The French Lieutenant's Woman


2h 3m 1981
The French Lieutenant's Woman

Brief Synopsis

Co-stars have an affair while filming the story of a doomed love.

Film Details

Also Known As
Den franske löjtnantens kvinna, French Lieutenant's Woman, maîtresse du lieutenant français
MPAA Rating
R
Genre
Romance
Drama
Release Date
1981
Production Company
Cosprop; Metro-Goldwyn-Mayer Studios Inc.; Panavision, Ltd.; Technicolor; United Artists Films
Distribution Company
United Artists Films

Technical Specs

Duration
2h 3m

Synopsis

A 1970's movie crew shoots a film about a 19th-century Englishwoman, named Sara, who is ruined by an affair with a French lieutenant, and then enters into another ill-fated relationship with principled young man.

Crew

Alan Annand

Loader

Sue Barradell

Makeup

David Barron

Location Manager

Barry Beckett

Location Manager

John Bloom

Editor

Maureen Booth

Wardrobe Assistant

Allan Bryce

Special Effects

Chris Burt

Production Manager

Allan Cameron

Art Direction

Len Cave

Production Accountant

Nobby Clark

Special Effects

Leon Clore

Producer

Frank Connor

Stills

Austin Cooper

Wardrobe Assistant

Brenda Dabbs

Wardrobe Supervisor

Carl Davis

Music

Jim Dawes

Grip

Peter Dolman

Location Manager

Norman Dorme

Art Direction

Tricia Edwards

Production

Kay Fenton

Continuity

John Fowles

Source Material (From Novel)

Freddie Francis

Dp/Cinematographer

Freddie Francis

Director Of Photography

Dennis Fruin

Property Master

Assheton Gorton

Production Designer

Gordon Hayman

Camera Operator

Geoffrey Helman

Associate Producer

Richard Hoult

Assistant Director

Jeremy Hume

Editor Assistant

Joanna Johnston

Assistant

Christopher Kennedy

Assistant Editor

Peter Kohn

Assistant Director

Roy Larner

Gaffer

Tom Maschler

Associate Producer

Mon Mohan

Titles

Ann Mollo

Set Decorator

Wolfgang Amadeus Mozart

Music ("Sonata In D Adagio")

Rocky Phelan

Sound Department

Harold Pinter

Screenwriter

Patsy Pollack

Casting Director

Terry Pritchard

Art Direction

Tom Rand

Costume Designer

Karel Reisz

Executive Producer

Chris Ridsdale

Editor Assistant

Julia Robinson

Production Assistant

Toddie Roche

Production

Tim Ross

Camera Focus Puller

Bill Rowe

Sound Re-Recordist

Sally Scott

Art Department

Don Sharpe

Sound Editor

Ivan Sharrock

Sound Recordist

Mathew Simmons

Assistant Director

Lightingflex System

Photography

Simon Thompson

Hairdresser

Paul Tivers

Assistant Director

Fred Walker

Construction Manager

Ken Weston

Boom Operator

Film Details

Also Known As
Den franske löjtnantens kvinna, French Lieutenant's Woman, maîtresse du lieutenant français
MPAA Rating
R
Genre
Romance
Drama
Release Date
1981
Production Company
Cosprop; Metro-Goldwyn-Mayer Studios Inc.; Panavision, Ltd.; Technicolor; United Artists Films
Distribution Company
United Artists Films

Technical Specs

Duration
2h 3m

Award Nominations

Best Actress

1981
Meryl Streep

Best Adapted Screenplay

1981

Best Art Direction

1981
Assheton Gorton

Best Costume Design

1981
Tom Rand

Best Editing

1981
John Bloom

Articles

The French Lieutenant's Woman


After several false starts by some of the era's most respected directors, the film version of John Fowles's novel The French Lieutenant's Woman finally got off the ground in 1978 when Karel Reisz agreed to take on the responsibility. As far back as 1969, Fowles had asked Reisz, a member of Britain's Angry Young Man generation of filmmakers, to direct the film, but he declined. A succession of big name contenders followed, including Fred Zinnemann who owned the rights to a script by Dennis Potter, Mike Nichols, Lindsay Anderson, Franklin Schaffner, Michael Cacoyannis, and Richard Lester. However, all seemed daunted by the novel's self-reflexive properties, and many did not make it to preproduction before dropping out.

