Robert Hamer(1911-1963)

Robert Hamer est né le 31 mars 1911 à Worcestershire, Angleterre, Royaume-Uni. Il était réalisateur et scénariste. Il est connu pour Noblesse oblige (1949), Au coeur de la nuit (1945) et Détective du bon Dieu (1954). Il est mort le 4 décembre 1963 à Londres, Angleterre, Royaume-Uni.

8,0

7,5

6,7

7,1

L'académie des coquins
7,3
- Réalisation
- 1960
Le bouc émissaire
6,8
- Réalisation
- 1959
Bernard Shaw
Court-métrage
- Réalisation
- 1957
Rowlandson's England
7,6
Court-métrage
- Réalisation
- 1955
ITV Play of the Week
6,7
Série télévisée
- Réalisation
- 1955
ITV Opening Night at the Guildhall
Téléfilm
- Réalisation (play "Private Lives")
- 1955
Deux Anglais à Paris
5,5
- Réalisation
- 1955
Détective du bon Dieu
6,7
- Réalisation
- 1954
The Long Memory
7,0
- Réalisation
- 1953
His Excellency
5,5
- Réalisation
- 1952
The Spider and the Fly
6,7
- Réalisation
- 1949
Noblesse oblige
8,0
- Réalisation
- 1949
Il pleut toujours le dimanche
7,1
- Réalisation
- 1947
The Loves of Joanna Godden
6,7
- Réalisation (non crédité)
- 1947
Pink String and Sealing Wax
6,7
- Réalisation
- 1945

Date de naissance
- 31 mars 1911
- Kidderminster, Worcestershire, Angleterre, Royaume-Uni
Date de décès
- 4 décembre 1963
- Londres, Angleterre, Royaume-Uni(pneumonie)
Autres œuvres
He wrote for the revue, "This World Is Ours," at the Gate Theatre Studio in London, England with Hermione Gingold, Charlotte Leigh, Hedley Briggs, Tony Forwood, Michael Anthony, Googie Withers, Peter Borrett, and Rosalind Iden in the cast. Norman Marshall was director. Hedley Briggs was designer. Ronald Hill, Diana Morgan, Robert MacDermot, Geoffrey Wright, Herbert Farjeon, Holt Marvell, and Walter Leigh were the writers.
Annonces publicitaires
- 1 Imprimer la biographie
- 1 Article

Anecdotes
Chronic alcoholism ended both his marriage and his career as a director, and it eventually led to his early death. At the time he died, he was almost penniless and had only a monthly allowance from his father to support himself with.

Citations
[on Noblesse oblige (1949)] It became evident that we had a subject with most agreeable possibilities. What were the possibilities that thus presented themselves? Firstly, that of making a film not noticeably similar to any previously made in the English language. Secondly, that of using the English language, which I love, in a more varied, and, to me, more interesting way than I had previously had the chance of doing in a film. Thirdly, that of making a picture which paid no regard whatever to established, though not practiced, moral convention.