374:, with whom Cartier had worked on an aborted project in 1948, became the new Head of Drama at BBC Television and interviewed Cartier for a post as a staff television producer in the drama department, a job which also involved directing. At his interview, Cartier told Barry that he thought his department's output was "dreadful", and that television drama needed "new scripts and a new approach". In a 1990 interview about his career, he told
31:
424:
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to the depiction of "A new range of gendered fears about
Britain's postwar and post-colonial security. As a result, or perhaps simply because of Kneale and Cartier's effective combination of science fiction and poignant melodrama, audiences were captivated." The Screenonline website suggests that the
919:
newspaper that the production "was like a thunderstorm on the flat, dreary plains of the week's television... The howl of the wind against the windows, the muted pain of Claire Bloom as the wretched Cathy, and the hunted misery of Keith
Mitchell as Heathcliff, made this a more than adequate offering
414:
was the first of many collaborations between the pair, who enjoyed during the next few years a highly productive working relationship, despite profound creative disagreements on occasion. Cartier and Kneale were an important presence in the
British television drama of the era and were, according to
196:
was stopped in the production stage. After the war, he occasionally worked for
British films before he was again hired by the BBC in 1952. He soon became one of the public service broadcaster's leading directors and went on to produce and direct over 120 productions in the next 24 years, ending his
956:
in 1958, Cartier explained that television was still developing as a medium, and that part of his work was to help create the next generation of those who would produce television drama. "The BBC is producing producers as well as plays. They are feeling their way towards what television drama will
886:
It was the arrival of Nigel Kneale... and
Rudolph Cartier... that challenged the intimate drama directly. Cartier is rightly recognised as a major influence on the visual development of British television drama... Cartier and Kneale had the ambition for their productions to affect a mass audience,
869:
Nigel Kneale, scriptwriter of both of the
Cartier dramas acclaimed by the BFI, felt that the productions would not have been as successful as they were had they been handled by any other director. "I don't think any of the things I wrote then would have come to anything much in other hands. In his
822:, screened in 1976. By this time, he had worked on over 120 productions for the BBC. Subsequently, he worked for a time for the BBC's "purchased drama" department, advising on which plays and series might be bought-in from European broadcasters. Throughout his career, Cartier refused to work for
591:
had been a success, but it was also one of the most expensive television dramas ever made in the UK. Cartier often spent large amounts of money on his productions. Earlier in 1954, Michael Barry had heavily criticised him for the money and resources he had expended in an adaptation of
949:: "It's hard to believe that... anyone could make such a dull movie. Yet this is precisely what director Rudolph Cartier has done. I've never heard of Mr Cartier before or since but presumably he made this brief foray into films from that synthetic world of ugly close-ups—TV."
685:, abolished the BBC's traditional producer-director role and split the responsibilities into separate posts, leaving directors such as Cartier with less control over their productions. Cartier also found himself assigned to direct episodes of regular drama series, as such as
829:
Cartier was married three times, lastly to
Margaret Pepper from 1949 until his death. He had one daughter, Corinne, with Pepper, and another from a previous marriage. Cartier died on 7 June 1994, at the age of 90; his death was overshadowed in the media by that of
451:
and the consequences when an alien presence invades the crew's rocket during its flight and returns to Earth in the body of the one remaining crewmember, having absorbed the consciousnesses and shredded the bodies of the other two. A critical and popular success,
891:
both to reveal emotions and as a shock device: a more threatening—and perhaps exhilarating—method than was used before. 'Intimacy' is reformulated by
Cartier in terms of his power and control over the viewer—no longer a part of the family, but isolated in his
957:
one day be, and we are trying to create a generation of writers who study the medium." His 1994 obituary in the same newspaper judged that he had been successful in creating a lasting influence on later producers, describing his 1962 production of the opera
501:, opening the drama out from a confined studio setting with the most ambitious location shooting yet attempted in British television. Cartier, with his previous experience as a film director, particularly enjoyed working on these cinema-style filmed scenes.
