Actors
List activity
11 views
• 0 this weekCreate a new list
List your movie, TV & celebrity picks.
10 people
- Actor
- Writer
- Director
Peter Lorre was born László Löwenstein in Rózsahegy in the Slovak area of the Austro-Hungarian Empire, the son of Hungarian Jewish parents. He learned both Hungarian and German languages from birth, and was educated in elementary and secondary schools in the Austria-Hungary capitol Vienna, but did not complete. As a youth he ran away from home, first working as a bank clerk, and after stage training in Vienna, Austria, made his acting debut at age 17 in 1922 in Zurich, Switzerland. He traveled for several years acting on stage throughout his home region, Vienna, Berlin, and Zurich, including working with Bertolt Brecht, until Fritz Lang cast him in a starring role as the psychopathic child killer in the German film M (1931).
After several more films in Germany, including a couple roles for which he learned to speak French, Lorre left as the Nazis came to power, going first to Paris where he made one film, then London where Alfred Hitchcock cast him as a creepy villain in The Man Who Knew Too Much (1934), where he learned his lines phonetically, and finally arrived in Hollywood in 1935. In his first two roles there he starred as a mad scientist in Mad Love (1935) directed by recent fellow-expatriate Karl Freund, and the leading part of Raskolnikov in Crime and Punishment (1935), by another expatriate German director Josef von Sternberg, a successful movie made at Lorre's own suggestion. He returned to England for a role in another Hitchcock film, Secret Agent (1936), then back to the US for a few more films before checking into a rehab facility to cure himself of a morphine addiction.
After shaking his addiction, in order to get any kind of acting work, Lorre reluctantly accepted the starring part as the Japanese secret agent in Thank You, Mr. Moto (1937), wearing makeup to alter his already very round eyes for the part. He ended up committed to repeating the role for eight more "Mr. Moto" movies over the next two years.
Lorre played numerous memorable villain roles, spy characters, comedic roles, and even a romantic type, throughout the 1940s, beginning with his graduation from 30s B-pictures The Maltese Falcon (1941). Among his most famous films, Casablanca (1942), and a comedic role in the Broadway hit film Arsenic and Old Lace (1944).
After the war, between 1946 and '49 Lorre concentrated largely on radio and the stage, while continuing to appear in movies. In Autumn 1950 he traveled to West Gemany where he wrote, directed and starred in the critically acclaimed but generally unknown German-language film The Lost Man (1951), adapted from Lorre's own novel.
Lorre returned to the US in 1952, somewhat heavier in stature, where he used his abilities as a stage actor appearing in many live television productions throughout the 50s, including the first James Bond adaptation Casino Royale (1954), broadcast just a few months after Ian Fleming had published that first Bond novel. In that decade, Lorre had various roles, often to type but also as comedic caricatures of himself, in many episodes of TV series, and variety shows, though he continued to work in motion pictures, including the Academy Award winning Around the World in 80 Days (1956), and a stellar role as a clown in The Big Circus (1959).
In the late 50s and early 1960s he worked in several low-budget films, with producer-director Roger Corman, and producer-writer-director Irwin Allen, including the aforementioned The Big Circus and two adventurous Disney movies with Allen. He died from a stroke the year he made his last movie, playing a stooge in Jerry Lewis' The Patsy (1964).- Actor
- Producer
Stanley Baker was unusual star material to emerge during the Fifties - when impossibly handsome and engagingly romantic leading men were almost de rigueur. Baker was forged from a rougher mould. His was good-looking, but his features were angular, taut, austere and unwelcoming. His screen persona was taciturn, even surly, and the young actor displayed a predilection for introspection and blunt speaking, and was almost wilfully unromantic. For the times a potential leading actor cast heavily against the grain. Baker immediately proved a unique screen presence - tough, gritty, combustible - and possessing an aura of dark, even menacing power.
Stanley Baker came from rugged Welsh mining stock - and as a lad was unruly, quick to flare, and first to fight. But like his compatriot and friend Richard Burton, the young Baker was rescued from a gruelling life of coal mining by a local teacher, Glyn Morse, who recognized in the proud and self-willed lad a potent combination of a fine speaking voice, a smouldering intensity, and a strong spirit. And like Burton, Stanley Baker was specially and specifically tutored for theatrical success. In fact, early on, Burton and Baker appeared together on stage as juveniles in The Druid's Rest, in Cardiff, in Wales. But later, by way of Birmingham Repertory Theatre and then the London stage, Stanley Baker charted his inevitable course toward the Cinema.
