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Home , Bryan Forbes, Nanette Newman, Sunday Lovers, The Raging Moon, The Small Back Room, The Whisperers

British Academy of Film and Television Arts A Tribute to CBE 25 May 2007

 Overview With a multi-faceted career in film that spans six decades and encompasses acting, writing, directing and executive producing, Bryan Forbes’s prolific work resulted in some of cinema’s most memorable films. From the poignant drama of The Angry Silence (1960) to the eerie science fiction ofThe Stepford Wives (1975), Forbes’s dexterity across several disciplines was complemented by his courage in embracing new ventures. Tonight’s BAFTA tribute celebrates this outstanding achievement in filmmaking.

The League Of Gentlemen, Whistle Down The Of Gentlemen (1959), for which Forbes was Wind, The L-Shaped Room, Séance On A Wet BAFTA-nominated. Afternoon, , King Rat… It’s an award-winning roll call of excellence which When he and close pal would, in itself, be enough to ensure him felt they wanted to add more strings to a place in Britain’s creative pantheon even their filmmaking bows, the result was the before considering his several acclaimed novels, formation of a company, Beaver Films. Their two volumes of autobiography and fine TV first production wasThe Angry Silence, in drama and documentaries (on Dame Edith which a young factory worker rebels against Evans and ). Then, sealing his an unofficial strike. It culminated in an position as once perhaps the most important Oscar nomination and a BAFTA win for man in the British film industry, he famously Forbes’s screenplay. ran EMI-MGM Studios at Elstree between 1969 and 1971, overseeing successful films like He clocked up four more BAFTA nominations The Go-Between (1970), The Railway Children for his work on coming-of-age drama Whistle (1970) and The Tales Of (1971). Down The Wind (1961, and his first directing job), kitchen sink comedy Only Two Can Play Born John Clarke, eastender Forbes, who will (1962), crime drama Séance On A Wet Afternoon be 81 in July, originally started out as an actor. (1964) and WWII drama King Rat (1965). In After three terms at RADA and a brief spell the 20 years that followed, Forbes was one of in Rep, Forbes, just 17, went into the army the busiest directors around, making films in for four years where he began to hone his both Britain and America. skills as a writer with a series of short stories. It was a published collection in the early 50s Forbes, who celebrated his golden wedding that caught the attention of producer ‘Cubby’ anniversary to actress in Broccoli who contacted Forbes saying, “I 2005, continues to write; his latest novel The gather you’re a fast man with the pen. Can Choice was published this year. His legacy you provide some pages?” The film in is that of a Renaissance man, whose ability to Angus McBean question was The Black Knight (1954), and take risks and engage a multitude of skills has Above: Pictured during his early days as an actor, Forbes’s Forbes’ uncredited work quickly led to much propelled his long and illustrious career in film. first role was in ’sThe Small Back Room (1949). better things like (1955), Cover: Forbes, also a keen stills photographer on set. I Was Monty’s Double (1958) and The League Quentin Falk

 Academy Friends Simon Relph CBE Lord Attenborough Kt, CBE

I am delighted that the Academy has decided, Forbsie and his wife, Nanette, have been one might say finally, to pay tribute to Sheila and my closest friends for more than Bryan Forbes who has made such a significant 50 years. This will tell you that any chance contribution to British Cinema. I was of maintaining my objectivity while writing fortunate to be his second assistant director about him is pretty remote. In addition, for on Séance On A Wet Afternoon. This was the a major portion of that half century, Forbsie beginning of several longstanding relationships and I had an extremely happy partnership – in particular with the film’s producer and made five movies together. Nevertheless, and actor Richard Attenborough, now our having been involved in some 60 other esteemed President, and with its production films, I believe I am qualified to write about coordinator Ann Skinner who became, and his work. still is, my business partner in Skreba Films. So I have a lot to thank Bryan for personally. Our first collaboration was onThe Angry Silence, which he wrote, I played in and we Of course, Bryan and Dickie Attenborough both produced. It was the sheer quality of this had for sometime been my father and Basil particular script, written in his mid-thirties, Dearden’s partners in Allied Film Makers. which demonstrated cogently that here was Between them they produced a string as fine a screenwriter as any to be found on of award-winning films:Séance, The League either side of the Atlantic. His first assignment Of Gentlemen, Whistle Down The Wind and as a director was Whistle Down The Wind, Victim amongst them. which I still believe to be the most successful piece of cinema we ever made together. Bryan’s first success came as an actor but he quickly turned his hand to screenwriting, a Bryan is the most exquisite director of skill at which he is enormously accomplished. actors – usually working from a scenario which he himself has conceived. He has I remember two things about shooting with unshakable standards, demanding of all his Bryan in particular. One day, it was clear that colleagues the same uncompromising energy a rewrite of the next day’s scene was needed. and dedication he brings to every project. The following morning, he appeared with I believe his taste and judgement are unique, the rewritten scene typed straight on to the resulting in a quality of work which those Gestetner skins from which, in those days, of us who have worked with him have pink pages were then printed for the crew. No ourselves rarely, if ever, managed to attain. typos, no second thoughts, just straight out of his head and, in effect, on to the printed His loving friendship is without equal in my page. He was clearly able to work very fast and life. His loyalty and generosity are unsurpassed. with great precision. He said that he often Indeed, he has only one fault to which I finished writing commissions well ahead of his would draw your attention. Very early on in deadlines but didn’t hand scripts in too early our relationship, he discovered my addiction in case the producers thought it was too easy. to chocolate and cruelly named me Bunter. This is a curse I have borne since 1964 and He directed his films with great authority and one which only my own selfless love and good nature. Séance was just the kind of film devotion allows me to tolerate... I had hoped to work on after a somewhat Above: Forbes on location shooting Deadfall (1968), a psychological turgid TV series, two Carry Ons and a Doctor That and the fact that he makes me laugh drama starring as a jewel thief. film. He was a real pleasure to work for. more than anyone I have ever met.

