This page is dedicated to remembering an Actor who in his day, was one of the major pivots of the British Film & Acting Industry - Sir Stanley
Baker.
William Stanley Baker was born and brought up in the Welsh mining village of Ferndale, in the Rhondda Valley, Wales on February 28th. 1928. His father was a miner who lost a leg in the infamous Ferndale Pit No.9, and subsequently got work driving trucks. By his own admission, Stan grew up a wild child only interested in "football & boxing".....but there was certainly much more to him than that, and it was spotted long before his 21st.Birthday.
Before the war in 1939, acting was a profession (for the most part), only occupied by two classes of people - those able to afford it, OR those who frequently became down-at-heel. And yet, every Welsh person has a dramatist inside them. NOTHING IS ALIEN TO THE WELSH....and there must have been something truly magical about the Rhondda valley at that time because, it produced no less than THREE future legends of the British industry who along with Baker ALL went straight to the top: Baker, Donald Houston and of course, Richard Burton!
All three grew up in the same area and all three were friends at one time or another. As Stan was to say, "there was only one way out of the pit". Burton later said that it was every young boys' dream to go down the pit, but are/were certainly many young men of that time who would disagree with that!!
In his youth, Burton was lucky enough to have the tutelage and sponsorship of school teacher friend, Philip Burton. For Stanley it was Glyn Morse, who spotted his acting talent by the time he was fourteen, and encouraged him to act. And it was AT the age of fourteen, whilst acting in the school play, that Baker was literally noticed by a scout from Ealing Studios, who then recommended him for a role in the UK War drama, "UNDERCOVER" in 1943. He was paid 20 pounds a week and from here on immediately caught the acting and decided on the spot to become a professional. Six months later he appeared in the West End, alongside his old friend Richard Burton in Emlyn William's play, "THE DRUID'S REST". Afterwards, he was obliged to work part time as an electrician to pay the rent, until - again through Morse' influence - was given a job at Birmingham Repertory theatre in 1944. It was here that he was to hone his experience until he was called up to do his National Service in 1946.
During his National Service, Baker worked in the Royal Army Service Corps, achieving the rank of Sergeant before he was demobbed in 1948. After this he returned to London, determined to resume his acting career. Eventually, he was cast in a small play in the West End named "ADVENTURE STORY" by Terence Rattigan. This he achieved at Burton's own recommendation. But it would be wrong to say that Baker lacked the skills necessary to gain his OWN ground, and in the years to come, he was to prove this over and over again - in some ways making up more of the pie in his own plot, than Burton ever did!
So the years 1948-51 were to see Baker honing his craft and beginning to immerse himself MORE THAN EVER in the business of the Acting and more importantly - HOW THE BUSINESS WORKS - than ever before. He appeared in stage plays up and down Britain, as well as making the occasional small part in UK films. This process, carried on until in 1951 he was cast as the Bosun's mate in the Hollywood movie, "CAPTAIN HORATIO HORNBLOWER R.N.". Interestingly enough, the films' leading man, one Gregory Peck ALSO came from a similar background, (stage), and only reluctantly moved into films on his own bat.
In 1952, Baker's slow and steady rise up the ladder took him to Broadway, where he appeared in the Christopher Fry play, "A SLEEP OF PRISONERS". It was during his time there, that he read the book, "The Cruel Sea" by Nicholas Montserrat. Liking what he saw and realizing that a film was in the works back home, he lobbied himself to play the part of the bullish and unpopular "Bennett". He was successful - and in the process, received a further offer from Hollywood to play the part of the villainous "Sir Mordred" in their expensive version of "KNIGHTS OF THE ROUND TABLE" (1953), and this was where Baker's career really began to take off.
