British Actor Movies Can Be Ranked 6 Ways In This Table
The really cool thing about this table is that it is “user-sortable”. Rank the movies anyway you want.
- Sort British Actor movies by his co-stars
- Sort British Actor movies by adjusted domestic box office grosses using current movie ticket cost (in millions)
- Sort British Actor movies by adjusted worldwide box office grosses using current movie ticket cost (in millions)
- Sort British Actor movies by how they were received by critics and audiences. 60% rating or higher should indicate a good movie.
- Sort by how many Oscar® nominations and how many Oscar® wins each British Actor movie received.
- Sort British Actor movies by Ultimate Movie Rankings (UMR) Score. UMR puts box office, reviews and awards into a mathematical equation and gives each movie a score.
R | Movie (Year) | UMR Co-Star Links | Adj. B.O. Worldwide (mil) | Review | Oscar Nom / Win | UMR Score | ||||
---|---|---|---|---|---|---|---|---|---|---|
R | Movie (Year) | UMR Co-Star Links | Actual B.O. Domestic (mil) | Adj. B.O. Domestic (mil) | Adj. B.O. Worldwide (mil) | B.O. Rank by Year | Review | Oscar Nom / Win | UMR Score | S |
1 | Lawrence of Arabia (1962) AA Best Picture Win |
Jack Hawkins | 41.50 | 595.9 | 595.90 | 1 | 94 | 10 / 07 | 100.0 | |
2 | Ben-Hur (1959) AA Best Picture Win |
Jack Hawkins | 58.80 | 1,056.7 | 2,725.00 | 1 | 91 | 12 / 11 | 100.0 | |
3 | The Bridge on the River Kwai (1957) AA Best Picture Win |
Jack Hawkins | 30.40 | 586.2 | 586.20 | 1 | 88 | 08 / 07 | 99.9 | |
4 | Gandhi (1982) AA Best Picture Win |
John Gielgud | 52.80 | 193.5 | 468.50 | 11 | 85 | 11 / 08 | 99.9 | |
4 | Gladiator (2000) AA Best Picture Win |
Oliver Reed | 187.70 | 375.4 | 915.30 | 4 | 80 | 12 / 05 | 99.9 | |
5 | My Fair Lady (1964) AA Best Picture Win |
Rex Harrison | 56.60 | 649.2 | 649.20 | 3 | 79 | 12 / 08 | 99.8 | |
7 | Hamlet (1948) AA Best Picture Win |
Peter Cushing | 8.90 | 241.1 | 241.10 | 15 | 81 | 07 / 04 | 99.8 | |
9 | Chariots of Fire (1981) AA Best Picture Win |
John Gielgud | 59.00 | 228.7 | 228.70 | 7 | 82 | 07 / 04 | 99.8 | |
11 | Oliver! (1968) AA Best Picture Win |
Oliver Reed | 48.00 | 395.0 | 395.00 | 5 | 71 | 11 / 05 | 99.8 | |
10 | The Lord of the Rings: The Fellowship of the Ring (2001) AA Best Picture Nom |
Christopher Lee | 308.40 | 588.3 | 1,649.10 | 2 | 92 | 13 / 04 | 99.7 | |
12 | Around the World in 80 Days (1956) AA Best Picture Win |
Trevor Howard | 35.50 | 695.5 | 695.50 | 2 | 70 | 08 / 05 | 99.7 | |
12 | The Lord of the Rings: The Two Towers (2002) AA Best Picture Nom |
Christopher Lee | 334.00 | 620.8 | 1,705.30 | 2 | 92 | 06 / 02 | 99.7 | |
12 | Spartacus (1960) | Peter Ustinov | 31.70 | 495.5 | 495.50 | 2 | 91 | 06 / 04 | 99.6 | |
14 | The Guns of Navarone (1961) AA Best Picture Nom |
Stanley Baker | 37.10 | 541.1 | 1,040.50 | 3 | 84 | 07 / 01 | 99.3 | |
15 | Goodbye, Mr. Chips (1939) AA Best Picture Nom |
Robert Donat | 6.90 | 264.4 | 500.80 | 12 | 79 | 07 / 01 | 99.0 | |
16 | The African Queen (1951) | Robert Morley | 11.80 | 254.4 | 254.40 | 8 | 87 | 04 / 01 | 99.0 | |
18 | Quo Vadis (1951) AA Best Picture Nom |
Peter Ustinov | 26.10 | 563.2 | 1,172.70 | 1 | 75 | 08 / 00 | 98.6 | |
18 | The Third Man (1949) | Trevor Howard | 7.20 | 181.1 | 181.10 | 25 | 90 | 03 / 01 | 98.6 | |
20 | Great Expectations (1946) AA Best Picture Nom |
John Mills | 5.40 | 166.5 | 166.50 | 62 | 84 | 05 / 02 | 98.5 | |
20 | Superman (1978) | Trevor Howard | 134.30 | 618.7 | 1,383.40 | 3 | 83 | 03 / 00 | 98.4 | |
19 | Arthur (1981) | John Gielgud | 107.70 | 417.6 | 417.60 | 3 | 78 | 04 / 02 | 98.2 | |
20 | Murder on the Orient Express (1974) | John Gielgud | 58.00 | 334.1 | 334.10 | 6 | 78 | 06 / 01 | 98.1 | |