Film welcomed the adult Baker as the embodiment of evil. Memorable early roles cast the actor in feisty unsympathetic parts - from the testy bosun in Captain Horatio Hornblower (1951) to his modern-day counterpart in The Cruel Sea (1953), to the arch villains in Hell Below Zero (1954) and Campbell's Kingdom (1957) to the dastardly Mordred in Knights of the Round Table (1953) and the wily Achilles in Helen of Troy (1956). For a time there was a distillation of Baker's screen persona in a series of roles as stern and uncompromising policemen - in Violent Playground (1958), Chance Meeting (1959), and Hell Is a City (1960). But despite never having been cast as a romantic leading man, and being almost wholly associated with villainous roles, Stanley Baker nevertheless became a star by dint of his potent personality.
Although now enthroned by enthusiastic audiences Stanley Baker was obviously aware he need not desert unsympathetic parts - and his relish in playing the scheming Astaroth in Sodom and Gomorrah (1962) and the unscrupulous mobster Johnny Bannion in The Concrete Jungle (1960) was readily evident. But soon there were more principled, if still surly characters, in The Guns of Navarone (1961), The Games (1970), Eva (1962), and Accident (1967), the latter two films reuniting Baker with the American expatriot director of The Criminal, Joseph Losey. Stanley Baker also established a fruitful working relationship with the American director Cy Endfield, following their early collaboration on Hell Drivers (1957). When Baker inaugurated his own film production company - it was Endfield he commissioned to write and direct both Zulu (1964) and Sands of the Kalahari (1965), with Baker allotting himself the downbeat roles of the martinet officer John Chard in Zulu and the reluctant hero Mike Bain in The Sands Of The Kalahari.
Baker must have felt more assured in disenchanted roles - as further films from Baker's own stable still promoted the actor in either criminal or villainous mode - as gangster Paul Clifton in Robbery (1967) and the corrupt thief-taker Jonathan Wild in Where's Jack? (1969). The success of Baker's own productions was timely and did much to enhance the prestige of what was then considered an ailing British film industry. Stanley Baker also took the opportunity to move into the realm of television, appearing in, among other productions, the dramas The Changeling (1974) and Robinson Crusoe (1974), and also in the series How Green Was My Valley (1975).
Knighted in 1976 it was evident that Stanley Baker may well have continued to greater heights, both as an actor and a producer, but he succumbed to lung cancer and died at the early age of forty-eight. But his legacy is unquestioned. He was a unique force on screen, championing characterizations that were not clichéd or compromised. He established his own niche as an actor content to be admired for peerlessly portraying the disreputable and the unsympathetic. In that he was a dark mirror, more accurately reflecting human frailty and the vagaries of life than many of his more romantically or heroically inclined contemporaries. There have forever been legions of seemingly interchangeable charming and virile leading men populating the movies - but Stanley Baker stood almost alone in his determination to be characterized and judged by portraying the bleaker aspects of the human condition. Consequently, more than twenty-five years after his death, his sombre, potent personality still illuminates the screen in a way few others have achieved.- Actor
- Producer
- Soundtrack
British actor Edward Woodward made a highly successful transition into Hollywood TV stardom in the mid 1980s thanks to a popular dramatic series. Possessing a magnetic, yet coldly handsome demeanor in the same mold as Christopher Plummer, he was born Edward Albert Arthur Woodward on June 1, 1930, in London and received his early education at various schools before becoming a student at Commercial College.
Trained in acting at the Royal Academy of Dramatic Art (RADA), Woodward made his stage debut in a 1946 production of "A Kiss for Cinderella," and gained valuable experience in repertory companies throughout England and Scotland. He took his first London curtain call portraying "Ralph Stokes" in 1954 with "Where There's a Will," and subsequently made his movie debut recreating his stage part in the film version of Where There's a Will (1955). The actor continued grandly on stage in such Shakespearean productions as "Hamlet" (Laertes)," "Romeo and Juliet" (Mercutio), "Pericles" (Thaliard), "Much Ado About Nothing" (Claudio), and "Measure for Measure" (Lucio), but scored a major success portraying Percy in "Rattle of a Simple Man" in 1961, making his Broadway debut in the play two years later. Woodward would make fine use of his mastery of the spoken word by putting out a host of audio books.
