The Mummy (1959) Cast and Crew
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- Director
- Editor
- Editorial Department
Terence Fisher was born in Maida Vale, England, in 1904. Raised by his grandmother in a strict Christian Scientist environment, Fisher left school while still in his teens to join the Merchant Marine. By his own account he soon discovered that a life at sea was not for him, so he left the service and tried his hand at a succession of jobs ashore. It was during this time that he discovered the cinema, entering the film industry as "the oldest clapper boy in the business." One day, almost as a lark, he applied to J. Arthur Rank Studios to become a film editor. To his astonishment, he was accepted. In 1947, at the age of 43, he made his directorial debut with a supernatural comedy called Colonel Bogey (1948)--a foreshadowing of things to come.
For the next few years he switched between "A"-film assignments (Noël Coward's _The Astonished Heart (1948)_, So Long at the Fair (1950) with Jean Simmons and Dirk Bogarde and Lost Daughter (1949) with Herbert Lom) and a succession of "B" films, which enabled him to support his wife and daughter. Typical of these programmers are Three Stops to Murder (1953) and Spaceways (1953), efficient but uninspired films that show little in the way of personality.
His break came in 1956 when, at the age of 52, he was asked to helm Hammer Studios' remake of Frankenstein (1931). The result, The Curse of Frankenstein (1957), broke box-office records and enraged critics worldwide who were unaccustomed to its plethora of hearty bloodletting. The Eastmancolor shocker set a new standard for horror films and helped to make Fisher, Hammer and stars Peter Cushing and Christopher Lee into bankable commodities. With its emphasis on realistic character interplay over melodramatic conventions, the film established Fisher's personal approach to horror, which stood in direct defiance to the old Universal films--in fact, Fisher flatly refused to watch James Whale's 1931 version for fear that it might influence his vision.
More remakes followed. Fisher actively sought to remake Dracula (1931), and the results proved to be both aesthetically and commercially superior to "Curse of Frankenstein". Horror of Dracula (1958) proved to be universally popular and is commonly held as Fisher's--and Hammer's--finest work. It may or may not be, but it does remain the freshest and most vibrant big-screen reworking of the story; even Francis Ford Coppola in his remake failed to recapture its vigor and sense of urgency.
Fisher's subsequent films tended to place less emphasis on shock effects and more on complex emotional interplay. For example, the titular characters of The Curse of the Werewolf (1961) and The Phantom of the Opera (1962) are more sympathetic than the so-called "normal" characters, while Fisher's fascinating Freudian take on the Dr. Jekyll story--The Two Faces of Dr. Jekyll (1960)--offers a homely old Dr. Jekyll who transforms into a virile man about town named Edward Hyde. Similarly, The Gorgon (1964) disappointed schlock fans by offering a haunting story of doomed love in place of the conventional Hammer-style shocker. Following the commercial failure of "Phantom"--Hammer's most expensive film to that point--Fisher was booted out for a brief period. During this time lesser talents like Freddie Francis were entrusted with the franchises that Fisher had helped to establish. Invariably the results were inferior. Despite his hatred for sci-fi, which stood in contrast to his confessed love for horror, Fisher made good work of The Devil Rides Out (1968) precursor The Earth Dies Screaming (1964) (with Dennis Price), while Night of the Big Heat (1967) (again with Lee and Cushing) benefited from his ability to suggest pent-up passion and paranoia.
Back at Hammer after this brief hiatus, Fisher resurrected Christopher Lee's count in the under-rated, poetic Dracula: Prince of Darkness (1966) before detailing the further adventures of Baron Frankenstein in Frankenstein Created Woman (1967), Frankenstein Must Be Destroyed (1969) and his last film, Frankenstein and the Monster from Hell (1974). All three films offer subtle variations on the character of the Baron, played by the impeccable Cushing, thus emphasizing Fisher's unique ability to lend complex, credible characterization to seemingly formula-bound material. "Frankenstein Must Be Destroyed", an unusually bitter film which mirrors the nihilism of the late 1960s, remains Fisher's finest, most multi-layered work, despite its lack of popularity. At the center of Fisher's work is a fascinating moral dilemma: the seductive appeal of evil vs. the overzealous, frequently close-minded representatives of good. The consistency of theme in Fisher's work, coupled with a distinctive style achieved through precise framing and a dynamic editing style, refutes the idea that he was merely a hack for hire, while lending his films a recognizable signature.
