Robert Day (1922-) b. Sheen, England. An exciting British talent who sank deep into the trough of mediocre TV movies, Day was another cameraman who turned to direction. In the 1950s, the signs were all good. He achieved fine atmospheric effects amid believable high melodrama in three bloodcurdlers, and showed a nice, sense of crazy comedy in the gut-busting Two-Way Stretch (1960), the apogee of all Peter Sellers‘ British comedies. There was Tony Hancock‘s funniest comedy, The Rebel (1961) and also Tarzan the Magnificent (1960), the best Tarzan film since the 1930s. But television was already reaching out its tentacles. There were a few more Tarzan films, good at first then indifferent, in all senses, and the disastrous She (1965), in which Day seemed to have lost all his flair for atmosphere and chills – and in a Hammer film too! By this time he was making countless episodes of TV series, at first in Britain (Danger ManlSecret Agent) then America (The FBI, A Man Called Ironside, and… read more
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… read more