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theatre and radical politics: he joined the local Unity
Theatre and was an active member of the Young Communist League. Rather than graduate, Endfield left Yale in early 1936, moving to New York and taking classes at the leftist New Theatre League, supporting himself by taking acting jobs and contributing magic acts to new theatre movement revues. Aged 23 he joined the League as a teacher, before spending a year directing an amateur theatre group in Montreal, where he met writers and playwrights including â briefly â Clifford Odets. It was also here that he married an actress, Fanny Shurack (stage name Osborne). In 1940, with a baby due, the couple moved to Hollywood, and Endfield looked for work in the studios. His first assignment, a short-lived engagement with Orson Wellesâs Mercury Theatre unit at RKO, followed a random meeting with Welles at a Los Angeles magic shop. During this period Endfield was one of the few people to view the original, uncut version of Wellesâs
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magic fraternity, while in New York in the late thirties, and in Los
Angeles in the forties he designed popular magic acts. When he came to London in the fifties he was in demand, and gave presentations, including at the Magic Circle, while he maintained friendships with other exponents of card magic, including Dai Vernon, as well as with scientists with an interest in card magic and issues of probability. A book of Endfieldâs card magic was published in Britain in 1955, while in 1959 he appeared on a BBC programme on contemporary magic, along with Vernon and (Tony) Slydini. Endfield maintained a correspondence with science writer Martin Gardner on close-up card magic, and science and pseudo-science, and was encouraging to younger practitioners, for example, Michael Vincent. Science fiction literature was another of his passions.
417:(1957) was a breakthrough in terms of scale and ambition; it was successful in the UK and has attained a cult reputation. The subject, from a short story by John Kruse, concerned the trucking industry, and the short-haul transport of ballast, by a private company that stokes the ultra-competitive behaviour of its drivers. A publicity still of the time described it as a âdrama of men who battle for their livelihood in ten-ton trucks.â Stanley Baker plays the driver (and ex-con) Tom Yately, while the strong cast includes Herbert Lom, Peggy Cummins, William Hartnell, and Wilfred Lawson, together with, in small but significant roles, emerging British actors Sean Connery and Patrick McGoohan.
368:(1935), with Spencer Tracy. Endfield put heart and soul into the project, which was filmed on location in Phoenix, Arizona, and which starred Lloyd Bridges, Frank Lovejoy, Katherine Ryan and Art Smith. There were disagreements over the script, but the story was a powerful one of a decent, family man (Lovejoy) whose desperation for work leads to an ill-fated, criminal alliance with a psychopath (Bridges). The climax, in which a mob invades a prison where the two criminals are being kept, had a particularly strong impact on critics.
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took an
American to give this working-class actor the chance to play a British officer role. His acting career never looked back. The resulting film uses the epic scenery of the Drakensberg Mountains and the Royal National Park, establishing the beleaguered colonial garrison and then elegantly depicting the hour-long battle. For all the lack of historical context, and developed characters on the Zulu side, the film avoids jingoism, and presents the British officers as having a final sense of self-disgust at their survival.
341:(1950), for the independent company Robert Stillman Productions (distributed by United Artists), at the end of the year. He described both films as ânervous Aâ pictures, meaning that they had a budget of around $ 500,000. Their cost was beyond that of a B-picture, but still well short of that of âAâ pictures. This was a step up for directors such as Endfield, and followed in the tradition of the successful pictures associated with rising producer Stanley Kramer in the late forties, notably
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the House
Committee on Un-American Activities by the screenwriter Martin Berkeley, in September 1951, and while he was reluctant to plead the Fifth Amendment before the Committee, he found the option of ânaming namesâ, so as to clear himself for further Hollywood film work, to be unacceptable. Thus, the hurried settlement with his wife, with whom he had separated, and his voyage on the Queen Mary at the end of that year. He later commented:
644:, with its frightening depiction of populist anger. A book length treatment of Endfieldâs life and work was published in 2015, and in the wake of this there were several retrospectives of the directorâs work, notably at Anthology Film Archives in New York, the University of Wisconsin-Madison, and at the UCLA film & television archive. His later work also received further discussion. Sheldon Hall authored a major examination of
467:(1964), a recreation of the 1879 engagement between four thousand Zulu warriors and a small garrison of British soldiers at Rorkeâs Drift, in southern Africa. With a script by John Prebble, Endfield and Baker (co-producers of the film) eventually achieved financing from Joseph Levine, as well as from Paramount. The resulting film was a huge success in Britain and has remained one of the most popular of British war films.