Best films: "So Long at the Fair", Lost Daughter (1949), "Dracula", The Revenge of Frankenstein (1958), The Mummy (1959), The Stranglers of Bombay (1959), "Two Faces of Dr. Jekyll", The Brides of Dracula (1960), "Curse of the Werewolf", The Phantom of the Opera (1962), "The Gorgon", "The Earth Dies Screaming", "Dracula--Prince of Darkness" and "Frankenstein Must Be Destroyed".
Terence Fisher died in 1980 at the age of 76.- Producer
- Director
- Writer
Michael Carreras was born on 21 December 1927 in Wandsworth, London, England, UK. He was a producer and director, known for Horror of Dracula (1958), The Lost Continent (1968) and What a Crazy World (1963). He died on 19 April 1994 in Chelsea, London, England, UK.- Producer
- Production Manager
- Second Unit Director or Assistant Director
He was one of four film making sons of comedian Nelson 'Bunch' Keys. Born in London, he was educated at Brighton College. He entered the entertainment world as a recording manager with a record company in the late 1920's In the early 1930's he switched from records to films working at the British and Dominions and British International Studios at Elstree. During this time he gained experience in almost every technical branch of the business and for a time even acted in films. Later he moved to Pinewood Studios but by then war had started. After it was over he returned to films with 'Dancing With Crime- the only time the four brothers - John Paddy Carstairs, Basil Keys,Roderick Keys and Anthony ever worked together on the same production. The film starred Richard Attenborough and a then unknown Dirk Bogarde. Anthony then joined producer Sydney Box at Riverside Studios as production manager on such films as ''The Brothers' and 'Christopher Columbus then for 8 years he was associate producer with producer Daniel Angel on classic films such as 'Reach For the Sky'. 'Albert R.N.'and 'The Sea Shall Not Have Them'. He then joined Romulus Films for 'Pandora and the Flying Dutchman'.He started a long association with psychological thrillers, swashbuckling, and cloak and dagger films at Bray Studios where he combined production with general managership of the studios then as producer in his own right he turned to cut and thrust action films such a ' The Pirates of Blood River', 'The Secret of Blood Island', 'The Devil Ship Pirates, The Devil Rides Out' and 'Frankenstein Must Be Destroyed'- Writer
- Additional Crew
- Second Unit Director or Assistant Director
One of the driving, creative forces behind the legendary Hammer Studios, Jimmy Sangster was born on December 2, 1927, in Kinmel Bay, North Wales. He began in the film industry as a production assistant at age 16 during WWII. After this gig, he worked as a gofer and assistant projectionist for Norman's Film Services at London's Wardour Street. Subsequently, he became a film magazine loader and clapper boy at a small studio located on Abbey Road.
At this point, he was drafted by the R.A.F. and was posted to India. After his tour of duty came to an end, he was able to get himself a job as a 3rd assistant director for a low-budget film, that happened to be shooting near his parents' cottage. That film's producer was offered a job with Exclusive Studios, which was to become Hammer Studios. He brought Sangster along with him as an assistant producer.
Hammer Studios producer Anthony Hinds offered Sangster the assistant director job, which he performed for a while before Hinds and 'Michael Carreras' urged him to give screen-writing a go. His script for the science-fiction film X the Unknown (1956) proved to be the turning point in his career. His next project was The Curse of Frankenstein (1957), which he wanted to make his own instead of patterning it after the 1930's Universal picture; he was more interested in the role of the creator than that of the creature. Horror of Dracula (1958) (aka The Horror of Dracula)followed, which proved to be an even bigger hit for the studio. He then turned out subsequent scripts such as The Revenge of Frankenstein (1958) and The Mummy (1959) and would even write scripts for competing studios such as Blood of the Vampire (1958) and The Crawling Eye (1958) (aka The Trollenberg Terror).
By now, Sangster had tired of writing Gothic horrors and entered into a phase of his career where he concentrated on psychological thrillers which would be filmed in black & white. These included Scream of Fear (1961) and Paranoiac (1963).