24 | In Which We Serve (1942) AA Best Picture Nom |
John Mills | 5.10 | 191.2 | 191.20 | 39 | 78 | 02 / 00 | 98.0 | |
24 | Mutiny on the Bounty (1962) AA Best Picture Nom |
Trevor Howard | 28.00 | 402.5 | 402.50 | 4 | 70 | 07 / 00 | 97.8 | |
25 | Von Ryan's Express (1965) | Trevor Howard | 20.80 | 219.9 | 219.90 | 9 | 81 | 01 / 00 | 97.7 | |
27 | Father Goose (1964) | Trevor Howard | 17.10 | 196.6 | 196.60 | 8 | 77 | 03 / 01 | 97.3 | |
27 | Swiss Family Robinson (1960) | John Mills | 37.10 | 580.3 | 580.30 | 1 | 78 | 00 / 00 | 97.1 | |
28 | The Three Musketeers (1973) | Oliver Reed | 34.60 | 211.0 | 211.00 | 10 | 78 | 00 / 00 | 97.0 | |
27 | The Inn of the Sixth Happiness (1958) | Robert Donat | 12.60 | 225.9 | 225.90 | 10 | 77 | 01 / 00 | 96.9 | |
30 | Anna and the King of Siam (1946) | Rex Harrison | 9.50 | 291.4 | 291.40 | 22 | 71 | 05 / 02 | 96.9 | |
31 | Hugo (2011) AA Best Picture Nom |
Christopher Lee | 73.90 | 100.4 | 252.50 | 49 | 89 | 11 / 05 | 96.8 | |
32 | The Sundowners (1960) AA Best Picture Nom |
Peter Ustinov | 10.90 | 169.6 | 169.60 | 18 | 75 | 05 / 00 | 96.6 | |
33 | The Longest Day (1962) AA Best Picture Nom |
Richard Todd | 31.30 | 449.7 | 449.70 | 3 | 60 | 05 / 02 | 95.8 | |
34 | A Man Called Peter (1955) | Richard Todd | 12.90 | 266.5 | 266.50 | 18 | 72 | 01 / 00 | 95.8 | |
35 | Exodus (1960) | Ralph Richardson | 23.80 | 371.9 | 371.90 | 4 | 67 | 03 / 01 | 95.4 | |
34 | Cleopatra (1963) AA Best Picture Nom |
Rex Harrison | 57.80 | 724.2 | 1,261.40 | 1 | 52 | 09 / 04 | 95.3 | |
36 | A Bridge Too Far (1977) | Dirk Bogarde | 56.80 | 274.4 | 274.40 | 9 | 70 | 00 / 00 | 95.1 | |
39 | We're No Angels (1955) | Peter Ustinov | 8.60 | 177.7 | 177.70 | 35 | 76 | 00 / 00 | 95.0 | |
37 | The World of Suzie Wong (1960) | Michael Wilding | 21.40 | 334.8 | 334.80 | 7 | 68 | 00 / 00 | 94.7 | |
40 | Ryan's Daughter (1970) | John Mills & Trevor Howard |
44.40 | 308.6 | 308.60 | 7 | 62 | 04 / 02 | 94.5 | |
40 | Tommy (1975) | Oliver Reed | 47.80 | 251.6 | 251.60 | 9 | 65 | 02 / 00 | 94.3 | |
43 | Star Wars: Episode II - Attack of the Clones (2002) | Christopher Lee | 308.20 | 572.8 | 1,202.90 | 3 | 65 | 01 / 00 | 94.2 | |
44 | The Egyptian (1954) | Michael Wilding | 12.90 | 301.3 | 301.30 | 17 | 65 | 01 / 00 | 93.9 | |
45 | The Foxes of Harrow (1947) | Rex Harrison | 8.60 | 252.0 | 252.00 | 22 | 63 | 01 / 00 | 93.6 | |
45 | Shine (1996) AA Best Picture Nom |
John Gielgud | 35.90 | 87.5 | 87.50 | 41 | 83 | 07 / 01 | 92.6 | |
46 | The Private Life of Henry VIII. (1933) AA Best Picture Nom |
Robert Donat | 2.40 | 113.8 | 113.80 | 23 | 79 | 02 / 01 | 92.5 | |
48 | The Four Musketeers: Milady's Revenge (1974) | Oliver Reed | 26.60 | 153.1 | 153.10 | 24 | 74 | 01 / 00 | 92.3 | |
48 | Caesar and Cleopatra (1945) | Ronald Shiner | 6.20 | 198.2 | 198.20 | 50 | 59 | 01 / 00 | 92.2 | |
50 | Midnight Lace (1960) | Rex Harrison | 10.00 | 156.2 | 156.20 | 22 | 71 | 01 / 00 | 91.8 | |
48 | The Agony and the Ecstasy (1965) | Rex Harrison | 10.80 | 114.3 | 114.30 | 19 | 79 | 05 / 00 | 91.2 | |
53 | Land of the Pharaohs (1955) | Jack Hawkins | 7.70 | 159.9 | 159.90 | 37 | 68 | 00 / 00 | 90.9 | |
51 | Darling (1965) AA Best Picture Nom |
Dirk Bogarde | 9.90 | 104.5 | 104.50 | 25 | 71 | 05 / 03 | 90.5 | |
54 | Logan's Run (1976) | Peter Ustinov | 28.80 | 145.7 | 145.70 | 22 | 68 | 02 / 00 | 89.7 | |
54 | Brief Encounter (1945) | Trevor Howard | 2.70 | 86.9 | 86.90 | 109 | 83 | 03 / 00 | 89.0 | |
55 | Sink the Bismarck! (1960) | Kenneth More | 8.50 | 132.8 | 132.80 | 37 | 70 | 00 / 00 | 88.6 | |
58 | The Man with the Golden Gun (1974) | Christopher Lee | 28.50 | 164.2 | 497.90 | 18 | 60 | 00 / 00 | 88.6 | |
57 | Unfaithfully Yours (1948) | Rex Harrison | 3.40 | 92.3 | 92.30 | 99 | 82 | 00 / 00 | 88.2 | |