When Reisz finally agreed to direct the film at Fowles's second request, he recognized the difficulties of turning such a complex novel into a Hollywood movie. The plot of the book is a Victorian-style romance that relates the tragedy of Sarah Woodruff, an enigmatic young woman ostracized by her village because of her affair with a French officer who has abandoned her. Biologist Charles Smithson falls under Sarah's melancholy spell and breaks his engagement to a woman from a prominent family in order to pursue their scandalous relationship. While the story takes place in the 19th century, Fowles adopts a 20th-century perspective in the narration, interrupting the story with observations, descriptions, and allusions from a modern point of view. The 19th- century plot and setting entertain the readers, while the contemporary perspective prevents them from total emersion into the narrative or complete identification with the characters. This distancing device is not only the strength of the novel but its defining characteristic. Attempting to duplicate cinematically the novel's most talked-about characteristic became an enormous challenge for Reisz.

Reisz and Fowles found the perfect screenwriter to help tackle this problem -- Harold Pinter -- primarily because of the playwright's mastery of narrative structure, layered meaning, and nuanced dialogue. Pinter's screenplays for Joseph Losey's The Servant (1963), Jack Clayton's The Pumpkin Eater (1964), and the reworking of his own play The Caretaker (1964) showcased his ability to write dialogue with subtext in which characters converse about their ordinary lives in ways that reveal something deeper. The inner nature of his characters, which motivates their lives and impacts their relationships, lies just beneath the surface of everyday routines and commonplace conversations. Fowles had always admired Pinter's work and wanted him as the principal screenwriter from the beginning of the project.

Ultimately, Pinter gave the film version of The French Lieutenant's Woman its most talked-about feature -- a double story in which one thread follows the 19th-century romance of Sarah Woodruff and Charles Smithson while the other tracks the modern-day affair of Mike and Anna, two actors playing Charles and Sarah in a film production of the novel. Jeremy Irons stars as Mike and Charles, while Meryl Streep garnered a third Academy Award nomination as Sarah/Anna. The idea to embed the modern story of two actors playing the roles of Charles and Sarah into the Victorian melodrama was Reisz's contribution to the screenplay, but Pinter conceived the characters of Mike and Anna, structured their story into the principal action, and gave their romance purpose and meaning. Just as the intrusion of a 20th century perspective interferes with the readers' total immersion into the 19th century romance in the novel, the dual romance in the film -- one set in the past and the other the present -- becomes a distancing device that prevents viewers from completely identifying with Sarah and Charles and sympathizing with their plight. It undermines the ability of Hollywood cinema to spin illusion, reminding viewers that they are watching a piece of fiction on film and prompting them to think about the events and characters instead of embracing them as romantic fantasy.

In addition, the juxtaposition of specific scenes of Charles and Sarah with Mike and Anna offer critical commentary on manners and sexual mores. The present comments on the past, while the past illuminates the present. Mike and Anna's first scene together finds them in bed asleep. They are suddenly awakened by Anna's call to the set by a crew member, who obviously knows that the two are romantically involved despite being married to others. Anna casually remarks, "They'll think I'm a whore," and Mike jokes, "You are." Later, when Sarah confides to Charles about the scandal that ruined her reputation as a governess and condemned her to servant status, she dramatically wails, "I am the French lieutenant's whore" in contrast to the lightness of the earlier conversation. In another scene, Anna researches the plight of single women in the Victorian era when a reputation, job, or marriage turned sour often meant hitting the streets as a prostitute. The impact of the dialogue she speaks as Sarah now becomes more personal for her.

