morse”. His films include “The Return of the Soldier” and “The English Patient”. Currently starring as “Lewis”.

IMDB Entry:

Kevin Whately (born 6 February 1951) is an English actor. Whately is primarily known for his role as Robert “Robbie” Lewis in the crime dramas Inspector Morse and Lewis, his role as Neville “Nev” Hope in the British television comedy Auf Wiedersehen, Pet, and his role as Dr. Jack Kerruish in the drama series Peak Practice, although he has appeared in numerous other role.

Whately is from Humshaugh, near Hexham, Northumberland.^[His mother, Mary was a teacher and his father, Richard, was a Commander in the Royal Navy. His maternal grandmother, Doris Phillips, was a professional concert singer and his great-great-grandfather, Richard Whately, was Anglican Archbishop of Dublin.^[The BBC documentary Who Do You Think You Are?, broadcast on 2 March 2009, also revealed that Whately is a descendant, on his paternal side, of Thomas Whately of Nonsuch Park, a leading London merchant, English politician and writer who became a director of the Bank of England, and of Major Robert Thompson, a pioneer tobacco plantation owner in Virginia who was a staunch supporter of the Parliamentarian cause at the time of the English Commonwealth.

Whately was educated at Barnard Castle School,^[ and went on to study drama at the Central School of Speech and Dramain 1975. Before going professional, Whately was an amateur actor at the People’s Theatre in Newcastle upon Tyne during the 1970s. His brother, Frank, is a drama lecturer at a London university.

Before turning to professional acting, Whately began his working life as a folk singer, and still plays guitar, performing for charity concerts.^[4] Along with other Auf Wiedersehen, Pet stars, he makes an appearance at the biennial benefit concert Sunday for Sammy in Newcastle. Before becoming an actor, he started training as an accountant.

His acting career includes several stage plays, among them an adaptation of Twelve Angry Men, and film appearances in The Return of the Soldier, The English Patient, Paranoid and Purely Belter.

Whately’s television appearances include episodes of Shoestring, Angels, Juliet Bravo, Strangers, Coronation Street, Shackleton, Auf Wiedersehen, Pet, Alas Smith and Jones, Look and Read, You Must Be The Husband, B&B, Peak Practice, Skallagrigg, The Broker’s Man, Murder in Mind, 2003 Comic Relief Auf Wiedersehen, Pet, Lewis, New Tricks, Who Gets the Dog?, The Children and Silent Cry. Whately provided one of the voices for the English-language version of the 1999 claymation Children’s television series Hilltop Hospital. He has also done voiceovers for a WaterAid advertisement.

In 1985, Whately appeared in a 3-part Miss Marple adaptation (“A Murder Is Announced“) for the BBC. His part, Detective Sergeant Fletcher, opposite John Castle as Inspector Craddock, was very similar to what became the career-defining role he took two years later, when he was cast as Detective Sergeant Lewis, the down-to-earth complement to the eponymous Inspector Morse played by John Thaw. Whately starred opposite Thaw in 32 episodes over 13 years in the hugely successful series that established him as a household name in the UK.

He reprised the role in the spin-off series Lewis, in which Lewis returns to Oxford as a full Inspector. With his new partner, the Cambridge-educated Detective Sergeant James Hathaway (Laurence Fox), Inspector Lewis solves murder mysteries while trying to rebuild his life after his wife’s sudden death in a hit-and-run accident and to gain recognition from his sceptical new boss.

Richard Marson’s book celebrating fifty years of Blue Peter comments that Whately auditioned as a presenter for the show in 1980 but lost out to Peter Duncan.

Following the filming of the seventh series of Lewis, at the end of 2012, Whately and Laurence Fox announced that they would take a break of at least a year before filming more episodes. ITV indicated a continuing commitment to the series and that they wished to produce additional episodes of the programme. On 4 November 2012 Whately performed in a radio drama on BBC3 called The Torchbearers, which follows the circumstances of several UK citizens whose lives are changed through contact with the Olympic Torch.^[9] In 2013, Newcastle upon Tyne’s Live Theatre produced a series of performances of the unique, acclaimed one-person play, White Rabbit, Red Rabbit, which is enacted as a cold reading with no sets or costumes by a different performer each night. Whately was the actor for the sold-out performance of 10 March 2013.

Whately was the patron of the Central School of Speech and Drama Full House Theatre Company for 2011.

