Finlay Currie
Finlay Currie (20 January 1878 – 9 May 1968) was a Scottish actor of stage, screen, and television, best known for his commanding portrayals of authoritative and often villainous characters in historical epics and literary adaptations.[1] Born in Edinburgh, he began his career as a church organist and choirmaster before transitioning to the performing arts, where he achieved acclaim for roles such as the convict Magwitch in David Lean's Great Expectations (1946) and Balthazar in Ben-Hur (1959).[2] Over a seven-decade career spanning more than 100 film credits, Currie worked extensively in British cinema, Hollywood productions, and later television, embodying a severe and dignified presence that defined his legacy in mid-20th-century entertainment.[3] Currie's early life in Edinburgh laid the foundation for his artistic pursuits; as a young man, he served as an organist and choirmaster, skills that informed his initial foray into show business around the turn of the century.[2] He made his stage debut in 1898 at age 20, quickly establishing himself in music halls and theater. He toured the United States in the 1890s before marrying American musical comedy star Maude Courtney in 1905, with whom he later performed a song-and-dance act in vaudeville-style entertainment in the early 1900s.[3] Their partnership not only boosted his early visibility but also highlighted his versatility before he focused on dramatic roles in London's West End and provincial theaters.[4] Transitioning to film in the early 1930s, Currie debuted in The Old Man (1931, directed by Manning Haynes) and soon became a staple in British productions, appearing in over 70 movies by the 1940s.[2] His breakthrough came with the role of Magwitch in Great Expectations, which showcased his gravelly voice and imposing stature, leading to further iconic parts like Captain Billy Bones in Disney's Treasure Island (1950), Saint Peter in Quo Vadis (1951), and John Brown in The Mudlark (1950).[4] In the 1950s and 1960s, he ventured into Hollywood for epics such as Ivanhoe (1952) and Ben-Hur, while also contributing to British New Wave films like Billy Liar (1963) and television series including The Prisoner and The Saint, continuing to act into his late 80s until his death from kidney and heart failure at age 90.[3] Outside acting, Currie was a noted antiques dealer specializing in coins and precious metals, and a collector of Robert Burns' works.[3]Early life
Birth and family background
William Finlay Currie was born on 20 January 1878 in Edinburgh, Scotland.[5]Education and early pursuits
Finlay Currie initially pursued legal studies in Edinburgh before shifting his focus to music during his youth. By age 17, he had established himself as a professional church organist and choirmaster, taking up positions in local Edinburgh parishes that marked the beginning of his early career in music.[6] These musical roles, commencing in his late teens, involved directing choirs and performing on the organ.[2]Stage career
Professional debut
Finlay Currie made his professional stage debut in 1898 in Edinburgh at the age of 20, marking his entry into the world of paid performance after years as a church organist and choirmaster. Building on his musical background, he initially focused on roles as a singer and comedian. His early work quickly extended to music hall venues, including a notable 1902 appearance at the South London Music Hall under the stage name Harry Calvo, where he showcased his versatile multi-register voice in vocal acts.[2][6] In 1905, Currie married American musical comedy actress Maude Courtney in Newcastle upon Tyne, forming a professional stage partnership that emphasized song-and-dance routines and propelled their joint career forward. This union significantly influenced Currie's relocation to London, where greater theatre opportunities awaited the couple amid the bustling Edwardian scene. Together, they performed as a double act, blending comedy and music to build their reputation.[7][2][8] Currie's nascent career involved extensive work with touring companies, such as his 1899 stint with the Livermore Minstrels in America, which honed his skills in variety entertainment. Back in Britain, he continued with provincial theatre circuits, delivering performances in regional venues that demanded versatility across genres. These tours exposed him to the diverse demands of early 20th-century staging, from light opera to comedic sketches.[9][10] The Edwardian theatre landscape posed significant hurdles for emerging actors like Currie, characterized by the repertory system's grueling schedules—where performers often prepared multiple productions weekly—and persistently low wages that rarely exceeded basic subsistence levels. Many actors endured no pay during rehearsals, limited bargaining power, and frequent instability due to touring logistics and economic pressures on provincial houses. These conditions underscored the precarious transition from amateur pursuits to sustained professional viability in British theatre at the turn of the century.[11][12]Key theatre roles and productions