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that I know.â To the director this reaction indicated how such a film could be viewed in the febrile atmosphere of the Cold War. The critic Manny Farber also saw the film in these terms, describing it as âan ominous snarl at
American life.â Endfield talked to theatre managers who reported that some patrons had complained that the film was âun-Americanâ, at a time when Americans were fighting and dying in Korea.
383:, with Boris Karloff. His other films were directed anonymously, with another director â Charles de la Tour â often being credited, and being paid to stand by on set. This partly reflected then rules of the film industry union, the Association of Cinematograph Technicians (ACT), as well as the reluctance of American distributors to handle films that carried the names of those blacklisted. Such films included
214:(November 10, 1914 â April 16, 1995) was an American film director, who at times also worked as a writer, theatre director, magician and inventor. Born in Scranton, Pennsylvania, he worked in the New York theatre in the late 1930s before moving to Hollywood in 1940. His film career was interrupted by the Hollywood blacklist, and he resettled in London at the end of 1951. He is particularly known for
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the
Committee. He there admitted his associations with the Communist Party, and of distancing himself from the Party after the war, such that some left-wing friends saw him as a renegade. At this late stage, with the blacklist beginning to collapse, all of those named were already blacklisted. Yet some of his fellow American exiles were not impressed by his action, which allowed him to direct
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publishing a routine in a magiciansâ magazine at the age of 16. In 1932 he won a scholarship to Yale, but delayed his arrival by a year given the collapse of his fatherâs business during the
Depression. While in Scranton he first met Israel Shapiro (Paul Jarrico), a politically conscious screenwriter-to-be who would become a life-long friend.
308:(1958), for Britainâs largest production company, the Rank Organisation; both featured Stanley Baker, who was to appear in six of his films. Endfield was eventually issued with a new passport and in 1957 he was given permission to remain permanently in the UK, having remarried in March 1956, to the model, Mo Forshaw.
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at the CinémathÚque française in 1964. While in Paris
Endfield made some comments about his approach to directing, noting that âyou donât necessarily have to go to art theatres to find art.â He revealed his admiration for storyteller directors â he mentioned Fritz Lang and Raoul Walsh - who were able
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by
Columbia Pictures, that he decided that he needed to clear himself by appearing before the House Committee on Un-American Activities in Washington. Endfield had written to the Committee in August 1958, but it was in March 1960 that he reluctantly made the flight to Washington D.C. to appear before
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Endfield had a range of interests that crossed the traditional âtwo culturesâ of
British life. First and foremost, he had a life-long passion for close-up, sleight of hand magic, particularly involving card manipulations. As a youngster in Scranton he gave demonstrations and published tricks for the
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It was in 1951 that Endfieldâs left wing political associations (at the New Theatre League in New York in the late 1930s, and in Hollywood in 1943) derailed his career and led him to leave the United States and re-establish his filmmaking career in London (in December 1951). He had been named before
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Also, in the late 1970s and into the 1980s, Endfield became intensely interested in devising, financing and marketing a hand-held mechanism that was essentially an early form of word processor. He worked with Chris Rainey on the device on which text could be inputted and subsequently connected to a
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Endfield was also interested in invention, technology and design, and was often ahead of his time. He designed and patented a portable chess set composed of hand-crafted pieces that could be fitted into silver cylinders. The set was marketed to commemorate the World Championship match between Bobby
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Parallel to his film career, Endfield was periodically involved with the theatre. After his time at the New Theatre League in the late thirties he ran a leftist âsocialâ theatre for around a year in Montreal. In the UK he was involved as director of several theatrical performances, the most notable
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It was Endfield who took a chance on inexperienced 30-year-old actor Michael Caine to play (opposite Baker) one of the two British officers, and personally engaged the then Zulu chief, Prince Mangosuthu Buthelezi to play Cetshwayo, the King of the Zulus at the time. Caine has long recalled that it
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for friends and associates. In the audience was the actor Joseph Cotten, who Endfield had got to know well at the Welles unit at RKO. The director recalled Cottenâs comment after the showing: âCy, weâve both grown up in the same country, but Iâm telling you, the America you know is not the America
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Endfield was one of a number of American filmmakers with left-wing associations who moved to Europe in the early fifties because of the blacklist (notably Joseph Losey, John Berry, Jules Dassin, and Carl Foreman). His stay in the UK was gradually extended, and he made a series of low budget films.