56 | The Ghost and Mrs. Muir (1947) | Rex Harrison | 2.80 | 82.7 | 82.70 | 118 | 84 | 01 / 00 | 88.1 | |
59 | The Black Rose (1950) | Jack Hawkins | 7.60 | 170.0 | 170.00 | 16 | 54 | 01 / 00 | 87.3 | |
60 | Topkapi (1964) | Peter Ustinov | 7.00 | 80.3 | 80.30 | 43 | 80 | 01 / 01 | 86.8 | |
60 | Women in Love (1969) | Oliver Reed | 8.40 | 63.4 | 63.40 | 34 | 81 | 04 / 01 | 86.3 | |
63 | The Yellow Rolls-Royce (1964) | Rex Harrison | 13.30 | 153.0 | 163.90 | 14 | 56 | 00 / 00 | 85.8 | |
64 | The Hasty Heart (1949) | Richard Todd | 3.70 | 92.3 | 92.30 | 96 | 74 | 01 / 00 | 85.6 | |
65 | The Ghost Goes West (1935) | Robert Donat | 2.40 | 105.9 | 105.90 | 54 | 71 | 00 / 00 | 85.6 | |
65 | The Roots of Heaven (1958) | Trevor Howard | 8.60 | 154.0 | 154.00 | 25 | 55 | 00 / 00 | 85.3 | |
66 | The Chalk Garden (1964) | John Mills | 9.10 | 104.9 | 104.90 | 28 | 69 | 01 / 00 | 85.2 | |
65 | Horror of Dracula (1958) | Peter Cushing & Christopher Lee |
2.90 | 51.3 | 51.30 | 79 | 87 | 00 / 00 | 85.0 | |
68 | Blackbeard's Ghost (1968) | Peter Ustinov | 12.90 | 105.8 | 105.80 | 29 | 68 | 00 / 00 | 84.2 | |
69 | Zulu (1964) | Stanley Baker & Jack Hawkins |
4.00 | 46.2 | 46.20 | 71 | 86 | 00 / 00 | 84.2 | |
69 | The Deep Blue Sea (1955) | Kenneth More | 2.90 | 59.2 | 59.20 | 102 | 81 | 00 / 00 | 83.4 | |
72 | The Count of Monte Cristo (1934) | Robert Donat | 1.60 | 75.3 | 75.30 | 71 | 76 | 00 / 00 | 83.4 | |
72 | The Curse of Frankenstein (1957) | Peter Cushing & Christopher Lee |
4.00 | 77.7 | 130.70 | 60 | 75 | 00 / 00 | 83.4 | |
73 | Windwalker (1980) | Trevor Howard | 18.60 | 77.3 | 77.30 | 39 | 74 | 00 / 00 | 83.0 | |
75 | Scrooge (1970) | Kenneth More | 9.10 | 63.2 | 63.20 | 37 | 75 | 04 / 00 | 82.7 | |
77 | The Reluctant Debutante (1958) | Rex Harrison | 4.40 | 79.8 | 153.00 | 53 | 73 | 00 / 00 | 82.7 | |
78 | The Key (1958) | Trevor Howard | 6.30 | 112.9 | 112.90 | 39 | 62 | 00 / 00 | 82.3 | |
76 | Billy Budd (1962) | Peter Ustinov | 2.60 | 37.0 | 37.00 | 90 | 84 | 01 / 00 | 81.8 | |
80 | Operation Crossbow (1965) | Trevor Howard & Richard Todd |
10.00 | 105.7 | 105.70 | 24 | 63 | 00 / 00 | 81.7 | |
80 | Lord Jim (1965) | Jack Hawkins | 10.50 | 111.4 | 111.40 | 21 | 61 | 00 / 00 | 81.6 | |
80 | Hobson's Choice (1954) | John Mills | 1.70 | 40.2 | 40.20 | 132 | 83 | 00 / 00 | 81.5 | |
80 | Death on the Nile (1978) | Peter Ustinov | 14.60 | 67.1 | 67.10 | 49 | 72 | 01 / 01 | 81.0 | |
84 | Top Secret! (1984) | Peter Cushing | 20.50 | 65.6 | 65.60 | 51 | 73 | 00 / 00 | 80.5 | |
85 | Stage Fright (1950) | Alastair Sim | 2.90 | 64.9 | 122.40 | 108 | 73 | 00 / 00 | 80.1 | |
82 | Theater of Blood (1973) | Jack Hawkins | 3.00 | 18.5 | 18.50 | 89 | 86 | 00 / 00 | 79.2 | |
85 | This Happy Breed (1944) | John Mills | 1.20 | 40.8 | 40.80 | 139 | 79 | 00 / 00 | 79.2 | |
88 | The Glass Slipper (1955) | Michael Wilding | 3.90 | 80.7 | 174.80 | 86 | 67 | 00 / 00 | 79.2 | |
89 | The Master of Ballantrae (1953) | Anthony Steel | 4.80 | 85.8 | 186.40 | 71 | 65 | 00 / 00 | 78.9 | |
88 | Alexander the Great (1956) | Peter Cushing | 7.10 | 140.0 | 140.00 | 34 | 47 | 00 / 00 | 78.4 | |
90 | The Sheriff of Fractured Jaw (1958) | Kenneth More & Robert Morley |
5.50 | 98.8 | 127.60 | 47 | 58 | 00 / 00 | 77.3 | |
88 | Lion of the Desert (1980) | John Gielgud | 3.50 | 14.5 | 14.50 | 117 | 85 | 00 / 00 | 77.1 | |
91 | Doctor Dolittle (1967) | Rex Harrison | 8.80 | 78.0 | 78.00 | 34 | 54 | 09 / 02 | 76.7 | |
90 | Lorenzo's Oil (1992) | Peter Ustinov | 7.30 | 18.9 | 18.90 | 107 | 81 | 02 / 00 | 76.5 | |
93 | Bean (1997) | John Mills | 45.30 | 106.4 | 590.00 | 45 | 54 | 00 / 00 | 76.0 | |
94 | Sodom and Gomorrah (1962) | Stanley Baker | 7.10 | 102.7 | 102.70 | 38 | 55 | 00 / 00 | 75.8 | |