Currie emerged as a versatile character actor in London's West End during the late 1920s and 1930s, following a decade in Australia where he performed as a principal comedian with Sir Benjamin Fuller's touring company. Upon his return to the UK around the mid-1920s, he specialized in mystery thrillers penned by Edgar Wallace, showcasing his ability to embody stern, authoritative figures in tense narratives. In the original production of Wallace's Smoky Cell at Wyndham's Theatre, running from December 1930 to March 1931, Currie portrayed Sergeant Geissel, a pivotal law enforcement role that highlighted his commanding stage presence.[13] Building on this success, Currie took on the role of Brooks, the loyal yet enigmatic servant, in Wallace's The Case of the Frightened Lady (adapted by Mrs. Edgar Wallace), which premiered at the same venue on August 18, 1931, and ran until February 6, 1932. This production further solidified his reputation in the genre, as he navigated the play's intricate web of family secrets and suspense alongside a cast including W. Cronin Wilson and H. Victor Stanley. His performances in these Wallace adaptations exemplified his skill in delivering deep-voiced, patriarchal characterizations that anchored the dramatic tension.[14] Currie also demonstrated range in lighter fare, appearing as Samuel Plagett in Compton Mackenzie's comedy-drama Musical Chairs at the Criterion Theatre starting in April 1932, where his portrayal contributed to the play's exploration of fleeting romances and social upheaval. Later in the decade, he continued his West End engagements with roles such as in Louis Golding's Magnolia Street at the Adelphi Theatre from 1933 to 1934, addressing themes of community and ethnic tensions through ensemble work. These productions underscored his adaptability across genres during the interwar theatre resurgence.[15][16] During World War I, Currie served in the Seaforth Highlanders, resuming his stage career after the war. Spanning from his 1898 debut and continuing well beyond his 1931 film debut into the mid-20th century, Currie's stage career cultivated a signature style of authoritative, patriarchal roles—often dour Scotsmen or resolute patriarchs—marked by his six-foot frame and masterful delivery, as noted in contemporary profiles of his enduring theatrical foundation.[2][9]Film career
Entry into cinema
Finlay Currie made his screen debut in 1931 at the age of 53, appearing in a supporting role in the British drama The Old Man, directed by Manning Haynes and adapted from an Edgar Wallace play.[2][17] After a lengthy stage career spanning over three decades, Currie transitioned to film amid the burgeoning British sound cinema of the early 1930s, where he took on roles in low-budget quota quickies and B-movies designed to fulfill the Cinematograph Films Act's requirements for domestic production.[2] His early screen work included parts in Rome Express (1932), a mystery thriller directed by Walter Forde, and The Good Companions (1933), an adaptation of J.B. Priestley's novel under Victor Saville's direction.[2] By 1937, he had earned a notable supporting role as the authoritative island postmaster James Gray in Michael Powell's The Edge of the World, a poignant drama about the evacuation of a remote Scottish community.[2][18] His craggy features, imposing stature, and resonant Scottish voice proved assets, generating increasing demand for his authoritative presence in character roles within early British films.[2][8]Signature film performances