Whately lives in Woburn Sands near Milton Keynes, with his wife actress Madelaine Newton, who starred in the 1970s BBC drama When the Boat Comes In. She also played Inspector Morse’s love interest in the 1990 episode “Masonic Mysteries,” in which she becomes a murder victim. The couple, who have been together since 1980,^[12] have two children: Catherine “Kitty” Whately, born in 1983, who appeared as Kevin’s on-screen daughter in the series Auf Wiedersehen, Pet for the first two seasons, now an operatic mezzo soprano and winner of the Kathleen Ferrier Award 2011; and Kieran, born in 1985. Kitty married tenor Anthony Gregory in September 2015.

Whately enjoys rock music and plays guitar; he has cited Pink Floyd and Dire Straits as bands he has particularly enjoyed, although he says he listens to classical music more now.^[He is a fan of Newcastle United and Burnley on the football field, but says that he likes rugby league better, and as a cricketer admitted to Inspector Morse writer Colin Dexterthat he would like to have played cricket professionally for England. Dexter devised the storyline for the Inspector Morseepisode “Deceived by Flight” (1989; season 3, episode 3) in which Sergeant Lewis had to go undercover in a cricket team to investigate drug smuggling.

Molly Lamont was born in 1910 in South Africa. She began her career in British films and her debut was in 1930 in “The Black Hand Gang”. In 1936 she went to Hollywood and the remainder of her career was in the U.S. Her films include “The Awful Truth” with Cary Grant and “The White Cliffs of Dover” in 1944. She died in 2001.

TCM Overview:

Throughout her entertainment career as an accomplished actress, Molly Lamont graced the silver screen many times. In her early acting career, Lamont appeared in such films as the Katharine Hepburn dramatic adaptation “Mary of Scotland” (1936), “The Jungle Princess” (1936) with Dorothy Lamour and “A Doctor’s Diary” (1937). She also appeared in the comedic adaptation “The Awful Truth” (1937) with Irene Dunne, “The Moon and Sixpence” (1942) and the George Raft musical “Follow the Boys” (1944). Her passion for acting continued to her roles in projects like “Minstrel Man” (1944) with Benny Fields, the Bette Davis drama “Mr. Skeffington” (1945) and “The Suspect” (1945). She also appeared in the Rosemary LaPlanche horror film “Devil Bat’s Daughter” (1946) and “The Dark Corner” (1946). Toward the end of her career, she tackled roles in “Christmas Eve” (1947), the drama “Ivy” (1947) with Joan Fontaine and the Bela Lugosi thriller “Scared to Death” (1947). She also appeared in “South Sea Sinner” (1950). Lamont was most recently credited in “Raising Hope” (Fox, 2010-14). She also worked in television during these years, including a part on “Modern Family” (ABC, 2009-). Lamont passed away in July 2001 at the age of 91.

The above TCM Overview can also be accessed online here.

George Lazenby born in New South Wales, Australia in 1939. He had a career as a model before he was selected to play James Bond in 1969 in “On Her Majesty’s Secret Service”. Although the film was a major success, Lazenby did not continue as 007.

His IMDB entry:

George Lazenby was born on September 5th, 1939, in Australia. He moved to London, England in 1964, after serving in the Australian Army. Before becoming an actor, he worked as an auto mechanic, used car salesman, prestige car salesman, and as a male model, in London, England. In 1968, Lazenby was cast as “James Bond”, despite his only previous acting experience being in commercials, and his only film appearance being a bit-part in a 1965 Italian-made Bond spoof. Lazenby won the role based on a screen-test fight scene, the strength of his interviews, fight skills and audition footage. A chance encounter with Bond series producer Albert R. Broccoli in a hair salon in 1966, in London, had given Lazenby his first shot at getting the role. Broccoli had made a mental note to remember Lazenby as a possible candidate at the time when he thought Lazenby looked like a Bond. The lengths Lazenby went to to get the role included spending his last pounds on acquiring a tailor-made suit from Sean Connery‘s tailor, which was originally made for Connery, along with purchasing a very Bondish-looking Rolex watch.

Lazenby quit the role of Bond right before the premiere of his only film, On Her Majesty’s Secret Service (1969), citing he would get other acting roles, and that his Bond contract, which was fourteen pages thick, was too demanding on him.

In his post-Bond career, Lazenby has acted in TV movies, commercials, various recurring roles in TV series, the film series “Emmanuelle”, several Bond movie spoofs, TV guest appearances, provided voice for several animated movies and series, and several Hong Kong action films, using his martial arts expertise.