A gifted singer who produced over a dozen musical recordings, Edward displayed his excellent singing pipes on Broadway as Charles Condomine in "High Spirits" (1963), the musical adaptation of Noël Coward's "Blithe Spirit," that also starred Tammy Grimes, Louise Troy and the legendary Beatrice Lillie. He also went on to win the Variety Award ("Best Performance in a Musical") for his lead role of Sydney Carton in a musical version of the Dickens classic "Two Cities." Other non-musical stage work would include the comedy "The Best Laid Plans," an acclaimed title role in "Cyrano de Bergerac," as well as noble appearances in "The White Devil," "Babes in the Wood" (as Robin Hood), "The Wolf," "The Male of the Species," "The Beggar's Opera" (as Macheath), "Private Lives" and "The Dead Secret."
Although in movies from 1955, it was TV that earned him his initial star in England. Feature film roles in such acclaimed period costumers as Becket (1964) and Young Winston (1972) were overshadowed by his more successful work on the smaller screen, especially his weary spy in the popular series Callan (1967). A brilliant performance in the film The Wicker Man (1973) and in a few others led to international stardom as court-martialed Lt. Harry Morant in the classic Aussie-made historical drama Breaker Morant (1980) directed by Bruce Beresford.
Woodward was finally granted some attention in the States at age 55, earning his own popular series, the noirish espionage series The Equalizer (1985). Served up best in crime, historical and political intrigue, he has been completely at home playing no-nonsense authoritarians and brooding loner types. Following the series' cancellation, he returned to British TV with the mystery In Suspicious Circumstances (1991), but was never far away from the US shores. Maturing roles in advancing years included a wide range of characters -- everything from Merlin to the Ghost of Christmas Present in mini-movie formats.
Woodward continued to work here and abroad up until his death. Later feature films included a top-billed role in the horror film The Appointment (1982); a top brass role in the action thriller The Final Option (1982); a featured role in the horse-racing biopic Champions (1984); as King Saul in the biblical story King David (1985); another Bruce Beresford directed film with Mister Johnson (1990); the ghost of a murderer in the black comedy Deadly Advice (1994); the 18th century patriarch of The House of Angelo (1997), which he produced and also featured his three children; a lord in the action adventure The Abduction Club (2002); a featured part in the comedy action Hot Fuzz (2007) and, his last, a reverend in the drama A Congregation of Ghosts (2009). TV appearances included recurring/regular roles in the British series: Nice Work (1980), Five Days (2007) and EastEnders (1985); plus the American series Over My Dead Body (1990) and the Canadian series La Femme Nikita (1997).
Woodward married actress Venetia Barrett (nee Collett) in 1952 and had three children, all of whom went into acting: Tim Woodward, Peter Woodward and Sarah Woodward. After his tabloid divorce (after over 30 years) from his first wife, he quickly married lovely actress Michele Dotrice in 1987, the sister of former 1960s' Disney child star Karen Dotrice of Mary Poppins (1964) fame. He and Michele produced one child, Emily. The subject of This Is Your Life (1955) on two separate occasions, the actor survived two major heart attacks before dying of pneumonia at age 79 on November 16, 2009, in Cornwall, England.- Actress
- Soundtrack
Rita Tushingham was born in Liverpool on March 14, 1942, and did her professional apprenticeship with the Liverpool Playhouse. In 1961, she made her film debut as a teenager in Tony Richardson's adaption of Shelagh Delaney's kitchen sink drama, A Taste of Honey (1961). For her work in that film, she won a BAFTA and the best actress award at the Cannes Film Festival. In 1963, she followed those up with a Golden Globe Award as most promising newcomer.
