Jack Hawkins

He had a daughter, Susan with Jessica Tandy and two sons, Nicholas & Andrew Hawkins, with Doreen Lawrence.
He appeared in three Best Picture Academy Award winners: El puente sobre el río Kwai (1957), Ben-Hur (1959) and Lawrence de Arabia (1962). Alec Guinness also appeared in both El puente sobre el río Kwai (1957) and Lawrence de Arabia (1962). Jack Hawkins also appeared in one other Best Picture nominee: Nicholas and Alexandra (1971).
He was made a CBE (Commander of the Most Excellent Order of the British Empire) in the 1958 Queen's Birthday Honours List for services to drama.
Made Los rifles de Batasi (1964), Judith (1966), Mascarada (1965) and Operación opio (1966) while suffering from cancer of the larynx. By the time he started filming The Trial and Torture of Sir John Rampayne (1965), Hawkins had begun to cough up blood. His final role using his own voice was in a few episodes of Dr. Kildare (1961), where he managed to give a very accurate performance as a man who had just suffered a heart attack.
Initially sought for the role of Melville Farr in Victim (1961), Hawkins turned the role down because he thought the part might compromise his masculine screen image. Dirk Bogarde, who eventually played Farr, opined that Hawkins feared the role of a gay barrister would "prejudice his chances of a knighthood.".

I adored it from the first moment. The excitement, the thrill, the smell of the theatre went right down to one's toes.
Above all, I was taught to love and respect words. Each word had to be the right word; and each had to be spoken in a way that its weight and importance demanded.
I think that no actor should take Hollywood too seriously; but at the same time it would be wrong to underestimate its professionalism. Really, Hollywood is a caricature of itself, and in particular this is true of the front-office types at the studios. Their enthusiasm towards you is measured precisely to match the success of your last film.
Every time an army, navy or air force part comes up they throw it at me. There is nothing left now but the women's services! (1956)
All of us in the film were sure that we were making something quite unusual, and a long way removed from the Errol Flynn-taking-Burma-single-handed syndrome. This was the period of some very indifferent American war movies, whereas Mar cruel (1953) contained no false heroics. That is why we all felt that we were making a genuine example of the way in which a group of men went to war.