896:
Cartier's pioneering use of an increased number of pre-filmed sequences to open out the studio-bound, live television drama productions of the 1950s is also praised by Lez Cooke. "While film inserts were being used in television drama from the early 1950s,
615:
and costumes... the vast area of the hall and the stairway never justified the great expenditure of effort required in building and one is left with a very clear impression of reaching a point where the department must be accused of not knowing what it is
568:
performance, scheduled for 16 December, went ahead. The BBC took these threats seriously enough to assign him bodyguards. Cartier appeared live on television himself to defend the production in a studio debate, and eventually the
639:, but he saw himself primarily as a television director, and it remained his favourite medium. "The essence of television is that you can control the viewer's response to a much greater extent than other media permit," he told
228:" website describes him as "a true pioneer of television", while the critic Peter Black once wrote that: "Nobody was within a mile of Rudolph Cartier in the trick of making a picture on a TV screen seem as wide and as deep as
905:
obituary stated that: "At a time when studio productions were usually as static as the conventional theatre, he was widely respected for a creative contribution to
British television drama which gave it a new dimension."
700:
Cartier was still able to direct several notable productions during the decade, including a number which explored the Nazi era in
Germany from which he had escaped in 1933. These included the World War II dramas
977:
produced an edition which featured a retrospective of Cartier's work, including a new interview with the director discussing his career. A revised version of this feature was screened on BBC Two under the title
606:
seems to me to have taken us further into the danger area instead of showing any improvement. I am unable to defend at a time when departmental costs and scene loads are in an acute state the load imposed by
846:, and the majority of them were not recorded—he once described them as being "gone with the speed of light". Several of those which do survive have been highly regarded by later reviewers. In 2000, the
192:
in the late 1930s (among other productions he was involved in the making of Rehearsal for a Drama, BBC 1939). The outbreak of war, however, meant that his contract was terminated; his television play
248:(now Austria), Cartier initially studied to become an architect, before changing career paths and enrolling to study drama at the Vienna Academy of Music and Dramatic Art. There he was taught by
489:(1958–59), both produced and directed by Cartier and written by Kneale. Both were successful and critically acclaimed, and Cartier's production work on them became increasingly ambitious. For
384:
that the BBC drama department had "needed me like water in the desert". Barry shared many of Cartier's views on the need to improve television drama, and he hired him for the producer's job.
681:
Cartier continued to direct television dramas during the 1960s, although after Barry stepped down as Head of Drama in 1961, he lost much of his creative independence. Barry's successor,
2917:
330:, Cartier changed his surname and moved to the United States. However, unlike Wilder, Cartier did not find success in America, and in 1935 he moved again, to the United Kingdom.
1085:
1379:
188:. After a brief spell in the United States he moved to the United Kingdom in 1935. Initially failing to gain a foothold in the British film industry, he began working for
1280:
513:
visual impact of Cartier's interpretation of Kneale's scripts was a major factor in their success, which it attributes to their "originality, mass appeal and dynamism...
901:
represented the most extensive use of them in a TV play up to that time, and signalled Cartier's determination to extend the boundaries of TV drama." Similarly, his
626:
939:
Not all of Cartier's work was so well regarded; in particular, his cinematic efforts have not achieved the level of praise of his television work. In the book
560:
was, for instance, a wonderfully riotious orgy of vindictiveness." The production also attracted considerable controversy. There were questions asked in the
470:
newspaper, which also called the serial "a landmark in British television drama as much for its visual imagination as for its ability to shock and disturb".
1593:""From Refugee to the BBC: Rudolph Cartier, Weimar Cinema and Early British Television", Journal of British Cinema and Television, 7.3 (2010), S. 401–420"
1119:
464:
website as "one of the most influential series of the 1950s". Cartier's contribution to the serial's success was highlighted in his 1994 obituary in
1945:
1562:
826:: "I hate the idea of my creative work being constantly interrupted for commercial reasons, " he once commented. "I am an artist, not a salesman."
564:
concerning some of the graphic scenes of horror in the play, and the BBC received several telephone calls threatening Cartier's life if the second
1038:
866:
was described as "An early example of the power of television drama... Even now, the torture sequences retain their power to shock and disturb."
256:, which should be interpreted by a director in the same way as a musician interpreting a piece of music—an approach with which Cartier agreed.
882:, wrote in 2000 that Kneale and Cartier together created an entirely new, more expansive vision for British television drama in the 1950s.