Finlay Currie's portrayal of the escaped convict Abel Magwitch in David Lean's 1946 adaptation of Charles Dickens's Great Expectations stands as one of his most iconic performances, earning widespread acclaim for capturing the character's raw intensity and complex duality of menace and pathos. Emerging suddenly from the foggy marshes to terrorize the young orphan Pip, Currie's Magwitch embodied Dickensian grit through his imposing physical presence and gravelly Scottish-inflected delivery, which blended ferocity with underlying vulnerability. Critics praised the role for its emotional depth, noting how Currie transformed the convict into a haunting figure whose gratitude later shapes Pip's fate, contributing to the film's status as a cinematic masterpiece.[2][19] Currie became typecast in authoritative, often biblical figures during the 1950s Hollywood epics, leveraging his craggy features and commanding stature to portray wise patriarchs in grand historical dramas. As Saint Peter in Mervyn LeRoy's Quo Vadis (1951), he delivered a zealous and hearty interpretation of the apostle, guiding early Christians amid Roman persecution with a resonant voice that conveyed spiritual authority and resilience. Similarly, in William Wyler's Ben-Hur (1959), Currie played Balthazar, one of the Three Wise Men and the film's narrator, infusing the role with dignified gravitas and a sense of ancient wisdom during the Nativity sequence and Judah Ben-Hur's journey. These performances highlighted his skill in voicing profound moral undertones, solidifying his niche in spectacles that demanded both physical dominance and vocal timbre to evoke historical weight.[6][2][20] Among his other notable film roles, Currie portrayed the stern trading post factor in Michael Powell and Emeric Pressburger's The 49th Parallel (1941), a wartime propaganda piece where his authoritative demeanor underscored themes of Canadian resilience against Nazi intruders. In Harold French's Rob Roy, the Highland Rogue (1953), he embodied the clan elder Hamish MacPherson, channeling his Scottish heritage into a rugged depiction of Highland defiance against English oppression. By 1968, Currie had amassed over 120 film credits, frequently employing his deep, masterful voice and robust physicality to anchor supporting roles in historical dramas, from biblical sages to dour patriarchs, often stealing scenes with understated power.[3]Television career
Transition to television
Following the end of World War II, British television experienced significant expansion in the late 1940s and 1950s, with the BBC resuming regular broadcasts in 1946 and viewer numbers surging after the 1953 coronation coverage, which boosted set ownership from around 1.4 million to over 3 million households by 1954.[21] This growth created opportunities for established actors like Finlay Currie to transition from stage and film to the small screen, particularly through live productions that emphasized dramatic intimacy over cinematic spectacle. Currie's entry into television aligned with this burgeoning medium, where his commanding presence from theatre and epic films found new expression in anthology formats and serials. Currie's first television appearance came in 1953 with the BBC adaptation of Alexander Reid's Scottish comedy The Lass wi' the Muckle Mou', broadcast on 6 October, in which he portrayed Sir Gideon Murray.[22] This role marked his adaptation of a film-honed persona—often authoritative and patriarchal—to the immediacy of live broadcasts, drawing on his decades of stage experience from a 1898 debut to deliver nuanced timing in dramatic readings. Throughout the 1950s, he appeared in the BBC's flagship anthology series Sunday-Night Theatre (1950–1959), a venue for diverse plays including literary adaptations and original works, with guest spots such as Daniel Beverley in Manhandled (1956) and roles in The Seat of the Scornful (1956) and The Safe Haven (1955).[23][24][25] These engagements reflected the medium's rapid evolution amid post-war cultural shifts, with Currie contributing to historical dramas and serials that capitalized on television's accessibility to wider audiences. His theatre-honed skills proved ideal for the live format prevalent in the era, allowing precise pacing in intimate close-ups that contrasted with the grand scales of his film work, such as in Great Expectations (1946). However, the black-and-white technology and technical constraints of 1950s broadcasts—limited to 405-line resolution and prone to signal interference—posed challenges, tempering the visual epicness of his cinematic roles into more restrained, dialogue-driven performances suited to domestic viewing.Notable TV roles