  Filmography

1992 Chaplin Writer 1968 Deadfall Writer/Director 1953 Wheel Of Fate Actor Honours and Awards 1990 The Endless Game (TV) 1967 The Whisperers Writer/Director 1953 The Million Pound Note Actor Writer/Director 1966 Director/Producer 1952 The World In His Arms Actor BAFTAs 1985 Restless Natives Actor 1965 King Rat Writer/Director 1952 Flesh And Fury Actor (uncredited) Wins: 1984 December Flower (TV) Actor 1964 The High Bright Sun Writer 1952 Appointment In Actor 1960 British Screenplay, The Angry Silence 1984 The Naked Face 1964 Of Human Bondage 1951 Green Grow The Rushes Actor Writer/Director Writer/Actor (uncredited)/ 1950 The Wooden Horse Actor Nominations: 1983 Philip Marlowe, Private Eye Director (one week, uncredited) 1949 Dear Mr. Prohack Actor 1965 United Nations Award, King Rat (The King in Yellow, TV Episode) 1964 Séance On A Wet Afternoon 1949 All Over The Town Actor 1964 British Screenplay, Director Writer/Director/Producer (uncredited) 1949 Actor Séance On A Wet Afternoon 1982 Better Late Than Never 1964 A Shot In The Dark 1962 British Screenplay, Only Two Can Play Writer/Director (as Turk Thrust) Actor Theatre 1961 British Film, Whistle Down The Wind 1980 (Jessie, TV Episode) 1962 Station Six-Sahara Writer 2002 Barrymore – It’s A Hell Of A Life 1961 Film From Any Source, Writer/Director 1962 The L-Shaped Room Writer/Director Director Whistle Down The Wind 1980 Hopscotch Writer 1962 Only Two Can Play Writer 1987 Killing Jessica Director 1959 British Screenplay, 1980 (segment 1961 The Guns Of Navarone Actor 1986 The Living Room (revival) Director The League Of Gentlemen ‘An Englishman’s Home’) Director 1961 Whistle Down The Wind Director 1980 Macbeth Director 1980 A Life Beyond Politics – 1960 The Angry Silence 1980 Star Quality Director Oscars Edward Heath (TV) Writer/Producer/Actor (uncredited) 1951 Tobias And The Angel Actor Nominations: Producer/Director (untransmitted) 1960 Man In The Moon Writer 1950 The Holly And The Ivy Actor 1960 Best Writing, Story and Screenplay – 1978 International Velvet 1959 Yesterday’s Enemy Actor 1949 September Tide Actor Written Directly for the Screen, Writer/Director/Producer/Actor 1959 The League Of Gentlemen 1948 Gathering Storm Actor The Angry Silence (uncredited) Actor/Writer 1948 A Touch Of Fear Actor 1976 1959 SOS PacificWriter (dialogue) 1948 – 1950 Writers Guild of America Writer/Director/Actor (uncredited) 1959 The Captain’s Table Writer Sunday night BBC plays: 1980 Best Comedy Adapted from Another 1975 Director 1959 Danger Within Writer Johnny Was A Hero Actor Medium, Hopscotch 1973 Elton John: Goodbye Norma Jean 1958 I Was Monty’s Double Actor/Writer The Road Actor And Other Things (TV) 1958 The Key Actor Crime And Punishment Theatre Actor Writers Guild of Great Britain Producer/Director/Narrator 1957 Quatermass 2 Actor Journey’s End Actor 1964 Best British Dramatic Screenplay, 1973 Dame – I Caught Acting 1956 It’s Great To Be Young! Actor 1943 Flare Path Actor Séance On A Wet Afternoon Like Measles (TV) 1956 Satellite In The Sky Actor 1962 Best British Comedy Screenplay, Producer/Director/Narrator 1956 House Of Secrets Writer Books Only Two Can Play 1972 Colditz (TV) Writer 1956 The Baby And The Battleship 2007 The Choice 1972 I Am A Dancer Director/Producer Actor/Writer (add. scenes and dialogue) 1999 The Memory Of All That 2004 Commander of the British (uncredited)/Editor/Narrator 1956 The Black Tent 1996 Quicksand Empire for services to the arts 1971 Writer/Director Actor (scenes deleted)/Writer 1995 Partly Cloudy 1971 The Tales Of Beatrix Potter 1956 Now And Forever Actor 1993 The Twisted Playground Executive Producer 1956 The Extra Day Actor 1992 A Divided Life 1971 Dulcima Executive Producer 1955 The Vise (TV) Actor 1989 A Song At Twilight 1970 The Man Who Haunted Himself 1955 The Bargain (TV) Actor 1986 The Endless Game Executive Producer/Writer (uncredited) 1955 Passage Home Actor 1983 The Rewrite Man /Producer (uncredited) 1955 The Colditz Story Actor 1980 That Despicable Race – A History 1970 The Go-Between Executive Producer 1955 The Cockleshell Heroes Writer Of The British Acting Tradition 1970 The Railway Children 1954 An Inspector Calls Actor 1979 Familiar Strangers Executive Producer 1954 Up To His Neck Actor 1978 International Velvet 1970 And Soon The Darkness 1954 The Black Knight 1977 Ned’s Girl – The Life Of Edith Evans Executive Producer Writer (additional dialogue) 1976 The Slipper And The Rose 1970 Hoffman Executive Producer 1953 BBC Sunday Night Theatre: 1974 Notes For A Life 1969 The Madwoman Of Chaillot The Road (TV) Actor 1972 The Distant Laughter Director 1953 Sea Devils Actor 1950 Truth Lies Sleeping