– IMDb Mini Biography By: Anonymous

The above IMDB entry can also be accessed online here.

Mara Lane was born in Vienna, Austria in 1930. She is the older sister of actress Jocelyn Lane. Mara made her film career mostly in England and her debut there was in 1951 in “Hell Is Sold Out”. In 1953 she went to Hollywood to make “Susan Slept Here” with Dick Powell, Debbie Reynolds and Anne Francis. Her last film to date was in 1964. Her page on “Glamour Girls of the Silver Screen” can be accessed here.

Geoffrey Keen was born in Oxfordshire in 1916. He is the son of stage actor Malcolm Keen. Geoffrey was a most profilic character actor during the 50’s and 60’s. His films include “Treasure Island” in 1950, “Cry, the Beloved Country”, “A Town Like Alice”, “Yield to the Night”, “Sink the Bismarck” and “The Angry Silence”. Geoffrey Keen died in 2005 at the age of 89.

Anthony Hayward’s obituary in “The Independent”:

One of the screen’s leading character actors for four decades, Geoffrey Keen was forever typecast as dour authority figures. After 20 years perfecting the type in British films, he landed a starring role on television in Mogul (1965), a topical drama about an oil conglomerate, at a time when drilling was just beginning in the North Sea.

Keen played the shrewd and ruthless Brian Stead, one of the company’s bosses, in a 13-part series that gained increasing popularity – and sales to more than 60 countries, as well as many awards – after it was retitled The Troubleshooters (1966-72) and ran for a further 123 episodes. The BBC’s initial publicity hailed:

Exciting stories about oilmen and the world they work in. The oilmen are everywhere. They walk in the corridors of power, drill wells in the desert, serve on the motorways. They sustain governments, dominate the Exchange, alter the face of the Earth, and keep most of the human race on the move. Oilmen are prospectors, tearing across rugged country in huge trucks; they also work in offices and have pension schemes. Some are scientists, some politicians, some are engineers, and some are very rich – and every oilman with a major company like the Mogul corporation is a subject of a vast feudal kingdom.

Over seven years, filming took place in glamorous locations as far-flung as Venezuela, Antarctica and New Zealand. Although Keen did some location shooting, he was often stuck at Mogul’s head office in London, where he would be seen stepping in and out of his Rolls-Royce.

Stead, a widower who had to battle health problems – including two heart attacks – rose from his position as the company’s deputy managing director and director of operations to become managing director, but the actor was frustrated at playing what he considered to be a dictator. So merciless was Stead that Keen’s own daughter, Mary, refused to watch her father on television and would sit on the stairs with her hands over her ears. The actor also found the grind of making a weekly programme very hard. “At present, I have no domestic life at all – you have to give yourself completely to a series,” he said at the time.

Keen soon switched back to films to play his most enduring screen role, as the Minister of Defence, Sir Frederick Gray, in six James Bond pictures. At the end of the first one, The Spy Who Loved Me (1977), set at the Polaris submarine base in Scotland, he is seen peering into an escape pod to discover 007 under the sheets with a naked “Bond girl”, Barbara Bach. “Bond, what do you think you’re doing?” he asks. “Keeping the British end up, sir,” Roger Moore retorts.

The sight of an embarrassed minister occurred several times over the following 10 years, as the dignified, by-the-book, upper-class Sir Frederick wrestled with Bond’s playful attitude to his job and refusal to take missions seriously, in Moonraker (1979), For Your Eyes Only (1981), Octopussy (1983), A View to a Kill (1985) and The Living Daylights (1987, in which Timothy Dalton took over as Ian Fleming’s secret agent).

Born Geoffrey Knee in London in 1916, he had a difficult childhood. His mother and father, Malcolm – a stage actor also seen in films as doctors, detectives and aristocrats – split up before his birth. (Father and son both changed their surname to Keen by deed poll.)

He and his mother moved to Bristol, where he attended the city’s grammar school and worked briefly in a paint factory, before joining the Little Theatre there and spending a year in repertory productions, making his stage début as Trip in Sheridan’s The School for Scandal (1932) at the age of 16.

Briefly unsure about acting as a career, Keen started studying at the London School of Economics but left after two months and was awarded a scholarship to Rada, where his father was teaching, and won the prestigious Bancroft Gold Medal (1936).