The juxtaposition of past and present also comments on the nature of the two couples' relationships. Mike and Anna's modern sexually fueled romance points up the repressed manners and sexual hypocrisy of the Victorian age, while Charles and Sarah's attempts to suppress their feelings eventually erupt in a physical passion that reveals the lack of intensity in Mike and Anna's relationship. Pinter's nuanced dialogue takes on layered meaning in the contrast of characters and events from the past and present. At a tense lunch hosted by Mike and his wife, Anna's partner David asks the actor which ending will be used for the film. Fowles's original novel had famously featured two endings, one happy and one tragic. Frustrated over his relationship with Anna, who is pulling back from their affair, and jealous of David, Mike seems not to know whether the film ends happily or tragically. On the surface, the dialogue is about the outcome of Charles and Sarah's relationship, but the subtext is about the love triangle between Mike, David, and Anna. Just as Mike doesn't know the ending of the movie, he also doesn't know whether the outcome with Anna will end happily for him.

Comparisons of Pinter's screenplay to Fowles's original novel dominated the press coverage of The French Lieutenant's Woman, with some reviewers complimenting the inclusion of the modern story while others criticized it. The spotlight on Pinter's screenplay drew reviewers' attention away from the contributions of the cast and other members of the creative team, though many garnered awards. Pinter may have written the interlacing scenes between the Victorian and contemporary eras, but it was director Karel Reisz and editor John Bloom who cut them together. The scenes are edited into a deliberate though not obvious structure. The film opens with Anna getting into her makeup as Sarah, then 25 scenes pass before we see another one set in the contemporary era. After that point, the modern scenes come more rapidly. During one sequence, the cutting back and forth between the 19th and 20th centuries is so rapid that each era is reduced to a single shot that lasts only a few seconds. The sequence cuts back and forth between Charles suffering the consequences of his scandalous relationship with Sarah and Anna in London with her partner David. The fast cutting accentuates the turmoil that Charles experiences in his scene but it creates the turmoil in Anna's, foreshadowing her decision to break off the relationship with Mike. Though Reisz's films are not known for showy editing, his understanding of the aesthetics of montage was revealed in his 1953 book The Technique of Editing.

Freddie Francis, Britain's premiere cinematographer who worked with the best directors on both sides of the Atlantic, gave each era a different look. The 19th century story is set in the old Victorian town of Lyme Regis, which has a harbor and a breakwater called the Cobb that juts out into the sea. Lyme Regis on the south coast of England boasts picturesque cliffs and dense forests. Francis used long shots in deep focus to capture the stormy atmosphere of the harbor and accentuate the virgin beauty of the forests, with figures often standing alone against the elements. The film's most famous shot is the haunting image of Sarah Woodruff on the edge of the Cobb as the wind and waves swirl around her. The cinematography of 19th century Lyme Regis contrasts with the modern scenes, which tend to feature tight shots of the characters in bland surroundings.

Despite five Academy Award nominations, The French Lieutenant's Woman suffered from lukewarm reviews, with most critics unable to adequately interpret the purpose of the modern characters in a Victorian story. But, over 25 years later, the film's self-reflexive narrative, fine craftsmanship, and stellar acting showcase Pinter, Reisz, Francis, Streep, and Irons at the top of their game.

Producer: Leon Clore
Director: Karel Reisz
Screenplay: Harold Pinter based on the novel by John Fowles
Cinematography: Freddie Francis
Editor: John Bloom
Art Director: Assheton Gorton
Costume Designer: Tom Rand
Music Composer: Carl Davis
Cast: Sarah Woodruff/Anna (Meryl Streep), Charles/Mike (Jeremy Irons), Sam (Hilton McRae), Mary (Emily Morgan), Mrs. Tranter (Charlotte Mitchell), Ernestina (Lynsey Baxter), Dr. Grogan (Leo McKern), Mrs. Poulteney (Patience Collier).
C-123m. Letterboxed.