97 | Vigil in The Night (1940) | Peter Cushing | 1.90 | 73.3 | 110.40 | 105 | 64 | 00 / 00 | 75.4 | |
94 | Morituri (1965) | Trevor Howard | 5.70 | 60.0 | 60.00 | 50 | 67 | 02 / 00 | 75.3 | |
97 | A Night to Remember (1958) | Kenneth More | 1.40 | 25.7 | 25.70 | 121 | 79 | 00 / 00 | 74.9 | |
98 | D-Day The Sixth of June (1956) | Richard Todd | 5.60 | 109.2 | 144.20 | 53 | 52 | 00 / 00 | 74.4 | |
99 | The Private Life of Sherlock Holmes (1970) | Christopher Lee | 4.50 | 31.6 | 31.60 | 59 | 76 | 00 / 00 | 73.8 | |
100 | A Yank in London (1945) | Rex Harrison | 2.80 | 88.1 | 88.10 | 100 | 58 | 00 / 00 | 73.7 | |
99 | The Sword and the Rose (1953) | Richard Todd | 3.00 | 54.4 | 54.40 | 130 | 68 | 00 / 00 | 73.6 | |
102 | The Ruling Class (1972) | Alastair Sim | 2.70 | 17.3 | 17.30 | 101 | 79 | 01 / 00 | 73.1 | |
102 | The Damned (1969) | Dirk Bogarde | 3.40 | 26.0 | 26.00 | 62 | 75 | 01 / 00 | 71.9 | |
103 | Cromwell (1970) | Robert Morley | 4.80 | 33.7 | 33.70 | 53 | 70 | 02 / 01 | 71.6 | |
106 | The Mudlark (1950) | Anthony Steel | 2.90 | 64.2 | 64.20 | 109 | 62 | 01 / 00 | 71.2 | |
107 | Battle of Britain (1969) | Trevor Howard | 5.70 | 43.4 | 43.40 | 44 | 69 | 00 / 00 | 71.0 | |
105 | A Christmas Carol (1951) | Alastair Sim | 0.90 | 20.0 | 20.00 | 211 | 77 | 00 / 00 | 70.9 | |
108 | The Night They Raided Minsky's (1968) | Norman Wisdom | 8.60 | 70.5 | 70.50 | 46 | 60 | 00 / 00 | 69.8 | |
110 | Beat the Devil (1953) | Robert Morley | 3.00 | 54.5 | 54.50 | 120 | 65 | 00 / 00 | 69.6 | |
111 | Under Capricorn (1949) | Michael Wilding | 3.40 | 84.3 | 185.80 | 107 | 55 | 00 / 00 | 69.3 | |
113 | An Ideal Husband (1947) | Michael Wilding | 2.50 | 72.0 | 72.00 | 128 | 59 | 00 / 00 | 69.1 | |
114 | The Virgin Queen (1955) | Richard Todd | 2.70 | 56.3 | 56.30 | 119 | 63 | 01 / 00 | 69.1 | |
113 | School for Scoundrels (1960) | Alastair Sim | 1.30 | 20.4 | 20.40 | 117 | 75 | 00 / 00 | 68.8 | |
115 | Beau Brummell (1954) | Peter Ustinov & Robert Morley |
3.00 | 70.2 | 180.80 | 103 | 59 | 00 / 00 | 68.3 | |
114 | The Wicker Man (1973) | Christopher Lee | 2.70 | 16.6 | 16.60 | 99 | 76 | 00 / 00 | 68.3 | |
116 | Bitter Victory (1957) | Christopher Lee | 1.80 | 34.4 | 34.40 | 125 | 70 | 00 / 00 | 67.9 | |
119 | The Truth About Spring (1965) | John Mills | 4.10 | 42.8 | 42.80 | 68 | 67 | 00 / 00 | 67.4 | |
118 | Caligula (1979) | John Gielgud | 25.70 | 110.2 | 110.20 | 39 | 45 | 00 / 00 | 67.2 | |
118 | Evil Under the Sun (1982) | Peter Ustinov | 6.10 | 22.4 | 22.40 | 82 | 73 | 00 / 00 | 67.2 | |
119 | Oh! What a Lovely War (1969) | Kenneth More | 2.90 | 21.7 | 21.70 | 75 | 73 | 00 / 00 | 67.1 | |
121 | Who Is Killing The Great Chefs of Europe? (1978) | Robert Morley | 11.10 | 51.2 | 51.20 | 54 | 64 | 00 / 00 | 67.1 | |
122 | Julius Caesar (1950) | John Gielgud | 0.10 | 1.9 | 1.90 | 216 | 79 | 00 / 00 | 67.0 | |
122 | Blithe Spirit (1945) | Rex Harrison | 0.50 | 15.4 | 15.40 | 163 | 73 | 01 / 01 | 66.7 | |
126 | First Knight (1995) | John Gielgud | 37.60 | 93.2 | 316.20 | 46 | 50 | 00 / 00 | 66.6 | |
125 | I Could Go On Singing (1963) | Dirk Bogarde | 2.10 | 25.9 | 25.90 | 89 | 71 | 00 / 00 | 66.2 | |
125 | The Dam Busters (1955) | Richard Todd | 0.90 | 17.8 | 21.40 | 180 | 73 | 01 / 00 | 66.1 | |
127 | The Passionate Friends (1949) | Trevor Howard | 0.80 | 20.9 | 20.90 | 188 | 72 | 00 / 00 | 65.5 | |
128 | The Great Manhunt (1950) | Jack Hawkins | 1.20 | 27.3 | 27.30 | 176 | 70 | 00 / 00 | 65.5 | |
129 | Zarak (1956) | Michael Wilding | 4.00 | 78.4 | 78.40 | 83 | 53 | 00 / 00 | 64.5 | |
131 | The Lion (1962) | Trevor Howard | 3.40 | 49.3 | 49.30 | 69 | 62 | 00 / 00 | 63.6 | |
132 | Rob Roy: The Highland Rogue (1953) | Richard Todd | 3.00 | 54.4 | 54.40 | 123 | 59 | 00 / 00 | 62.3 | |