733:, an event Cartier had personally witnessed). He also began, for the first time, to direct pieces which dealt with the Holocaust, such as
2705:
2418:
1453:
1313:
1301:
433:(1955), looking down from one of the towers of the Shell Haven oil refinery. Such ambitious location work was new to British television.
415:
television historian Lez Cooke, "responsible for introducing a completely new dimension to television drama in the early to mid-1950s".
2231:
851:
909:
In addition to his 1950s productions, several of Cartier's later works have also been regarded as influential. His 1962 production of
2201:
1487:
1017:
318:
Cartier left the country. Several members of Cartier's family who had remained in Europe, including his mother, were murdered in
633:, or BAFTAs) he was the winner of the Drama category. He made a brief return to filmmaking in 1958 when he directed the feature
2912:
2538:
539:
161:
2907:
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of the lives of 1 million Jews in exchange for 10,000 trucks). Other significant 1960s productions included adaptations of
573:
voted that the second performance should go ahead as planned. The production had by this time received the backing of the
1051:
371:
2844:
1949:
1566:
582:
509:
598:. In a memo written after that production's transmission, Barry admonished Cartier for his over-ambitious production:
2828:
2426:
2399:
2372:
2105:
630:
524:
serials, Cartier and Kneale collaborated on several one-off dramas, including literary and theatrical adaptations of
213:
1090:
2897:
2737:
2697:
2604:
1436:
1227:
574:
526:
249:
2777:
180:
After studying architecture and then drama, Cartier began his career as a screenwriter and then film director in
2804:
2761:
1501:
973:
380:
41:
2796:
2713:
2639:
1478:
1139:
945:
635:
570:
363:. Cartier returned for a time to the United States, where he studied production methods in the new medium of
169:
1285:
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for the BBC, a genre for which he had a great passion. He oversaw adaptations of established operas such as
2721:
1005:
359:
342:
2097:
1181:
915:
887:
and the scope of their attention was not confined to the 'cosy' aesthetics of intimacy. Cartier uses the
1953:
1570:
2531:
1339:
1134:
406:, but Barry felt that the dialogue was "too Germanic" and assigned drama department staff scriptwriter
216:
in 1957 for his work in the former, and one of his operatic productions was given an award at the 1962
2863:
2572:
1428:
1078:
439:
2623:
1518:
1344:
1202:
687:
561:
2836:
2391:
1351:
1153:
834:, another important figure in the history of British television drama, who died on the same day.
1773:
2902:
2812:
2666:
2647:
2596:
2588:
2454:
2364:
2235:
2205:
1592:
1507:
1493:
1107:
847:
760:
485:
457:
327:
252:, who proved a major influence on Cartier. Reinhardt thought of a script as being similar to a
221:
1660:
517:
became a landmark of science fiction and the cornerstone of the genre on British television."
2769:
2524:
1254:
1073:
879:
823:
674:
and produced by Cartier in 1960, won the Merit Award in the Salzburg Opera Prize at the 1962
578:
2239:
280:
2892:
2887:
1459:
1327:
1216:
854:
of the 20th century. Voted on by a group of industry professionals, the list featured both
739:
625:
Despite Barry's concerns, Cartier continued to work successfully in television, and at the
548:
205:
173:
2305:
2168:
8:
2056:
1902:
1877:
1852:
1361:
1029:
671:
131:
2745:
2689:
2556:
2482:
2353:
2000:
1612:
1413:
1391:
875:
448:
398:, transmitted on the evening of 20 July 1952. It was initially adapted by Cartier from
394:
306:
293:
156:
2455:"From Refugee to the BBC: Rudolph Cartier, Weimar Cinema and Early British Television"
2209:
928:(1966) "could be argued of historical interest only", due to its basis in the flawed
2511:
2486:
2474:
2422:
2395:
2368:
2101:
1616:
1442:
929:
798:
794:
675:
268:
217:
185:
552:, originally broadcast on 12 December 1954, regarded as Cartier's most famous work.
2466:
2139:
1604:
1512:
1306:
1292:
1259:
1124:
1112:
1043:
557:
494:
338:
276:
2004:
1529:
1191:
961:
as "an example and inspiration to a younger generation of television producers".