He then joined the Old Vic Theatre, playing Florizel in The Winter’s Tale (1936) and Edgar in King Lear (1936), and continued on stage until fighting with the Royal Army Medical Corps as a corporal during the Second World War and performing with the Stars in Battledress concert party. During that time, he made his film début, directed by the legendary Carol Reed, as a corporal in The New Lot (1943), an army training film that starred Bernard Lee (later to play 007’s boss, M, in the Bond films).

After the war, Reed cast Keen in two thrillers, as a soldier in Odd Man Out (starring James Mason, 1947) and a detective in The Fallen Idol (written by Graham Greene and featuring Ralph Richardson, 1948). Once he played an MP in The Third Man (another Reed-Greene collaboration), the actor was on the way to becoming typecast.

“It got around the studios that I only played the type of character who scowled and thumped tables,” he explained, adding:

I accepted any role that came my way. This is a tough profession. You can’t be too choosy – you may never get another chance.

As a result, he was seen as policemen in The Clouded Yellow (1950), Hunted (1952), Genevieve (1953), Portrait of Alison (1955), The Long Arm (1956), Nowhere to Go (1958), Deadly Record (1959), Horrors of the Black Museum (1959) and Lisa (1962), soldiers of all ranks in Angels One Five(1952), Malta Story (1953), Carrington V.C. (1954) and The Man Who Never Was (1955), the Assistant Chief of Naval Staff in Sink the Bismarck! (1959), a doctor in Storm Over the Nile (1955), priests in Yield to the Night (1956) and Sailor Beware!(1956), a solicitor in A Town Like Alice (1956), headmasters in The Scamp (1957) and Spare the Rod (1961), a prison governor in Beyond This Place (1959), the Prime Minister in No Love for Johnnie (1961), a magistrate in The Cracksman (1963) and a British ambassador in The Rise and Fall of Idi Amin (1980).

So prolific was Keen as a character actor, at the height of British film- making, that in one year, 1956, he appeared in 12 pictures. The following year, he and his father both acted together in Fortune Ii a Woman, playing the Young and Old Abercrombie in the crime drama starring Jack Hawkins.

Keen’s starring role on television in Mogul and The Troubleshooters came as British cinema was passing its heyday. He had already acted many character parts on the small screen, including a short run as Detective Superintendent Harvey in Dixon of Dock Green during 1966, and later took the role of Gerald Lang, the managing director of a merchant bank, in The Venturers (1975). But he was less happy acting on television and, by the 1980s, was working little except for in the Bond films. He retired in 1987, after making The Living Daylights.

His first wife was the actress Hazel Terry and his third the actress Doris Groves, who died in 1989.

Anthony Hayward

The above “Independent” obituary can also be accessed online here.

Telegraph obituary in August 2021.

Patricia Hitchcock is the actress daughter of Alfred Hitchcock. She was born in London in 1928. When her father went to Hollywood in 1939 to make “Rebecca”, she and her mother went with him. She was featured in such Hitchcock classics as “Stage Fright” in 1949, “”Strangers on a Train” and “Psycho”. She died in 2021 aged 93.

Patricia Hitchcock, the only child of the film director Alfred Hitchcock, who has died aged 93, was an accomplished actress in her own right, taking supporting roles in three of her father’s best-known films as well as appearing on television in episodes of Alfred Hitchcock Presents.

She made her screen debut as a jolly acting student called Chubby Bannister in her father’s Stage Fright (1950), because cast and crew were rehearsing at the Royal Academy of Dramatic Art in London, where she was a student. She would also feature in the film as Jane Wyman’s double in a stunt involving a speeding car: “I drove right into the camera and had to stop at a plate-glass window.”

But she was best known for her role in Strangers on a Train (1951) as Barbara Morton, the inquisitive and chubbily bespectacled younger sister of Ann (Ruth Roman), the woman Guy Haines (Farley Granger) wants to marry, who witnesses the psychopathic Bruno (Robert Walker) attempting to strangle a woman at a cocktail party.

Pat Hitchcock with her father on set in 1950 during filming of Strangers on a Train based on the novel by Patricia Highsmith CREDIT: Alamy

Favourable reviews might have marked the beginning of a career as a character actress. But within a year she had met her husband, Joseph O’Connell, and married him, and a year after that had the first of three children. Though she had a small role in Psycho (1960) as the office worker who offers to share her tranquillisers with Janet Leigh’s Marion Crane, she gave up thoughts of a serious acting career to devote herself to her family.