Currie also made notable guest appearances in other series during this period, including the enigmatic General in the episode "The Chimes of Big Ben" from the cult classic The Prisoner (1967), where he embodied military stoicism amid the show's psychological intrigue. Earlier, in the 1950s, he featured in anthology dramas like BBC Sunday-Night Theatre, with roles such as Daniel Beverley in "Manhandled" (1956) and Dr. Gideon Fell in "The Seat of the Scornful" (1956), demonstrating his range in live televised plays that often adapted literary works.[26][23][24] In his later years, Currie took on significant parts in historical retellings, most notably as the compassionate Bishop of Digne in the BBC's 1967 miniseries Les Misérables, adapted from Victor Hugo's novel. This role, appearing across multiple episodes, showcased his skill in conveying moral depth and benevolence in a narrative of redemption and social injustice. His final television role was as the dying mafioso boss Don Pasquale in the two-part episode "Vendetta for the Saint" from the series The Saint (1969), broadcast posthumously. His television output in the 1960s, including these adaptations, was praised by contemporaries for elevating routine broadcasts with a Shakespearean gravitas derived from his extensive theatre background, infusing characters with profound emotional resonance.[27]Personal life
Marriage and family
Finlay Currie married American actress and variety performer Maude Courtney on 14 April 1905 in Newcastle upon Tyne, England.[7] The union provided a supportive partnership, with the couple collaborating on stage performances as a double act in the early years of their marriage, blending Currie's Scottish roots with Courtney's vaudeville experience from the United States.[2] Their marriage endured for over five decades, until Courtney's death on 26 July 1959 at the age of 74 in Gerrards Cross, Buckinghamshire. The couple had a son, George Francis Courtney Currie, born on 26 September 1906 in Melbourne, Australia, during an early international tour. George did not enter the acting profession like his parents. Following Currie's relocation from Edinburgh to London in the early 1900s to establish himself in the West End theatre scene, the family made their primary residence in the city, later moving to a home in Hampstead.[9] However, Currie's demanding schedule of theatre tours across the UK, Europe, and beyond often separated him from home, though Courtney and their son occasionally joined him on extended trips, such as to Australia in the 1910s and 1920s. By the mid-20th century, the family had settled in a quieter rural setting at The Bull hotel in Gerrards Cross, Buckinghamshire, closer to film studios for Currie's burgeoning cinema work.[9]Hobbies and later interests
Finlay Currie maintained a deep-rooted passion for music throughout his life, originating from his early career as a professional organist and choirmaster starting at age 17. Although he transitioned to acting, this musical foundation influenced his performances and personal pursuits, reflecting a continued private appreciation for the art form.[6][9] As a native of Edinburgh born in 1878, Currie cherished his Scottish heritage, evident in his retention of a distinctive Scottish brogue. This connection to his roots manifested in personal interests that celebrated Scottish culture, including collecting items tied to national traditions.[9] In his later years, Currie engaged in philanthropy by supporting actors' charities through donations, which provided communal outlets for his civic-minded activities. He took up reading and gardening at his home in the rural setting of The Bull hotel in Gerrards Cross, Buckinghamshire, where he also pursued a business in antiques, specializing in coins, silver, and miniatures.[6]Death and legacy
Final years and passing
In the mid-1960s, Finlay Currie scaled back his acting commitments as he entered his late 80s, though he remained opposed to full retirement and continued select performances, including television roles into 1968. After a career spanning over 70 years—from his stage debut in 1898 to sporadic screen appearances—his enduring commitment to the profession highlighted a vitality uncommon in such a physically demanding field. His final role was as the dying mafioso Don Pasquale in the two-part episode "Vendetta for the Saint" of the television series The Saint. Currie died on 9 May 1968 at a hospital in Gerrards Cross, Buckinghamshire, England, at the age of 90, from kidney and heart failure. He had made his home at The Bull Hotel in Gerrards Cross for many years, a quiet rural setting near London that suited his later life.[6][8] A private cremation service was held shortly after his death at Breakspear Crematorium in Ruislip, Middlesex, where his ashes were scattered; the event was attended by close associates from the theater world.[1]Posthumous recognition