Another short-lived phase of his career came when he was approached to re-write a script titled The Horror of Frankenstein (1970). Feeling that it was too much of a carbon copy of his own The Curse of Frankenstein (1957) and wanting to put a fresh spin on it, he injected his re-write with much sex and humor. His proviso for the re-write was that he get to direct for once, which Hammer allowed him to do. After "Horror of Frankenstein", he directed Lust for a Vampire (1971), filling in for frequent Hammer director Terence Fisher, after the latter had broken his leg. His final directorial effort was "Fear in the Night"; unfortunately, these three films would prove to be disappointments commercially and critically.
Around this time, Sangster moved to Hollywood where his screen-writing credits would include Whoever Slew Auntie Roo? (1972), The Legacy (1978) and Phobia (1980), as well as episodes of such television series as Banacek (1972), Cannon (1971) and Kolchak: The Night Stalker (1974) and some detective novels.
Sangster retired some time back, maintaining homes in both California and England. In 1997, his autobiography "Do You Want It Good or Tuesday?" was published. Sadly, the legendary writer passed away on August 19, 2011.
His many years in the business are indicative of the talent of a prolific and much-respected screenwriter, whose films continue to be enjoyed to this day.- Composer
- Music Department
- Soundtrack
Franz Reizenstein was born on 7 June 1911 in Nuremberg, Bavaria, Germany. He was a composer, known for The Mummy (1959), The White Trap (1959) and Circus of Horrors (1960). He died on 15 October 1968 in London, England, UK.- Cinematographer
- Camera and Electrical Department
- Producer
Jack Asher was born on 29 March 1916 in London, England, UK. He was a cinematographer and producer, known for Horror of Dracula (1958), The Crimson Blade (1963) and The Curse of Frankenstein (1957). He died in April 1991 in London, England, UK.- Sound Department
- Editor
- Editorial Department
Alfred Cox was born in 1925 in London, England, UK. He was an editor, known for Death Wish (1974), Jason and the Argonauts (1963) and The Pirates of Blood River (1962). He died in 2005 in Somerset, England, UK.- Editorial Department
- Editor
- Sound Department
James Needs was born on 17 October 1919 in Holborn, London, England, UK. He was an editor, known for Horror of Dracula (1958), The Curse of Frankenstein (1957) and Quatermass and the Pit (1967). He was married to Mona Reilly and Wynifred Rose Makin. He died in 2003 in Ynys Mon, Anglesey, Wales, UK.- Actor
- Writer
- Art Department
Peter Wilton Cushing was born on May 26, 1913 in Kenley, Surrey, England, to Nellie Maria (King) and George Edward Cushing, a quantity surveyor. He and his older brother David were raised first in Dulwich Village, a south London suburb, and then later back in Surrey. At an early age, Cushing was attracted to acting, inspired by his favorite aunt, who was a stage actress. While at school, Cushing pursued his acting interest in acting and also drawing, a talent he put to good use later in his first job as a government surveyor's assistant in Surrey. At this time, he also dabbled in local amateur theater until moving to London to attend the Guildhall School of Music and Drama on scholarship. He then performed in repertory theater in Worthing, deciding in 1939 to head for Hollywood, where he made his film debut in The Man in the Iron Mask (1939). Other Hollywood films included A Chump at Oxford (1940) with Stan Laurel and Oliver Hardy, Vigil in the Night (1940) and They Dare Not Love (1941). However, after a short stay, he returned to England by way of New York (making brief appearances on Broadway) and Canada. Back in his homeland, he contributed to the war effort during World War II by joining the Entertainment National Services Association.
After the war, he performed in the West End and had his big break appearing with Laurence Olivier in Hamlet (1948), in which Cushing's future partner-in-horror Christopher Lee had a bit part. Both actors also appeared in Moulin Rouge (1952) but did not meet until their later horror films. During the 1950s, Cushing became a familiar face on British television, appearing in numerous teleplays, such as 1984 (1954) and Beau Brummell (1954), until the end of the decade when he began his legendary association with Hammer Film Productions in its remakes of the 1930s Universal horror classics. His first Hammer roles included Dr. Frankenstein in The Curse of Frankenstein (1957), Dr. Van Helsing in Horror of Dracula (1958), and Sherlock Holmes in The Hound of the Baskervilles (1959).
