British Actors Archives

Hayley Mills

Hayley Mills. (Wikipedia)

Hayley Mills is an English actress. The daughter of Sir John Mills and Mary Hayley Bell, and younger sister of actress Juliet Mills, Mills began her acting career as a child and was hailed as a promising newcomer, winning the BAFTA Award for Most Promising Newcomer for her performance in the British crime drama film Tiger Bay (1959), the Academy Juvenile Award for Disney’s Pollyanna (1960) and Golden Globe Award for New Star of the Year – Actress in 1961. During her early career, she appeared in six films for Walt Disney, including her dual role as twins Susan and Sharon in the Disney film The Parent Trap (1961). Her performance in Whistle Down the Wind (a 1961 adaptation of the novel written by her mother) saw Mills nominated for BAFTA Award for Best British Actress.

During the late 1960s Mills began performing in theatrical plays, and played in more mature roles. The age of contracts with studios soon passed. For her success with Disney she received the Disney Legend Award. Although she has not maintained the box office success or the Hollywood A-list she experienced as a child actress, she has continued to make films and TV appearances, including a starring role in the UK television mini-series The Flame Trees of Thika in 1981, the title role in Disney’s television series Good Morning, Miss Bliss in 1988, and as Caroline, a main character in Wild at Heart (2007–2012) on ITV in the UK.

Mills was born in Marylebone, London. She was 12 when she was discovered by J. Lee Thompson, who was initially looking for a boy to play the lead role in Tiger Bay, which co-starred her father, veteran British actor Sir John Mills. The movie was popular at the box office in Britain.

Bill Anderson, one of Walt Disney‘s producers, saw Tiger Bay and suggested that Mills be given the lead role in Pollyanna. The role of the orphaned “glad girl” who moves in with her aunt catapulted Mills to stardom in the United States and earned her a special Academy Award (the last person to receive the Juvenile Oscar). Because Mills could not be present to receive the trophy, Annette Funicello accepted it for her.

Disney subsequently cast Mills as twins Sharon and Susan who reunite their divorced parents in The Parent Trap. In the film, Mills sings “Let’s Get Together” as a duet with herself. The film was a hit around the world, reaching number 8 on a US TOP TEN list.

Mills received an offer to make a film in Britain for Bryan Forbes, Whistle Down the Wind(1961), about some children who believe an escaped convict is Jesus. It was a hit at the British box office and Mills was voted the biggest star in Britain for 1961.

Mills was offered the title role in Lolita by Stanley Kubrick but her father turned it down. “I wish I had done it,” she said in 1962. “It was a smashing film.”

Mills returned to Disney for an adventure film, In Search of the Castaways (1962) based on a novel by Jules Verne. It was another popular success and Mills would be voted the fifth biggest star in the country for the next two years.

In 1963 Disney announced plans to film I Capture the Castle, from the novel by Dodie Smith, with Hayley Mills in the role of Cassandra. However, Disney never produced the film.

Her fourth movie for Disney did less well though was still successful, Summer Magic (1963), a musical adaptation of the novel Mother Carey’s Chickens.

Ross Hunter hired her for a British-American production, The Chalk Garden (1964), playing a girl who torments governess Deborah Kerr. Back at Disney she was in a film about jewel thieves, The Moon-Spinners (1964), getting her first on screen kiss from Peter McEnery.

Mills had a change of pace with Sky West and Crooked (1965), set in the world of gypsies, written by her mother and directed by her father. It was not very popular. In contrast, her last film with Disney, the comedy That Darn Cat!, did very well at the box office.

During her six-year run at Disney, Mills was arguably the most popular child actress of the era. Critics noted that America’s favourite child star was, in fact, quite British and very ladylike. The success of “Let’s Get Together” (which hit No. 8 on the Billboard Hot 100 singles chart, No. 17 in Britain and No. 1 in Mexico) also led to the release of a record album on Disney’s Buena Vista label, Let’s Get Together with Hayley Mills, which also included her only other hit song, “Johnny Jingo” (Billboard No. 21, 1962). In 1962 British exhibitors voted her the most popular film actress in the country.

For Universal, Mills made another movie with her father, The Truth About Spring (1965), co-starring Disney regular James MacArthur as her love interest. It was mildly popular. However The Trouble with Angels (1966), was a huge hit; Mills played as a prankish Catholic boarding school girl with “scathingly brilliant” schemes, opposite screen veteran Rosalind Russell, and directed by another Hollywood veteran, Ida Lupino. She then provided a voice for The Daydreamer (1966).

Shortly thereafter, Mills appeared alongside her father and Hywel Bennett in director Roy Boulting’s critically acclaimed film The Family Way (1966), a comedy about a couple having difficulty consummating their marriage, featuring a score by Paul McCartney and arrangements by Beatles producer George Martin. She began a romantic relationship with Roy Boulting, and they eventually married in 1971.

She then starred as the protagonist of Pretty Polly (1967), opposite famous Indian film actor Shashi Kapoor in Singapore.

Mills made another movie for Boulting, the controversial horror thriller Twisted Nerve in 1968, along with her Family Way co-star Hywel Bennett. She made a comedy, Take a Girl Like You (1970) with Oliver Reed, and made her West End debut in The Wild Duck in 1970. She worked for Boulting again on Mr. Forbush and the Penguins (1971), replacing the original female lead.

In 1972 Mills again acted opposite Hywel Bennett in Endless Night along with Britt Ekland, Per Oscarsson and George Sanders. It is based on the novel Endless Night by Agatha Christie. She made two films for Sidney Hayers, What Changed Charley Farthing? (1974) and Deadly Strangers (1975). After The Kingfisher Caper in 1975, co-written by Boulting, Mills dropped out of the film industry for a few years.

In 1981 Mills returned to acting with a starring role in the UK television mini-series The Flame Trees of Thika, based on Elspeth Huxley‘s memoir of her childhood in East Africa. The series was well received, prompting Mills to accept more acting roles. She then returned to America and made two appearances on The Love Boat.

Always welcomed at Disney, Mills narrated an episode of The Wonderful World of Disney, sparking renewed interest in her Disney work. In 1985, Mills was originally considered to voice Princess Eilonwy in Disney’s 25th animated feature film The Black Cauldron but was later replaced by the veteran British voice actress Susan Sheridan. Later, Mills reprised her roles as twins Sharon and Susan for a trio of Parent Trap television films: The Parent Trap II, Parent Trap III, and Parent Trap: Hawaiian Honeymoon. Mills also starred as the title character in the Disney Channel-produced television series Good Morning, Miss Bliss in 1987. The show was cancelled after 13 episodes and the rights were acquired by NBC, which reformatted Good Morning, Miss Bliss into Saved by the Bell. In recognition of her work with The Walt Disney Company, Mills was awarded the Disney Legends award in 1998.