Finlay Currie's portrayal of Abel Magwitch in David Lean's Great Expectations (1946) continues to be celebrated as a landmark in British cinema, with his intense performance remembered for terrifying generations of viewers through its raw power and emotional depth.[2] The archival preservation of key films from his career has sustained the popularity of his biblical characterizations, notably his role as the wise Balthazar in Ben-Hur (1959), which was inducted into the United States National Film Registry in 2004 for its cultural, historic, and aesthetic importance.[28] In scholarly retrospectives on Scottish theatre and cinema, Currie is profiled for his remarkable 70-year career trajectory, from early stage work in Edinburgh to international film stardom.[2]Filmography
Complete film credits
Finlay Currie's film career encompassed over 120 roles in feature films, spanning from his debut in 1931 to his final appearance in 1968. The following is a chronological listing of his complete film credits, organized by decade for clarity. Roles are listed with the character name where known; uncredited appearances are noted. Directors are included where verifiable. For major productions, key co-stars are highlighted. This list is based on established sources including IMDb.1930s
| Year | Title | Role | Director | Notes |
|---|---|---|---|---|
| 1931 | The Old Man | Rennett | Manning Haynes | Debut film |
| 1932 | The Frightened Lady | Brooks | T. Hayes Hunter | |
| 1932 | Rome Express | Sam (publicist) | Walter Forde | |
| 1933 | The Good Companions | Mr. Joe Longridge | Victor Saville | |
| 1933 | Sleeping Car | The Doctor | Anatole Litvak | |
| 1935 | The 39 Steps | Robert (uncredited) | Alfred Hitchcock | |
| 1935 | The Dictator | Eugene Gaudin | Alfred Santell | |
| 1935 | Escape Me Never | The Postman (uncredited) | Paul L. Stein | |
| 1936 | The Improper Duchess | Archimandrite | H. Fraser-Simson | |
| 1937 | The Edge of the World | Peter Manson | Michael Powell | [29] |
| 1937 | Farewell Again | Military Surgeon | Tim Whelan | |
| 1938 | The Four Just Men | The Fourth Man (uncredited) | Edgar Wallace |
1940s
| Year | Title | Role | Director | Notes/Key Co-Stars |
|---|---|---|---|---|
| 1940 | Convoy | Capt. Eckersley | Pen Tennyson | |
| 1941 | The Ghost Train | Joad the Baker | Walter Forde | |
| 1941 | The Common Touch | Charlie | John Baxter | |
| 1941 | The 49th Parallel | The Farmer (uncredited) | Michael Powell | [30] |
| 1942 | The Day Will Dawn | McAllister | Harold French | |
| 1943 | Undercover | Priest | Sergei Nolbandov | |
| 1944 | On Approval | Gabby (uncredited) | Clive Brook | |
| 1945 | Journey Together | Medical Officer (uncredited) | John Boulting | |
| 1946 | Great Expectations | Abel Magwitch | David Lean | Co-stars: John Mills, Valerie Hobson |
| 1947 | The Brothers | Angus McFarish | David MacDonald | |
| 1947 | Captain Boycott | Daniel McGinty | Frank Launder | |
| 1948 | So Evil My Love | Dr. Krylie | Lewis Allen | Co-stars: Ray Milland, Ann Todd |
| 1948 | The First Gentleman | Sheringham | Michael Anderson | |
| 1949 | The Black Rose | Alfgar | Henry Hathaway | Co-stars: Tyrone Power, Orson Welles |
1950s
| Year | Title | Role | Director | Notes/Key Co-Stars |
|---|---|---|---|---|
| 1950 | Treasure Island | Capt. Billy Bones | Byron Haskin | Co-stars: Robert Newton, Bobby Driscoll [31] |
| 1950 | The Mudlark | The Bishop | Jean Negulesco | Co-stars: Alec Guinness, Irene Dunne |
| 1950 | Trio | Mr. Abbott (segment "Sanatorium") | Ken Annakin, Harold French | |
| 1951 | Quo Vadis | Saint Peter | Mervyn LeRoy | Co-stars: Robert Taylor, Deborah Kerr |
| 1951 | People Will Talk | Shunderson | Joseph L. Mankiewicz | Co-stars: Cary Grant, Jeanne Crain |
| 1952 | Ivanhoe | Sir Cedric | Richard Thorpe | Co-stars: Robert Taylor, Elizabeth Taylor |
| 1952 | Kangaroo | Cleggett | Lewis Milestone | Co-stars: Maureen O'Hara, Richard Boone |
| 1953 | Rob Roy, the Highland Rogue | Hamish MacPherson | Harold French | [32] |
| 1954 | The End of the Road | Mick McAllister | Wolf Rilla | |
| 1954 | Beau Brummell | Mr. Fox | Curtis Bernhardt | Co-stars: Stewart Granger, Elizabeth Taylor |
| 1955 | Footsteps in the Fog | Inspector Peter Farrow | Arthur Lubin | Co-stars: Stewart Granger, Jean Simmons |
| 1955 | Make Me an Offer | Abe | Cyril Frankel | |
| 1955 | The Adventures of Quentin Durward | Ludwig von Erlichheim | Richard Thorpe | Co-stars: Robert Taylor, Kay Kendall |
| 1956 | Zarak | The Stargazer (uncredited) | Terence Young | |
| 1956 | Around the World in 80 Days | Whist Partner | Michael Anderson | Co-stars: David Niven, Cantinflas |
| 1957 | The Little Hut | Mr. Hammond | Mark Robson | Co-stars: Ava Gardner, Stewart Granger |