  Insights

“When I worked with Bryan on Whistle Down The Wind I was One of the special features There have been of working on a Bryan extraordinary changes on the cusp of adolescence, wearing an overcoat two sizes too Forbes film is that you during the 60 years that small in an attempt to bridge the gap between ‘our Nan and become a part of the Forbes I have known Bryan, family. I arrived in Westport, but the one constant our Charles’ who were half my age and height. I wasn’t entirely Connecticut in 1974 to unchanging, unswerving sure it would work. Bryan never doubted it. He treated me start editing The Stepford fact is my respect and Wives, my first time in the admiration for Bryan Forbes like an adult, spoke intuitively and I trusted him implicitly. He U.S., among a crew of total the man, the actor, author, never doubted any of the children and got brilliant performances strangers. Bryan had asked the production scriptwriter, producer, director and friend. I designer, Gene Callahan, to take me under should have added studio boss as well, for it out of them all. It was one of the happiest experiences. And his wing. Gene, a southern gentleman from was under his reign at ABPC that I made The the hysterical laughter in the dining room at the Kirby Hotel Louisiana, had a twinkle in his eye and Man Who Haunted Himself for . a lethal turn of phrase. I could not have been Despite having been friends since we served still echoes down the years.” in better company. When we were into the together in the British Army of Occupation shooting routine, Bryan and Nanette invited in Germany in 1947, it was not until 1980 that me for dinner to meet local resident, Bette we first worked together inSunday Lovers. Davis; a memorable evening. Alongside his Four years later we worked together again in Actress diverse talents, Bryan has supremely retained Sidney Sheldon’s The Naked Face, which we his capacity to be a caring and outgoing shot in Chicago. Sadly, we have not worked human being. together since but I live in hope. Timothy Gee Sir KBE Editor Actor