Mills recalled her childhood in the 2000 documentary film Sir John Mills’ Moving Memories which was directed by Marcus Dillistone and written by her brother Jonathan. In 2005 Mills appeared in the acclaimed short film, Stricken, written and directed by Jayce Bartok. In 2007 she began appearing as Caroline in the ITV1 African vet drama, Wild at Heart; her sister Juliet Mills was a guest star in series 4 of the drama.

In 2010 Mills appeared in Mandie and the Cherokee Treasure, based on one of the popular Mandie novels of Lois Gladys Leppard.

Mills made her stage debut in a 1966 West End revival of Peter Pan. In 2000 she made her Off-Broadway debut in Sir Noël Coward‘s Suite in Two Keys, opposite American actress Judith Ivey, for which she won a Theatre World Award. In 1991 she appeared as Anna Leonowensin the Australian production of The King and I. In December 2007, for their annual birthday celebration of “The Master”, The Noël Coward Society invited Mills as the guest celebrity to lay flowers in front of Coward’s statue at New York’s Gershwin Theatre, thereby commemorating the 108th birthday of Sir Noel.

In 1997, Mills starred in the U.S. national tour of Rodgers and Hammerstein’s The King and I.

In 2012 Mills starred as Ursula Widdington in the stage production of Ladies in Lavender at the Royal & Derngate Theatre, before embarking on a national UK tour.

In 2015, Mills toured Australia with sister Juliet Mills and Maxwell Caulfield in the comedy Legends! by James Kirkwood.

Mills starred in the 2018 Off-Broadway run of Isobel Mahon’s Party Face at City Center.

In 1966 while filming The Family Way, the 20-year-old Mills met 53-year-old director Roy Boulting. The two married in 1971, and owned a flat in London’s Chelsea. They later purchased Cobstone Windmill in Ibstone, Buckinghamshire. Their son, Crispian Mills, is the lead singer and guitarist for the raga rock band Kula Shaker. The couple divorced in 1977.

Mills later had a second son, Jason Lawson, during a relationship with British actor Leigh Lawson.

Mills’ partner since 1997 is actor and writer Firdous Bamji, who is 20 years her junior.

Mills had involvement with the International Society for Krishna Consciousness (the “Hare Krishna” movement). She wrote the preface to the book, The Hare Krishna Book of Vegetarian Cooking, published in 1984. However, in a 1997 article of People magazine, Mills stated that “she is ‘not a part of Hare Krishna’, though she delved into Hinduism and her own Christianity for guidance.”

In 1988 Mills co-edited, with Marcus Maclaine, the book My God, which consisted of brief letters from celebrities on their beliefs, or lack thereof, regarding God and the afterlife. Mills has been a pescetarian since the late 1990s.

On 18 April 2008, Mills was diagnosed with breast cancer. She had surgery and started, but quickly abandoned, chemotherapy after only three sessions due to the severity of side effects. Mills credits her survival to the alternative treatments she tried out. She told Good Housekeeping magazine in January 2012 that she had fully recovered.

Mills is a trustee of the children’s arts charity Anno’s Africa.

References to Mills sometimes appear in fiction and music. The 1985 song ‘Goodbye Lucille’ by the British band Prefab Sprout refers in passing to Mills.

Gordon Cameron Jackson, OBE (19 December 1923 – 15 January 1990) was a Scottish actor best remembered for his roles as the butler Angus Hudson in Upstairs, Downstairs and as George Cowley, the head of CI5, in The Professionals. He also portrayed Capt Jimmy Cairns in Tunes of Glory, and Flt. Lt. Andrew MacDonald, “Intelligence”, in The Great Escape.

Gordon Jackson was born in Glasgow in 1923, the youngest of five children. He attended Hillhead High School, and in his youth he took part in BBC radio shows including Children’s Hour. He left school aged 15 and became a draughtsman for Rolls-Royce.

His film career began in 1942, when producers from Ealing Studios were looking for a young Scot to act in The Foreman Went to France and he was suggested for the part. After this, he returned to his job at Rolls-Royce, but he was soon asked to do more films, and he decided to make acting his career.^[4] Jackson soon appeared in other films, including Millions Like Us, San Demetrio London, The Captive Heart, Eureka Stockade and Whisky Galore!. In the early years of his career, Jackson also worked in repertory theatre in Glasgow, Worthing and Perth.

In 1949, he starred in the film Floodtide, along with actress Rona Anderson. He and Anderson married two years later on 2 June 1951. They had two sons, Graham and Roddy. The same year, he made his London stage debut, appearing in the play Seagulls Over Sorrento by Hugh Hastings.

In the 1950s and 1960s he appeared on television in programmes such as The Adventures of Robin Hood, ABC of Britain, Gideon’s Way and The Avengers. In 1955 he had a small part in The Quatermass Xperiment, the film version of the BBC TV serial. He later had supporting roles in the films The Great Escape, The Bridal Path and The Ipcress File. In 1969, he and his wife had important roles in The Prime of Miss Jean Brodie. That year, he played Horatio in Tony Richardson’s production of Hamlet and he won a Clarence Derwent Award for Best Supporting Actor,^[2] having also taken part in the film version.

Gordon Jackson became a household name playing the stern Scottish butler Angus Hudson in sixty episodes of the period drama Upstairs, Downstairs from 1971 to 1975. In 1976, he won an Emmy Award for Outstanding Single Performance by a Supporting Actor for the episode “The Beastly Hun“. In 1974, he was named British Actor of the Year and in 1979 he was made an OBE. Jackson was cast opposite Bette Davis for the American television film Madame Sin (1972), which was released in overseas markets as a feature film.

His next big television role was in the hard-hitting police drama The Professionals from 1977.^[1] He played George Cowley in all 57 episodes of the programme, which ended in 1983, although filming finished in 1981. He played Noel Strachan in the Australian Second World War drama A Town Like Alice (1981), winning a Logie Award for his performance.

