Hugh Perceval
Hugh Perceval (1908–1987) was a British screenwriter and film producer.[1] He was portrayed by Michael Kitchen in the 2011 film My Week with Marilyn, which chronicles the filming of The Prince and the Showgirl (1957), whose production Perceval managed.
Hugh Perceval | |
|---|---|
| Born | 18 February 1908 |
| Died | July 1987 |
| Occupation | Writer, Producer |
| Years active | 1931-1970 |
Filmography
Producer
- After Dark (1933)
- The Jewel (1933)
- Death at Broadcasting House (1934)
- The Silent Passenger (1935)
- Calling the Tune (1936)
- The House of the Spaniard (1936)
- Secret Lives (1937, also screenwriter)
- Brief Ecstasy (1937)
- What a Man! (1938)
- Garrison Follies (1940)
- Danny Boy (1941)
- The Missing Million (1942)
- Front Line Kids (1942)
- The Third Man (1949)
- Outcast of the Islands (1951)
- Home at Seven (1952)
- Who Goes There! (1952)
- The Ringer (1952)
- The Holly and the Ivy (1952)
- The Man Between (1953)
- Three Cases of Murder (1955)
- The Man Who Loved Redheads (1955)
- Raising a Riot (1955, also screenwriter)
- The Deep Blue Sea (1955)
- Carve Her Name with Pride (1958)
- The World of Suzie Wong (1960)
- The Third Secret (1964)
- The Reckoning (1970)
Production Manager
- Jamaica Inn (1939)
- Night Beat (1947)
- The Fallen Idol (1948)
- The Prince and the Showgirl (1957)
Screenwriter
- These Charming People (1931)
- A Man of Mayfair (1931)
- Secret Lives (1937)
- Raising a Riot (1955)
gollark: 1. Is that seriously how you read what I was saying? I was saying: fix our minds' weird ingroup/outgroup division.2. That is very vague and does not sound like it could actually work.
gollark: I'm pretty sure we *have* done the ingroup/outgroup thing for... forever. And... probably the solutions are something like transhumanist mind editing, or some bizarre exotic social thing I can't figure out yet.
gollark: I mean that humans are bad in that we randomly divide ourselves into groups then fiercely define ourselves by them, exhibit a crazy amount of exciting different types of flawed reasoning for no good reason, get caught up in complex social signalling games, come up with conclusions then rationalize our way to a vaguely sensible-looking justification, sometimes seemingly refuse to be capable of abstract thought when it's politically convenient, that sort of thing.
gollark: No, I think there are significant improvements possible. But different ones.
gollark: I'm not talking about humans being bad in that sense, myself.
References
- Landy p.516
Bibliography
- Landy, Marcia. British Genres: Cinema and Society, 1930-1960. Princeton University Press, 2014.
External links
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