Alfred Hitchcock, reflecting years later on his daughter’s marriage in 1952, said that he and his wife Alma had been “relieved, in a way” when Pat decided that “being a mother of sticky-fingered children required all her creative attention.”

Pat Hitchcock had a small role in the film as a witness in spectacles CREDIT: Moviepix/Getty

After her father’s death in 1980, the job of upholding his memory and protecting his reputation largely fell to Pat. She also co-authored a biography of her mother, Alma Hitchcock: The Woman Behind the Man (2003), in which she maintained that her father would never have achieved such acclaim without the contribution of his wife of 54 years and mostly silent professional partner.

Patricia Alma Hitchcock was born in London on July 7 1928. Her mother, Alma Reville, had been a respected film editor, first at Twickenham Studios, and then at Islington Studios, where in 1923 she met Hitchcock, then little more than a script assistant. They had married in 1926.

Pat would relate that her father was so stricken by anxiety when her mother went into labour that he immediately left their Cromwell Road flat to go for a long walk, explaining afterwards: “Consider my suffering. I nearly died of the suspense.”

She attributed her early interest in acting to being brought on the set by her father if she remained very quiet: “I have a picture of me, with Margaret Lockwood and my dog, on The Lady Vanishes. I was absolutely fascinated.”

When she was eight, she was dispatched to boarding school, where she played Rumpelstiltskin: “It never occurred to me that I’d do anything else but act.”

The family moved to Los Angeles in 1939 when Pat was 10, but she recalled that she was brought up as an English child: “I knew what was expected, and I pretty much always did it. You didn’t speak unless spoken to, but it didn’t bother me or have any repercussions. I didn’t know anything else.”

She was very close to her father, who would take her out every Saturday, shopping and to lunch, and to (Catholic) church every Sunday. She attributed her lifelong religious faith to him.

She played teenage leads in two short-run Broadway plays, Solitaire (1942), and Violet (1944), the latter written and directed by Whitfield Cook, whom Hitchcock would later engage as a screenwriter on both Stage Fright and Strangers on a Train.

When she was 18 Pat was sent back to England to train at Rada, where her contemporaries included Lionel Jeffries and Dorothy Tutin, and in 1950 played a palace maid in the Jean Negulesco drama The Mudlark (1950), starring Irene Dunne and Alec Guinness.

Back in the US, she had an uncredited part in Cecil B DeMille’s The Ten Commandments (1956). She also appeared in television productions and was cast in episodes of Alfred Hitchcock Presents, “whenever they needed a maid with an English accent”, as she put it.

She felt, however, that being Hitchcock’s daughter had been a “minus” in her career. “I wish he had believed in nepotism,” she told an interviewer. “I’d have worked a lot more. But he never had anyone in his pictures unless he believed they were right for the part. He never fit a story to a star, or to an actor. Often I tried to hint to his assistant, but I never got very far. She’d bring my name up, he’d say, ‘She isn’t right for it’, and that would be the end of that.”

Pat Hitchcock described her father as “very quiet. Incredible sense of humour. Very loving. He put his family first before everything else, and we led a very quiet life.”

Patricia Hitchcock O'Connell (daughter of Alfred) speaking to fans of Alfred Hitchcock during a DVD signing in Hollywood, 2005 — Patricia Hitchcock O’Connell (daughter of Alfred) speaking to fans of Alfred Hitchcock during a DVD signing in Hollywood, 2005 CREDIT: Matthew Simmons/Getty Images

On Alma’s death in 1982, two years after her husband, Pat and her family inherited her father’s estate.

She was angered by later suggestions that Hitchcock had been a sadistic and manipulative director who tried to control his leading ladies in real life and made sexual overtures toward some of them. “I know a lot of people insist that my father must have had a dark imagination,” she said. “Well, he did not. He was a brilliant film-maker and he knew how to tell a story, that’s all.”.

Yet even by her account the director had a bizarre sense of humour. When she was a child, he would creep into her bedroom late at night and paint a clown’s face on her sleeping features so that she would be surprised when she woke up and looked in the mirror. Returning from a wartime visit to England, he brought back an empty incendiary bomb as a present for his young daughter.

If she did have a criticism (though she denied it was any such thing) it was that he was content that her mother was never given the credit that Pat believed was her due.

Alfred Hitchcock with his wife Alma Reville and their daughter Pat Hitchcock aboard the Queen Mary at Southampton, before departure to America in March 1939 CREDIT: AFP/GettyImages

Alma was credited with screenplay or continuity work on almost half of Hitchcock’s films until 1950, and she continued her role as collaborator for 25 years after that, advising Hitchcock on “script material, casting and all aspects of the production” and working with other directors. But during the period of her husband’s most sustained creative activity, 1951-1960, Alma’s name disappeared.