After A Town Like Alice and The Professionals, Gordon Jackson continued his television work with appearances in Hart to Hart, Campion and Shaka Zulu and the films The Shooting Party and The Whistle Blower. He also appeared in the theatre, appearing in Cards on the Table, adapted from the novel by Agatha Christie at the Vaudeville Theatre in 1981 and in Mass Appeal by Bill C. Davis at the Lyric Hammersmith in 1982. From 1985 to 1986, Jackson narrated two afternoon cookery shows in New Zealand for TVNZ called Fresh and Fancy Fare and its successor Country Fare. His last role before his death was in Effie’s Burning, and this was broadcast posthumously. He died at the age of 66 in 1990.

Joseph O’Conor obituary in “The Guardian” in 2001.

Joseph O’Conor was born in Dublin in 1916. He made his professional stage debut in London in 1939 in “Julius Caesar”. His best known work was in the 1966 BBC series “The Forsyte Saga” which was hughly popular. He was also featured in the musical “Oliver” as kindly Mr Brownlow. He died at the age of 90.

“Guardian” obituary:

The actor Joseph O’Conor, who has died aged 84, appeared in 1966 in BBC Television’s last great success of the black-and-white era, The Forsyte Saga, playing the stern patriarch Old Jolyon.

On the big screen his career ranged from Stranger at my Door (1950) to Luc Besson’s Messenger: The Story of Joan of Arc (1999) – taking in Mr Brownlow in the 1968 movie of Lionel Bart’s Oliver! The latter was a role for which, with his authoritative, kindly demeanour, he was perfect casting.

But O’Conor’s natural home was the stage. His 60th and last Shakespearean role was as Duncan to Sir Antony Sher’s Macbeth for the Royal Shakespeare Company. The production began at Stratford in 1999, then toured. O’Conor was flown home from Japan when his failing heart forced him to step down, but within weeks was back for the Young Vic run, his voice older but his presence still commanding. The production was screened on Channel 4 on New Year’s Day.

O’Conor was born in Seattle to Irish parents and, though almost all his life was spent in south-west London, he remained proudly Irish. He was educated at Cardinal Vaughan School in Kensington, and after the Royal Academy of Dramatic Art made his prewar debut in an Embassy Swiss Cottage production of Julius Caesar. At the end of the 1940s he joined the touring company of the last of the great actor-managers, Donald Wolfit, at the Bedford theatre in Camden Town. Wolfit valued his young protégé, giving him a string of Shakespearean parts. The pair alternated as Othello and Iago, and Wolfit vouchsafed his Gravedigger to O’Conor’s acclaimed Hamlet.

At the Bristol Old Vic in the late 1950s he played many leads – alongside Peter O’Toole among others – including the role of Henry Higgins in George Bernard Shaw’s Pygmalion. There was also a production of his own early play, The Iron Harp, set in his beloved Ireland. That play gave a first important role to Richard Harris, and O’Conor wrote five others.

West End aside, his career took in an American tour, appearances in the York mystery plays, at the Glasgow Citizens’, and at reps such as Windsor and Guildford. As an incurable company man from the 1970s, he enjoyed several seasons with both the National Theatre and the Royal Shakespeare Company. His years with the latter were especially happy, founded on great mutual respect and affection.

O’Conor enjoyed a fertile period acting for Jonathan Miller, most notably as the Duke in Measure for Measure in 1975. And the lure in the 70s and 80s of the actor George Murcell’s ill-starred Shakespeare company at the St George’s Theatre in Tufnell Park, London, proved irresistible.

There were many other film appearances, including Tom And Viv (1994) and Elizabeth (1998). A highlight was the festival favourite The Forbidden Quest (1993), directed by Peter Delpuit, which gave O’Conor a unique one-man vehicle as a polar survivor.

I was lucky enough to produce one of the very best of his many TV performances when he led the cast of Drew Griffiths’ and Noel Greig’s Only Connect (1979). As a devout Catholic, O’Conor had an intellectual objection to abortion, adultery and homosexuality, but in his life and work he was understanding and supportive. In Only Connect, he played a man who in extreme youth had had a sexual encounter with the writer and prophet Edward Carpenter. The play confronted a very thorny issue for gay men, that of ageism, and O’Conor embraced the theme with a generous heart.

The production coincided with his marriage to the actress Lizanne Rodger, who was young enough to be his daughter, and so O’Conor had a special connection to the material of the play, which informed his work on it.

In that play, as so often, he was cast older than he was. Kenneth More, who played his son in The Forsyte Saga, was actually two years older than O’Conor, to their shared amusement. Prematurely white-haired, but also unmistakably mature, wise and protective – and sometimes impish and whimsical – he was a natural Chebutykin in Chekhov’s Three Sisters.

He rewrote as novels some of his other plays, such as Inca (sadly eclipsed by Peter Shaffer’s The Royal Hunt Of The Sun) and The Lion Trap. Among his children’s stories, he got to read King Canoodlum and the Great Horned Cheese on television’s Jackanory. In his last months, he completed his memoirs.

He was married first to Naita Moore; they had a daughter Rachel and a son Joseph. With Lizanne Rodger, he had two more children, Charlotte and Kit.

Joseph O’Conor, actor and writer, born February 14 1916; died January 21 2001

His obituary in “The Guardian” can be accessed here.

Frances Tomelty. (Wikipedia).

Frances Tomelty was born in 1948) is an actress from Northern Ireland .

Her numerous television credits include Strangers (1978–1979), Testament of Youth (1979), Inspector Morse (1988), Cracker (1993), The Amazing Mrs Pritchard (2006), The White Queen (2013) and Unforgotten (2015).

Her theatre roles include playing Kate in the original production of Dancing at Lughnasa in Dublin (1990). She was married to the musician Sting from 1976 to 1984.

On 1 May 1976, Tomelty married musician Gordon “Sting” Sumner – best known as the lead singer and bassist for the rock band The Police – after knowing him for two years.

They met on the set of a rock-musical called Rock Nativity. She played the Virgin Mary; he played in the band. They have two children together, Joseph (born 23 November 1976) and Fuchsia Katherine (“Kate”) (born 17 April 1982.

Jean Kent obituary in “The Independemt” in 2013.

Jean Kent was one of the four Gainsborough Ladies made famous for a series of British period films made in the 1940’s. The other ladies were Margaret Lockwood, Phyllis Calvert and Patricia Roc. She was born in 1921 in London. Her first major role was as Calvert’s friend in “Fanny by Gaslight” in 1944. Other films of note are “2,000 Women” and “The Winslow Boy”. She died in 2013.

Her “Independent” obituary:

Jean Kent will be fondly remembered for the part she played in the success of the enormously popularity Gainsborough melodramas of the Forties.