by Susan Doll
The French Lieutenant's Woman

The French Lieutenant's Woman

After several false starts by some of the era's most respected directors, the film version of John Fowles's novel The French Lieutenant's Woman finally got off the ground in 1978 when Karel Reisz agreed to take on the responsibility. As far back as 1969, Fowles had asked Reisz, a member of Britain's Angry Young Man generation of filmmakers, to direct the film, but he declined. A succession of big name contenders followed, including Fred Zinnemann who owned the rights to a script by Dennis Potter, Mike Nichols, Lindsay Anderson, Franklin Schaffner, Michael Cacoyannis, and Richard Lester. However, all seemed daunted by the novel's self-reflexive properties, and many did not make it to preproduction before dropping out. When Reisz finally agreed to direct the film at Fowles's second request, he recognized the difficulties of turning such a complex novel into a Hollywood movie. The plot of the book is a Victorian-style romance that relates the tragedy of Sarah Woodruff, an enigmatic young woman ostracized by her village because of her affair with a French officer who has abandoned her. Biologist Charles Smithson falls under Sarah's melancholy spell and breaks his engagement to a woman from a prominent family in order to pursue their scandalous relationship. While the story takes place in the 19th century, Fowles adopts a 20th-century perspective in the narration, interrupting the story with observations, descriptions, and allusions from a modern point of view. The 19th- century plot and setting entertain the readers, while the contemporary perspective prevents them from total emersion into the narrative or complete identification with the characters. This distancing device is not only the strength of the novel but its defining characteristic. Attempting to duplicate cinematically the novel's most talked-about characteristic became an enormous challenge for Reisz. Reisz and Fowles found the perfect screenwriter to help tackle this problem -- Harold Pinter -- primarily because of the playwright's mastery of narrative structure, layered meaning, and nuanced dialogue. Pinter's screenplays for Joseph Losey's The Servant (1963), Jack Clayton's The Pumpkin Eater (1964), and the reworking of his own play The Caretaker (1964) showcased his ability to write dialogue with subtext in which characters converse about their ordinary lives in ways that reveal something deeper. The inner nature of his characters, which motivates their lives and impacts their relationships, lies just beneath the surface of everyday routines and commonplace conversations. Fowles had always admired Pinter's work and wanted him as the principal screenwriter from the beginning of the project. Ultimately, Pinter gave the film version of The French Lieutenant's Woman its most talked-about feature -- a double story in which one thread follows the 19th-century romance of Sarah Woodruff and Charles Smithson while the other tracks the modern-day affair of Mike and Anna, two actors playing Charles and Sarah in a film production of the novel. Jeremy Irons stars as Mike and Charles, while Meryl Streep garnered a third Academy Award nomination as Sarah/Anna. The idea to embed the modern story of two actors playing the roles of Charles and Sarah into the Victorian melodrama was Reisz's contribution to the screenplay, but Pinter conceived the characters of Mike and Anna, structured their story into the principal action, and gave their romance purpose and meaning. Just as the intrusion of a 20th century perspective interferes with the readers' total immersion into the 19th century romance in the novel, the dual romance in the film -- one set in the past and the other the present -- becomes a distancing device that prevents viewers from completely identifying with Sarah and Charles and sympathizing with their plight. It undermines the ability of Hollywood cinema to spin illusion, reminding viewers that they are watching a piece of fiction on film and prompting them to think about the events and characters instead of embracing them as romantic fantasy. In addition, the juxtaposition of specific scenes of Charles and Sarah with Mike and Anna offer critical commentary on manners and sexual mores. The present comments on the past, while the past illuminates the present. Mike and Anna's first scene together finds them in bed asleep. They are suddenly awakened by Anna's call to the set by a crew member, who obviously knows that the two are romantically involved despite being married to others. Anna casually remarks, "They'll think I'm a whore," and Mike jokes, "You are." Later, when Sarah confides to Charles about the scandal that ruined her reputation as a governess and condemned her to servant status, she