| 1957 | Saint Joan | Brother John (uncredited) | Otto Preminger | Co-stars: Richard Widmark, Richard Todd |
| 1957 | Abandon Ship! | Mr. Wheaton | Richard Sale | Co-stars: Tyrone Power, Mai Zetterling |
| 1958 | Naked Earth | Mr. Pringle | Vincent Sherman | Co-stars: Richard Todd, Juliette Greco |
| 1958 | The Naked Truth | Sir Henry (uncredited) | Terence Young | |
| 1959 | Ben-Hur | Balthazar / Narrator | William Wyler | Co-stars: Charlton Heston, Haya Harareet |
| 1959 | Solomon and Sheba | King David | King Vidor | Co-stars: Yul Brynner, Gina Lollobrigida |
| 1965 | Bunny Lake Is Missing | Doll Maker | Otto Preminger | Co-stars: Carol Lynley, Keir Dullea |
1960s
Partial television credits
Finlay Currie's television career spanned the formative years of British broadcasting, where he frequently appeared in anthology series and adaptations, often in live productions that captured the immediacy of early TV drama. Many of these performances from the 1950s were broadcast live by the BBC and ITV, with numerous episodes lost due to the era's practice of tape overwriting or lack of recording altogether, as documented by the British Film Institute's archives. His roles ranged from authoritative patriarchs to historical figures, contributing to prestigious series like BBC Sunday-Night Theatre and ITV Play of the Week. Below is a partial list of his verified television credits from the 1950s to 1960s, prioritized by significance and availability of records; this selection highlights representative examples rather than an exhaustive catalog.[2]| Year | Series/Episode | Role | Network/Notes |
|---|---|---|---|
| 1953 | The Lass wi' the Muckle Mou | Sir Gideon Murray | BBC; live Scottish comedy adaptation by Alexander Reid, likely lost broadcast.[34] |
| 1955 | BBC Sunday-Night Theatre: "The Safe Haven" | The Old Man | BBC; live drama, part of the anthology series featuring adaptations; many episodes unpreserved.[25] |
| 1956 | BBC Sunday-Night Theatre: "Manhandled" | Daniel Beverley | BBC; live production based on a stage play, emphasizing Currie's commanding presence; presumed lost.[23] |
| 1956 | BBC Sunday-Night Theatre: "The Seat of the Scornful" | Dr. Gideon Fell | BBC; live adaptation of John Dickson Carr's mystery, showcasing Currie's skill in detective roles; not archived.[24] |
| 1950 | BBC Television Service: Deep Are the Roots | Unspecified supporting role | BBC; second performance of a live anti-racism drama by Arnaud d'Usseau and James Gow; early live TV format, lost.[35] |
| 1961 | Danger Man: "The Gallows Tree" | Jock | ITV; recorded espionage thriller, one of Currie's early guest spots in the series.[36] |
| 1961 | ITV Play of the Week: "Over the Bridge" | Unspecified | ITV; live or early taped play by Sam Thompson, focusing on Northern Irish tensions.[37] |
| 1962 | Dixon of Dock Green: "A Home of One's Own" | Mr. Caldicott | BBC; recorded police procedural, highlighting community themes.[38] |
| 1962 | The DuPont Show of the Week: "The Ordeal of Dr. Shannon" | Sir Wilfred Challis | NBC (US/UK broadcast); recorded adaptation of A.J. Cronin's novel, Currie's prominent supporting role.[39] |
| 1962 | ITV Play of the Week: "A Lily in Little India" | Unspecified | ITV; anthology drama exploring cultural clashes.[40] |
| 1963 | ITV Play of the Week: "The Stone Dance" | Bartholomew Morvah | ITV; recorded Cornish-set play, noted for its atmospheric tension. |
| 1963 | The DuPont Show of the Week: "The Last Hangman" | O'Connell | NBC (US/UK broadcast); recorded historical drama on capital punishment.[41] |
| 1965 | Danger Man: "That's Two of Us Sorry" | Landlord | ITV; recorded episode with Currie's distinctive Scottish inflection.[42] |
| 1966 | Alice in Wonderland | Dodo | BBC; recorded Jonathan Miller adaptation, a surreal take on Lewis Carroll; preserved and influential.[43][44] |
| 1966 | Gideon's Way: "The Thin Red Line" | General Sir Hector McGregor | ITV; recorded police drama involving regimental theft.[3] |
| 1966 | Brigadoon | Mr. Lundie | CBS (US/UK); recorded musical adaptation, Currie's role as the village minister.[45] |
| 1967 | Les Misérables: "Release" (and additional episodes) | Bishop of Digne | BBC; recorded 10-part Victor Hugo adaptation, appearing in at least one key episode; some episodes preserved.[46][27] |
| 1967 | The Prisoner: "The Chimes of Big Ben" | General | ITV; recorded cult sci-fi episode, Currie's authoritative military figure.[26] |
| 1968 | The Flight of the Heron | Angus MacMartin | BBC; recorded mini-series adaptation of D.K. Broster's novel, set during the Jacobite rising.[47] |