132 | North West Frontier (1959) | Kenneth More | 1.10 | 20.5 | 20.50 | 139 | 70 | 00 / 00 | 61.8 | |
133 | The Black Knight (1954) | Peter Cushing | 3.70 | 87.0 | 87.00 | 87 | 49 | 00 / 00 | 61.8 | |
136 | The Great Scout & Cathouse Thursday (1976) | Oliver Reed | 10.90 | 55.2 | 55.20 | 58 | 58 | 00 / 00 | 60.2 | |
133 | 11 Harrowhouse (1974) | Trevor Howard | 3.00 | 17.5 | 17.50 | 90 | 69 | 00 / 00 | 59.7 | |
135 | Romanoff and Juliet (1961) | Peter Ustinov | 1.80 | 25.6 | 25.60 | 101 | 67 | 00 / 00 | 59.5 | |
138 | Torch Song (1953) | Michael Wilding | 3.60 | 65.3 | 65.30 | 103 | 52 | 02 / 00 | 59.1 | |
140 | An Eye for an Eye (1981) | Christopher Lee | 17.30 | 67.1 | 67.10 | 51 | 53 | 00 / 00 | 59.0 | |
139 | Hot Millions (1968) | Peter Ustinov & Robert Morley |
1.90 | 15.4 | 15.40 | 120 | 69 | 01 / 00 | 59.0 | |
139 | The Shoes of the Fisherman (1968) | John Gielgud | 4.60 | 37.6 | 37.60 | 68 | 61 | 02 / 00 | 58.8 | |
141 | The Honey Pot (1967) | Rex Harrison | 2.50 | 22.3 | 22.30 | 85 | 67 | 00 / 00 | 57.8 | |
143 | Return from Witch Mountain (1978) | Christopher Lee | 16.40 | 75.7 | 75.70 | 42 | 50 | 00 / 00 | 57.7 | |
141 | Knight Without Armor (1937) | Robert Donat | 0.80 | 32.3 | 32.30 | 183 | 63 | 00 / 00 | 57.3 | |
143 | Anzio (1968) | Anthony Steel | 4.00 | 32.9 | 32.90 | 75 | 63 | 00 / 00 | 56.8 | |
147 | Young Winston (1972) | Jack Hawkins | 6.50 | 41.3 | 41.30 | 55 | 57 | 03 / 00 | 55.1 | |
147 | King Richard and the Crusaders (1954) | Rex Harrison | 3.90 | 92.3 | 190.90 | 85 | 43 | 00 / 00 | 54.9 | |
147 | Daddy Nostalgia (1990) | Dirk Bogarde | 1.10 | 2.8 | 2.80 | 185 | 71 | 00 / 00 | 54.1 | |
149 | Plenty (1985) | John Gielgud | 6.10 | 18.7 | 18.70 | 107 | 65 | 00 / 00 | 53.2 | |
147 | Libel (1959) | Robert Morley | 0.70 | 12.6 | 60.10 | 159 | 66 | 01 / 00 | 53.0 | |
151 | The Naked Edge (1961) | Peter Cushing | 6.00 | 87.4 | 87.40 | 40 | 43 | 00 / 00 | 51.9 | |
149 | The Missionary (1982) | Trevor Howard | 7.20 | 26.6 | 26.60 | 71 | 62 | 00 / 00 | 51.3 | |
152 | The Serpent (1973) | Dirk Bogarde | 2.40 | 14.8 | 14.80 | 115 | 63 | 00 / 00 | 45.7 | |
153 | Caravans (1978) | Christopher Lee | 4.40 | 20.5 | 20.50 | 87 | 60 | 01 / 00 | 44.9 | |
154 | The Happy Thieves (1961) | Rex Harrison | 2.00 | 29.1 | 29.10 | 94 | 58 | 00 / 00 | 44.7 | |
155 | Corridors of Blood (1958) | Christopher Lee | 1.20 | 21.2 | 21.20 | 132 | 60 | 00 / 00 | 44.6 | |
155 | Dr. Phibes Rises Again (1972) | Peter Cushing | 3.00 | 19.2 | 19.20 | 91 | 61 | 00 / 00 | 44.6 | |
158 | Oklahoma Crude (1973) | John Mills | 7.60 | 46.1 | 46.10 | 46 | 51 | 00 / 00 | 41.5 | |
159 | Justine (1969) | Dirk Bogarde | 6.30 | 47.7 | 47.70 | 42 | 50 | 00 / 00 | 41.2 | |
157 | Venom (1981) | Oliver Reed | 5.20 | 20.3 | 20.30 | 91 | 59 | 00 / 00 | 41.1 | |
160 | The Comedians (1967) | Peter Ustinov | 7.00 | 62.4 | 62.40 | 41 | 45 | 00 / 00 | 40.8 | |
163 | Unidentified Flying Oddball (1979) | Kenneth More | 11.80 | 50.6 | 50.60 | 62 | 49 | 00 / 00 | 40.2 | |
161 | The Oblong Box (1969) | Christopher Lee | 2.90 | 22.1 | 22.10 | 70 | 57 | 00 / 00 | 37.3 | |
163 | Triple Cross (1966) | Trevor Howard | 1.10 | 10.4 | 10.40 | 122 | 60 | 00 / 00 | 36.9 | |
165 | The Blue Bird (1976) | Robert Morley | 10.60 | 53.7 | 53.70 | 59 | 46 | 00 / 00 | 36.4 | |
166 | Shining Through (1992) | John Gielgud | 21.60 | 56.2 | 113.90 | 59 | 45 | 00 / 00 | 36.2 | |
165 | The Angel Wore Red (1960) | Dirk Bogarde | 1.20 | 18.3 | 41.70 | 123 | 57 | 00 / 00 | 36.2 | |
167 | Gideon of Scotland Yard (1958) | Jack Hawkins | 0.40 | 6.4 | 6.40 | 169 | 61 | 00 / 00 | 34.9 | |
166 | The Whistle Blower (1986) | John Gielgud | 1.50 | 4.4 | 4.40 | 159 | 61 | 00 / 00 | 34.4 | |
169 | Scream and Scream Again (1970) | Peter Cushing | 3.70 | 25.6 | 25.60 | 72 | 54 | 00 / 00 | 34.3 | |