Among other things Pat claimed that her mother had saved Psycho from an embarrassing faux pas after noticing, at a screening, that Janet Leigh was still breathing after having been killed off in the shower.

In later life Pat Hitchcock did volunteer work with a cystic fibrosis charity, her eldest granddaughter having been diagnosed with the disease

Her husband Joseph O’Connell, who was in the transportation business, died in 1994. She is survived by their three daughters

Patricia Hitchcock. Wikipedia.

Pat Hitchcock was born in 1928 and is an English actress and producer. She is the only child of English director Alfred Hitchcock and Alma Reville, and had small roles in several of his films, starting with Stage Fright (1950).

Hitchcock was born in London in 1928, the only child of film director Alfred Hitchcock and film editor Alma Reville. The family moved to Los Angeles, California, in 1939. Once there, Hitchcock’s father soon made his mark in Hollywood.

As a child, Hitchcock knew she wanted to be an actress. In the early 1940s, she began acting on the stage and doing summer stock. Her father helped her gain a role in the Broadway production of Solitaire (1942). She also played the title role in the Broadway play Violet (1944).

After graduating from Marymount High School in Los Angeles in 1947, she attended the Royal Academy of Dramatic Art in London and also appeared on the London stage.

In early 1949, her parents arrived in London to make Stage Fright, Hitchcock’s first British-made feature film since emigrating to Hollywood. Pat did not know she would have a walk-on part in the film until her parents arrived. Because she bore a resemblance to the star, Jane Wyman, her father asked if she would mind also doubling for Wyman in the scenes that required “danger driving”.

She had small roles in three of her father’s films: Stage Fright (1950), in which she played a jolly acting student named Chubby Bannister, one of Wyman’s school chums; Strangers on a Train (1951), playing Barbara Morton, sister of Anne Morton (Ruth Roman), Guy Haines’s (Farley Granger) lover; and Psycho (1960), playing Janet Leigh‘s character’s plain-Jane office mate, Caroline, who generously offers to share tranquilizers that her mother gave her for her wedding night.

Patricia had a small uncredited role as an extra in her father’s 1936 Sabotage. She and her mother, Alma Reville, are in the crowd waiting for, then watching, the Lord Mayor’s Show parade.

Hitchcock also worked for Jean Negulesco on The Mudlark (1950), which starred Irene Dunne and Alec Guinness, playing a palace maid, and she had a bit-part in DeMille‘s The Ten Commandments (1956).

As well as appearing in ten episodes of her father’s half-hour television programme, Alfred Hitchcock Presents, Hitchcock worked on a few others, including Playhouse 90, which was live, directed by John Frankenheimer. Acting for her father, however, remained the high point of her acting career, which she interrupted to bring up her children. (Hitchcock has a small joke with her first appearance on his show – after saying good night and exiting the screen, he sticks his head back into the picture and remarks: “I thought the little leading lady was rather good, didn’t you?”)

She also served as executive producer of the documentary The Man on Lincoln’s Nose (2000), which is about Robert F. Boyle and his contribution to films.

She married Joseph E. O’Connell, Jr., 17 January 1952, at Our Lady Chapel in St. Patrick’s Cathedral, New York. They decided to have their wedding there because Hitchcock had many friends on the East Coast and O’Connell had relatives in Boston. They had three daughters, Mary Alma Stone (born 17 April 1953), Teresa “Tere” Carrubba (born 2 July 1954), and Kathleen “Katie” Fiala (born 27 February 1959). Joe died in 1994.She currently lives in Solvang, California.

For several years, she was the family representative on the staff of Alfred Hitchcock’s Mystery Magazine. She supplied family photos and wrote the foreword of the book Footsteps in the Fog: Alfred Hitchcock’s San Francisco by Jeff Kraft and Aaron Leventhal, which was published in 2002. In 2003, she published Alma Hitchcock: The Woman Behind the Man, co-written with Laurent Bouzereau.

Ray Winstone. IMDB.

Ray Winstone was born in Hackney, London in 1957. He was nominated for a BAFTA as Best Newcomer for his performance in “That Summer” in 1939. He has become one of the best of British actors and his films include “Nil By Mouth”, “The War Zone”, “Sexy Beast” and “Ripley’s Game”.