843:
714:
594:
565:
498:
444:
354:
245:
72:
1447:
1162:
279:. While at UFA, he worked with noted writers, directors and producers including
2820:
2729:
1399:
1332:
1318:
1273:
1268:
1247:
1236:
1174:
1097:
814:
756:
730:
652:
189:
1211:
1207:
2881:
2580:
2478:
2445:
2272:
1524:
1470:
1464:
1422:
1366:
1221:
1196:
1056:
1010:
983:
831:
806:
782:
765:
744:
706:
682:
612:
543:
479:
429:
399:
346:
319:
288:
260:
165:
143:
2470:
1608:
812:
Cartier's career continued into the 1970s. In 1974, he directed episodes of
2631:
2548:
2309:
2260:
2172:
2060:
1906:
1881:
1856:
1777:
1664:
1404:
1232:
1101:
871:
774:
770:
722:
667:
461:
407:
334:
323:
284:
225:
151:
139:
662:(1962) as well as original productions written especially for television.
1384:
1186:
1128:
1034:
1022:
913:
was praised by Dennis Potter, then a television critic, who wrote in the
298:
253:
229:
2516:
2507:
1356:
1169:
1158:
1146:
750:
364:
350:
272:
263:
in 1929, when he successfully submitted a script to a company based in
135:
2123:
1985:
1751:
1715:
1066:
790:
466:
271:, the primary German film company of the era, for which he worked on
842:
Nearly all of Cartier's 1950s television productions were performed
437:
Cartier and Kneale's first major production was the six-part serial
146:
who worked predominantly in British television, exclusively for the
968:
888:
30:
150:. He is best known for his 1950s collaborations with screenwriter
1242:
982:
on 1 July 1994, followed by a tribute screening of the surviving
965:
781:(1962, a new version of Kneale's 1953 script, starring Bloom and
556:
s review the day after its broadcast noted its "vividness... the
538:(30 January 1955). Of particular note was their collaboration on
375:
128:
36:
2267:(Documentary using archive interview material. Extra feature on
447:
story, it relates the sending of the first humans into space by
2753:
2441:
2414:
2387:
2360:
870:
they worked." Television historian Jason Jacobs, a lecturer in
710:
693:
658:
647:
333:
Little further is recorded of Cartier's career until after the
311:
264:
241:
181:
90:
68:
392:
Cartier's first BBC television production was a play entitled
209:
936:
praised it as being "possibly the first drama-documentary".
423:
2918:
Jews who immigrated to the United Kingdom to escape Nazism
2094:
America's Best, Britain's Finest: A Survey of Mixed Movies
941:
America's Best, Britain's Finest: A Survey of Mixed Movies
862:. In the accompanying analysis of each entry to the list,
315:
147:
1983:"Nineteen Eighty-Four — Orwell's Novel on Television".
1037:, 1929) — based on an operetta by Georg Okonkowski and
627:
1957 Guild of Television Producers and Directors Awards
943:, critic John Howard Reid says of Cartier's 1958 film
35:
Rudolph Cartier in 1990, speaking about his career to
805:(1969) saw the first television acting appearance of
2411:
Into the Unknown: The Fantastic Life of Nigel Kneale
2384:
The Intimate Screen: Early British Television Drama
418:
267:, Germany. He then became a staff scriptwriter for
2352:
1774:"Cartier, Rudolph (1904–94)—Film & TV credits"
1165:, 1931) — based on a play by Josef Matthäus Velter
1149:, 1931) — based on a play by Josef Matthäus Velter
493:, he pre-filmed a significant amount of material
2879:
2279:
1654:
1652:
1650:
1648:
1646:
585:had watched and enjoyed the first performance.
1644:
1642:
1640:
1638:
1636:
1634:
1632:
1630:
1628:
1626:
1522:(1961–1963, TV series, 3 episodes) — based on
611:on Design and Supply and the expenditure upon
2532:
2162:
2160:
1869:
1804:
1802:
1749:"The Man Who Put 1984 Over on Television".
1744:
1742:
1740:
1738:
1623:
1276:, 1932) — based on a play by Harry Jenkins
2539:
2525:
2465:(3). Edinburgh University Press: 401–420.