It has been said - and with some truth - that the biggest culprit for developing stereotypes IS Hollywood. And it was no different with Stanley Baker. When success came, not only was it from Hollywood, but it was in the shape of playing rough and nasty villains. Actor Tony Curtis always said "....your face makes your fortune". What he was meaning was that if you look like a bruiser (e.g. BIG, RUGGED, AND WITH A LOW VOICE etc), then you'll be cast as one, and this is exactly what happened with Stanley. But hats off to Baker, his villains were always watchable and VERY attractive!
"KNIGHTS OF THE ROUND TABLE" was soon followed by further early successes like "HELL BELOW ZERO" & "THE RED BERET" (both UK 1954, and with Alan Ladd). But Baker was not happy with this image, and soon came to do something about it. Playing villains was all very fine, especially if it's working ahead, but being sidelined into a box, is NOT! In 1954, he also made "THE GOOD DIE YOUNG", a UK thriller-drama telling the story of how several crooks came to find themselves in trouble even though they were trying to go straight. Ahead of it's time, it was a movie completely overlooked by the public. But it was just how Baker wanted it - playing a character of perhaps more depth than the average IN A FILM OF PERHAPS MORE DEPTH. Further efforts of this type were to follow in later years.
By now, Baker's old friend Richard Burton was enjoying his first taste of stardom in Hollywood (as well as treading the boards of the Old Vic in Stratford), whilst Donald Houston was too, making his first films having become famous in 1949 in the original of "THE BLUE LAGOON". Baker meanwhile - although he liked the high life - was taking an altogether SLOWER and more thoughtful road ahead. CHARACTER, and films of serious worth and depth were the key words in Baker's head, and he was to pursue this path right up until his death in 1976.
In 1955, Baker appeared in Olivier's "RICHARD III" (which was a learning curve for Baker, and one which by his own admission he never forgot)...along with "HELEN OF TROY" (with Bardot), and "ALEXANDER THE GREAT" (1956), with Burton & Clair Bloom. But these were all just UK & Hollywood potboilers. Aside from these, he had his own regular career to attend to. "CHECKPOINT" was hardly the place you'd expect to find a co-star in a Hollywood Epic, but Baker made it in 1955 and a great little thriller it was too. He played a thief who was hired by a motor racing team to steal plans of a rival team, but who is discovered. It all kept the money rolling in. That same year he also made the Korean war movie, "A HILL IN KOREA", with - for the first time - a young Michael Caine.
By 1958, Baker had linked up with the blacklisted Afrikaan film director, C. Raker Endfield (Cy), and together they began to put out several films together - culminating in 1965 with the metamorphic, "ZULU". This first movie was however ALSO metamorphic for it's time, and featuring a gallery of new talent like you would not believe including a young Patrick McGoohan & an even younger Sean Connery.....it was of course, "HELL DRIVERS"!
Produced at a time when the British Film Industry had yet to prove itself in the Sixties with such productions as "DR. NO" and "LAWRENCE OF ARABIA"; "HELL DRIVERS" was hot stuff indeed. On the surface it was just another domestic British movie, produced like so many other for Rank with standardized titles and a basic amount of money to pay for it. Yet Endfield and Baker were determined to break the mould with an action drama that could lift the lid off. It's plot was simple: Baker played an Ex-Con just released from prison trying desperately to find a job and who winds up driving for an outlaw firm of truckers, named "Cullimore's Cowboys". Here he meets "Red" (McGoohan), the pace-setter who rules EVERYTHING and never likes to lose. He also owns a gold cigarette case - which is the prize for whoever can do the most break-neck loads to the cement firm each day, and Baker is determined to win it at any cost!
"HELL DRIVERS" had touched a nerve in the UK as yet untouched - especially by a home-made movie, and immediately rocketed Baker to Super-stardom in England. A successful venture all-round, it also was instrumental in furthering the careers of many of it's strong support cast (all newcomers at the time), and established for Baker & Endfield a good working relationship that was to blossom and grow with time.