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Cyril Endfield was born in Scranton, Pennsylvania on November 10, 1914, the first of three children. His parents were first generation Jewish immigrants from Eastern Europe; his father ran a fur business. A bright boy, Cyril developed an early interest both in chess and sleight-of-hand card magic,
608:
In addition, Thom Andersen, in 1985, first drew attention to a group of post-war film noirs that were particularly sensitive to social and political issues. He listed thirteen examples, released between 1947 and 1951, including films directed by Robert Rossen, Abraham Polonsky, Jules Dassin, John
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Late in life Endfield gave a long interview to the American writer and film critic Jonathan Rosenbaum, who was an early champion of the directorâs work. Rosenbaum referred to Endfieldâs âremarkable noir efforts,â and wrote of âa poetry of thwarted ambitions, dark, social insights, and awesomely
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Late in his life Endfield referenced the upheavals in his life, and notably the lost opportunities attendant on his unplanned move to the UK. There was, however, some critical recognition: the highly respected writer on British cinema, Raymond Durgnat, wrote positively of Endfieldâs work in his
242:
In his two years at Yale Endfieldâs attitude to his studies was ârather lackadaisicalâ (his own description in a letter to Jarrico), although he read widely, and developed an extra-curricular interest in new science fiction. Much of his time in New Haven was devoted to the intertwined worlds of
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something of this struggle. Only slowly, as he found film work (and some work in the theatre), did the Board of Trade become more sympathetic, recognising the value to the country (as it slowly emerged from austerity) of the employment and dollar investment that the filmmaker began to attract.
254:
Endfield remained at MGM until he was called up to a year of military service at Camp Crowder, in Missouri. Thereafter he returned to the studio, before writing and directing several low budget Joe Palooka features (based on the comic strip) for Monogram. What he later called his first âauteur
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Endfield was 37 when he began his new life in the UK, and it was a struggle to get work both in theatre and film. The British security services took a close interest, and for a time there was a real possibility of him being sent back to the United States. His FBI and Home Office files reveal
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Since Endfieldâs death in Shipston-on Stour, in the UK, on April 16, 1995 (aged 80), a number of writers have continued to explore political and other aspects of film noir, and to credit his contribution. James Naremore, in his survey of film noir and its contexts, highlights
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Cyril Endfield, testimony, Committee on Un-American Activities, House of Representatives, Washington DC., March 31, 1960, Centre of Legislative Archives, National archives and Records Administration (NARA), Washington DC. On the Hollywood blacklist see Larry Ceplair,
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The political enthusiasms attributed to me were already years and years dead, but the sole option of informing still repellent. My enjoyable career and its attendant affluence conducted in the unmatchable ambience of as-yet-unpolluted Los Angeles was
482:(d. Douglas Hickox, 1979), and a novel with the same title (also 1979). The science fiction writer Brian Aldiss, who worked on several unrealised projects with the director, made his own comment: âI admired Cy. He never had another success like
97:
637:⊠the filmâs lynch-mob sequences are profoundly unsettling, and the story as a whole is such a thoroughgoing indictment of capitalism and liberal complacency that it transcends the ameliorative limits of the social problem picture.