Cushing continued playing the roles of Drs. Frankenstein and Van Helsing, as well as taking on other horror characters, in Hammer films over the next 20 years. He also appeared in films for the other major horror producer of the time, Amicus Productions, including Dr. Terror's House of Horrors (1965) and its later horror anthologies, a couple of Dr. Who films (1965, 1966), I, Monster (1971), and others. By the mid-1970s, these companies had stopped production, but Cushing, firmly established as a horror star, continued in the genre for some time thereafter.
Perhaps his best-known appearance outside of horror films was as Grand Moff Tarkin in George Lucas' phenomenally successful science fiction film Star Wars: Episode IV - A New Hope (1977). Biggles: Adventures in Time (1986) was Cushing's last film before his retirement, during which he made a few television appearances, wrote two autobiographies and pursued his hobbies of bird watching and painting. In 1989, he was made an Officer of the Order of the British Empire in recognition of his contributions to the acting profession in Britain and worldwide. Peter Cushing died at age 81 of prostate cancer on August 11, 1994.- Actor
- Additional Crew
- Producer
Sir Christopher Frank Carandini Lee was perhaps the only actor of his generation to have starred in so many films and cult saga. Although most notable for personifying bloodsucking vampire, Dracula, on screen, he portrayed other varied characters on screen, most of which were villains, whether it be Francisco Scaramanga in the James Bond film, The Man with the Golden Gun (1974), or Count Dooku in Star Wars: Episode II - Attack of the Clones (2002), or as the title monster in the Hammer Horror film, The Mummy (1959).
Lee was born in 1922 in London, England, where he and his older sister Xandra were raised by their parents, Contessa Estelle Marie (Carandini di Sarzano) and Geoffrey Trollope Lee, a professional soldier, until their divorce in 1926. Later, while Lee was still a child, his mother married (and later divorced) Harcourt George St.-Croix (nicknamed Ingle), who was a banker. Lee's maternal great-grandfather was an Italian political refugee, while Lee's great-grandmother was English opera singer Marie (Burgess) Carandini.
After attending Wellington College from age 14 to 17, Lee worked as an office clerk in a couple of London shipping companies until 1941 when he enlisted in the Royal Air Force during World War II. Following his release from military service, Lee joined the Rank Organisation in 1947, training as an actor in their "Charm School" and playing a number of bit parts in such films as Corridor of Mirrors (1948). He made a brief appearance in Laurence Olivier's Hamlet (1948), in which his future partner-in-horror Peter Cushing also appeared. Both actors also appeared later in Moulin Rouge (1952) but did not meet until their horror films together.
Lee had numerous parts in film and television throughout the 1950s. He struggled initially in his new career because he was discriminated as being taller than the leading male actors of his time and being too foreign-looking. However, playing the monster in the Hammer film The Curse of Frankenstein (1957) proved to be a blessing in disguise, since the was successful, leading to him being signed on for future roles in Hammer Film Productions.
Lee's association with Hammer Film Productions brought him into contact with Peter Cushing, and they became good friends. Lee and Cushing often than not played contrasting roles in Hammer films, where Cushing was the protagonist and Lee the villain, whether it be Van Helsing and Dracula respectively in Horror of Dracula (1958), or John Banning and Kharis the Mummy respectively in The Mummy (1959).
Lee continued his role as "Dracula" in a number of Hammer sequels throughout the 1960s and into the early 1970s. During this time, he co-starred in The Hound of the Baskervilles (1959), and made numerous appearances as Fu Manchu, most notably in the first of the series The Face of Fu Manchu (1965), and also appeared in a number of films in Europe. With his own production company, Charlemagne Productions, Ltd., Lee made Nothing But the Night (1973) and To the Devil a Daughter (1976).
By the mid-1970s, Lee was tiring of his horror image and tried to widen his appeal by participating in several mainstream films, such as The Private Life of Sherlock Holmes (1970), The Three Musketeers (1973), The Four Musketeers: Milady's Revenge (1974), and the James Bond film The Man with the Golden Gun (1974).