In the first half of the Sixties, Tushingham became a symbol of the kitchen sink school of theater, which told stories about working class folk, people who had been ignored previously in class conscious England. It was a decade that saw the rise of a generation of actors born and raised outside Metropolitan London who refused to let go of their accents or adopt posh manners. She became one of the faces of the English New Wave. In 1964, Tushingham starred in Girl with Green Eyes (1964), an adaptation of an Edna O'Brien novel about a young Irish woman's affair with an older man, co-starring Peter Finch and Lynn Redgrave. She next starred as a working class woman married to a biker in Sidney J. Furie's cult classic The Leather Boys (1964), a film released at a time where Marlon Brando's biker opus The Wild One (1953) was still banned in Britain. She originated the role of Nancy in Ann Jellicoe's "The Knack...and How to Get It" at the Royal Court Theatre in 1962. The Royal Court was ground zero for the revolution in the British theater that started there in 1956 with John Osborne's Look Back in Anger (1959).
She reached her high-water mark in 1965 when she reprised her stage role in the film version of The Knack... and How to Get It (1965) and played Omar Sharif (Yuri) and Julie Christie (Lara)'s love child in Doctor Zhivago (1965). While The Knack... and How to Get It (1965) was a box office hit, Doctor Zhivago (1965) was an international hit, one of cinema's all-time blockbusters. Her fame crested at the time her fellow Liverpudlians, The Beatles were establishing themselves as the biggest thing in post-WWII pop music.
But as the second half of the 60s kicked in, Tushingham's stardom began to wane as that of her "Zhivago" co-star (and on-screen mum) Christie began to skyrocket, making her the face of Swinging London. Tushingham has continued to act for five more decades since the Sixties came to a close, the very definition of a successful career.- Actor
- Producer
- Director
Born in America, and raised in Ireland and England, actor Patrick McGoohan rose to become the number-one British TV star in the 1950s to 1960s era. His parents moved to Ireland when he was very young and McGoohan acquired a neutral accent that sounds at home in British or American dialogue. He was an avid stage actor and performed hundreds of times in small and large productions before landing his first TV and film roles. McGoohan is one of few actors who has successfully switched between theater, TV, and films many times during his career. He was often cast in the role of Angry Young Man. In 1959, he was named Best TV Actor of the Year in Britain. Shortly thereafter, he was chosen for the starring role in the Secret Agent (1964) TV series (AKA 'Secret Agent in the US), which proved to be an immense success for three years and allowed the British to break into the burgeoning American TV market for the first time. By the series' 3rd year, McGoohan felt the series had run its course and was beginning to repeat itself. McGoohan and Lew Grade - the president of ITC (the series' production company), had agreed that McGoohan could leave Danger Man to begin work on a new series, and turned in his resignation right after the first episode of the fourth year had been filmed ("Koroshi"). McGoohan set up his own production company and collaborated with noted author and script editor George Markstein to sell a brand new concept to ITC's Lew Grade. McGoohan starred in, directed, produced, and wrote many of the episodes, sometimes taking a pseudonym to reduce the sheer number of credits to his name. Thus, the TV series The Prisoner (1967) came to revolve around the efforts of a secret agent, who resigned early in his career, to clear his name. His aim was to escape from a fancifully beautiful but psychologically brutal prison for people who know too much. The series was as popular as it was surreal and allegorical, and its mysterious final episode caused such an uproar that McGoohan was to desert England for more than 20 years to seek relative anonymity in LA, where celebrities are "a dime a dozen."
During the 1970s, he appeared in four episodes of the TV detective series "Columbo," for which he won an Emmy Award. His film roles lapsed from prominence until his powerful performance as King Edward I (Longshanks) in Mel Gibson's production of Braveheart (1995). As such, he has solidified his casting in the role of Angry Old Man.- Actor
- Writer
- Producer
Widely regarded as one of the greatest stage and screen actors both in his native Great Britain and internationally, Toby Edward Heslewood Jones was born on September 7, 1966 in Hammersmith, London. His parents, Freddie Jones and Jennie Heslewood, are actors as well. Toby has two brothers: Rupert, a director, and Casper, a fellow actor. He studied Drama at the University of Manchester from 1986 to 1989, and at L'École Internationale de Théâtre in Paris under Jacques Lecoq in Paris from 1989 to 1991. Naturally, his career began on the stage (and continues there), but film and television roles came soon after his studies.
Toby made his film debut with a small role in Sally Potter's experimental take on Virginia Woolf's novel, Orlando (1992), starring Tilda Swinton. Other small film roles included the doorkeeper in Les Misérables (1998) and a memorable turn as the Royal Page in Ever After: A Cinderella Story (1998) with Drew Barrymore.