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It was the French critic, cineaste and sometime producer Pierre Rissient who drew more attention to the directorâs work when he prompted a partial retrospective of six of Endfieldâs films, including the first French release of
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Yet neither film was successful internationally, and in the late fifties Endfield become discouraged by the lack of opportunities in the industry. Several film projects collapsed, including adaptations of Evelyn Waughâs
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Yet Endfieldâs career remained something of a struggle, and the blacklist still prevented him being considered for international productions, with American finance. It was in 1960, when he was offered the direction of
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and the effect of the blacklist by National Public Radioâs Howie Movshowitz. In 1989 and 1992 Endfield also gave interviews to Brian Neve, talking at length, in particular about his American work, and the blacklist.
349:(1949). Both the 1950 films, and particularly the second, came to be seen as film noirs, to use the term then being applied by critics to a series of American crime films that were released in France after the war.
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orchestrated struggle.â Despite ill-health Endfield accepted an invitation to attend the Telluride Film Festival in Colorado in 1992, where he was awarded the festivalâs Silver Medallion and was interviewed about
1542:
Federal Bureau of Investigation, âFreedom of Information/Privacy Acts, Subject: Cyril Endfield, 1949-1960,â US Department of Justice; Cyril Endfield, Home Office file, HO 382/185, National Archives, Kew, UK.
259:(1948), was made after nine days of shooting, from his own short radio play for the CBS Suspense series. Endfieldâs career only really revived in 1950, with the release of two well received crime features,
569:, referred to its remarkable âcharacterisation and the handling of the dramaâ â âat times reaching a complexity rare in films of this type.â Endfield wrote a short article in the Film Society magazine
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He had done a great deal in cinema, but late in life he rued the fact that he hadnât done more â as should we, for there is much evidence here that Cy Endfield still had a few tricks up his sleeve.
1703:
Glen Erickson, âTry and Get Me! (1950)â, http://www.noiroftheweek.com/2009/08/try-and-get-me-1950.html (accessed, 14/5/2010). Nick Pinkerton, âFury Road, Cy Endfield at Anthology Film archives,
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Fischer of the United States and Boris Spassky of the Soviet Union, in Reykjavik in 1972. In 2021 there was a renewed interest in developing a miniature chess set based on Endfieldâs design.
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drew on similar aspects of the world of work, in this case following the efforts of men on salvage boats off the coast of Spain; the action sequences attracted particular critical attention.
561:(in February 1951) welcomed a low-budget feature that âchallenges comparison with the million-dollar epics,â while following the filmâs UK release Gavin Lambert reviewed it in the BFIâs
648:, a film that was given a 50th anniversary showing in London in 2014. Critic Nick Pinkerton celebrated the range of Endfieldâs cinematic achievement in a 2015 piece which concluded:
1686:, 2nd ed. (London: BFI/Palgrave Macmillan, 2011), 46-7, 122, 293. Thom Andersen, âRed Hollywoodâ and âAfterwordâ, in Frank Krutnik, Steve Neale, Brian Neve, Peter Stanfield, eds.,
337:(1950), a crime story with social overtones (with Dan Duryea, Herbert Marshall and Howard da Silva), that was made for a subsidiary of Monogram Pictures. He followed this up with
251:(1943), a well-regarded propaganda short approved by the Office of War Information, to be quickly withdrawn from distribution following criticism from the Chamber of Commerce.
