Imposing stage and screen actor whose work ranged from Shakespeare to The Bill
The character actor Bernard Horsfall, who has died aged 82, appeared in television, films and on the stage for more than half a century. Tall, imposing and authoritative, he appeared in many of the major television series from Z Cars and Dr Finlay's Casebook to Casualty and The Bill, and in Doctor Who took no fewer than four roles.
In 1968 he played Lemuel Gulliver in The Mind Robber, where he was encountered by Patrick Troughton, the second Doctor, in the Land of Fiction. The following year he returned as a Time Lord in The War Games. In 1973, with Jon Pertwee now donning the time-traveller's cape, he played the Thai chieftain, Taron, in the six-part Planet of the Daleks. And finally, he was another Time Lord, Chancellor Goth, in the 1976 story The Deadly Assassin, famously battling with Tom Baker...
The character actor Bernard Horsfall, who has died aged 82, appeared in television, films and on the stage for more than half a century. Tall, imposing and authoritative, he appeared in many of the major television series from Z Cars and Dr Finlay's Casebook to Casualty and The Bill, and in Doctor Who took no fewer than four roles.
In 1968 he played Lemuel Gulliver in The Mind Robber, where he was encountered by Patrick Troughton, the second Doctor, in the Land of Fiction. The following year he returned as a Time Lord in The War Games. In 1973, with Jon Pertwee now donning the time-traveller's cape, he played the Thai chieftain, Taron, in the six-part Planet of the Daleks. And finally, he was another Time Lord, Chancellor Goth, in the 1976 story The Deadly Assassin, famously battling with Tom Baker...
- 1/31/2013
- by Michael Coveney
- The Guardian - Film News
by Nick Schager
[This week's "Retro Active" pick is inspired by another fantasy revamp of a storybook classic, Mirror Mirror.]
Red Riding Hood's signature shawl symbolizes the eroticism and menace at the heart of The Company of Wolves, Neil Jordan's sensuous reimagining of the iconic fairy tale. Jordan blends realities with the same dreaminess that characterizes his entire film, opening with a wolf's dash through a misty fantasyland forest that ends at a manor house and the arrival of a modern car, out of which appears the parents of Alice (Georgia Slowe) and, in an upstairs room behind a locked door, Red Riding Hood herself, Rosaleen (Sarah Patterson). Via a pan across her room, Rosaleen is discovered asleep in bed and apparently wracked by a feverish nightmare that seems to bleed into the real world—or does it actually become real?—once Jordan's camera reaches a window overlooking a mountain range, and we're transported back into an ancient forest. There, Alice flees a horde of wolves,...
[This week's "Retro Active" pick is inspired by another fantasy revamp of a storybook classic, Mirror Mirror.]
Red Riding Hood's signature shawl symbolizes the eroticism and menace at the heart of The Company of Wolves, Neil Jordan's sensuous reimagining of the iconic fairy tale. Jordan blends realities with the same dreaminess that characterizes his entire film, opening with a wolf's dash through a misty fantasyland forest that ends at a manor house and the arrival of a modern car, out of which appears the parents of Alice (Georgia Slowe) and, in an upstairs room behind a locked door, Red Riding Hood herself, Rosaleen (Sarah Patterson). Via a pan across her room, Rosaleen is discovered asleep in bed and apparently wracked by a feverish nightmare that seems to bleed into the real world—or does it actually become real?—once Jordan's camera reaches a window overlooking a mountain range, and we're transported back into an ancient forest. There, Alice flees a horde of wolves,...
- 3/30/2012
- GreenCine Daily
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