dramatically wails, "I am the French lieutenant's whore" in contrast to the lightness of the earlier conversation. In another scene, Anna researches the plight of single women in the Victorian era when a reputation, job, or marriage turned sour often meant hitting the streets as a prostitute. The impact of the dialogue she speaks as Sarah now becomes more personal for her. The juxtaposition of past and present also comments on the nature of the two couples' relationships. Mike and Anna's modern sexually fueled romance points up the repressed manners and sexual hypocrisy of the Victorian age, while Charles and Sarah's attempts to suppress their feelings eventually erupt in a physical passion that reveals the lack of intensity in Mike and Anna's relationship. Pinter's nuanced dialogue takes on layered meaning in the contrast of characters and events from the past and present. At a tense lunch hosted by Mike and his wife, Anna's partner David asks the actor which ending will be used for the film. Fowles's original novel had famously featured two endings, one happy and one tragic. Frustrated over his relationship with Anna, who is pulling back from their affair, and jealous of David, Mike seems not to know whether the film ends happily or tragically. On the surface, the dialogue is about the outcome of Charles and Sarah's relationship, but the subtext is about the love triangle between Mike, David, and Anna. Just as Mike doesn't know the ending of the movie, he also doesn't know whether the outcome with Anna will end happily for him. Comparisons of Pinter's screenplay to Fowles's original novel dominated the press coverage of The French Lieutenant's Woman, with some reviewers complimenting the inclusion of the modern story while others criticized it. The spotlight on Pinter's screenplay drew reviewers' attention away from the contributions of the cast and other members of the creative team, though many garnered awards. Pinter may have written the interlacing scenes between the Victorian and contemporary eras, but it was director Karel Reisz and editor John Bloom who cut them together. The scenes are edited into a deliberate though not obvious structure. The film opens with Anna getting into her makeup as Sarah, then 25 scenes pass before we see another one set in the contemporary era. After that point, the modern scenes come more rapidly. During one sequence, the cutting back and forth between the 19th and 20th centuries is so rapid that each era is reduced to a single shot that lasts only a few seconds. The sequence cuts back and forth between Charles suffering the consequences of his scandalous relationship with Sarah and Anna in London with her partner David. The fast cutting accentuates the turmoil that Charles experiences in his scene but it creates the turmoil in Anna's, foreshadowing her decision to break off the relationship with Mike. Though Reisz's films are not known for showy editing, his understanding of the aesthetics of montage was revealed in his 1953 book The Technique of Editing. Freddie Francis, Britain's premiere cinematographer who worked with the best directors on both sides of the Atlantic, gave each era a different look. The 19th century story is set in the old Victorian town of Lyme Regis, which has a harbor and a breakwater called the Cobb that juts out into the sea. Lyme Regis on the south coast of England boasts picturesque cliffs and dense forests. Francis used long shots in deep focus to capture the stormy atmosphere of the harbor and accentuate the virgin beauty of the forests, with figures often standing alone against the elements. The film's most famous shot is the haunting image of Sarah Woodruff on the edge of the Cobb as the wind and waves swirl around her. The cinematography of 19th century Lyme Regis contrasts with the modern scenes, which tend to feature tight shots of the characters in bland surroundings. Despite five Academy Award nominations, The French Lieutenant's Woman suffered from lukewarm reviews, with most critics unable to adequately interpret the purpose of the modern characters in a Victorian story. But, over 25 years later, the film's self-reflexive narrative, fine craftsmanship, and stellar acting showcase Pinter, Reisz, Francis, Streep, and Irons at the top of their game. Producer: Leon Clore Director: Karel Reisz Screenplay: Harold Pinter based on the novel by John Fowles Cinematography: Freddie Francis Editor: John Bloom Art Director: Assheton Gorton Costume Designer: Tom Rand Music Composer: Carl Davis Cast: Sarah Woodruff/Anna (Meryl Streep), Charles/Mike (Jeremy Irons), Sam (Hilton McRae), Mary (Emily Morgan), Mrs. Tranter (Charlotte Mitchell), Ernestina (Lynsey Baxter), Dr. Grogan (Leo McKern), Mrs. Poulteney (Patience Collier). C-123m. Letterboxed. by Susan Doll