Roles in the acclaimed Victoria & Albert (2001) and the Helen Mirren-starring Elizabeth I (2005) were balanced with film work, from his voice role as Dobby the House Elf in Harry Potter and the Chamber of Secrets (2002) to supporting appearances in Ladies in Lavender (2004) (co-starring his father, Freddie), Finding Neverland (2004) and Mrs. Henderson Presents (2005).
He continued stage work during this period, appearing on Broadway in The Play What I Wrote in 2003, a year after winning the Laurence Olivier Theatre Award for Best Actor in a Supporting Role for his performance in the London production.
Infamous (2006), directed by Douglas McGrath and released in 2006, was Toby's first starring role. His acclaimed portrayal of Truman Capote remained mostly in the shadow of Philip Seymour Hoffman's Oscar-winning performance of the author in 2005's Capote (2005).
A steady stream of film roles followed with appearances in Amazing Grace (2006), The Painted Veil (2006), Nightwatching (2007), The Mist (2007), and St. Trinian's (2007). Toby then appeared in three successive films that could have been commercial breakthroughs: kid-lit flop City of Ember (2008), the Oscar-nominated Frost/Nixon (2008), and Oliver Stone's W. (2008).
He reprised the voice-role of Dobby in Harry Potter and the Deathly Hallows: Part 1 (2010), appeared in the St. Trinian's sequel, as well as the Charles Darwin biopic Creation (2009) and Dustin Lance Black's post-Milk (2008) directorial outing, Virginia (2010). More Hollywood roles followed with appearances in The Rite (2011), Your Highness (2011), and his first big live-action breakthrough as Red Skull's biochemist Dr. Arnim Zola in Captain America: The First Avenger (2011).
Even before Toby was announced as Claudius Templesmith in the adaptation of the novel The Hunger Games (2012), his star was on the rise after Captain America, with roles in three Oscar-nominated films: Tinker Tailor Soldier Spy (2011), My Week with Marilyn (2011), and The Adventures of Tintin (2011). Though chances are he will forever be known by many as Claudius, the announcer for The Hunger Games with the booming voice and penchant for ending his statements with the phrase, "And may the odds be ever in your favor!"
Toby followed up this massive success with his mesmerizing tour-de-force interpretations as a sensational multifarious "chameleon" of substantial acting mastery in films such as Red Lights (2012) for Buried (2010) director Rodrigo Cortés, Snow White and the Huntsman (2012), The Hunger Games: Catching Fire (2013) reprising his role as Claudius Templesmith, Peter Strickland's Berberian Sound Studio (2012), Susanne Bier's Serena (2014) and Journey's End (2017). Among others, The Girl (2012), a BBC/HBO co-production in which he starred as Alfred Hitchcock, Titanic (2012), The Secret Agent (2016), Wayward Pines (2015), The Witness for the Prosecution (2016) and Sherlock (2010) are also included in the brilliant performances of his exquisite TV work.
Toby lives in London with his family.- Actress
- Additional Crew
- Soundtrack
Shaw was already an accomplished theater actress when director Jim Sheridan awarded her a role in his film, My Left Foot (1989). The film is a telling of Christy Brown (Daniel Day-Lewis), an Irishman disgruntled with his confinement to a body horribly crippled by cerebral palsy but who found incredible success as an artist and writer. Shaw portrayed Eileen Cole, the doctor largely responsible for Christy's education and physical rehabilitation. Since, Shaw has received several accolades for her film and television performances.- Actress
- Writer
- Soundtrack
When Ruth Gordon convinced her father, a sea captain, to let her pursue acting she came to New York and studied at the American Academy of Dramatic Arts. She acted in a few silents made at Fort Lee, New Jersey, in 1915. She made her Broadway debut in "Peter Pan" as Nibs the same year. The next 20 years she spent on stage, even appearing at the Old Vic in London in the successful run of "The Country Wife" in 1936. Nearly 25 years after her film debut, she returned to movies briefly. Her most memorable role during this period in the early 1940s was as Mary Todd in Abe Lincoln in Illinois (1940).