IMDB entry:

Ray Winstone was born on February 19, 1957, in Hackney Hospital in London, England, to Margaret (Richardson) and Raymond J. Winstone. He moved to Enfield, at age seven, where his parents had a fruit and vegetable business. He started boxing at the age of twelve at the famous Repton Amateur Boxing Club, was three times London Schoolboy Champion and fought twice for England, UK. In ten years of boxing, he won over 80 medals and trophies.

Ray studied acting at the Corona School before being cast by director Alan Clarke as Carlin in the BBC Play production of Scum (1977). He has appeared in numerous TV series over the past 20 years including Robin Hood (1984), Palmer (1991), Birds of a Feather(1989), Between the Lines (1992), Ghostbusters of East Finchley (1995), Births, Marriages and Deaths (1999), and Vincent (2005). His film career has burgeoned since his award-winning role in Gary Oldman‘s Nil by Mouth (1997), and he has appeared in multiple films including Fanny and Elvis (1999), Tim Roth‘s The War Zone (1999), The Departed (2006), Hugo (2011), and Snow White and the Huntsman (2012). Known for his signature gritty voice, Winstone has also done a number of voiceover roles includingRango (2011), The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005), as well as the Beowulf (2007) film and video games.

He married Elaine Winstone in 1979, and the couple have three children: Lois Winstone(born 1982), a singer with the London-based hip-hop group “Crack Village” who also played his on-screen daughter in Last Orders (2001) and got a part in four episodes ofThe Bill (1984), Jaime Winstone (born 1985) also an actress with ambitions to be a director, and Ellie Rae Winstone (born 2001).

– IMDb Mini Biography By: Alys-2 <acarter@dhac.prestel.co.uk>

The above IMDB entry can also be accessed online here.

Moira Shearer obituary in “The Guardian” in 2006.

Moria Sharer was forever be remembered for her luminous performance in “The Red Shoes” in 1948. She was born in Scotland in 1926. She was leading dancer with the Sadler’s Ballet Company when she won the role of “Victoria Page” in “The Red Shoes”. After the film’s success, she was much sought after for movies but she curtailed her career after her marriage to the broadcaster and writer Ludovic Kennedy. She did make a trip to Hollywood to make “The Story of Three Loves” with James Mason in 1953. Moira Shearer died in 2006 at the age of 80.

Her “Guardian” obituary by Mary Clarke:

Moira Shearer, who has died at the age of 80, was a ballerina of the Sadler’s Wells (now Royal) Ballet in its first years at Covent Garden over whom only Margot Fonteyn took precedence. By starring in the Michael Powell and Emeric Pressburger film The Red Shoes (1948), she became, for a while, the best known dancer in Britain, and certainly in the United States.

As a result, she was able to popularise ballet at that time more than any of her colleagues, Fonteyn included. Even today, people of all ages admit being drawn to the ballet “because I saw The Red Shoes”.

The success and enduring popularity of that film should not, however, overshadow a career that encompassed a comparatively brief, yet distinguished, sojourn in the world of classical ballet, as well as fine achievements as an actor, film star, lecturer, writer and speaker of poetry. Her other films were Powell and Pressburger’s The Tales Of Hoffmann (1950) in which the quality of her dancing, as the doll Olympia, is probably best preserved; The Story Of Three Loves (1952); The Man Who Loved Redheads (1954); Michael Powell’s controversial Peeping Tom (1960); and Terence Young’s ballet film 1-2-3-4 ou Les Collants noirs (Black Tights, 1961) with choreography by Roland Petit.

Born Moira Shearer King in Dunfermline, Fife, she was educated at Dunfermline high school, in Ndola, in what was then Northern Rhodesia, and at Bearsden Academy, in East Dunbartonshire. Although she had her first ballet lessons in Ndola, her training was essentially in Britain, first with Flora Fairbairn, then with the great pedagogue Nicholas Legat and, after his death in 1937, with his widow Nadine Nicolayeva.

She joined the Sadler’s Well School in 1940, and a year later made her professional debut with Mona Inglesby’s International Ballet. She was immediately noticed for her classic style and exceptional beauty – features of porcelain delicacy and flame-coloured hair. By 1942 she had joined the Sadler’s Wells Ballet (then, during wartime, based at the New, now Albery, Theatre) and promotion came quickly.