Having now proven himself beyond all doubt in the eyes of many on the UK and international scene, Baker now became a hot property. His next project was Basil Dearden's "VIOLENT PLAYGROUND". Here he played a social worker in 50's Britain, adapting to the new fad for Rock music and endearing to help those less fortunate than himself. In 1959, he worked for Hammer Productions in the War movie, "YESTERDAY'S ENEMY".
This too was an interesting project as it attempted, to reflect on the jungle war in Burma (from the point of view of a bunch of stranded British squaddies), and the events which happened there. In one memorable scene, Baker's character, orders two villagers to be shot for conniving with the enemy. A very chancy film, it was and IS still well worth looking out for, standing head & shoulders over many others of the period. The call then came through once more to go to Hollywood for a film this time with Robert Mitchum, "THE ANGRY HILLS".
By 1960, Stanley Baker was known all over England as a major working class film star. He was known even more importantly in the business as a growing big wheel he would frequently do much for those who were struggling to get somewhere - wannabee actors, directors, etc he was there for them all. He was also in the business of making many good connections. Unlike Richard Burton who was lucky enough to have had it all practically on a plate; Baker too in his own way WAS a struggler....fighting every inch of the way and never giving ground until his last breath. He knew the biggest enemy in the business was to pass him off because of his background and rugged looks simply as a heavy, and this he would not allow.
After good roles in the Airline drama, "JET STORM" and Joseph Losey's "BLIND DATE" (both 1959), Baker went into 1960 on the crest of a wave. That year he made two if his biggest hits: "THE CRIMINAL" and "HELL IS A CITY". In the former (again for Losey), he played an Irish gangland boss who is released from prison and immediately becomes embroiled in another heist. The film attempted to get beyond the usual dose of guns and thrills, portraying something of the lifestyle and pointlessness of what makes professional criminals tick. The film was banned in several countries for being too brutal for it's time. "HELL IS A CITY" however was another story. Here, Baker played a regular Cop trying to make sense out of events which spiral out of control after a man breaks jail and goes out on a spree of daring robberies before Baker's character, "Inspector Martineau", can nail him down. Whereas "THE CRIMINAL" was largely a critical success, "HELL IS A CITY" was a runaway public success, which went someway to securing Baker's reputation in the eyes of many.
It was then in 1961, that Baker was selected to play the part of "Butcher Brown" in the Wartime adventure epic, "THE GUNS OF NAVARONE". Working again with Greg Peck, and the likes of David Niven and Anthony Quinn; Baker's part was small but significant. His brooding Welsh depth, helped to give "Brown" a sense of gentle giant which some perhaps would have found less easy. Indeed, Baker was very much of a gentle giant himself!
The Sixties had arrived, and for Baker that meant further critical success in another Losey picture, this time "EVA" in 1962. This was a powerful international drama about a Welsh novelist on holiday in France, who falls for an erotic French girl played by the lovely Jeanne Moreau. Then came the British caper movie, "A PRIZE OF ARMS" for director Cliff Owen. Here he played one of a small team of thieves who decide to rob an Army base. Sadly, despite a good job all-round, the film failed at the box office, and Baker was forced to take his next job AGAIN from director Robert Aldrich (who had directed "THE ANGRY HILLS"), in the movie "SODOM & GOMORRAH".
And yet it was on the set of this film, that Baker met Hollywood mogul Joe Levine, who promised him all the backing he needed for a project he had in his head named "ZULU". After "IN THE FRENCH STYLE" (1963) for Robert Parrish, and "THE MAN WHO FINALLY DIED" (1963) for Hammer, Baker then moved onto start work for the film which was to become his benchmark.....
The story of "ZULU" began in 1962, when Cy Endfield was influenced by an article he had read in a magazine about the battle of Roarkes' Drift by columnist, John Prebble. Endfield then took it to his old friend, Baker who by then was interested in moving into production as well as acting. Baker liked the idea, and then approached Hollywood mogul, Joe Levine to see about finance.