She left Hollywood to return to theater. Back in New York, she married Garson Kanin in 1942 (her first husband Gregory Kelly, a stage actor, died in 1927). She began writing plays, and, later, her husband and she collaborated on screenplays for Katharine Hepburn and Spencer Tracy, whose screen relationship was modeled on their own marriage. She returned to film acting during the 1960s. It is during this last period of her career that she became a movie star, with memorable roles in Rosemary's Baby (1968) and Harold and Maude (1971). She wrote several books during the mid-1970s and appeared on TV. She won an Emmy for her role on Taxi (1978) in 1979.- English character actress best known for her many portrayals of feisty cockney types, ranging from barmaids to landladies, charwomen to cooks. Unlike her working class screen personae, Irene's parentage was quite cosmopolitan, her father (Frederick) a Viennese banker, her mother (Maria) a French aristocrat - affluent enough to enable her to travel extensively in her youth. She received her acting training at the Embassy School, under the auspices of the sister of Sybil Thorndike, but did not make her debut on the London stage until 1938.
Her first successful role was in a West End comedy entitled 'George and Margaret' and this led to many other parts, including 'Blithe Spirit' by Noël Coward. From 1937, plump, cheerful Irene Handl became a popular supporting character in British films, usually in small roles or cameos, often as eccentric or pixillated old ladies. On occasion she could be a scene-stealer, as in I'm All Right Jack (1959) as the grumbling wife of shop steward Peter Sellers. She was also the definitive Mrs. Hudson, landlady to the famous detective at 221b Baker Street, in The Private Life of Sherlock Holmes (1970).
Irene Handl enjoyed a prolific career on radio (partnering Arthur Askey in 'Hello Playmates' and Tony Hancock in 'Hancock's Half Hour'), as well as in television. Her best-loved appearance was opposite Wilfred Pickles in the title role of Ada Cresswell in the sitcom For the Love of Ada (1970). She also made guest appearances in numerous shows, ranging from The Adventures of Robin Hood (1955) to The Rag Trade (1975), and remained an active performer well into her eighties. She also narrated an audio-book version of The Importance of Being Earnest and published two novels: The Sioux in 1969 (described by a reviewer as a 'gothic comic melodrama') and a more downbeat sequel, The Gold Tip Pfitzer in 1986. Besides acting and writing, Handl was a fellow of the Royal Geographical Society, loved Chihuahua dogs and Rock and Roll music. Irene never married. Shortly before she died at her flat in Kensington, she had been making plans for a third novel. - Actress
- Soundtrack
Patricia Amy Rowlands was born in Palmer's Green, north London on 19 January 1931 to Albert and Amy. She was educated at the Covent of the Sacred Heart in Whetstone. Her parents encouraged her to have elocution lessons to improve her employment prospects.
It was her elocution tutor who recognized her acting potential and encouraged her to apply to the Guildhall School of Music and Drama. She won a scholarship there at the age of fifteen, coming top in the whole of England.
Patricia's first professional appearance was in the chorus for the touring version of 'Annie Get Your Gun' in 1950, featuring Lionel Blair. Venues included the King's Theatre, Portsmouth in August and the Theatre Royal, Dublin in November.
Now known as Patsy, she made her West End debut in 1958 as Doris Hare's granddaughter in 'Valmouth', Sandy Wilson's musical about a spa town where the aged residents enjoy a prolonged sex life. As Thetis Tooke, the country lass pining for her absent sailor boy, she gave a subtly mischievous performance.
Her persuasive soprano (preserved on the original cast album) indicates that she could have had a flourishing career in musicals, and few who saw the show's first incarnation will forget her underplayed, hilarious performance of her riverside song solo, 'I Loved a Man'. Director Vida Hope had given her some wickedly sly business with a twitching fish, the number ending with Patsy on her back with the fish between her toes, which had most of the audience convulsed, though probably not the critic who asked in his column "has the censor quit?"
Sandy Wilson, who remembers Patsy as "unique, sweet, funny and ridiculous" in the role, recalls that when Princess Margaret attended a performance at the Saville, one newspaper next day complained that she should not have been exposed to such a disgusting number. "It caused the censor to take another look at the show and he decided that she could still sing to the fish, but it had to be dead and not move!"