She served a long apprenticeship, becoming a favourite of audiences for her supporting roles as scheming wenches in such films as 2,000 Women (1944), The Wicked Lady (1945) and Caravan (1946), until given her own starring vehicle, Good Time Girl, in 1948 and taking her place alongside such major names as Margaret Lockwood and Phyllis Calvert.

In 1949 she starred in a Technicolored musical, Trottie True, and had the challenging role of a woman seen from five totally different points of view in The Woman in Question. Underrated as an actress, she was splendid as the frustrated teacher’s wife, Millie Crocker-Harris, in the screen version of Terence Rattigan’s The Browning Version (1951), but afterwards worked more on the stage and television than in films.

An outgoing, frank and fearless lady, she was always good value, and buoyant company into her nineties. I last met her in 2003, when she launched The Encyclopaedia of British Film, and she declared herself ready to return to work “if only someone would ask.” Over lunch a few years earlier she stated that her chances of going to Hollywood were ruined by one of her colleagues, “a silly bitch who defied management by taking poor roles in the US, after which they would not let any of us go there.”

The daughter of music hall performers, she was born Joan Summerfield in Brixton, London, in 1921. Taught to dance by her parents, she made her theatrical debut at the Theatre Royal, Bath, in 1932, and spent over a year (1934-35) at London’s Windmill Theatre, first as a dancer then as a soubrette, lying about her age and taking the name Jean Carr, though for her screen debut in The Rocks of Valpre (1935) she was billed as Jean Summerfield. After more stage work in revues she was in Apple Sauce (1941) at the London Palladium with Max Miller and Vera Lynn when spotted by a talent scout and offered a contract by Gainsborough, returning to the screen (as Jean Kent) with small parts in the Tommy Handley vehicle, It’s That Man Again (1943), in which she was part of a vocal trio, and with Arthur Askey in Miss London Ltd (1943), for which Val Guest wrote a cameo for her as an encyclopaedia salesgirl.

Director Anthony Asquith then gave her a major break when he cast her as the flashy, ambitious girlfriend of Calvert in Fanny By Gaslight (1944), which was followed by notable roles the same year in Champagne Charlie, 2,000 Women, set in an internment camp, in which she had a memorable physical fight with Nazi spy Betty Jardine, and Madonna of the Seven Moons, as gypsy Stewart Granger’s jealous mistress. She played further “doxy” roles in Waterloo Road, The Rake’s Progress and The Wicked Lady (all 1945). “I always said,” she later commented, “that if they opened a script and saw, ‘a girl appears in camiknickers’, they used to send for me.”

She was the ill-fated gypsy wife of adventurer Stewart Granger in the florid Caravan (1946), and had one of her favourite roles as the spoilt sister of Googie Withers in The Loves of Joanna Godden (1947). In 1946 she married the Austrian Jusuf Hurst, an actor in Caravan, and they bought a farm. Kent was now one of Britain’s top 10 stars, and Good Time Girl (1948) confirmed her status, though it was held from release for nearly a year due to censorship problems (a framing sequence was shot to make the tale a more cautionary one).

It was followed by leading roles in the brisk spy story Sleeping Car to Trieste and the portmanteau film Bond Street (both 1948). Kent then starred in her personal favourite film, Trottie True (1949), one of the few movies to employ her singing and dancing talents, in the tale of a Gaiety Girl who marries into the aristocracy. Asquith’s The Woman in Question (1950), a Rashomon-like tale of a murder victim (Kent) seen in flashback through the eyes of five people who had disparate conceptions of her, was the opportunity for a tour de force. “Asquith told me, ‘I will be quite frank with you. We originally wanted Bette Davis.’ To do five different versions of one person is very tricky – to get enough difference and for each to be near enough to the others.:

After two weak comedies, Her Favourite Husband and The Reluctant Widow (both 1950), Kent gave one of her finest performances in Asquith’s version of the masterly Rattigan play, The Browning Version. She managed to invoke some sympathy for the vicious school-master’s wife, but her performance was to be her last as star of a major film. In later years, Kent blamed her portrayal of an older woman in the film for the lack of subsequent screen offers, but it is unlikely. The British cinema was changing, and both Lockwood and Calvert were turning to the stage and television, as did Kent, who returned to the theatre in Frou Frou (1951). Subsequent roles included the Queen in a revival of The Eagle Has Two Heads (1953), a 1954 tour of South Africa in The Deep Blue Sea and a featured role in the musical Marigold at the Savoy in 1959.

Film roles included The Prince and the Showgirl (1957) with Marilyn Monroe (“Off-screen she was a totally insignificant little blonde, but on camera she was magic”), and she had her last prominent screen role in Please Turn Over (1960) with Leslie Phillips. She returned to the screen in 1976 for a small role in Shout at the Devil with Roger Moore. On television she was a feisty Queen Elizabeth in the series Sir Francis Drake (1961-62) starring Terrence Morgan, and guest appearances included Lovejoy. In 1979 she headed the cast of a successful production of Agatha Christie’s A Murder is Announced, and she made her last stage appearance in Monsieur Amilcar at the Chichester Festival Theatre in 1995.

On her 90th birthday she attended a screening of Caravan at the National Film Theatre, receiving a standing ovation and signing hundreds of autographs. Her husband died in 1989; her death was the result of a fall at her home in the village of Westhorpe.

Joan Mildred Summerfield (Jean Kent), actress: born London 29 June 1921; married 1946 Jusuf Ramart (died 1989); died Bury St Edmunds 30 November 2013.

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

John Leyton. IMDB.

John Leyton was born in 1939 in Frinton-on-Sea, England. He starred as Ginger in the TV series “Biggles” in 1960. He had a career as a pop singer in the early sixties, his most famous song being “Johnny Rememver Me”. He was among the large cat of “The Great Escape” appearing with James Garner, Steve McQueen and David McCallum. He went to Hollywood to make “Von Ryan’s Express”. His website can be accessed here.

IMDB Entry:

John Leyton was born on Feb. 17th 1939 at Frinton-On Sea, Essex, England, to parents of show business background. His father owned several cinemas and his mother acted under the name of ‘Babs Walters’ on the London stage. When John showed a desire to act, his parents tried to discourage him, wanting him to enter the family rope business as they felt it was too difficult to get a start in acting.

After working for a while with his parents he was drafted into the Royal Army Service Corps to do his National Service. On completion, John decided to join the Actor’s Workshop to study drama. To supplement his income, John turned to his love of singing and managed to get some work in night clubs imitating singers like Frankie Laine and Johnnie Ray.

