罗伯特·哈默 Robert Hamer

获奖情况

第15届威尼斯电影节 获得主竞赛单元 金狮奖 (提名)。获奖影视： 《布朗神父》

第15届威尼斯电影节 获得主竞赛单元 金狮奖 (提名)。获奖影视： 《布朗神父》

影人资料

Hamer was born at 179 Chester Road, Kidderminster, along with his twin Barbara, the son of Owen Dyke Hamer, a bank clerk, and Annie Grace Brickell.He was educated at Rossall School, an independent school for boys near the town of Fleetwood in Lancashire, and won a scholarship to Corpus Christi College, Cambridge but was sent down.He began his film career in 1934 as a cutting room assistant, and from 1935 worked as a film editor involved with such films as Hitchcock's Jamaica Inn (1939) co-produced by Charles Laughton. At the end of the 1930s, he worked on documentaries for the GPO Film Unit.When his **** at the GPO, Alberto Cavalcanti, moved to Ealing Studios, Hamer was invited to join him there. He gained some experience as a director by substituting for colleagues and contributed the 'haunted mirror' sequence to Dead of Night (1945). He followed this with the three Ealing films under his own name for which he is best remembered: Pink String and Sealing Wax (1946), It Always Rains on Sunday (1947),both featuring Googie Withers, and Kind Hearts and Coronets (1949), with Dennis Price and Alec Guinness.he was an alcoholic, who by the time of his last film as director, School for Scoundrels (1960) was "often battling terrifying DT hallucinations" (i.e. alcohol withdrawal symptoms, occurring only in patients with a history of alcoholism).BFI Screenonline writes that Hamer was "a recovering alcoholic" and that "he fell off the wagon during production of School For Scoundrels, was sacked on the spot ... and would never work in the industry again." In actual fact, although he never directed again, he did contribute to two **** film screenplays before he died.Hamer was also homosexual in an era when it was illegal in the UK. He died of pneumonia at the age of 52 at St Thomas's Hospital in London, and is buried at Llandegley.According to film critic David Thomson, Hamer's career "now looks like the most serious miscarriage of talent in the postwar British cinema".