Levine then promised him all he needed PROVIDED HE COULD BRING IT IN ON TIME AND ON BUDGET. Baker & Endfield then formed a company named Diamond Films to get the picture made. A deal for distribution was then drawn up with Paramount for the outside world, and Embassy for North America. John Prebble - the writer of the original column was then approached to write the script (which he did), and a decision was taken to film the movie on "Super Technirama 70", which would mimic the old three-strip cinema process and - along with "LAWRENCE OF ARABIA" & "CUSTER OF THE WEST" was required to be shown on a 3-screen crossover process in Cinemas! The movie itself was made on location, just 100 km's south of the actual location of the real Roarkes' Drift. It was instead recreated in the natural amphitheatre of the Drakenberg Mountains.
For approach, Baker and Endfield approached the film itself almost as a Western, with the British Soldiers, almost taking the part of American Cavalry. But there was certainly much more to it than that. It is now famously remembered (thanks largely to Baker's film), that these were a WELSH troops fighting for England, and Baker was determined NOT to lose that fact on the audience. On casting, young Michael Caine (who had been struggling for years by this point) was initially cast to play the part of Henry Hook - the part which eventually went to James Booth. The Studio was on Baker's back to cast Terence Stamp as second-in-command, Gonville Bromhead. But during pre-production, time was desperately short, and Bromhead had still NOT been cast, and they decided to test Caine anyway, and DESPITE the fact that it was the worst test that Endfield claimed he'd ever seen in his life, GAVE THE PART TO CAINE because they simply didn't have time for anyone else. The studio didn't like it but Baker was determined to go to the wall over Michael's abilities, should it come to that. Eventually he won out.
On location in 1964, it was hard going. Temperatures were frequently over a hundred in the shade and there was much going on (Victorian dress didn't help). To make matters worse the White Apartheid Boer police were there constantly, making sure no one fraternized or spent too much time with the Blacks (which they did anyway when the Cops weren't looking). None of the Blacks on the film were allowed payment. Money was strictly DENIED. But Endfield and Baker saw to it that all the CATTLE from the movie was left behind for them in secret - something which to the Black people playing Zulus, meant more more than just money.
Upon it's release on January 22nd. 1965, the film of "ZULU" repeated the same kind of success the earlier "HELL DRIVERS" had done but on a more bigger worldwide scale. With British productions now setting the pace, it wasted no time in becoming a huge hit. Baker was so taken with what he had seen and experienced in Africa, that he then went onto make no less than THREE more productions on location in Africa, related to African issues. The first (and possibly the best) was "DINGAKA" (1965). This co-starred African actor, Mr. Ken Gampu as a young Black African who avenges the murder of his daughter according to tribal custom, and is then made to face WHITE justice, where it is known that for the Black man there is NO justice. Based on a true story, Baker was content to take SECOND lead, on this occasion.
The second and final movie of this set (the third was made for TV), was 'SANDS OF THE KALAHARI", in 1966. This again featured the team of Baker & director Endfield, and was a straight adventure story, revolving around a group of plane crash survivors in the desert. Initial plans to star Burton & Taylor were scrubbed when Liz complained she had no interest in working in the African bush and demanded more money than the studios were happy to pay. Baker then steamed in and took Richard's part, and the Liz's part was adjusted for lovely Susannah York.
1966/7 was to see Baker perhaps at the height of his powers, with his reputation at it's strongest after "ZULU", and his powers as a producer getting better all the time. After another film for American Television (he was making several at this point), named "CODE-NAME: HERACLITUS" . He then went onto make his next Cinema film-proper AFTER the whole "ZULU" moment. This time it was "ROBBERY" (1967), and it's origins lay in several chats he had had with Burton about making a possible film BASED on the recent "Great Train Robbery".