170 | Circle of Iron (1978) | Christopher Lee | 2.20 | 10.2 | 10.20 | 107 | 59 | 00 / 00 | 33.5 | |
171 | At The Earth's Core (1976) | Peter Cushing | 9.10 | 46.0 | 46.00 | 61 | 47 | 00 / 00 | 33.2 | |
171 | The Doctor's Dilemma (1958) | Dirk Bogarde & Alastair Sim |
0.80 | 14.1 | 37.20 | 155 | 57 | 00 / 00 | 32.7 | |
173 | Oh Heavenly Dog (1980) | Robert Morley | 8.70 | 36.2 | 36.20 | 81 | 50 | 00 / 00 | 32.2 | |
174 | The Millionairess (1960) | Alastair Sim | 2.90 | 44.6 | 44.60 | 81 | 47 | 00 / 00 | 32.2 | |
175 | Crossed Swords (1977) | Oliver Reed | 7.30 | 35.3 | 35.30 | 72 | 50 | 00 / 00 | 31.3 | |
175 | Condorman (1981) | Oliver Reed | 2.60 | 9.9 | 9.90 | 107 | 58 | 00 / 00 | 31.1 | |
176 | Gold (1974) | John Gielgud | 3.00 | 17.5 | 17.50 | 80 | 54 | 01 / 00 | 30.4 | |
177 | Chuka (1967) | John Mills | 1.90 | 17.1 | 17.10 | 101 | 55 | 00 / 00 | 30.0 | |
179 | Appointment with Death (1988) | Peter Ustinov & John Gielgud |
1.00 | 2.5 | 2.50 | 188 | 59 | 00 / 00 | 29.6 | |
180 | Staircase (1969) | Rex Harrison | 5.30 | 40.1 | 40.10 | 51 | 47 | 00 / 00 | 29.4 | |
181 | The Sting II (1983) | Oliver Reed | 6.30 | 21.7 | 21.70 | 78 | 52 | 01 / 00 | 29.2 | |
182 | The Portrait of a Lady (1996) | John Gielgud | 3.70 | 9.0 | 9.00 | 164 | 55 | 02 / 00 | 28.8 | |
182 | The Hunting Party (1971) | Oliver Reed | 2.70 | 17.8 | 17.80 | 95 | 54 | 00 / 00 | 28.4 | |
184 | Conduct Unbecoming (1975) | Trevor Howard | 2.50 | 13.1 | 13.10 | 101 | 55 | 00 / 00 | 27.7 | |
185 | A Flea In Her Ear (1968) | Rex Harrison | 1.90 | 15.3 | 15.30 | 123 | 54 | 00 / 00 | 27.0 | |
185 | Hotel Paradiso (1966) | Robert Morley | 0.60 | 5.5 | 5.50 | 136 | 57 | 00 / 00 | 26.6 | |
186 | Castaway (1986) | Oliver Reed | 0.40 | 1.3 | 1.30 | 191 | 58 | 00 / 00 | 26.0 | |
189 | The Hunan Factor (1979) | John Gielgud | 0.40 | 1.6 | 1.60 | 158 | 57 | 00 / 00 | 25.6 | |
190 | Masquerade (1965) | Jack Hawkins | 1.20 | 12.9 | 12.90 | 121 | 53 | 00 / 00 | 24.3 | |
190 | Burnt Offerings (1976) | Oliver Reed | 4.70 | 23.9 | 23.90 | 85 | 49 | 00 / 00 | 22.3 | |
192 | Saint Joan (1957) | Richard Todd & John Gielgud |
1.10 | 22.0 | 22.00 | 146 | 48 | 00 / 00 | 19.2 | |
192 | Kidnapped (1971) | Trevor Howard | 1.10 | 6.9 | 6.90 | 154 | 52 | 00 / 00 | 18.4 | |
193 | Lady Caroline Lamb (1972) | John Mills | 1.10 | 6.9 | 6.90 | 137 | 52 | 00 / 00 | 18.4 | |
195 | The Long Duel (1967) | Trevor Howard | 1.30 | 11.7 | 11.70 | 127 | 49 | 00 / 00 | 17.1 | |
194 | The Big Sleep (1978) | Oliver Reed | 2.20 | 10.2 | 10.20 | 112 | 50 | 00 / 00 | 17.0 | |
197 | Hammersmith Is Out (1972) | Peter Ustinov | 2.40 | 15.4 | 15.40 | 108 | 47 | 00 / 00 | 15.5 | |
197 | Tiara Tahiti (1962) | John Mills | 1.90 | 26.7 | 26.70 | 102 | 43 | 00 / 00 | 14.7 | |
199 | Shalako (1968) | Jack Hawkins | 2.90 | 23.7 | 80.20 | 94 | 43 | 00 / 00 | 13.4 | |
201 | The Formula (1980) | John Gielgud | 9.60 | 39.8 | 39.80 | 76 | 37 | 01 / 00 | 12.8 | |
199 | Rosebud (1975) | Richard Attenborough | 1.90 | 9.8 | 9.80 | 119 | 46 | 00 / 00 | 12.1 | |
201 | To the Devil a Daughter (1976) | Christopher Lee | 3.00 | 15.3 | 15.30 | 106 | 44 | 00 / 00 | 11.2 | |
203 | Arthur 2: On the Rocks (1988) | John Gielgud | 14.70 | 38.5 | 38.50 | 65 | 35 | 00 / 00 | 10.1 | |
204 | Ashanti (1979) | Rex Harrison & Peter Ustinov |
1.70 | 7.3 | 7.30 | 126 | 43 | 00 / 00 | 7.7 | |
204 | Bear Island (1979) | Christopher Lee | 2.50 | 10.7 | 10.70 | 103 | 32 | 00 / 00 | 2.0 |
Steve Lensman’s John Gielgud You Tube Video
(Visited 1 times)
Donald Pleasence has an enormous 234 acting credits to his name on IMDB, largely I’m sure generated via supporting roles, and yet:
1/IMDB lists only 1 acting award for him and just 5 nominations.