364:), based on a 1947 novel by Jo Pagano that dealt with a notorious kidnapping and lynching case of 1933. The events, in San Jose, had already loosely inspired Fritz Langâs
515:, was sold around the world with (for a time) some success. A related personal organiser led to Endfield and his collaborators receiving a British Design Award in 1990.
46:
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Early in his time in London Endfield worked without credit for the American producer Hannah Weinstein, directing three pilot episodes for a television series called
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review referred to âa pace and muscular command of violent action uncommon in British cinema,â while another critic, referencing Henri-Georges Clouzotâs 1953 film
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2003:
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Despite this success, Endfield struggled in the following years, as American financing for British projects became scarcer. His last film as a director was
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2008:
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1973:
2013:
403:(1956) was C. Raker Endfield, although the latter film still saw la Tour standing by. There are some resonances of the blacklist experience in
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And I, physically storm-tossed, a âboat-person,â albeit as a passenger on the Queen Mary on a one-way transatlantic trip.
1993:
1983:
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460:(1961), a studio project that successfully exploited Ray Harryhausenâs special effects to tell the Jules Verne story.
1586:
Jonathan Rosenbaum, http://www.jonathanrosenbaum.net/1992/07/potent-pessimism/ (accessed March 14, 2014); Rosenbaum,
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1707:, November 20, 2015, https://www.artforum.com/film/nick-pickerton-on-cy-enfield-at-anthology-film-archives-56363
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486:. But then, how many people could have achieved the sheer organisation and artistry that went into the film?â
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Endfieldâs first critical success (apart from the studio and trade praise for the largely unseen 1943 short,
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For several years the director worked on commercials, while he and Baker engaged in a long struggle to make
247:(1942). Eventually he secured a position with the short subject department at MGM, only for his first film,
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to make some degree of personal comment on the world while still being appreciated by a popular audience.
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1934:
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823:
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Cy Endfield, comments, Press Release, September 23, 1964, Endfield press cuttings, BFI Reuben Library.
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Endfield, interviewed by Brian Neve, December 19, 1989, published as âAn Interview with Cy Endfield.â
321:(1961), at a time when he and Stanley Baker were working to try and set up an ambitious production of
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2018:
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The short period from 1949 to 1951 was one in which Endfieldâs profile was on the rise. He directed
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565:. Lambert, who with Lindsay Anderson had founded the influential post-war British film magazine
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Endfield wrote at the time of the rationale for the film, and for the Rank film that followed,
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424:(1958), seeing both as drawing inspiration from Hollywood dramas of working-class life. The
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Frances Shurack, married May 14, 1939; Divorced. Maureen Forshaw, married March 31, 1956
1942:
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39:
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His association with the producer Benjamin Fisz led to two better funded productions,
1967:
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478:(1971), with George Lazenby, while he wrote the screenplay (with Anthony Storey) for
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129:
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Huston and Joseph Losey. Cy Endfield was included in this group, and Andersen saw
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518:
512:
1693:
Rosenbaum, Tribute to Cy Endfield, 19th Telluride Film Festival, BFI Library.
557:). The film attracted positive attention, despite its commercial failure. The
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Silver Medallion, Telluride Film Festival (1993); British Design Award (1990)
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96:
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of which was the run, for over a year (1962â63), of Neil Simonâs play
395:(1955) Endfield was credited as Hugh Raker. The directorâs credit for
1690:(New Brunswick, NJ: Rutgers University Press, 2007), 225-63, 264-75.
1576:(Paris: Les Editions de Minuit, 1955), translated by Paul Hammond as
1528:(1943) and the Blacklist: The Disrupted Film Career of Cy Endfield.â
1635:
Past and Present: National Identity and the British Historical Film
1572:, no. 7, Winter 2005, 116-27. Raymond Borde and Etienne Chaumeton,
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Hollywood Exiles in Europe: The Blacklist and Cold War film Culture
517:
1684:
A Mirror for England: British Movies from Austerity to Affluence
1601:
1957 publicity still by Ian Jeayes, Endfield family collection.