2452:
2048:
2039:
2023:
2021:
1823:
1816:
1814:
1728:
1726:
1590:
1347:, 1948) — based on a novel by Chris Massie
1295:, 1932) — based on a play by Harry Jenkins
852:100 Greatest British Television Programmes
818:; and his final credit came with the play
2546:
2185:
2157:
2073:
1976:
1846:
1844:
1768:
1766:
1764:
1762:
534:(10 March 1955), as well as Kneale's own
2459:Journal of British Cinema and Television
2331:
2322:
2140:"Doctor Korczak and the Children (1962)"
2114:
2030:
1967:
1928:
1919:
1799:
1790:
1735:
1708:
1706:
1704:
1702:
1700:
1597:Journal of British Cinema and Television
422:
235:
102:Vienna Academy of Music and Dramatic Art
2438:The Quatermass Collection—Viewing Notes
2288:
2223:
2087:
2085:
2018:
1993:
1832:
1811:
1723:
1698:
1696:
1694:
1692:
1690:
1688:
1686:
1684:
1682:
1680:
993:
577:, who commented during a speech to the
2880:
2435:
2408:
2381:
2297:
2229:
2121:"Salzburg Award for B.B.C. TV Opera".
1841:
1759:
1556:
1554:
1552:
1550:
1548:
1546:
1544:
620:
127:; 17 April 1904 – 7 June 1994) was an
2520:
2350:
2194:
1943:
1937:
1850:
1457:(1954, TV film) — based on the novel
1440:(1953, TV film) — based on the novel
1417:(1952, TV film) — based on the novel
980:Rudolph Cartier: A Television Pioneer
443:, broadcast in the summer of 1953. A
2265:Cartier & Kneale in Conversation
2253:
2137:
2091:
2082:
1677:
1591:Hochscherf, Tobias (December 2010).
1505:(1961, TV film) — based on the play
2355:British Television Drama: A History
1894:
1853:"Quatermass Experiment, The (1953)"
1541:
508:serials has been attributed by the
13:
2845:Halloween III: Season of the Witch
2054:
2001:"Quatermass creator dies, aged 84"
1950:Museum of Broadcast Communications
1903:"Quatermass and the Pit (1958–59)"
1900:
1875:
1567:Museum of Broadcast Communications
1560:
986:copy of the second performance of
510:Museum of Broadcast Communications
314:came to power in Germany, and the
212:, Cartier won the equivalent of a
14:
2929:
2501:
1063:Im Prater blühen wieder die Bäume
631:British Academy Television Awards
387:
322:. Encouraged by a UFA colleague,
2303:
2166:
2138:Wake, Oliver (11 January 2014).
2100:: Lulu Press, Inc. p. 189.
1658:
1052:The Smuggler's Bride of Mallorca
419:Collaborations with Nigel Kneale
197:television career with the play
123:, renamed himself in Germany to
29:
2285:Jacobs, pp. 130–131 and p. 137.
2131:
998:
735:Doctor Korczak and the Children
723:1944 plot to assassinate Hitler
259:Cartier became involved in the
1661:"Cartier, Rudolph (1904–1994)"
1584:
1235:, 1931) — based on a novel by
1127:, 1931) — based on a novel by
1100:, 1930) — based on a novel by
646:Cartier also directed several
1:
2913:Mass media people from Vienna
2343:
2057:"Nineteen Eighty-Four (1954)"
1713:"Rudolph Cartier; Obituary".
1086:The Shot in the Talker Studio
850:(BFI) compiled a list of the
571:Board of Governors of the BBC
427:A Cartier location shot from
2908:British television directors
2722:The Year of the Sex Olympics
2306:"Lee Oswald—Assassin (1966)"
1535:
1482:(1958) — based on the novel
449:Professor Bernard Quatermass
360:The Man with the Twisted Lip
16:Austrian television director
7:
2453:Hochscherf, Tobias (2010).
1372:
1018:Tales from the Vienna Woods
10:
2934:
2232:"73: Nineteen Eighty-Four"
2169:"Wuthering Heights (1962)"
2092:Reid, John Howard (2006).
1497:(1958–1959, TV miniseries)
1380:Teilnehmer antwortet nicht
1135:Das gelbe Haus des King-Fu
456:has been described by the
291:, overseeing the thriller
2855:
2788:
2681:
2658:
2648:The Quatermass Conclusion
2615:
2605:The Quatermass Experiment
2573:The Quatermass Experiment
2564:
2555:
2269:The Quatermass Collection
2127:. 1962-08-27. p. 12.