On finishing drama school, John joined York Repertory Theatre as a juvenile lead and was signed byRobert Stigwood (his manager during the 1960’s) for television work in London. John’s first important break was in the Granada TV series Biggles (1960) and this brought him a huge following of fans. It was not long before his biggest break came when he played the part of singer Johnny St. Cyr in the ATV series Harpers West One (1961) where he performed the song Johnny Remember Me.

The fans loved it and demanded a record, which put John into the British Hit parade with a number one disc that held the top spot for seven weeks. His acting was placed on hold as his pop singing career took over, the follow up single, Wild Wind, reached number two. Further releases did not have the same impact. Eventually John found his way back to acting and appeared in two major Hollywood movies The Great Escape (1963) and Von Ryan’s Express (1965). Further movies followed but it seemed his star had faded. He drifted back to television work and eventual obscurity.

– IMDb Mini Biography By: Peter Dean

Joyce Redman was born in Co. Mayo in 1918. She was trained in acting in Londan at RADA. She had great success on the stage in the West End in such plays as “Claudia” and “Shadow and Substance”. In 1949 she was on Broadway in the very popular play about Anne Boylen, “Anne of a 1,000 Days” with Rex Harrison. She was nominated twice for an Academy Award for “Tom Jones” and “Othello”. She is the aunt of Amanda Redman. She died in 2012. Her “Telegraph” obituary can be accessed here.

Joyce Redman obituary in “The Independent” in 2012.

Her “Independent” obituary:

Joyce Redman was a talented and versatile actress who was equally at ease on stage, in films or on the small screen, during a career that lasted more than 60 years. She will probably be best remembered for her role in Tom Jones (1963), Tony Richardson’s adaptation of the novel by Henry Fielding. Here she played the servant Mrs Waters, opposite Albert Finney in the title role. In a deliciously sensual three-minute scene of amour gourmand, the pair sit facing one another at a tavern table and devour their way through a foreplay of soup, lobster, chicken, oysters and fruit before scuttling off to bed.Finney later said about the scene, “Joyce and I had done theatre together. We just played it for fun. It was filmed early in the morning and it took hours. They kept bringing more food – trying us out on different dishes. They’d say things like, ‘Bring more oysters. She’s very good on oysters.’ We weren’t sure the audience would get it at all. It seems they did.” The film won Oscars for best Picture, Director, Screenplay and Score. Redman was nominated as Best Supporting Actress.

Joyce Redman was born in 1915 in Newcastle in Ireland to a Protestant Anglo-Irish family. One of four girls, she grew up on Bartra Island in Killala Bay, Co Mayo. Following private home education and training at Rada, she made her first professional appearance as First Tiger Lily in 1935 at London’s Playhouse in Alice Through theLooking Glass. Audiences would have been charmed by the young actress, with her diminutive size, pale skin and bright red hair.

Her film debut was in One of Our Aircraft Is Missing (1942), directed by Michael Powell and Emeric Pressburger, in which she played Jet van Dieren. Despite being made as a morale-boosting propaganda film, it was praised for its artistic values, the critic Edward Dolan describing it as among the “best of British films of the era”.

During the war she had a close escape when, on her way back from the theatre, a flying bomb exploded nearby. Her initial reaction to surviving the blast was a feeling of what she called “an almost supernatural confidence”. She did not experience the shock until several days later, when she collapsed, a combination of the incident and the stress of opening performances in Peer Gynt (as Solveig) and Arms and the Man (as Louka) within the same week.

Redman’s New York debut came in 1946 in Henry IV Part 2 as Doll Tearsheet, the prostitute who frequents the Boar’s Head Tavern. She followed this two years later with the role of Anne Boleyn opposite Rex Harrison’s Henry in Maxwell Anderson’s Anne of the Thousand Days. The New York Times critic Brooks Atkinson remarked admiringly that she “…scorches the pages of the drama, to the point where the play is not a good fire insurance risk.”

For the next decade she divided her time between Broadway and London. Then, when the National Theatre Company was formed by Laurence Olivier in 1963, Redman played at the Old Vic and toured with the company to Moscow and Berlin.

Following the tremendous success of Tom Jones, and emphasising her dedication to her family, she recalled, “After Tom Jones I was offered all kinds of things, and I could have named my price, but the children were still pretty young, and no way could I leave them.”

She received a second Oscar nomination for her role as Emilia, servant of Desdemona, in the film version of Othello (1965), starring Laurence Olivier and Maggie Smith. She was nominated for a Golden Globe for the same production. Also made for the cinema, Prudence and the Pill (1968) saw her in an entertaining farce about marriage and infidelity starring David Niven and Deborah Kerr. Redman’s character becomes pregnant after a deliberate switch of contraceptive pills for aspirin.

In 1979 Redman returned to the stage for Tolstoy’s The Fruits of Enlightenment, playing the wife of the landowner, opposite Ralph Richardson. Five years later she was in Clandestine Marriage, the first theatre production from Anthony Quayle’s innovative touring Compass Theatre Company. She continued with the same company, which produced a number of other plays, including Dandy Dick, Saint Joan and King Lear.

On television Redman played Becky Sharp in Vanity Fair and featured in several episodes of Ruth Rendell Mysteries and in Tales of the Unexpected. Her television movie roles included The Merry Wives of Windsor (1955), The Seven Dials Mystery (1981) and Prime Suspect: Scent of Darkness (1995).

Her last role was in 2001 for the TV movie Victoria & Albert, in which she played the elderly monarch and her son Crispin Redman played Mr Anson. Her niece, Amanda Redman, stars in the BBC crime series New Tricks.

“The Times” obituary:

One of the most dependable players on the London stage over more than 40 years, Joyce Redman was as warm-hearted as she was versatile. A small, 5ft tall, compact figure, with a direct gaze, a perpetually melting voice, and Irish inflections that she never lost, she could move untroubled from comedy to emotional drama, from Lear’s Cordelia to Dol in The Alchemist.

Although she began with the kind of parts to which she was physically suited as a girl — Lady Precious Stream, Alice in Wonderland — she soon developed in range and confidence. She is likely to be remembered most for her two largely classical seasons, one at the New Theatre during the Old Vic tenancy in the 1940s, another when the National Theatre company was at the Old Vic 20 years later.

Essentially a stage actress, she appeared in only a handful of films, though two of them brought her Oscar nominations. As the sexually ravenous Mrs Waters in Tony Richardson’s rollicking take on Tom Jones (1963) she appeared in the film’s most memorable scene, slobbering and slurping over a plateful of chicken’s legs and over-ripe fruit with Albert Finney. Her other nomination was for Desdemona’s servant Emilia in Othello (1965), a film of the National Theatre production with Laurence Olivier as the Moor.