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1688:âUn-Americanâ Hollywood: Politics and Film in the Blacklist Era
1563:
The Hollywood Motion Picture Blacklist Seventy-Five Years Later
18:
640:
Glen Erickson and others have referred to the prescience of
573:, in 1958, in which he discussed his approach to directing.
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led to the effort by new producer Robert Stillman to set up
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Scranton public schools; Yale University (1933-35)
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The Many Lives of Cy Endfield: Film Noir, the Blacklist and
1590:(Berkeley: University of California Press, 1997). Farber,
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1700:(Berkeley: University of California Press, 1998, 127.
1550:(New Brunswick, NJ., Rutgers University Press, 2014).
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as a âremarkable tour de force of action filmmakingâ.
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printer. In the early 1980s the finished product, the
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Zulu (Madison: University of Wisconsin Press, 2015).
605:, their harsh energy is exhilarating and disturbing.
1623:, second edition (Sheffield: Tomahawk Press, 2014).
411:, the first of Endfieldâs films with Stanley Baker.
201:
193:
185:
177:
145:
137:
118:
103:
87:
1530:Historical Journal of Film, Radio and Television,
601:(1958) lack the social analysis of his Hollywood
533:, Warwickshire, England, age 80. He is buried in
1574:Panorama du film noir américain, 1941-1953
1580:(San Francisco: City Lights Books, 2002), 118.
1656:The Two Cultures and the Scientific Revolution
1637:(London: I. B. Tauris, 2005), 19-227, 351-54.
1604:Cy Endfield, âThe Inhibitions of Filmmakers,â
1598:(New York: Library of America, 2009, 345-47).
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8:
1630:(London: Hodder and Stoughton, 2010, 71-79.
1628:The Elephant in Hollywood: The Autobiography
1698:More Than Light: Film Noir and Its Contexts
1594:, February 24, 1951, in Robert Polito ed.,
1578:A Panorama of American Film Noir, 1941-1953
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1747:
1739:
95:
84:
1665:(Bideford: Supreme Magic Company, 1955).
1608:, no. 15 (JanuaryâFebruary 1958), 10-11.
71:Learn how and when to remove this message
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1651:(London: Little, Brown, 1998), 355-58.
671:Anthology FilmArchives, New York, 2015
371:Endfield arranged a private showing of
1565:(University Press of Kentucky, 2022).
1663:Cy Endfieldâs Entertaining Card Magic
1570:Film Studies, An International Review
197:Cathy (first mariage); Suzannah; Eden
7:
2029:20th-century American businesspeople
1658:(Cambridge University Press, 1959).
1539:, 28, no. 2 (MarchâApril 1992), 79.
1535:Cy Endfield, âNative Sonâ (letter),
2049:20th-century American screenwriters
2004:Writers from Scranton, Pennsylvania
668:Cinematheque francaise, Paris 2008
659:Cinematique Francaise, Paris, 1964
2044:20th-century American male writers
1555:The Film Directorâs Wife, a Memoir
1514:This profile draws on Brian Neve,
665:Amiens Film Festival, Amiens 2008
14:
2009:American people of Jewish descent
1726:Cy Endfield biography and credits
1670:The Saturday Review of Literature
1078:Credited as "Charles de Lautour"
2034:Film directors from Pennsylvania
1974:Film producers from Pennsylvania
1672:, February 3, 1951; Lambert, in
23:
966:Joe Palooka in the Counterpunch
1621:Zulu: With Some Guts Behind it
1616:, July 27, 1957, BFI Library.
1583:Endfield, in Neve (2015), 92.
1498:Colonel March of Scotland Yard
933:author of original radio play
674:University of Wisconsin, 2015
16:American-British film director
1:
2014:American emigrants to England
1644:(London: Arrow Books, 1979).