1989:. 1954-12-13. p. 11.
1755:. 1958-12-01. p. 14.
1719:. 1994-06-10. p. 21.
1429:The Quatermass Experiment
837:
666:, written for the BBC by
515:The Quatermass Experiment
475:The Quatermass Experiment
454:The Quatermass Experiment
440:The Quatermass Experiment
106:
98:
93:, England, United Kingdom
79:
50:
28:
21:
2682:Other television scripts
2624:The Quatermass Xperiment
2144:British Television Drama
920:of a great work." While
743:, 1962), concerning the
705:(1961, dealing with the
337:, when he began writing
2898:Austrian film directors
2864:The SĂ©ance at Hobs Lane
2471:10.3366/jbctv.2010.0104
2436:Pixley, Andrew (2005).
2392:Oxford University Press
2202:"The BFI TV 100: 1–100"
1609:10.3366/jbctv.2010.0104
1484:The Shadow and the Peak
1154:The Yellow House of Rio
2797:The Abominable Snowman
2667:The Quatermass Memoirs
2640:Quatermass and the Pit
2589:Quatermass and the Pit
2382:Jacobs, Jason (2000).
2365:British Film Institute
2236:British Film Institute
2208:. 2000. Archived from
2206:British Film Institute
1878:"Quatermass II (1955)"
1494:Quatermass and the Pit
894:
860:Quatermass and the Pit
848:British Film Institute
729:(1967, about the 1933
618:
530:(6 December 1953) and
486:Quatermass and the Pit
458:British Film Institute
434:
345:. He also worked as a
287:. In 1933 he became a
222:British Film Institute
2829:First Men in the Moon
2770:Stanley and the Women
2409:Murray, Andy (2006).
2230:Duguid, Mark (2000).
1474:(1955, TV miniseries)
1432:(1953, TV miniseries)
1255:The Man with the Claw
1074:The Tiger Murder Case
884:
880:University of Warwick
824:commercial television
803:Conversation at Night
793:telling the story of
787:Lee Oswald — Assassin
713:captain in a British
600:
579:Royal Society of Arts
426:
236:Early life and career
162:their 1954 adaptation
2706:Nineteen Eighty-Four
2212:on November 30, 2005
1454:Nineteen Eighty-Four
1328:The Man from Morocco
1314:The Star of Valencia
1302:The Star of Valencia
1281:Coup de feu Ă l'aube
994:Selected filmography
988:Nineteen Eighty-Four
899:Nineteen Eighty-Four
864:Nineteen Eighty-Four
856:Nineteen Eighty-Four
664:Tobias and the Angel
629:(later known as the
589:Nineteen Eighty-Four
549:Nineteen Eighty-Four
477:led to two sequels,
410:to edit the script.
349:, overseeing a 1951
206:dramatic programming
174:Nineteen Eighty-Four
2351:Cooke, Lez (2003).
1944:Dickinson, Robert.
1359:, 1960) — based on
1340:Corridor of Mirrors
1214:, 1931) — based on
1189:, 1931) — based on
971:magazine programme
926:Lee Oswald—Assassin
801:'s findings, while
672:Christopher Hassall
621:Later life and work
602:The performance of
532:The Moment of Truth
154:, most notably the
132:television director
110:Television director
2805:Look Back in Anger
2789:Other film scripts
2762:The Woman in Black
2690:Arrow to the Heart
2557:Bernard Quatermass
2045:Murray, pp. 38–39.
1851:Collinson, Gavin.
1829:Murray, pp. 22–23.