Patsy went on to combine serious drama with her work at the Players' Theatre in London, where traditional music hall shows had nurtured the careers of so many comic actors. It was at the Players' Theatre that she first worked with Hattie Jacques and also met composer Malcolm Sircom. Patsy married Malcolm in 1962.
As part of the theatre's New Wave of the early Sixties, Patsy appeared as Sylvia Groomkirby (her favorite role) in N.F. Simpson's surreal comedy, One Way Pendulum (1961), and as Avril Hadfield in David Turner's 'Semi- Detached' (1962), directed by Tony Richardson and starring Sir Laurence Olivier. Richardson, a particular champion of Patsy's versatile talents, gave her one of her first important screen roles, as a nubile young miss in his masterly, Oscar-winning version of Tom Jones (1963), scripted by Harold Pinter.
She had made her screen debut in On the Fiddle (1961), alongside Sean Connery, and followed it with an effective performance as the heroine's tenacious girl-friend in John Schlesinger's biting drama A Kind of Loving (1962), starring Alan Bates. The following year, she appeared in the Norman Wisdom film A Stitch in Time (1963) whilst pregnant with her son, Alan Sircom. Patsy and Malcolm were divorced just eighteen months after their son's birth.
Although she regarded herself primarily as a stage performer, when her wacky technique could be in full flower, Patsy was also a familiar face on television. Early television appearances included Tuppence in the Gods (1960) and The Actor (1961) with later credits including Love All (1969), a deliciously witty performance in the television play An Extra Bunch of Daffodils (1969) and starring as Roy Kinnear's wife in the sitcom Inside George Webley (1968). Her television work never dried up.
Directors soon got to know that she was so individual that she had to be cast selectively, but when she was right for a part she was very right, and her range stretched more broadly than some expected. She was part of the theaters "New Wave" of talent that invigorated both stage and screen in the Sixties. Despite prestigious credits and enormous respect within the profession, it is probably true to say that her talents were under-appreciated until she became part of the "Carry On" team.
Between 1969 and 1975 Patsy appeared in nine of the "Carry On" films, usually as the dowdy, put-upon wife - wives do not come much more put-upon than her queen who gets her head chopped off in Carry on Henry VIII (1971) to make way for the King's (Sidney James) latest wife. Or she would be the timid housekeeper or employee quietly lusting after a gloriously insensitive Kenneth Williams, just waiting for the right moment to throw off her drab cocoon and emerge in her true plumage, for example in Carry on Loving (1970). Patsy later confided that she found Kenneth Williams intimidating and it took quite some time for him to accepted her as one of the gang.
She tested the merchandise at Boggs Sanitary Ware in Carry on at Your Convenience (1971), complaining: "I've given my whole life to Boggs," and she was the worm that finally turns in Carry on Girls (1973), as the wife of the boring, self-important mayor (Kenneth Connor). She sabotages his beauty contest by burning her bra and joining Women's Lib. She was proud of the series, stating: "They had good, honest humor, sometimes naughty but never too rude - entertainment for all the family." Her last film in the series was Carry on Behind (1975).
The role of Betty, Sidney James's feckless neighbor in the sitcom Bless This House (1971), consolidated her success as a major comic screen actress. The series ran for six years and Patsy played the long-suffering neighbor with immense gusto. She and her co-stars, Sidney James and Diana Coupland, brought rude energy to the series. Despite the critics thinking it trite, the show won awards, the public loved it and it spawned a film version in 1972. Bless This House (1971) was followed by another hit sitcom The Squirrels (1974), set in the offices of a television rental company.
Serious films included Tony Richardson's Joseph Andrews (1977) and Roman Polanski's Tess (1979), and on stage she was directed by Lindsay Anderson in 'The Seagull' (1975) and as the archetypal housewife in 'Shut Your Eyes And Think Of England' (1977) alongside Donald Sinden. Other plays included Ronald Eyre's acclaimed production of J.B. Priestley's When We Are Married (1987) alongside Timothy West, Prunella Scales and Patricia Routledge. Anderson also directed her in 'The March On Russia' (1989) at the National Theatre, where she appeared in 'The Pied Piper' (1987) as a very idiosyncratic Lady Mayoress, and in 'The Wind In The Willows' (1990).