559:Saturday Review of Literature
325:on location in South Africa.
2039:Burials at Highgate Cemetery
1807:Joe Palooka in the Big Fight
1668:âViolence on a Low Budgetâ,
944:Joe Palooka in the Big Fight
529:Cy Endfield died in 1995 in
407:(with Sam Wanamaker) and in
1979:American male screenwriters
549:) came with the release of
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1989:American theatre directors
1839:Colonel March Investigates
1532:30, no. 4 (2005), 515-28.
662:Chicago Film Center, 1992
590:, in 1970. He noted that:
381:Colonel March Investigates
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1149:Credited as "Hugh Raker"
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456:, although he did direct
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245:The Magnificent Ambersons
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1557:(The Book Guild, 2016).
763:
758:
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593:⊠even if Cy Endfieldâs
503:, in Londonâs West End.
122:April 16, 1995 (aged 80)
1649:The Twinkling of an Eye
436:), wrote of âa British
1999:Yale University alumni
722:The Great American Mug
526:
111:Scranton, Pennsylvania
32:This article includes
1935:Sands of the Kalahari
1783:Gentleman Joe Palooka
1674:Monthly Film Bulletin
1377:Sands of the Kalahari
824:Gentleman Joe Palooka
563:Monthly Film Bulletin
541:Reputation and legacy
521:
434:Le salaire de la peur
234:Early life and career
1831:Tarzan's Savage Fury
1815:The Underworld Story
1038:Tarzan's Savage Fury
991:The Underworld Story
588:A Mirror for England
522:Endfield's grave in
354:The Underworld Story
335:The Underworld Story
329:Endfield's film work
261:The Underworld Story
212:Cyril Raker Endfield
1994:Hollywood blacklist
1984:American communists
1661:Lewis Ganson, ed.,
1633:See James Chapman,
871:Hard Boiled Mahoney
501:Come Blow Your Horn
1879:Child in the House
1799:The Argyle Secrets
1769:Films directed by
1588:Movies as Politics
1229:Curse of the Demon
1182:Child in the House
918:The Argyle Secrets
780:Joe Palooka, Champ
579:The Sound of Fury,
527:
452:, and Mary Webbâs
409:Child of the House
401:Child in the House
391:(1955), while for
275:Politics and Exile
257:The Argyle Secrets
40:properly formatted
1961:
1960:
1951:Universal Soldier
1911:Mysterious Island
1823:The Sound of Fury
1682:Raymond Durgnat,
1612:, July 28, 1957;
1521:Neve (2015), 16.
1507:
1506:
1472:
1471:
1428:Universal Soldier
1305:Mysterious Island
1244:Final screenplay
1013:The Sound of Fury
642:The Sound of Fury
632:The Sound of Fury
619:The Sound of Fury
611:The Sound of Fury
603:The Sound of Fury
551:The Sound of Fury
535:Highgate Cemetery
531:Shipston-on-Stour
524:Highgate Cemetery
476:Universal Soldier
458:Mysterious Island
430:The Wages of Fear
373:The Sound of Fury
358:The Sound of Fury
347:Home of the Brave
339:The Sound of Fury
319:Mysterious Island
314:Mysterious Island
265:The Sound of Fury
216:The Sound of Fury
209:
208:
178:Years active
126:Shipston-on-Stour
107:November 10, 1914
81:
80:
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1696:James Naremore,
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399:(1955), and
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155:screenwriter
130:Warwickshire
82:
67:
58:
37:
2024:1995 deaths
2019:1914 births
1771:Cy Endfield
1717:Cy Endfield
1654:C.P. Snow,
1503:3 episodes
1443:Also actor
1392:Also actor
1238:Uncredited
1121:Uncredited
1022:Uncredited
905:Uncredited
734:Our Old Car
681:Filmography
677:UCLA, 2016
597:(1957) and
513:Microwriter
387:(1953) and
304:(1957) and
226:(1957) and
146:Occupations
89:Cy Endfield
1968:Categories
1871:The Secret
1592:The Nation
1510:References
1475:Television
1157:The Secret
698:Radio Bugs
686:Short film
490:A Polymath
405:The Secret
397:The Secret
345:(1949) and
1903:Jet Storm
1642:Zulu Dawn
1526:Inflation
1454:Zulu Dawn
1280:Jet Storm
692:Inflation
547:Inflation
480:Zulu Dawn
249:Inflation
186:Spouse(s)
181:1942â1979
138:Education
132:, England
1895:Sea Fury
1705:Artforum
1255:Sea Fury
1112:Crashout
765:Producer
755:Director
599:Sea Fury
567:Sequence
442:Sea Fury
422:Sea Fury
343:Champion
306:Sea Fury
230:(1964).