The success of these films prompted him in the late 1970s to move to Hollywood, where he remained a busy actor but made mostly unremarkable film and television appearances, and eventually moved back to England. The beginning of the new millennium relaunched his career to some degree, during which he has played Count Dooku in Star Wars: Episode II - Attack of the Clones (2002) and as Saruman the White in the Lord of the Rings trilogy. Lee played Count Dooku again in Star Wars: Episode III - Revenge of the Sith (2005), and portrayed the father of Willy Wonka, played by Johnny Depp, in the Tim Burton film, Charlie and the Chocolate Factory (2005).
On 16 June 2001, he was created a Commander of the Order of the British Empire in recognition of his services to drama. He was created a Knight Bachelor on 13 June 2009 in the Queen's Birthday Honours List for his services to drama and charity. In addition he was made a Commander of the Order of St John on 16 January 1997.
Lee died at the Chelsea and Westminster Hospital on 7 June 2015 at 8:30 am after being admitted for respiratory problems and heart failure, shortly after celebrating his 93rd birthday there. His wife delayed the public announcement until 11 June, in order to break the news to their family.- Actress
- Soundtrack
Eclectic is the qualificative that best defines the career of Yvonne Furneaux. Born in Roubaix (a big industrial town in the North of France) in 1926, the little girl was immediately placed under the sign of bilingualism, her father being English and her mother French. As a result, once this alluring brunette had become an actress, she could as easily play in an English or a French film, which did not prevent her from being a regular in Italy and in West Germany, with a foray into Spain. Likewise, she could appear in any film genre, from psychological dramas (Affair in Monte Carlo (1952), her film debut) to adventure yarns (The Master of Ballantrae (1953)), from war films (Il carro armato dell'8 settembre (1960)) to films noirs (Enough Rope (1963), The Champagne Murders (1967)), from sword & sandal movies (Slave Queen of Babylon (1963), The Lion of Thebes (1964)) to horror movies (The Mummy (1959)), from comedies (Versuchung im Sommerwind (1972) to chillers (Repulsion (1965)). The same is true for the quality of her films, ranging from bombs (Frankenstein's Great Aunt Tillie (1984), mediocre run-of-the mill products (The Death Ray of Dr. Mabuse (1964)), average works (Slave Queen of Babylon (1963)), quite good (Lisbon (1956)), good (The Beggar's Opera (1953)), very good (In the Name of the Italian People (1971)), excellent (Polanski's Repulsion (1965), as demented Catherine Deneuve's normal sister), to an unclassifiable masterpiece (Fellini's immortal La Dolce Vita (1960), in which she is Mastroianni ex-wife). Such heterogeneity more or less put Yvonne Furneaux at a disadvantage, despite an undeniable acting talent and her having been chosen by great directors (Peter Brook, Michelangelo Antonioni, Federico Fellini, Claude Autant-Lara, Roman Polanski, Claude Chabrol and Dino Risi. Another reason why she is not remembered as she should be, is the fact she gave up appearing on the screens little time after marrying cinematographer Jacques Natteau in the late sixties. One should not however dismiss or forget what I would call her cold beauty, which particularly worked wonders when she played haughty women of power such as Princess Ananka (in the classic of the genre,Terence Fisher's The Mummy (1959)), Semiramide or Cleopatra. Without a doubt, Yvonne Furneaux needs better than oblivion.- British character actor Felix Aylmer was educated at Oxford and later studied drama, making his stage debut at the London Coliseum in 1911. During World War I he served in the Royal Naval Volunteer Reserve and resumed his stage career after the war ended. He entered films in 1930 and stayed in them for the next 40 years, specializing in elderly, doddering characters (often clerics). Arguably his most memorable film appearance is that of the Archbishop of Canterbury in Laurence Olivier's Henry V (1944). He is also well-known for his portrayal of Father Anselm in the television series Oh Brother! (1968).