2/The only lead roles that I can off hand remember him performing are Halloween’s “Van Helsing” and Dr Crippen.
3/He has never earned any Master or Work Horse love.
However I enjoyed him immensely as the guest villain in a 1973 TV episode of Columbo called Any Old Port in a Storm. [I will always remember that episode in particular because in it Donald’s character’s would-be lover Julie Harris confessed to being a fan of Laddie!]
Also at the time of his death in 1995 Donald had a net worth of almost 17 million in today’s dollars, a fine sum for a Brit supporting actor from Donald’s era.
Best POSTERS entries 40-21 (1) Halloween 5 (2) Tales that Witness Madness (3) Alone in the Dark (4) Raw Meat (5) Death Line (6) 1st one for Black Windmill (7) both for Prince of Darkness (8) foreign language one for Telefon (9) Phenomena and (10) very raunchy one for The Shakedown. Some fine Brit B movie industry thespians of the old school in that one – Terence Morgan, Hazel Court, Robert Beatty [a Canuck] and Harry H Corbett of television’s Steptoe and Son fame Excellent nostalgic find by you in my book.
My pick of the POSTERS 1-20 (1) Creepers (2) Soldier Blue (3) foreign language one Flesh and Fiends (4) from Beyond the Grave (5) no love for Joel (6) Henry 8th (7) 1st one for Night to the Generals (8) Escape from New York (9) presumably an iconic cut-out from a larger You only Live Twice poster. Whatever-it is truly eye-catching (10) 1st one for Will Penny (11) foreign language one for Fantastic Voyage and (12) both for Outback
STILLS that most pleased me -all entries (1) with cat (2) lobby card of Donald with Sir Maurice in Black Windmill (3) Donald with Larry (4) (5)with Jamie Lee in H 2 (5) Hell is a City (6) Night of the Generals (7) lobby card for 1984 (8) Chuck’s Will Penny (9) with Arthur Kennedy and other in Fantastic Voyage (10) Donald with gun – pointed presumably at Michael Myers and (11) The Great Escape ensemble.
Overall a very entertain photoplay and well worth a 98% rating. Please have a good weekend.
Hi Bob, thanks for the review, generous rating, comments and info, much appreciated. Glad you liked the posters, stills and lobby cards.
One of my favorite character actors. I’d like to check out that Columbo episode some day.
Pleasence completes my Fantastic Voyage trio this week. He was memorable as the evil preacher in Will Penny, it’s been ages since I last watched that film. And was sympathetic as the near blind ‘forger’ in The Great Escape.
He was also of course an iconic Bond villain – Ernst Stavro Blofeld – stroking his white cat in You Only Live Twice. One critic of the film wrote that the actors head “looks like an egg that had cracked on the boil.”
Four films scored 10 out of 10 from my sources – Halloween, Wake in Fright aka Outback, You Only Live Twice and The Great Escape.
According to Wikipedia ‘Wake in Fright’ was a legendary lost film from Australia, the original negatives were lost for a time and were recently discovered, the film was restored for blu-ray release. I’d like to see it.
The Original Donald on horror films – “I don’t like horror films. I’m interested in them, but if there were three kinds of film playing across the road at my local cinema, the horror film would not be the one I would go to see. I like to work, and horror films definitely keep me working.”
“John Carpenter is the best director I ever worked with. One of the main reasons is his bravery in the way he’s cast me in his films. By casting me as the president in Escape from New York and as the essentially good Dr. Loomis in the original Halloween (1978), he gave me the opportunities that might have been missed had I stayed a stereotypical madman.”
HI STEVE Thanks for the usual attentive feedback to my own posts and for the interesting quotes from Donald.
Thespians tend to stay from acting with animals on the screen as they are notorious scene-stealers. For example Ms Loy was never able to compete with little Asta and I often thought that the 1941 movie Shadow of the Thin Man should really have been re-titled Overshadow of the Thin Woman. Only debonaire, suave Bill Powell was able to hold his own with that cute little guy.
Donald though used the cat to his advantage – as did The Great Mumbler in the opening scenes in Godpop. Indeed one film historian raved about how ole Mumbles was able to induced the cat to purr in tune with Don Corelone issuing soft-spoken instructions to his subordinates and I have often wondered if The Mighty Marlon got the cat scene idea from watching Donald in Bondage.
For The Great Orator though the downside was that guys like you at the time of Godpop’s release quipped that the cat’s purring was more distinct than the Don’s diction!
You SHOULD try to catch that Columbo episode with Donald as the guest villain. Indeed it is worth a viewing just to hear Julie Harris idolising Laddie. However I have lost faith in you guys telling me you will watch productions I recommend. Two years ago The Work Horse assured me he would watch Chuck’s Naked Jungle and it would appear that WH has until now at least broken that promise. So nowadays I have more faith in Theresa May’s assurances!
Anyway I look forward to more good stuff from you next week.
HI STEVE
I just KNEW that I had seen Lady Godiva of Coventry in one of your videos and in fact it was that sighting that first informed me that it had the aka of Bikini Baby. I prefer the Brit title as Bikini Baby sounds like an Annette Funicello beach party movie.
Godiva is of course famous for being a noblewoman who legend claims rode through Coventry naked in 13th century England to protest about taxation of the peasants by her own husband.