She was born in 1915 at Newcastle upon Tyne, though her roots were in Co Mayo where she was brought up in a Protestant Anglo-Irish family. Her father was an engineer. Educated by private governesses, she moved to London to study at RADA and went at 17 to Nancy Price’s company, then at the Little Theatre in the Adelphi. Within 12 months she was appearing as Mrs Cricket in The Insect Play.

At the Piccadilly in 1940 she joined Robert Donat as the orphan Essie in The Devil’s Disciple and when Alec Clunes began his management of the Arts in 1942 she became, most cheerfully, Maria in Twelfth Night. That Christmas she was Wendy, one of the best of her generation, in Peter Pan at the Winter Garden.

She had her first general acclamation as the little maidservant Brigid in Paul Vincent Carroll’s Shadow and Substance (Duke of York’s, 1943) and from 1944 to 1947 she acted continuously with the Old Vic company under Olivier and Ralph Richardson at the New Theatre in some of the great productions of their time. In a first season she was Solveig in Peer Gynt, preserving the simplicity without edging into the sentimental; Louka in George Bernard Shaw’s Arms and the Man, Lady Anne to Olivier’s famous Richard III and Sonya in Uncle Vanya.

Later she played Doll — which a critic called “one of the O’Tearsheets” — in Henry IV, Part II and Cordelia to Olivier’s King Lear. An Irish Dol Common, bouncing upstairs and down, in The Alchemist, followed during 1946-47. In 1946 she had appeared as Dol in New York, and she went back there in 1947 in Duet for Two Hands.

For a time she moved between New York and London. Her Anne Boleyn in the 1949 Broadway production of Maxwell Anderson’s Anne of the Thousand Days “scorches the pages to the point where the play is not a good fire insurance risk”, according to the New York Times critic Brooks Atkinson. She was Anouilh’s Colombe for Peter Brook (New London, 1951), and at Stratford-upon-Avon (1955) had the ill luck to act in a remarkable season’s two leastregarded productions, though her Helena in All’s Well That Ends Well was well received.

Her next major engagement was with the National Theatre at the Old Vic from 1964. Here, as Emilia facing Olivier’s Othello, and Elizabeth in The Crucible (a critic wrote of “quiet magnificence”), she was in her fullest emotional power, varied by the comedy of Mrs Frail in Love For Love, and the tragi-comedy of Sean O’Casey’s Juno and the Paycock. Remarkably, this was only the second Irish play in which she had appeared; speaking with a compromise between the Dublin accent and her own softer tongue, she was memorable in the last challenge, “Take away this murdherin’ hate and give us Thine own eternal love.”

She later appeared in such West End plays as The Lionel Touch with Rex Harrison and Neil Simon’s Plaza Suite, and, at Chichester, Dear Antoine. In 1979, with an amusing verbal bite, she was the wife of the landowner (Ralph Richardson) in Tolstoy’s The Fruits of Enlightenment at the National Theatre.

She was back in the West End playing Mrs Heidelberg in The Clandestine Marriage (1984) but as the years progressed she had fewer London parts. In 1997, in her eighties, she played Judi Dench’s senile mother-in-law in Amy’s View by David Hare at the National. She did not appear at the final curtain call, preferring to catch the 10.30pm train home from Waterloo. The play transferred to the West End.

She first appeared on television in the 1930s. She played a “seductive” Lady Macbeth in a 1949 American production and in Britain she was Mistress Ford in The Merry Wives of Windsor and Becky Sharp, heroine of Vanity Fair. In 1976 she was the straight-laced Auntie Hamps in Clayhanger and there were later roles in Prime Suspect and The Ruth Rendell Mysteries. Her last screen part was the elderly Queen Victoria in the 2001 BBC drama, Victoria and Albert.

For some years she owned the island of Bartragh, a mile off the coast of Co Mayo, which had been in the family for several generations. But in 1984 she decided to sell it and she spent her later years in Kent.

She married Charles Wynne-Roberts, a former Army captain, in 1949. She is survived by three children, including the actor Crispin Redman. She was the aunt of the actress Amanda Redman.

Joyce Redman, actress, was born on December 9, 1915. She died on May 10, 2012, aged 96

Jessie Matthews. Wikipedia

Jessie Matthews was born in 1907 and was an English actress, dancer and singer of the 1920s and 1930s, whose career continued into the post-war period.

After a string of hit stage musicals and films in the mid-1930s, Matthews developed a following in the USA, where she was dubbed “The Dancing Divinity”. Her British studio was reluctant to let go of its biggest name, which resulted in offers for her to work in Hollywood being repeatedly rejected.

Matthews was born in a flat behind a butcher’s shop at 94 Berwick Street, Soho, London, in relative poverty, the seventh of sixteen children (of whom eleven survived) of a fruit-and-vegetable seller. She took dancing lessons as a child in a room above the local public house at 22 Berwick Street.

She went on stage on 29 December 1919, aged 12, in Bluebell in Fairyland, by Seymour Hicks, music by Walter Slaughter and lyrics by Charles Taylor, at the Metropolitan Music Hall, Edgware Road, London, as a child dancer

She made her film debut in 1923 in the silent film The Beloved Vagabond. She had a small part in Straws in the Wind (1924).

Matthews was in the chorus in Charlot’s Review of 1924 in London. She went with the show to New York, where she was also understudy to the star, Gertrude Lawrence. The show moved to Toronto, and when Lawrence fell ill she took over the role and was given great reviews.

Matthews was acclaimed in the United Kingdom as a dancer and as the first performer of numerous popular songs of the 1920s and 1930s, including “A Room with a View” by Noël Coward and “Let’s Do It, Let’s Fall in Love” by Cole Porter.

Matthews’ fame reached its initial height with her lead role in Charles B. Cochran‘s 1930 stage production of Ever Green, premiered at the Alhambra Theatre Glasgow. The musical by Rodgers and Hart was partly inspired by the life of music hall star Marie Lloyd and her daughter’s tribute act resurrection of her mother’s acclaimed Edwardian stage show as Marie Lloyd Junior. At its time Ever Green, which included the first major revolving stage in Britain,was the most expensive musical ever mounted on a British stage.

Matthews’ first major film role was in Out of the Blue (1931). She was in two films directed by Albert de Courville, The Midshipmaid (1932) and There Goes the Bride (1932).