- Actor
- Soundtrack
Birmingham-born Raymond Huntley was one of those instantly recognisable, mannered types that popped up in classic British films of the 1940's and 50's. Tall and austere, he had a somewhat mean, sour-faced look, accentuated whenever staring with icy disdain from behind horn-rimmed spectacles. This, and his trademark dry delivery, made Huntley such perfect casting for an extensive array of ever-so-superior, humourless civil servants, mean-spirited bank managers, dullish clubroom snobs, smug business types, dour undertakers or sinister cold war spooks. Earlier in his career, Huntley essayed rather more overtly menacing characters, effectively typecast during the war years as Nazi officers ('Pimpernel' Smith (1941)) or German spies (Inspector Hornleigh Goes to It (1941)). It is hard to pick out two outstanding performances above all others, but he was arguably at his best as the local bank manager Wix in Passport to Pimlico (1949), emphatic in his greed to reap whatever benefits from the Burgundian declaration of independence; as the irascible boffin Laxton-Jones in Secret Flight (1946); and as Henry Chester, made resentful by his illness, in the Sanatorium segment of Trio (1950). Towards the end of his career, Huntley achieved his greatest popularity when he was cast as the grumpy family solicitor, Sir Geoffrey Dillon, in TV's Upstairs, Downstairs (1971).
Educated at King Edward's School, Raymond Huntley made his theatrical debut with the Birmingham Repertory Company in 1922. By the age of twenty-one, he played a septuagenarian farm labourer and was consequently hired as a comedian by a North Country revue for a starting salary of ten pounds a week. Huntley was reputedly the first actor to play Dracula on stage (in Hamilton Deane's hit 1927 London adaptation of the original novel), though it is fair to point out that an earlier reading of the play took place on May 18th, 1897, at the Lyceum Theatre, arranged by none other than the author Bram Stoker himself. In any event, Huntley's superb handling of the character established the direction his future career would take.- Actor
- Additional Crew
George Pastell was a Cypriot character actor in British films and television programs. His real name was Nino Pastellides.
He made his film debut in Give Us This Day (1949), under his real name of Nino Pastellides, and went on to carve out a career as villains in film and television. Although Greek, he was often cast by Hammer Film Productions as Eastern characters such as Mehemet Bey in The Mummy (1959), the High Priest of Kali in The Stranglers of Bombay (1959), and Hashmi Bey in The Curse of the Mummy's Tomb (1964).
His exotic looks often saw him cast in spy movies of the sixties such as From Russia with Love (1963), The 2nd Best Secret Agent in the Whole Wide World (1965), A Man Could Get Killed (1966), That Riviera Touch (1966), and Deadlier Than the Male (1967).
As well as these film roles he could also be seen as the villain in numerous television series of the sixties including Danger Man (1960), The Avengers (1961), Doctor Who (1963), The Champions (1968), The Saint (1962), and Department S (1969).
Pastellides was most prolific, however, in his voice-over work, replacing hundreds of other actors' voices (some of them very famous) in films as disparate as El Cid (1961) as "Fañez", You Only Live Twice (1967) as "Tiger Tanaka, and Doctor Zhivago (1965) as "The Girl's (the character played by Rita Tushingham) boyfriend", earning him the sobriquet "the 'Paul Frees (I)' of Britain."- Actor
- Soundtrack
The British character actor Michael Ripper was born in 1913 in Portsmouth, Hampshire, England. His father was a speech therapist and encouraged him to participate in diction and public speaking competitions. From this, the young Michael gained an interest in acting and got his first taste of the stage through his father's amateur dramatics company. At age 16, Ripper won a scholarship to drama school and began to appear in theater professionally. His stage career continued until 1952, when an operation for a thyroid condition left him unable to project his voice sufficiently for the stage, after which he concentrated on his film career. Ripper started his film career in numerous quota quickies, debuting in Twice Branded (1936). At one point in his early career, he also worked as an assistant director for a production company at Walton Studios. In the late 1940s, Ripper began a long association with Hammer Film Productions, which resulted in his face becoming well known not only in Britain, but also worldwide. During this 25-year association, which began with a role in There Is No Escape (1948) and ended with That's Your Funeral (1972), Ripper made a total of 35 appearances in Hammer films, playing an assortment of innkeepers, coachmen, gravediggers, poachers, and, occasionally, authority figures, usually with a comic twist. Although he made few films after his stint with Hammer, he continued his career with memorable television appearances, such as the chauffeur in Butterflies (1978) and Drones Porter in Jeeves and Wooster (1990), until his retirement in the early 1990s.- George Woodbridge was born on 16 February 1907 in Exeter, Devon, England, UK. He was an actor, known for Horror of Dracula (1958), Murder in the Cathedral (1951) and The Son of Robin Hood (1958). He was married to Ellen Frances Wooley. He died on 31 March 1973 in Barnet, London, England, UK.
