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IMDbPro

Robert Hamer(1911-1963)

  • Director
  • Writer
  • Editor
IMDbProStarmeterSee rank
Robert Hamer
Robert James Hamer was born in 1911 along with his twin sister Barbara, the son of Owen Dyke Hamer, a bank clerk, and his wife, Annie Grace Brickell. He was educated at Cambridge University where he wrote some poetry and was published in a collection 'Contemporaries and Their Maker', along with the spy Donald Maclean.

Hamer's cinematic career began as a clapper boy at London Films in 1934, and by 1938 he was on the editing staff. He worked as an editor on Alfred Hitchcock's Jamaica Inn (1939) and worked briefly for the GPO Film Unit. He joined Ealing in 1941 as an editor, becoming an associate producer in 1943. He first made a name for himself as a director with the "The Haunted Mirror" segment in the 1945 omnibus film Dead of Night (1945).

At Ealing he directed one of the classic British comedies, Kind Hearts and Coronets (1949), in which Alec Guinness played eight roles. Hamer was nominated for the Golden Lion at the 1949 Venice Film Festival for his work on the film, as he was in 1954 for directing Guinness in Father Brown (1954), which was based on G.K. Chesterton's short stories (Hamer also also directed Guinness in the 1955 romantic comedy To Paris with Love (1955) at Rank and the thriller The Scapegoat (1959), which was based on the Daphne Du Maurier novel, for Du Maurier-Guinness/MGM).

Hamer's last directorial effort was 1960's School for Scoundrels (1960) with Terry-Thomas and Alastair Sim. He died in London on December 4, 1963, and was buried at Llandegley.
BornMarch 31, 1911
DiedDecember 4, 1963(52)
BornMarch 31, 1911
DiedDecember 4, 1963(52)
IMDbProStarmeterSee rank
  • Awards
    • 1 win & 3 nominations

Photos

Robert Beatty, Charles Frend, and Robert Hamer in San Demetrio London (1943)

Known for:

Alec Guinness in Kind Hearts and Coronets (1949)
Kind Hearts and Coronets
8.0
  • Director
  • 1949
Dead of Night (1945)
Dead of Night
7.6
  • Director
  • 1945
It Always Rains on Sunday (1947)
It Always Rains on Sunday
7.1
  • Director
  • 1947
Father Brown (1954)
Father Brown
6.7
  • Director
  • 1954

Credits

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IMDbPro

Director

  • School for Scoundrels (1960)
    School for Scoundrels
    • Director
    • 1960
  • The Scapegoat (1959)
    The Scapegoat
    • Director
    • 1959
  • Rowlandson's England
    • Director
    • Short
    • 1955
  • ITV Play of the Week (1955)
    ITV Play of the Week
    • Director
    • TV Series
    • 1955
  • John Gielgud, Edith Evans, and Margaret Leighton in ITV Opening Night at the Guildhall (1955)
    ITV Opening Night at the Guildhall
    • Director (play "Private Lives")
    • TV Movie
    • 1955
  • To Paris with Love (1955)
    To Paris with Love
    • Director
    • 1955
  • Father Brown (1954)
    Father Brown
    • Director
    • 1954
  • The Long Memory (1953)
    The Long Memory
    • Director
    • 1953
  • His Excellency (1952)
    His Excellency
    • Director
    • 1952
  • The Spider and the Fly (1949)
    The Spider and the Fly
    • Director
    • 1949
  • Alec Guinness in Kind Hearts and Coronets (1949)
    Kind Hearts and Coronets
    • Director
    • 1949
  • It Always Rains on Sunday (1947)
    It Always Rains on Sunday
    • Director
    • 1947
  • The Loves of Joanna Godden (1947)
    The Loves of Joanna Godden
    • Director (uncredited)
    • 1947
  • Pink String and Sealing Wax (1945)
    Pink String and Sealing Wax
    • Director
    • 1945
  • Dead of Night (1945)
    Dead of Night
    • Director
    • 1945

Writer

  • A Jolly Bad Fellow (1964)
    A Jolly Bad Fellow
    • Writer
    • 1964
  • 55 Days at Peking (1963)
    55 Days at Peking
    • additional dialogue
    • 1963
  • The Scapegoat (1959)
    The Scapegoat
    • screenplay
    • 1959
  • Rowlandson's England
    • Writer
    • Short
    • 1955
  • ITV Play of the Week (1955)
    ITV Play of the Week
    • adaptation
    • adapted by
    • TV Series
    • 1955
  • Father Brown (1954)
    Father Brown
    • screenplay
    • 1954
  • The Long Memory (1953)
    The Long Memory
    • screenplay
    • 1953
  • His Excellency (1952)
    His Excellency
    • screenplay
    • 1952
  • Alec Guinness in Kind Hearts and Coronets (1949)
    Kind Hearts and Coronets
    • screenplay
    • 1949
  • It Always Rains on Sunday (1947)
    It Always Rains on Sunday
    • screenplay
    • 1947
  • Pink String and Sealing Wax (1945)
    Pink String and Sealing Wax
    • script contribution
    • 1945
  • San Demetrio London (1943)
    San Demetrio London
    • screenplay
    • 1943

Editor

  • Constance Cummings and Clifford Evans in The Foreman Went to France (1942)
    The Foreman Went to France
    • Editor
    • 1942
  • Ships with Wings (1941)
    Ships with Wings
    • Editor
    • 1941
  • Peggy Bryan and George Formby in Turned Out Nice Again (1941)
    Turned Out Nice Again
    • Editor
    • 1941
  • Mastery of the Sea
    • Editor
    • Short
    • 1940
  • French Communique
    • Editor
    • Short
    • 1940
  • Jamaica Inn (1939)
    Jamaica Inn
    • film editor
    • 1939
  • Vivien Leigh and Charles Laughton in St. Martin's Lane (1938)
    St. Martin's Lane
    • Editor
    • 1938
  • Charles Laughton, Elsa Lanchester, and Dolly Mollinger in Vessel of Wrath (1938)
    Vessel of Wrath
    • Editor
    • 1938

Personal details

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  • Born
    • March 31, 1911
    • Kidderminster, Worcestershire, England, UK
  • Died
    • December 4, 1963
    • London, England, UK(pneumonia)
  • Other works
    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.
  • Publicity listings
    • 1 Print Biography
    • 1 Article

Did you know

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  • Trivia
    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.
  • Quotes
    [on Kind Hearts and Coronets (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.

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