• 1945 Dead of Night ("The Haunted Miror" bölümü)
    1945 Pink String and Sealing Wax
    1947 It Always Rains on Sunday
    1949 Kind Hearts and Corents
    1949 The Spider and teh Flay
    1952 His Excellency
    1953 The Long Memory
    1954 Father Brown
    1955 To Paris with Love
    1959 Crime Kimde?
    1960 School for Scoundrels


  • Kind Hearts and Coronets
    (Kind Hearts and Coronets)

Robert Hamer

Robert Hamer was born in 1911 and died in 1963. The son of British character actor Gerald Hamer, He was educated at Cambridge University. He went to work at London Films as a clapper boy in 1934, and by 1938 was on the editing staff. An associated producer from 1943, Hamer made his directoral entree with the Haunted Mirror sequence in the portmanteau feature Dead of Night (1943); his first feature-length assignment was Pink String and Sealing Wax (1944). For several years, Hamer's career soared like a comet, thanks largely to this quartet of films with Alec Guinness. The best of these Kind Hearts and Coronets (1949), is an imperishable comedy classic. But as the 1950s rolled on, Hamer's reputation plummeted. Three years after directing his last film, the enjoyable but money-loosing School of Scoundrels, Robert Hamer died at the age of 52. Rarely can a director's career have risen and declined quite so abruptly as that of Robert Hamer. Within the space of 15 years, Hamer directed an episode of one film and two further films evincing increasing mastery and promise; he achieved one outstanding masterpiece, then went into virtually instantaneous decline, and produced half a dozen disappointing films culminating with a dismal flop. Something of the forces that contributed to Hamer's sadly blighted career can be inferred from his films. From the first, Hamer's films evoked a dark, dangerous world lurking below the calm surface of everyday life. The black humour, the concern with suppressed passion, the sense of atmosphere, as well as Hamer's savagely ambiguous view of family life, all these elements come together in his one masterpiece, Kind Hearts and Coronets. From there on, it was all down hill. Michael Balcon, the head of Ealing, felt that Hamer was "engaged on a process of self-destruction". In the light of the artistic deterioration of the later films, paralleled by the director's gradual descent into alcoholism, Balcon's verdict would, sadly, appear to be jus