- Actor
- Soundtrack
Harold Goodwin (22 October 1917 - 3 June 2004) was an English actor born in Wombwell, Barnsley, South Yorkshire, England.
Goodwin trained at RADA and was a stage actor at Liverpool repertory theatre for 3 years. He appeared in numerous British films of the 1950s and 1960s, usually playing 'flat cap' wearing working class characters from Northern England or low ranks in the military.
He had significant parts in the war films The Dam Busters (playing Guy Gibson's batman, 'Crosby'), The Bridge on the River Kwai (1957) and The Longest Day. He can also be seen in films such as The Ladykillers, Sea of Sand, Angels One Five and The Cruel Sea (in which he was the ASDIC operator).
He also made hundreds of British TV appearances in programmes such as Minder (as Dunning, episode Get Daley!, 1984) and a notable role in All Creatures Great and Small. Goodwin was a 'staple' of the popular 1980s sitcom, That's My Boy. His last major television appearance was playing the part of Joss Shackleton, father to Vera Duckworth, in the ITV soap opera Coronation Street (1960) in the early 1990s.
He also appeared in an episode of One Foot in the Grave (1990) as a window cleaner.- Denis Shaw was born on 7 April 1921 in Dulwich, England, UK. He was an actor, known for The Viking Queen (1967), The Avengers (1961) and BBC Sunday-Night Theatre (1950). He died on 28 February 1971 in London, England, UK.
- Actor
- Writer
Gerald Lawson was born on 30 April 1897 in Bradford, West Yorkshire, England, UK. He was an actor and writer, known for The Mummy (1959), Doctor Blood's Coffin (1961) and St. Ives (1955). He died on 6 December 1973 in Bingley, Bradford, West Yorkshire, England, UK.- Actor
- Additional Crew
- Writer
Willoughby Gray was born on 5 November 1916 in London, England, UK. He was an actor and writer, known for The Princess Bride (1987), A View to a Kill (1985) and Madame Bovary (1964). He was married to Felicity Gray. He died on 13 February 1993 in Salisbury, Wiltshire, England, UK.- John Stuart was born on 18 July 1898 in Edinburgh, Scotland, UK. He was an actor, known for Superman (1978), Number 17 (1932) and Hindle Wakes (1931). He was married to Barbara Markham, Muriel Angelus and Jeanne Lagrene. He died on 17 October 1979 in London, England, UK.
- David Browning was born on 10 August 1922 in Acton, London, England, UK. He is an actor, known for The Mummy (1959), Sweet Beat (1959) and Urge to Kill (1960).
- Frank Sieman was born on 7 August 1908 in West Ham, London, England, UK. He was an actor, known for The Knack... and How to Get It (1965), Over to William (1956) and The Avengers (1961). He was married to Bunny Seaman. He died on 9 March 1992 in Twickenham, Middlesex, England, UK.
- Sound Department
- Frank Singuineau was a Trinidadian actor of stage and screen who worked in Britain, where he moved from Trinidad and Tobago in the 1940s.
Employed by the Shell Company, he took an active interest in Amateur Dramatics. Just after the Second World War he gave up his job with Shell, traveled to London and became an actor, acting with the Unity Theatre and the Bristol Old Vic. His London stage debut was in 1948 in Richard Wright's Native Son, and Singuineau's acting career spanned the subsequent decades until his last roles in Lillian Hellman's Watch on the Rhine at the Royal National Theatre and Mustapha Matura's Playboy of the West Indies at the Tricycle Theatre in 1984.
Singuineau also appeared in such films as The Pumpkin Eater (1964), Seance on a Wet Afternoon (1964), Pressure (1976) and An American Werewolf in London (1981), and in several television series including Z Cars (1962), Crane (1963), and Doomwatch (1970).
Singuineau retired in the late 1980s. He died on 11 September 1992 in London, England at the age of 79.