The legend goes on to say that one of the onlookers who couldn’t take his eyes off her as she rode was called Thomas and he was struck blind as a punishment. It is thus asserted that the term Peeping Tom derives from the actions of the lecherous Thomas of Coventry!
Fred Chopin of course ran through the jungle naked as potential prey and he was so breathless that he couldn’t sing for us a song to remember. In fact without having seen it I am giving your video [if I have guessed right] an advance 100% rating right now as it is bound to be the greatest show on earth.
When MM hit the big time in the States other studies wanted their own Marilyn and Fox created Monroe clones to either keep her in line –some hope! – or ultimately replace her. So we had the likes of Sheree North, Mamie Van Doreen and probably the most successful of them all Jayne Mansfield.
Not to be left behind the Brits gave us Dors, who for a time was enormously famous and was popular in movies and entered the British top 10 Box Office Stars in 1955. She had already been marking time in supporting roles and/or B movies since 1947 and when the Brit movie industry saw in Diana the “Monroe potential” the build-up began and some posters from her pre-star era were changed and even today continue to flatter her billing and status at the time the movies concerned were made.
Diana was a big part of my youth in the 50s, not only for her films but because she had a column in my weekly, and Britain’s top, film magazine Photoplay in which she not only gave us “insider” gossip lowdown straight from the film industry but titillated us with juicy stories about for example who was sleeping with whom among the celebs.
She regularly washed in her column the dirty linen of her own husband’s cheating activities. I’ve mentioned before that HE was a guy called Dennis Hamilton Gittins and she claimed that on one occasion she returned home to find a woman in the house with him in a compromised situation and a string of others lined up in the back garden for their turn to be romanced by Dennis. He died young in 1959 of syphilis – small wonder!
Although she appeared in some long-forgotten American films [for example The Unholy Wife with Steiger and I Married a Woman with George Gobels] Diana could perhaps have “gone Hollywood” in a meaningful way but remained in largely British films because hubby Dennis Hamilton Gittins, who apparently exercised great control of her career, turned down without telling her the role of Burt Lancaster’s leading lady in 1954’s His Majesty O’Keefe. As it was her career as a top British star faded along with the 1950s
Best of the long string of eye-popping POSTERS in the Dors video for me are (1) both for my Joan’s Berserk (2) Nothing but the Night (3) foreign language one for Love Specialist (4) 2nd for I married a Woman (5) 1st for An Alligator Named Daisy (6) Diamond City (7) Man Bait (8) 1st one for Weak and Wicked (9) final one for Passport to Shame (10) foreign language one for Tread Softly Stranger (11) 1st one for Kid for 2 Farthings (12) From beyond the Grave (11) Theatre of Blood and (12) The long Haul with Mature – Vic came over to the UK to make that British film. I was just 16 when I saw it but walked 3 miles to the cinema where it was showing.
Best STILLS for my money are (1) Diana with gun (2) Diana on couch (3) two from Unholy Wife of Diana with first Steiger and 2nd Tom Tryon (4) Diana behind bars (5) her curvaceous in a deck chair (6) with Big Victor (7) in Blonde Sinner and (8) closing one of Diana
I am well pleased with your profile of Britain’s “own blonde bombshell” and for its fine artistic qualities combined with the great nostalgia it holds for me I feel it’s well worth 98% rating. Super stuff! Have a good weekend.
Hi Bob, thanks for the review, comments, generous rating, info and trivia, much appreciated. Happy you liked the posters, stills and lobby cards.
Yep ‘the’ British blonde bombshell, a household name in England at the time, she put on weight when her star started to fade and ended up regularly on TV in the 1970s before cancer took her aged 52.
Her highest rated film was David Lean’s Oliver Twist in which she had a small role. I included it as a contrast to the other films on the list.
I found a photo of her with Hitchcock, she had appeared in an episode of Alfred Hitchcock Presents in 1962. Here’s the link –
https://thejar.hitchcock.zone/files/gallery/org/8092.jpg
And a photo of her with Rock Hudson
https://media.gettyimages.com/photos/british-film-actress-diana-dors-seems-to-have-hypnotized-rock-hudson-picture-id515019782
HI STEVE
Thanks for the counter chit-chat and the interesting links. The Hitchcock photo isn’t surprising as Hitch never could resist some association with blondes! Diana in her desire to break into American would have seen it as good publicity to be photographed with him and Rock who one journalist said “was so popular that even dogs followed him about!”
By the way Diana met Dennis Hamilton when she was making 1951’s Lady Godiva Rides Again [Bikini Baby in the US] which you have not included starring Stanley Holloway, Sid James and Kay Kendall.
That piece of trivia has actually a wider historical significance because cast in the movie in uncredited roles were the young Joan Collins in her film debut and more significantly Ruth Ellis.
Ruth was pregnant at the time and was subsequently the last woman in the United Kingdom to be hanged before capital punishment in the UK was abolished. She had been found guilty of murdering her lover.
Actually all kinds of people seem to have been even obliquely connected with that long-forgotten Godiva movie. For example Trevor Howard had an uncredited cameo in it in a ”blink and you’ll miss him” scene.
Take care.
Bob, I came close to including Lady Godiva Rides Again but her role was so tiny, a walk on from what I’ve read but they did use Diana on one of the posters with the alternative title, here’s a link –
https://m.media-amazon.com/images/M/MV5BZmVjZjEzMWEtZTAwOC00MTQxLTk0NmYtY2ExODljMzZkNWVmXkEyXkFqcGdeQXVyMTA3NzE5MzE@._V1_.jpg
Lady Godiva was included on one of my previous videos, it must have been the Joan Collins video.
Frederic Chopin will be on monday’s video, he said cryptically.
Hey Bob and Steve or Steve and Bob. Good comments and thoughts on Peggy Cummins. I just added one of her movies to the database this morning….as she and Rex Harrison made a movie together…and King Rex is our latest UMR page. Keep up the great work!