Frederick Ashton cast her as Pride in his 1943 ballet The Quest, and Ninette de Valois chose her to create the role of the girl in the sparkling pas de trois, a small gem in the ballet Promenade, the same year. By 1944 she was a principal of the company, dancing a wide variety of roles, both classic and demi-caractère

But it was the move of the company to the Royal Opera House in 1946 that set the seal on Shearer’s right to the ballerina title. In the opening production of The Sleeping Beauty, in the famous Oliver Messel designs, she followed Fonteyn and Pamela May in the role of Princess Aurora, and immediately won a huge following of her own. Among her admirers was Sacheverell Sitwell – her beauty and his unrequited passion is said to have inspired some of his Selected Poems of 1948.

Moira Shearer, 23, after her wedding to Ludovic Kennedy at the Royal Chapel of Hampton. (Photo by PA Images via Getty Images)

Shearer’s first Aurora came early in March 1946, and in April she was to create, alongside Fonteyn and May, one of the three ballerina roles in Ashton’s sublime Symphonic Variations, that plotless masterpiece for six dancers which is a celebration of the English style of classic dance. She also created the role of Cinderella in Ashton’s version of the Prokofiev ballet, being chosen to replace the injured Fonteyn and thereby playing no small part in ensuring the success of Ashton’s first full-evening work.

In addition to dancing Ashton ballets and in the classics, Shearer also experienced the challenge of working with Léonide Massine, when he came to Sadler’s Wells in 1947 to stage or revive his most famous works. She was a can-can dancer with him in La Boutique Fantasque, a Jota dancer in The Three-cornered Hat, and created the role of the Aristocrat in his new version of Mam’zelle Angot.

An experience which left an even greater mark was working with George Balanchine when his Ballet Imperial, with the beautiful Eugene Berman designs, entered the Sadler’s Wells repertory in 1950. Fonteyn was cast first for the ballerina role but it was Shearer, who followed her, whose speed of footwork came nearest to capturing Balanchine’s virtuoso choreography. The short period of working with the choreographer left such lasting memories that, more than 30 years later, Shearer wrote Balletmaster: a Dancer’s View of George Balanchine (1986).

In 1952, at the absurdly young age of 26, she became a guest artist with the Sadler’s Wells Ballet, a prelude to her (almost) complete retirement from dancing. By now married to Ludovic Kennedy, and with a young child, she wanted to make a new career as an actor.

She toured as Sally Bowles in I Am A Camera and appeared as Titania (to Robert Helpmann’s Oberon) in an Old Vic production of A Midsummer Night’s Dream, first at the 1954 Edinburgh festival and then on tour in north America. In 1955 she joined the Bristol Old Vic, where she appeared, notably, as Shaw’s Major Barbara. At the 1957 Edinburgh festival, and in a subsequent tour, she played opposite Anton Walbrook in Walter Hasenclever’s A Man of Distinction, a collaboration remembered in theatrical memoirs for the total lack of sympathy, even of communication, between those two stars.

In 1977 she was back in the theatre as Madame Ranevskaya, in The Cherry Orchard at the Royal Lyceum in Edinburgh, and a year later was Judith Bliss in Hay Fever. In 1994 she played Juliana Bordereau in The Aspern Papers at the Citizens’ Theatre, Glasgow. In 1987 she had returned to the ballet to create the role of Lowry’s mother in Gillian Lynne’s A Simple Man, made for BBC television to mark the centenary of the artist (played by Christopher Gable), which subsequently entered the repertory of Northern Ballet Theatre.

In 1973 she lectured on ballet history and Sergei Diaghilev in the US, as she also did regularly in England and Wales – and three times on the Queen Elizabeth II liner – and gave poetry and prose recitals, often with her husband. During the last years of her life, Shearer wrote book reviews (not just of dance books) for the Daily and Sunday Telegraph, which were immensely readable though not celebrated for their generosity towards authors. In 1998 she published a biography of Ellen Terry.

· She is survived by her husband, three daughters and a son. Moira Shearer King (Lady Kennedy), ballerina and actor, born January 17 1926; died January 31 2006

Her “Guardian” obituary can also be accessed on-line here.

Collection of Classic Brittish Actors

Eileen Herlie

Kevin Whatley

Molly Lamont

George Lazenby

Mara Lane

Geoffrey Keen

Patricia Hitchcock

Telegraph obituary in August 2021.

Patricia Hitchcock. Wikipedia.

Ray Winstone

Ray Winstone. IMDB.

Moira Shearer

Moira Shearer obituary in “The Guardian” in 2006.

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