1563:"Cartier, Rudolph"
1414:Arrow to the Heart
1392:Invisible Opponent
876:television studies
504:The appeal of the
435:
412:Arrow to the Heart
395:Arrow to the Heart
353:adaptation of the
341:for several minor
310:was released, the
307:Invisible Opponent
294:Invisible Opponent
281:Ewald André Dupont
2873:
2872:
2714:Wuthering Heights
2698:Wuthering Heights
2677:
2676:
1479:Passionate Summer
1443:Wuthering Heights
1437:Wuthering Heights
946:Passionate Summer
930:Warren Commission
911:Wuthering Heights
799:Warren Commission
795:Lee Harvey Oswald
791:drama-documentary
779:Wuthering Heights
759:'s 1944 offer to
721:(1964, about the
676:Salzburg Festival
636:Passionate Summer
575:Duke of Edinburgh
558:two minutes' hate
527:Wuthering Heights
304:The same year as
218:Salzburg Festival
114:
113:
2925:
2856:Related articles
2562:
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2301:
2295:
2292:
2286:
2283:
2277:
2276:
2257:
2251:
2250:
2248:
2247:
2238:. Archived from
2227:
2221:
2220:
2218:
2217:
2198:
2192:
2189:
2183:
2182:
2180:
2179:
2164:
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2016:
2015:
2013:
2012:
1997:
1991:
1990:
1980:
1974:
1971:
1965:
1964:
1962:
1961:
1952:. Archived from
1941:
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1674:
1672:
1671:
1656:
1621:
1620:
1588:
1582:
1581:
1579:
1578:
1569:. Archived from
1558:
1513:Terence Rattigan
1307:Serge de Poligny
1293:Serge de Poligny
1289:
1260:Nunzio Malasomma
1143:
1125:Carl Heinz Wolff
1113:Richard Eichberg
1094:
1047:
1006:The Game of Love
769:(1961, starring
668:Sir Arthur Bliss
562:House of Commons
335:Second World War
125:Rudolph Katscher
86:
64:
62:
55:Rudolph Katscher
33:
19:
18:
2933:
2932:
2928:
2927:
2926:
2924:
2923:
2922:
2878:
2877:
2874:
2869:
2851:
2813:The Entertainer
2784:
2738:Bedtime Stories
2673:
2654:
2611:
2551:
2545:
2508:Rudolph Cartier
2504:
2499:
2491:
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2228:
2224:
2215:
2213:
2200:
2199:
2195:
2191:Murray, p. 175.
2190:
2186:
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2175:
2165:
2158:
2148:
2146:
2136:
2132:
2120:
2119:
2115:
2108:
2090:
2083:
2079:Jacobs, p. 134.
2078:
2074:
2065:
2063:
2053:
2049:
2044:
2040:
2035:
2031:
2026:
2019:
2010:
2008:
2005:BBC News Online
1999:
1998:
1994:
1982:
1981:
1977:
1972:
1968:
1959:
1957:
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1938:
1933:
1929:
1924:
1920:
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1899:
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1870:
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1849:
1842:
1837:
1833:
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1824:
1819:
1812:
1808:Jacobs, p. 132.
1807:
1800:
1796:Jacobs, p. 131.
1795:
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1748:
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1712:
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1657:
1624:
1589:
1585:
1576:
1574:
1561:Jacobs, Jason.
1559:
1542:
1538:
1530:Georges Simenon
1508:Adventure Story
1502:Adventure Story
1375:
1283:
1182:Tropical Nights
1137:
1088:
1041:
1001:
996:
840:
797:, based on the
747:orphanage, and
715:prisoner of war
623:
520:Aside from the
499:35 mm film
473:The success of
445:science-fiction
421:
390:
355:Sherlock Holmes
246:Austria-Hungary
238:
204:Active in both
170:dystopian novel
117:Rudolph Cartier
94:
88:
84:
75:
73:Austria-Hungary
66:
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24:
23:Rudolph Cartier
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2821:H.M.S. Defiant
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2503:
2502:External links
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2400:
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2373:
2347:
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2337:Cooke, p. 199.
2330:
2328:Pixley, p. 40.
2321:
2304:Wake, Oliver.
2296:
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2222:
2193:
2184:
2167:Wake, Oliver.
2156:
2130:
2113:
2106:
2081:
2072:
2055:Duguid, Mark.
2047:
2038:
2036:Murray, p. 39.
2029:
2017:
1992:
1975:
1973:Pixley, p. 16.
1966:
1936:
1934:Pixley, p. 20.
1927:
1925:Pixley, p. 19.
1918:
1901:Duguid, Mark.
1893:
1876:Duguid, Mark.
1868:
1840:
1831:
1822:
1810:
1798:
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1758:
1734:
1732:Murray, p. 22.