After co-starring with Monica Vitti in the
critically-acclaimed Italian comedy, "GIRL WITH A PISTOL" in 1968, Baker then
launched himself into two pictures for Oakhurst which were to bring the house
down in 1969 - "WHERE'S JACK" with Tommy Steele, and "THE ITALIAN JOB" with
Michael Caine. Whereas the latter movie has since gone into UK Cinema legend,
consequently spawning dozens of articles and written words in in it's honour -
not so much has been heard of the former movie with Tommy Steele, so I think
we'll just limit our comments to this. Whereas in "THE ITALIAN JOB" Baker was
happy just to remain an UN-credited co-producer, on "WHERE'S JACK" the story was
reversed. It concerns the exploits of 18th.Century English criminal, Jack
Sheppard, and his opposite number, "The Thief-taker" one Jonathan Wild (Baker).
BOTH films were excellent in their own right, AND successful upon release - a
nice double for Oakhurst.
Into the 1970's and Baker starred in two
movies. The first was the slam-bang adventure movie, "THE LAST GRENADE" - about
Mercenaries in Asia; and later, the splendid Caper Movie, "PERFECT FRIDAY" with
Ursula Andress (the latter also saw Baker acting as producer, and becoming one of
the BIG hits of the year, in the process). Another semi-successful film in 1970
was "THE GAMES", directed by Michael Winner.
Baker then took a year off in 1971,
preferring only to work on two productions, and only then AS AN ACTOR. These were the
Italian dramas, "POPSY POP" and "A LIZARD IN A WOMAN'S SKIN". As the 70's
progressed, Baker then decided to open up his business activities. Already in
the Sixties, an active socialist and supporter of the Labour Party in Britain,
he was however, often criticized for BEING a Leftie, yet at the same time
earning vast sums of money. Baker waved it away. He knew where he was coming
from if no one else did. By 1972, he had expanded into Rock Music Festivals and
being an active member on the founding board of Harlech Television in Wales.
Together with Deeley and American Barry Spikings, Baker then formed "Great
Western Enterprises". He said at the time, "I love business and the activity it
creates. Acting is good for the ego, but the real fun is in business I'm still
surprised how good I am at business!" Also in 1972, he made his last big
commercial hit in the Cinema, the action-adventure, "INNOCENT BYSTANDERS" for
director Peter Collinson.
Then came the fiasco of Britain in 1973,
and the ensuing UK Stock Market Crash the same year. Baker and all his
extravagances suddenly crashed with them, and it was then a case of all hands to
the decks. To make matters worse, Deeley soon showed his true colours when
Baker, having assisted Deeley in obtaining control of British Lion that year,
FAILED to back him up when the rest of the (new) board voted to VETO Baker from
having a controlling SEAT on the board, citing that he was too concerned on his
film career to take any real interest. By 1974, Stanley Baker was, like the rest
of Britain, struggling!
For the final years of his life, Stanley
Baker just concerned himself with making whatever crap was thrown at him
to make ends meet, whilst suffering with lung cancer brought on by excessive
smoking. By 1975, he had SOLD most of his business activities and was back to
concentrating solely on acting. That year, he accepted a role in the "THE
CHANGELING", the classic Jacobean tragedy for the BBC.
Stanley Baker died on June 28th 1976.
Before he did so, he was nominated for a Knighthood by outgoing Prime Minister,
Harold Wilson. It was an award he was NEVER to live to accept although it WAS
given out posthumously. That said, it could still be said (by some), that Baker
had long since had his day and paid the price for too much high living. We don't
think so - and obviously neither did Baker himself. Either way, before he died
he began to put into production a movie which was to complete his greatest story
of all. It was made and released posthumously, and called "ZULU DAWN" (1979).
As with Sir John Mills, Stanley Baker was
from that time which for some now, perhaps seems far off and remote. And as it
was largely UN-DOMINATED by America, some may also think it to be another
planet altogether. Perhaps it was. But in 2012, a time dominated by inferior American
remakes and teen idols masquerading as film stars, we thought it was time for
some of the OLDER UK talent to be remembered. Like Mills, Baker was very much a
bastion of the industry in HIS time. His influence and career cannot be
understated OR overlooked. Hopefully, this page will go some way to making sure
it won't be!
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