TCM Remembers - Leo McKern


TCM REMEMBERS LEO MCKERN, 1920-2002

The recent death of Leo McKern, 82, marked the passing of one of Britain's finest and most respected character actors. He was suffering from ill health in recent years and was moved to a nursing home a few weeks before his death on July 23 2002 in Bath, England. An actor of commanding presence with a deep-throated voice, the portly, bulbous-nosed McKern had a long, distinguished career spanning more than half a century, earning numerous plaudits along the way in all major mediums: theatre, film and television.

Born Reginald McKern on March 16, 1920 in Sydney, Australia; he served with the Australian Army during World War II and worked in regional theatre in his native Sydney before immigrating to England in 1946. It was a slow start, but after a three-year apprenticeship of painting scenery, stage-managing and acting, McKern eventually joined the celebrated Old Vic theatrical company in 1949 and proved one of the more versatile actors in the troupe tackling diverse roles in comedy, the classics and serious contemporary parts.

His film debut came in Murder in the Cathedral (1952) but it took a few years before he made his mark in cinema. Some of his best film work included roles as Peter Sellers' comic henchman in the classic satire The Mouse That Roared (1959); a bungling train robber in the charming Disney film The Horse Without a Head (1963); a nefarious professor who kills off his colleagues for amusement in the brilliant black comedy A Jolly Bad Fellow (1964); Clang, a cartoonish villain in the Beatles' pop film Help! (1965); Cromwell, the persecutor of Sir Thomas More in A Man for All Seasons (1966) and as Thomas Ryan in the David Lean drama, Ryan's Daughter (1970).

Yet despite all the accolades McKern earned in theatre and films, it was television where he foundinternational fame as the wily, irascible barrister Horace P. Rumpole in John Mortimer's Rumpole of the Bailey in 1975. Infusing the character with beguiling skill and energy, McKern made the acerbic, wine swilling, Tennyson-quoting Rumpole a much loved figure that was adored by critics, audiences and even its creator Mortimer. Perhaps Mortimer offered the most fitting tribute when he once referred to McKern - "His acting exists where I always hope my writing will be: about two feet above the ground, a little larger than life, but always taking off from reality." Enough said.

By Michael T. Toole KATY JURADO, 1924 - 2002

Katy Jurado, an Oscar nominee and major actress in Westerns, died July 5th at the age of 78. She was born in Guadalajara, Mexico on January 16th 1924 as Maria Cristina Estella Marcela Jurado Garcia, daughter of a cattle rancher and an opera singer. Jurado started to appear in Mexican films in 1943. After 15 films in her native country, director Budd Boetticher saw Jurado attending a bullfight (Jurado wrote about the subject for Mexican newspapers) and cast her in his Bullfighter and the Lady (1952), her Hollywood debut. For much of her career Jurado alternated between the two film industries. In the US, she was memorable for the sensual energy she brought to roles in High Noon (1952), One-Eyed Jacks (1961) which was directed by Marlon Brando, Sam Peckinpah's Pat Garrett and Billy the Kid (1973) and John Huston's Under the Volcano (1984). She was nominated for an Oscar as Best Supporting Actress for Broken Lance (1954). Jurado's Mexican films were in a broader range of genres and included Luis Bunuel's El Bruto (1952), Ismael Rodriguez's We the Poor and Miguel Littin's The Widow Montiel (1979). She won three Ariel Awards (Mexican equivalent to the Oscars) and one special award. She was married to Ernest Borgnine from the end of 1959 to summer 1963. One of her final films was The Hi-Lo Country (1998), a contemporary Western directed by Stephen Frears and co-starring Woody Harrelson, Billy Crudup and Penelope Cruz.