Matthews enjoyed great success with The Good Companions (1933) directed by Victor Saville, although it was more of an ensemble film and The Man from Toronto (1933). Waltzes from Vienna (1933) was an operetta directed by Alfred Hitchcock, followed by Friday the Thirteenth (1933).

She was in the film version of Evergreen (1934) which featured the newly composed song Over My Shoulder which was to go on to become Matthews’ personal signature song, later giving its title to her autobiography and to a 21st-century musical stage show of her life.

She was in First a Girl (1935) as a cross dresser, then It’s Love Again (1936), where she had an American co-star Robert Young. Exhibitors voted her the sixth biggest star in the country that year.

Matthews started to appear in films directed by husband Sonnie Hale: Gangway (1937), Head over Heels (1937) and Sailing Along (1938). She did Climbing High (1938) directed by Carol Reed. In 1938 she was the fourth biggest British star.

Her warbling voice and round cheeks made her a familiar and much-loved personality to British theatre and film audiences at the beginning of World War II. She was one of many British-born stars in the Hollywood film Forever and a Day (1943) (in whose cast Matthews was virtually unique by virtue of not being an expat: while in New York City preparing for a Broadway role Matthews had been recruited to film a role intended for Greer Garson in Hollywood over three days). Her popularity waned in the 1940s after several years’ absence from the screen followed by an unsatisfactory thriller, Candles at Nine (1944).

Post-war audiences associated her with a world of hectic pre-war luxury that was now seen as obsolete in austerity-era Britain.^[ In the late 1940s she ran an amateur theatre group at the Theatre Royal in Aldershot.

After a few false starts as a straight actress she played Tom Thumb‘s mother in the 1958 children’s film, and during the 1960s found new fame when she took over the leading role of Mary Dale in the BBC‘s long-running daily radio soap, The Dales, formerly Mrs Dale’s Diary.

Live theatre and variety shows remained the mainstay of Matthews’ work through the 1950s and 1960s, with successful tours of Australia and South Africa interspersed with periods of less glamorous but welcome work in British provincial theatre and pantomimes.

Jessie Matthews was awarded an OBE in 1970 and continued to make cabaret and occasional film and television appearances through the decade including one-off guest roles in the popular BBC series Angels and an episode of the ITV mystery anthology Tales of the Unexpected. She memorably played Wallis Simpson’s “Aunt Bessie” Merriman in the 1978 Thames TV series Edward & Mrs. Simpson.

She took her one-woman stage show to Los Angeles in 1979 and won the United States Drama Logue Award for the year’s best performance in concert.

In 1926 she married the first of her three husbands, actor Henry Lytton, Jr., the son of singer and actress Louie Henri and Sir Henry Lytton the doyen of the Savoy Theatre. They divorced in 1929.

Her second and longest marriage (1931–1944) was to actor-director Sonnie Hale; the third to military officer, Lt. Brian Lewis, both marriages ending in divorce.

With Hale she had one adopted daughter, Catherine Hale-Monro, who married Count Donald Grixoni on 15 November 1958; they eventually divorced but she remained known as Catherine, Countess Grixoni.

Matthews suffered from periods of ill-health throughout her life and eventually died of cancer, aged 74. She is buried at St Martin’s Church, Ruislip.

Tom Bell is one of my favourite actors. He carved out a distinguished career in stage, screen and television. This lean, long-faced actor was born in 1933 in Liverpool. He was tipped for major stardon after his performance with Leslie Caron in “The L Shaped Room” in 1962. However after an awards cermony in London where he was perceived to be rowdy, he found his cinema career stalled. After a number of years he excelled himself on television in a number of groundbreaking series such as “Holocaust”, “Out” and “Prime Suspect”. Sadly this great actor died in 2006.

Tom Bell obituary by Michael Coveney:

Tom Bell, who has died aged 73 after a short illness, was a naturally gifted and unusually reserved leading actor who never fulfilled the star promise of his breakthrough success as the unpublished writer in Bryan Forbes’ 1962 movie, The L-Shaped Room. Whereas Albert Finney (Saturday Night and Sunday Morning, 1960), Alan Bates (A Kind of Loving, 1962) and Tom Courtenay (The Loneliness of the Long Distance Runner, 1962) all went on to careers in the new British cinema, and theatre, Bell drifted into television, where he became a fixture in the 1970s and 80s. But although his glory days were long gone, he never stopped working; he took a leading role in last night’s episode of Ancient Rome: The Rise and Fall of an Empire on BBC1.

Tom Bell enjoyed huge popularity in his signature role of armed robber Frank Ross in the late 1970s TV series Out, written by Trevor Preston and produced by Euston Films. As a single-minded avenger, lately released from prison, he cut a terrific swathe through the villains and bent policemen who put him away. Tough, good-looking, uncompromising, he was one of the great characters of British television in this period, and he cemented his relationship with the viewing public as the sneering Detective Sergeant Bill Otley in Prime Suspect, for which he was nominated for a Bafta, and as the unbending father of Clive Owen in Chancer (1990).

Tom Bell was famous for not mincing his words, and there are many who felt he scuppered his film career by heckling the Duke of Edinburgh at an awards dinner shortly after his first success. “Make us laugh, tell us a joke,” he cried, to the dismay of industry bigwigs such as John Mills and Richard Attenborough. Very much his own man, he even managed to get out of national service a fortnight after being called up. And he often compelled writers to cut long speeches with which he was loath to bore the audience.

With this week’s West End revival of Martin Sherman’s Bent, it is poignant to recall Bell’s performance in the original 1979 production at the Royal Court theatre, one of his rare, later stage appearances, in which he played Horst, the grimly saturnine companion to Ian McKellen’s Max in Dachau; the illicit sexual liaison between the two prisoners in the stone-breaking compound brought a whole new meaning to the phrase “getting one’s rocks off”. Bell’s quiet, mesmeric brand of acting was the perfect foil to McKellen’s more demonstrative emotional quivering.

The director Peter Gill, who joined the Swansea Rep when Bell, then in his mid-20s, was the leading man, said he represented a 1960s type before they existed. “In the theatre, Terry Stamp was the first, but Tom Bell had a Paul Newman quality that was rare – and still is – on the British stage. He had allure, and it was no wonder that he soon became the darling of the television producers of Armchair Theatre and so on. He was a troubled, smooth-skinned Liverpool boy, a more wholesome sort of John Lennon without the glasses.”