1722:
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1659:Wake, Oliver.
1622:
1603:(3): 401–420.
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1403:(co-director:
1400:The Oil Sharks
1388:
1383:(co-director:
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1371:
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1336:
1333:Mutz Greenbaum
1324:
1323:
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1319:Alfred Zeisler
1298:
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1296:
1274:Alfred Zeisler
1269:A Shot at Dawn
1265:
1264:
1263:
1248:Hans Steinhoff
1239:
1237:Alfred Machard
1224:
1199:
1178:
1175:Alfred Zeisler
1166:
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1079:Johannes Meyer
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1014:
1000:
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992:
839:
836:
815:Fall of Eagles
757:Adolf Eichmann
731:Reichstag fire
725:), as well as
622:
619:
420:
417:
404:Unruhige Nacht
389:
388:BBC television
386:
237:
234:
190:BBC Television
184:, working for
121:Rudolph Kacser
112:
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2581:Quatermass II
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2448:. BBCDVD1478.
2447:
2446:BBC Worldwide
2443:
2440:(paperback).
2439:
2434:
2430:
2428:1-900486-50-4
2424:
2420:
2416:
2413:(paperback).
2412:
2407:
2403:
2401:0-19-874233-9
2397:
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2386:(paperback).
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2374:0-85170-884-6
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2294:Cooke, p. 25.
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2273:BBC Worldwide
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2027:Cooke, p. 27.
2024:
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2002:
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1979:
1970:
1956:on 2007-03-02
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981:
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964:In 1990, the
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766:Anna Karenina
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755:(1965, about
754:
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745:Warsaw Ghetto
742:
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728:
724:
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719:The July Plot
716:
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704:
703:Cross of Iron
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540:an adaptation
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430:Quatermass II
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400:Albrecht Goes
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381:The Late Show
377:
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372:Michael Barry
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347:film producer
344:
343:British films
340:
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320:the Holocaust
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2632:Quatermass 2
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2579:
2571:
2549:Nigel Kneale
2490:. Retrieved
2462:
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85:(1994-06-07)
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2888:1904 births
2837:The Witches
2098:Morrisville
1385:Marc Sorkin
1362:The Avenger
1352:The Avenger
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1212:Martin FriÄŤ
1208:Karel LamaÄŤ
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1138: [
1129:Frank Arnau
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1023:Jaap Speyer
656:(1957) and
495:on location
483:(1955) and
299:Sam Spiegel
273:crime films
269:UFA Studios
230:CinemaScope
186:UFA Studios
83:7 June 1994
2882:Categories
2597:Quatermass
2565:Television
2492:2011-11-24
2344:References
2315:2007-02-25
2271:DVD set).
2246:2007-02-25
2216:2007-02-25
2178:2007-02-25
2149:5 November
2066:2007-02-25
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1912:2007-02-25
1887:2007-02-25
1862:2007-02-25
1783:2007-02-24
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1577:2007-02-23
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751:Joel Brand
717:camp) and
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522:Quatermass
506:Quatermass
365:television
351:short film
339:storylines
157:Quatermass
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2592:(1958-59)
2547:Works by
2487:162389472
2479:1743-4521
2419:Headpress
2124:The Times
1986:The Times
1752:The Times
1716:The Times
1617:162389472
1536:Footnotes
1067:E. W. Emo
954:The Times
934:The Times
820:Loyalties
727:Firebrand
643:in 1958.
641:The Times
583:the Queen
546:'s novel
467:The Times
370:In 1952,
328:Hollywood
277:thrillers
201:in 1976.
199:Loyalties
136:filmmaker
99:Education
2263:(2005).
1373:Director
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1250:, 1931)
932:report,
889:close-up
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609:Rebecca
604:Rebecca
595:Rebecca
376:BBC Two
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2808:(1959)
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2781:(1995)
2773:(1991)
2765:(1989)
2757:(1981)
2754:Kinvig
2749:(1976)
2746:Beasts
2741:(1974)
2733:(1972)
2725:(1968)
2717:(1959)
2709:(1954)
2701:(1953)
2693:(1952)
2670:(1996)
2651:(1979)
2643:(1967)
2635:(1957)
2627:(1955)
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648:operas
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613:extras
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