by Lang Thompson

DOLORES GRAY, 1924 - 2002

Broadway and nightclub star Dolores Gray died June 26th at the age of 78. Her movie career was brief but consisted of high-profile MGM musicals which guaranteed her a place in film history. Gray was born in Chicago on June 7th, 1924 (and where, according to a common story, she was accidentally shot by a gangster as a child and had a bullet in her lung her entire life). As a teenager she began singing in California until Rudy Vallee featured her on his radio show. Gray moved to Broadway in 1944 and then to the London stage in 1947, solidifying her reputation as a singer/actress while constantly giving the gossip columnists plenty to write about. She had two small singing roles in Lady for a Night (1941) and Mr. Skeffington (1944) but didn't really light up the big screen until It's Always Fair Weather (1955) even though Gray reportedly didn't much care for the role. Her rendition of "Thanks a Lot, But No Thanks," which has her gunning down a slew of male dancers on-stage and kicking them through trap doors, is a genuine showstopper. Three more unforgettable musical roles quickly followed: Kismet (1955), The Opposite Sex (1956, which Gray turned down Funny Face to do) and Designing Women (1957). That was it for Gray's film career. She kept busy with TV appearances (mostly singing though she did one 1988 episode of the cult show Dr. Who) and a busy recording and nightclub schedule. In 1987, she appeared in a British production of Follies at Stephen Sondheim's request.

by Lang Thompson

TCM Remembers - Leo McKern

TCM REMEMBERS LEO MCKERN, 1920-2002 The recent death of Leo McKern, 82, marked the passing of one of Britain's finest and most respected character actors. He was suffering from ill health in recent years and was moved to a nursing home a few weeks before his death on July 23 2002 in Bath, England. An actor of commanding presence with a deep-throated voice, the portly, bulbous-nosed McKern had a long, distinguished career spanning more than half a century, earning numerous plaudits along the way in all major mediums: theatre, film and television. Born Reginald McKern on March 16, 1920 in Sydney, Australia; he served with the Australian Army during World War II and worked in regional theatre in his native Sydney before immigrating to England in 1946. It was a slow start, but after a three-year apprenticeship of painting scenery, stage-managing and acting, McKern eventually joined the celebrated Old Vic theatrical company in 1949 and proved one of the more versatile actors in the troupe tackling diverse roles in comedy, the classics and serious contemporary parts. His film debut came in Murder in the Cathedral (1952) but it took a few years before he made his mark in cinema. Some of his best film work included roles as Peter Sellers' comic henchman in the classic satire The Mouse That Roared (1959); a bungling train robber in the charming Disney film The Horse Without a Head (1963); a nefarious professor who kills off his colleagues for amusement in the brilliant black comedy A Jolly Bad Fellow (1964); Clang, a cartoonish villain in the Beatles' pop film Help! (1965); Cromwell, the persecutor of Sir Thomas More in A Man for All Seasons (1966) and as Thomas Ryan in the David Lean drama, Ryan's Daughter (1970). Yet despite all the accolades McKern earned in theatre and films, it was television where he foundinternational fame as the wily, irascible barrister Horace P. Rumpole in John Mortimer's Rumpole of the Bailey in 1975. Infusing the character with beguiling skill and energy, McKern made the acerbic, wine swilling, Tennyson-quoting Rumpole a much loved figure that was adored by critics, audiences and even its creator Mortimer. Perhaps Mortimer offered the most fitting tribute when he once referred to McKern - "His acting exists where I always hope my writing will be: about two feet above the ground, a little larger than life, but always taking off from reality." Enough said. By Michael T. Toole

Quotes

Trivia

Miscellaneous Notes

Released in USA on video.

Released in United States Fall September 18, 1981

Released in United States Fall September 18, 1981