Bell was born into a large family, the son of a merchant seaman he hardly knew. As a child evacuee during the war, he lived with three different families in the Morecambe area. Tom Bell attended Euston Road secondary modern school in Morecambe, worked on the pier as a photographer during the holidays and later trained as an actor in Bradford with the legendary Esme Church, whose pupils then included Robert Stephens and Billie Whitelaw. After that, he went into weekly rep, with a fit-up, or temporary, company in Ireland and Britain, before becoming part of the “kitchen sink” movement in the 1960s, firstly as Paul in the film of Arnold Wesker’s The Kitchen.

One unlikely brush with Hollywood put him off the bright lights for good – “a total madhouse,” he told this newspaper in 1987, in a staccato style that was patently tongue-in-cheek: “Kept trying to get me laid, brought these girls with big tits up to my room. No way, couldn’t relate to it at all.” In that same year he played Uncle Philip in a film of Angela Carter’s The Magic Toyshop, exuding a livid streak of self-righteousness that improved even on Carter’s character.

In 1978 he had come to worldwide attention as Adolf Eichmann in the Emmy award-winning series The Holocaust, but many viewers will also treasure performances such as Walter Morel in Trevor Griffiths’ television adaptation of DH Lawrence’s Sons and Lovers (1981), or Jack “the Hat” McVitie in Peter Medak’s film The Krays (1990). It is the sort of career that needs a season at the National Film Theatre to do it justice, for Tom Bell never gave a performance that was not instilled with truth and a rare sort of inner beauty.

Although he did, in fact, play the Finney role in Saturday Night and Sunday Morning in the theatre, he never envied his friend’s move to the National: “I wouldn’t want to work there,” he said in 1978, “Albie climbs mountains there. I’d rather think in terms of films. I photograph quite well.” Indeed he did.

Tom Bell is survived by his son, Aran, from an early marriage, and by his partner of 30 years, the costume designer Frances Tempest, with whom he had a step-daughter, Nellie, and a daughter, Polly.

· Tom Bell, actor, born August 2 1933; died October 4 2006.

To also view “The Guardian” Obituary on Tom Bell, please click here.

Article on Tom Bell in “Tina Aumont’s Eyes” website:

Serious and thoughtful looking, Tom Bell was one of the UK’s finest actors to emerge in the early Sixties. Dark-haired and wiry with a rebellious streak and an unpredictability, he sadly never achieved the fame he could have once had.

Born in Liverpool on August 2nd 1933, Bell began in repertory before making his movie debut in Joseph Losey’s realistic prison drama ‘The Criminal’ (’60), starring Stanley Baker and Sam Wanamaker. A showy role soon followed in the exciting heist flick ‘Payroll’ (’61), as a loose-cannon crook, and he was then a brutal seaman in the Alec Guinness-Dirk Bogarde adventure ‘HMS Defiant’ (’62). A strong role came in Bryan Forbes’ excellent boarding house drama ‘The L-Shaped Room’ (’62). In it Bell played a young writer who briefly romances Leslie Caron’s lonely pregnant French girl. A big hit it garnered various awards including a Bafta, and an Academy Award nomination for Caron’s touching performance.

After playing an alcoholic in the Ray Charles drama ‘Ballad in Blue’ (’64), Tom had the lead role of a cat-burglar, in Charles Crichton’s interesting drama ‘He Who Rides a Tiger’ (’65) with Judi Dench. Later, Bell was very good as disillusioned IRA member Sean Rogan, who’s recruited by Ed Begley’s mastermind to blow up a British electronics factory, in Don Sharp’s ‘The Violent Enemy’ (’68). A rare comedy role followed when he played a sex-starved sailor in the bawdy farce ‘Lock Up Your Daughters!’ (’69). My favourite Tom Bell performance came in Gerry O’Hara’s excellent drama ‘All the Right Noises’ (’69), as a married electrician who falls for Olivia Hussey’s 15 year old actress. He gave a sensitive performance in what could have so easily been a sleazy picture, but was actually a nicely acted and engaging drama. Another interesting project was ‘Quest for Love’ (’71), a romantic Sci-fi sleeper which saw Tom as a physicist stuck in a parallel universe and falling in love with Joan Collins, who appeared in dual roles.

After playing a boutique owner in Hammer’s uneven shocker ‘Straight On till Morning’ (’72), Bell had a supporting role as one of Oliver Reed’s henchmen, in Richard Lester’s star-laden romp ‘Royal Flash’ (’75). This was followed by a strong turn in Jack Gold’s melodrama ‘The Sailor’s Return’ (’78), as a sailor returning home to the West Country, only to find himself ostracized by his community for marrying an African girl. It was a good performance in an interesting yet little-seen production. That same year Bell gained some worldwide exposure when he played Nazi chief Adolf Eichmann in the acclaimed mini-series ‘Holocaust’, alongside such stars as Meryl Streep, Michael Moriarty and James Woods. Another barely seen production was ‘Summer Lightning’ (’84), a mood piece which provided a rare screen outing for acclaimed actor Paul Scofield, but very few saw it.

A big hit came in 1987 with David Leland’s period comedy-drama ‘Wish You Were Here’, playing a dirty old man who sleeps with his friend’s bored young daughter (Emily Lloyd). A Falkland’s drama followed when Tom played the father of David Thewlis’s returning soldier in Paul Greengrass’s ‘Resurrected’ (’89). A real-life gangster part came next when Bell was cast as Jack “The Hat” McVitie, in Peter Medak’s violent biopic ‘The Krays’ (’90), which starred Gary and Martin Kemp as the notorious twins Ronald and Reggie Kray, with a standout turn from Billie Whitelaw as their beloved mum Violet.

Much seen on television, Bell had a good role opposite Helen Mirren in ‘Prime Suspect’ (’91), as Detective Sergeant Otley, and the part earned Tom a Bafta nomination in the third series. For cinema, Bell would play another Detective Sergeant that year, in the powerful and moving true-life drama ‘Let Him Have It’ (’91). The next few years saw fewer appearances although Tom did crop up in a handful of interesting productions, notably ‘Feast of July’ (’95) with Embeth Davidtz, a cameo in the Daniel Day-Lewis starrer ‘The Boxer’ (’97), and ‘Dead Man’s Cards’ (2006), a violent underworld flick with Paul Barber.

After a diverse 50 year career, Tom Bell died in Brighton, England on October 4th 2006, aged 73. A bit of a hell raiser in his time, he gave some powerful performances in a host of offbeat productions and, although I always see Tom as this unsmiling and serious character, I like the fact that he never took the easy route and was never afraid to be controversial.

Favourite Movie: ‘Let Him Have It’
Favourite Performance: ‘All the Right Noises’

The above article can aso be accessed online here.