Her musicals included the West End premiere of Stephen Sondheim's 'Into The Woods', at the Phoenix Theatre (1990), 'Me And My Girl' (1993), Sam Mendes' long-running revival of 'Oliver!' (1994) at the London Palladium and a delightful performance as Mrs. Pearce in Cameron Mackintosh's revival of 'My Fair Lady' (2001) at the Theatre Royal, Drury Lane. She took Eliza Doolittle off to the bath and danced through 'I Think She's Got It' for a year and then was asked to return to the role when the show was recast for its third year.
By the eighties, she was well-established in television sitcom. She starred in Nigel Kneale's cult sci-fi comedy Kinvig (1981) and teamed up with Thora Hird in Hallelujah! (1983). They played an aunt and niece in the Salvation Army. Patsy also appeared alongside Thora in two episodes of the sitcom In Loving Memory (1969). In the nineties, she appeared as Mrs. Clapham in Get Well Soon (1997), set in a National Health Service hospital during the post-war period.
In sitcoms, Patsy was an ideal sparring partner, never hogging the limelight and generous to colleagues. Such stars as Les Dawson, Dick Emery and, in particular, Billy Connolly in Supergran and the Course of True Love (1985). All asked for her to play with them in important sketches. Les Dawson telephoned Patsy when she was in hospital after breaking her ankle on stage, in May 1993, asking her to be in a new show playing his wife. Tragically, he died of a heart attack just a couple of weeks later.
In addition to sitcoms, Patsy appeared children's shows, such as Rainbow (1972), and numerous television dramas. Her plump, rustic features were put to effective use in classic serials such as Vanity Fair (1998) and The Cazalets (2001), which narrated the problems of a wealthy family just before the Second World War. She played Miss Millament with relish.
Patsy completed three audio commentaries for the launch of the Carlton-distributed later "Carry On" DVDs in 2003, appearing alongside Jacki Piper, Valerie Leon, June Whitfield, Jack Douglas and Larry Dann. From the second half of the nineties onward, she had also appeared in numerous television documentaries about her late "Carry On" co-stars Kenneth Williams, Hattie Jacques and Sidney James as well as Norman Wisdom.
Breast cancer was diagnosed while she was appearing as Mrs. Pearce in 'My Fair Lady' at Theatre Royal, Drury Lane. But she carried on without telling any of her fellow actors. It was typical of the droll and hard-working actor that she still tried to convince her friends that she was about to "go back to the gym" and would soon be ready for work. She did it to spare their feelings.
While ill, she had continued to work until she abandoned plans to become a teacher of acting and publicly retired soon after 'My Fair Lady' closed on 30 August 2003. The following year, she moved to Martlets Hospice, Hove, East Sussex - just over a mile from her flat - where she spent her final days.
Her son, Alan Sircom, announced: "I think you should all know that my mother, Patsy Rowlands, passed away at 6:20 am, Saturday 22 January 2005. She was never very good with mornings. She died peacefully in her sleep." She died at Martlets Hospice at the age of 74 and three days (although newspapers mistakenly reported her age as 71).
Agent Simon Beresford said: "She was just an absolutely favorite client. She never complained about anything, particularly when she was ill, she was an old trouper. She was of the old school - she had skills from musical theatre and high drama, that is why she worked with the great and the good of directors. She didn't mind always being recognized for the "Carry On" films because she thoroughly enjoyed making them. She was a really lovely person and she will be much missed."
'My Fair Lady' director, Eleanor Fazan, remembered her with affection: "Patsy was always very unselfish and a delight to work with: full of energy and keen to try anything new. She was a joy."
One obituary summarized Patsy as "a character actress of much style and blessed with superb timing and charismatic charm. She was a refined comedienne who could switch from the bawdy to the subtle. Rowlands did put-upon characters wonderfully, but never overdid the comedy: it was always kept within the bounds of the role. She was expert at delivering a tag line."
Another obituary revealed she was an admirer of Claude Monet and an accomplished watercolor and pastel artist. She once had her work appear the Royal Academy summer show.
Following her private, family funeral, a public memorial service was held at midday on Friday 29 April 2005 at St Paul's Church, Covent Garden, known more commonly as The Actors' Church. Attendees to the public service included Anna Wing, Carol Cleveland and Simon Beresford. Donations were collected for the Martlets Hospice charity, who cared for Patsy in her last days, with £350 raised.