222:(1950),
194:Children
170:designer
167:inventor
164:magician
158:producer
152:Director
61:May 2024
1943:De Sade
1855:Impulse
1728:at the
1403:De Sade
1089:Impulse
802:Mr. Hex
389:Impulse
47:improve
45:Please
1954:(1971)
1946:(1969)
1938:(1965)
1930:(1964)
1922:(1964)
1914:(1961)
1906:(1959)
1898:(1958)
1890:(1957)
1882:(1956)
1874:(1955)
1866:(1954)
1858:(1954)
1850:(1953)
1842:(1953)
1834:(1952)
1826:(1950)
1818:(1950)
1810:(1949)
1802:(1948)
1794:(1947)
1786:(1946)
1488:Notes
1485:Title
769:Notes
760:Writer
751:Title
736:(1946)
730:(1946)
724:(1945)
718:(1944)
712:(1944)
706:(1944)
700:(1944)
694:(1943)
288:kaput!
202:Awards
113:, U.S.
36:, but
1493:1956
1482:Year
1448:1979
1422:1971
1397:1969
1371:1965
1324:1964
1299:1961
1274:1959
1249:1958
1201:1957
1176:1956
1106:1955
1083:1954
1057:1953
1032:1952
985:1950
938:1949
890:1948
843:1947
774:1946
748:Year
450:Scoop
1919:Zulu
1721:IMDb
1606:Film
1463:Yes
1437:Yes
1434:Yes
1409:Yes
1389:Yes
1386:Yes
1383:Yes
1358:Yes
1342:Yes
1339:Yes
1336:Yes
1330:Zulu
1311:Yes
1289:Yes
1286:Yes
1264:Yes
1261:Yes
1216:Yes
1213:Yes
1191:Yes
1188:Yes
1166:Yes
1163:Yes
1143:Yes
1140:Yes
1098:Yes
1095:Yes
1069:Yes
1044:Yes
1019:Yes
1000:Yes
997:Yes
975:Yes
953:Yes
950:Yes
927:Yes
924:Yes
880:Yes
858:Yes
855:Yes
833:Yes
830:Yes
814:Yes
811:Yes
789:Yes
646:Zulu
623:Zulu
571:Film
484:Zulu
465:Zulu
366:Fury
323:Zulu
263:and
228:Zulu
119:Died
104:Born
1732:'s
1730:BFI
1719:at
1466:No
1460:No
1440:No
1415:No
1412:No
1364:No
1361:No
1317:No
1314:No
1292:No
1267:No
1241:No
1235:No
1219:No
1194:No
1169:No
1146:No
1124:No
1118:No
1101:No
1075:No
1072:No
1050:No
1047:No
1025:No
1003:No
978:No
972:No
956:No
930:No
908:No
902:No
883:No
877:No
861:No
836:No
808:No
792:No
786:No
440:â.
271:).
1970::
634::
621:,
537:.
128:,
1762:e
1755:t
1748:v
553:(
432:(
360:(
267:(
218:/
74:)
68:(
63:)
59:(
55:.
42:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