King Rat was my first Bryan is the most steadfast I had been asked to go to Bryan had a finished script experience recording a film person to have around in Shepperton to discuss (for The L Shaped Room) score in America. I will any situation. He has The L-Shaped Room with – human, amusing, modern. always be grateful to Bryan progressed infinitely but is Bryan. Outside his office, But my character, Jane, was for that. I respected the fact still the same wonderful I noticed a huge Mercedes. extremely passive. I was that he wrote and directed friend I always knew. While admiring it, Bryan disappointed. James Wolf his films; it made all of On Deadfall, I saw a slight appeared and said: “Shall we (producer) said “Talk to my work associations with political change in him go for a drive?” I thought Bryan, tell him your problem.” him a positive and fruitful when the electricians went what a wonderful way to I was understandably experience. He has an ability and gift to on strike for one morning because their discuss how he expected me to treat the film. nervous when I met Bryan, so I talked and understand drama and humour. Deadfall gave breakfast eggs were too runny. In discussion He drove us out, but instead of talking about talked about the main scene, developing my me the opportunity to compose a 20 minute with the Head of the Union, I saw working- the script, he started to ask questions about argument as convincingly as I could. Bryan’s romance for guitar and orchestra, something class Bryan make a slight turn to the right. the car – what was its maximum speed and eyes were on his papers, his hand seemed to I never had the time or trust from a director A further move in that direction came when when did I think one should change down be doodling and I thought “the man isn’t even to take on. We have shared a wonderful they went on strike again because the in gears. I could only guess an answer. listening to me.” He looked up and handed personal friendship over the years and I feel tea wagon had got lost and there was no tea We realised then that something was wrong. over the pages. “Like this, you mean?” While honoured to have worked with him. His break at the correct time. Bryan overcame Apparently the car had just been delivered. I was talking he had re-written the whole contribution to my life as a composer and these obstacles as he has always done with Bryan had mistaken me for a badly informed scene – and it was perfect. Thank you for my conductor will always be remembered great skill, calm and aplomb. He is a great salesman. We laughed. Happily, I don’t BAFTA, Bryan, and let me add my heartfelt with deep affection. I salute him with this director, writer, a wonderful friend and I love remember there being any misunderstanding congratulations on this well deserved tribute well-deserved BAFTA tribute. him dearly. on the entire picture. to a long and brilliant career. OBE Sir Michael Caine CBE Douglas Slocombe BSC Composer Actor Cinematographer Actress

  In His Own Words “A critic once pointed out that all of my films deal with aspects of love, something I was never really aware of during the making of them but which I think has more than a grain of truth in it. The vulnerability of my characters always fascinates me and perhaps what I do best is to inject emotion into my films. If I can move an audience, whether it be to laughter or tears, then I feel I have done my job.”

On Editing On Carl Foreman …I know of few directors who don’t spend I was in awe of Carl; a complex character. long hours in the cutting room alongside I produced the first draft [forThe League their editing team. To deny oneself a role Of Gentlemen] within six weeks. He told me in this final stage would be akin to a painter politely that I had a long way to go before mixing the colours but never putting them it was good enough to submit to Cary Grant. on the canvas. It is in the cutting room I did three versions before Carl allowed the that one seeks the nuance of a performance, manuscript to go to the typing agency. Our the look that conveys more than a page relationship was never quite the same after the of expository dialogue and the juxtaposition event but that is not to say he didn’t do me of two contrasting images to produce an a great deal of good. He likes to have his own effect that was never apparent in the script. way and we were two of a kind.

On Graham Greene On Writing More than any other writer, living or dead, I was a writer who became an actor who Graham influenced my own efforts. No writer became a screenwriter who became a had the ability to excite me more, or cast director, and I guess in the final analysis, me down so quickly when I compared my because it’s less ephemeral than most own puny efforts with his mastery. There is no things, writing probably gives me the most shame in trying to aspire to the best and to satisfaction. But on the other hand, if you me Graham was the best although having seen write a screenplay, and then you see it come the scrawled and crossed out words on the to life, there’s no greater pleasure. You have yellow legal pads he used I know that he no idea how people react when they read struggled as we all struggle despite the final your novels because you’re not there with result appearing effortless. them; but when you sit in an audience and say, “My God, I’ve made them laugh; I’ve made them cry, that’s a real satisfaction. Jake Gavin Jake

Above: A relaxed Forbes pictured at his home in Winter 2006.

  Thanks

Bryan Forbes CBE Edited quotations sourced from Nanette Newman Forbes, B. Notes On A Life. Lord Attenborough Kt, CBE London: Collins (1974). Simon Callow Tony Dalton Forbes, B. A Divided Life. London: Heinemann (1992). Contributors John Barry OBE Winston Dixon, W (Ed). Sir Michael Caine CBE Collected Interviews: Voices From Twentieth Leslie Caron Century Cinema. USA: Southern Illinois James Fox University Press (2001). Sir OBE Timothy Gee Montage Music Richard Goodwin Michael J Lewis Tony Imi Hayley Mills Editing Facilities provided by Sir Roger Moore KBE Pepper Post Production Tim Nicholson Frances Plowright Simon Relph CBE Patrick Holzen Shane Warden Douglas Slocombe BSC Dan Chuter Iain Read Film Clips and Images BBC Event Production Canal + Image (UK) Ltd Mariayah Kaderbhai Channel 4 Cleone Clarke Disney ABC Cable Network Group Dora Gorman Granada International Alex Cook John Herron Hollywood Classics Print Programme IBF Editor: Ruth Grenville Robin James Editorial Coordinator: Christine Beck The Machine Room Design: Browns MGM Clip and Still Print: St Ives Westerham Press Paradine Pictures Printed on: think4 warm Paramount Pictures Supplied by Howard Smith Paper Sony Pictures www.hspg.com/hsp TV Set Twentieth Century Fox Walt Disney Productions Warner Bros

© BAFTA Publishing 2007