Dead of Night

Alberto de Almeida Cavalcanti (February 6, 1897 – August 23, 1982) was a Brazilian-born film director and producer.

Cavalcanti was born in Rio de Janeiro, the son of a prominent mathematician. He was a precociously intelligent child, and by the age of 15 was studying law at university. Following an argument with a professor he was expelled. His father sent him to Geneva, Switzerland on condition that he did not study law or politics. Cavalcanti chose to study architecture instead. At 18 he moved to Paris to work for an architect, later switching to working on interior design. After a visit back to Brazil he took up a position at the Brazilian consulate in Liverpool, England.

Cavalcanti corresponded with Marcel L’Herbier, a leading light in France’s avant-garde film movement. This led to a job offer from L’Herbier for Cavalcanti to work as a set designer.

In 1920 Cavalcanti left his job at the Consulate and moved back to France to work for L’Herbier; he was to be involved in the making of numerous films the most notable being L’Inhumaine. He was soon making his own films, in 1926 directing his first, Rien Que les Heures (Nothing But Time) — a day in the life of Paris and its citizens. In 1927 he collaborated with Walter Ruttmann on a similar project set in Berlin, called Berlin: Die Sinfonie der Großstadt (Berlin: Symphony of a Big City). Cavalcanti took a job with Paramount’s French studios after the talkies came in, but he found himself making more commercial films which could not hold his interest and left Paramount in 1933.

In the same year Cavalcanti returned to England to work for John Grierson’s GPO Film Unit. He was involved in many capacities, from production to sound engineer. He was to spend seven years at the GPO Film Unit, working on many projects, most notably; Coal Face (1935), Night Mail (1936), Message to Geneva (1937), Four Barriers (1937), and Spare Time (1939). Much of Cavalcanti’s work at the GPO was uncredited, he acted as a mentor to many new film makers, but in 1937 he was appointed acting head of the GPO Film Unit when Grierson left for Canada. When Cavalcanti was told that the only way the position could become permanent was to become a naturalized British citizen, he decided to leave the unit.

In 1940 Cavalcanti joined Ealing Studios, under the leadership of producer Michael Balcon. He worked as an art editor, producer and director. His most notable works were the propaganda films Yellow Caesar (1941), Went the Day Well? (1942), Three Songs of Resistance (1943), Champagne Charlie (1944), Dead of Night (as co-director) (1945) and Nicholas Nickleby (1947). In 1946 Cavalcanti left Ealing over a dispute about money. He went on to direct three more films in the UK, before returning to Brazil in 1950.

In Brazil Cavalcanti worked as a producer for Companhia Cinematográfica Vera Cruz; the company eventually became insolvent. After being blacklisted as a communist in Brazil, he moved back to Europe. He spent much of the 1960s and 1970s working as an itinerant film maker in various different countries, including East Germany, France and Israel. Cavalcanti died in Paris at the age of 85. —wikipedia

Director Charles Crichton’s film career began as an editor in 1935 with Alexander Korda’s London Films, and in that capacity he worked on such productions as Sanders of the River (1935), Things to Come (1936) and Elephant Boy (1937) (which introduced Sabu to movie audiences). He soon left London Films for Ealing Studios, and rose quickly through the ranks, making his directorial debut with For Those in Peril (1944). Meticulous to the point of being referred to as a “perfectionist”, Crichton came into his own at Ealing, a studio noted for its comedies, and among his best known are the quirky but charming The Titfield Thunderbolt (1953) and the wildly popular The Lavender Hill Mob (1951). He tried his hand at drama—outside of Ealing—with Hunted (1952), starring Dirk Bogarde. When Ealing closed its doors in 1959, Crichton’s film work petered off, and he turned more and more to television, becoming a prolific director of crime and adventure series. His occasional forays back into feature films were not particularly productive, and for the most part he remained in television, directing episodes of such popular shows as “Danger Man” (1964), “The Avengers” (1961) and “Space: 1999” (1975).

At the request of star John Cleese, Crichton agreed to direct Cleese, Jamie Lee Curtis and Kevin Kline in the offbeat comedy A Fish Called Wanda (1988), which turned out to be a huge international hit. It was his biggest success, and also his last film. He died in London at 1999, at age 89. —IMDb

Basil Dearden (born Basil Clive Dear; 1 January 1911 – 23 March 1971) was an English film director.

Dearden was born at Westcliff-on-Sea, Essex. He graduated from theatre direction to film, working as an assistant to Basil Dean. He later changed his own name to Dearden to avoid confusion with his mentor.

He first began working as a director at Ealing Studios, co-directing comedy films with Will Hay, including The Goose Steps Out (1942) and My Learned Friend (1943). He worked on the influential chiller compendium Dead of Night (1945) and directed the linking narrative and the “Hearse Driver” segment. He also directed The Captive Heart starring Michael Redgrave, a 1946 British war drama, produced by Ealing Studios. The film was entered into the 1946 Cannes Film Festival. The Blue Lamp (1950), probably the most frequently shown of Dearden’s Ealing films, is a police drama which first introduced audiences to PC George Dixon, later resurrected for the long-running Dixon of Dock Green television series. His last Ealing film, Out of the Clouds, was released in 1955.

In later years he became associated with the writer and producer Michael Relph, and the two men made films on subjects generally not tackled by British cinema in this era. These included homosexuality (Victim, 1961) and race relations (Pool of London, 1951; Sapphire, 1959). In the late 1960s Dearden also made some big-scale epics including Khartoum (1966), with Charlton Heston, and the Victorian era black comedy The Assassination Bureau (1969), again with Michael Relph.

His last film was The Man Who Haunted Himself (1970) with Roger Moore, with whom he later made three episodes of the television series The Persuaders!: Overture, Powerswitch and To the Death, Baby. Dearden was killed in a car accident in 1971, in a horrific crash on the M40 near the spot where the character Harold Pelham – the Man Who Haunted Himself – is supposed to have crashed his car in the opening sequence of the film.

He had two sons, Torquil Dearden and the screenwriter and director James Dearden.

The film critic David Thomson does not hold Dearden in high regard. He writes: “[Dearden’s] films are decent, empty, and plodding and his association with Michael Relph is a fair representative of the British preference for bureaucratic cinema. It stands for the underlining of obvious meaning”.

More positively, for the Australian film writer, Brian McFarlane: “Dearden’s films offer, among other rewards, a fascinating barometer of public taste at its most nearly consensual over three decades.” —Wikipedia