View source for Michael Hordern

{{Short description|English actor (1911–1995)}}
{{featured article}}
{{Use British English|date=January 2016}}
{{Use dmy dates|date=October 2019}}

[[File:Michael Hordern, 1970.jpg|thumb|upright=1.15|Michael Hordern in 1970]]
'''Sir Michael Murray Hordern''' [[Commander of the Order of the British Empire|CBE]] (3 October 1911{{snds}}2 May 1995)<ref name=dnb>Morley, Sheridan. [http://www.oxforddnb.com/view/article/58193 "Hordern, Michael Murray (1911–1995)"], ''Oxford Dictionary of National Biography'', Oxford University Press, 2004, online edition, May 2009, accessed 22 July 2015 {{subscription}}</ref> was an English actor whose career spanned nearly 60 years. He is best known for his [[Shakespeare's plays|Shakespearean]] roles, especially that of [[King Lear]], which he played to much acclaim on stage in [[Stratford-upon-Avon]] in 1969 and London in 1970. He then successfully assumed the role on television five years later. He often appeared in film, rising from a [[bit part]] actor in the late 1930s to a member of the main cast; by the time of his death he had appeared in nearly 140 cinema roles. His later work was predominantly in television and radio.

Born in [[Berkhamsted, Hertfordshire]], into a family with no theatrical connections, Hordern was educated at [[Windlesham House School]] in [[Pulborough]], [[West Sussex]], where he became interested in drama. He went on to [[Brighton College]] where his interest in the theatre developed. After leaving the college he joined an [[amateur dramatics]] company, and came to the notice of several influential Shakespearean directors who cast him in minor roles in ''[[Othello]]'' and ''[[Macbeth]]''. During the Second World War he served on [[HMS Illustrious (87)|HMS ''Illustrious'']] where he reached the rank of [[Lieutenant commander (Royal Navy)|lieutenant commander]]. Upon his [[demobilisation]] he resumed his acting career and made his television debut, becoming a reliable bit-part actor in many films, particularly in the [[war film]] genre.

Hordern came to prominence in the early 1950s when he took part in a theatrical competition at the [[Arts Theatre]] in London. There, he impressed [[Glen Byam Shaw]] who secured the actor a season-long contract at the [[Royal Shakespeare Theatre|Shakespeare Memorial Theatre]] where he played major parts, including [[Caliban]] in ''[[The Tempest]]'', [[Jaques (As You Like It)|Jaques]] in ''[[As You Like It]]'', and Sir Politick Would-Be in [[Ben Jonson|Ben Jonson's]] comedy ''[[Volpone]]''. The following season Hordern joined [[Michael Benthall|Michael Benthall's]] company at [[the Old Vic]] where, among other parts, he played [[Polonius]] in ''[[Hamlet]]'', and [[John, King of England|the title role]] in ''[[King John (play)|King John]]''. In 1957 he won a [[British Academy Television Award for Best Actor|best actor]] award at that year's [[British Academy Television Awards]] for his role as the barrister in [[John Mortimer|John Mortimer's]] courtroom drama ''[[The Dock Brief]]''. Along with his theatrical responsibilities Hordern had regular supporting roles in various films including ''[[Cleopatra (1963 film)|Cleopatra]]'' (1963), and ''[[A Funny Thing Happened on the Way to the Forum (film)|A Funny Thing Happened on the Way to the Forum]]'' (1966).

In the late 1960s Hordern met the British theatre director [[Jonathan Miller]], who cast him in ''[[Whistle and I'll Come to You]]'', which was recorded for television and received wide praise. Hordern's next major play was ''[[Jumpers (play)|Jumpers]]'' which appeared at the [[Royal National Theatre]] at the start of 1972. His performance was praised by critics and he reprised the role four years later. His television commitments increased towards the end of his life. His credits include ''[[Paradise Postponed]]'', the [[BAFTA]] award-winning ''[[Memento Mori (novel)|Memento Mori]]'', and the [[BBC]] adaptation of ''[[Middlemarch (1994 TV serial)|Middlemarch]]''. He was appointed a [[CBE]] in 1972 and was [[knight bachelor|knighted]] eleven years later. Hordern suffered from kidney disease during the 1990s and died from it in 1995 at the age of 83.

==Life and career==

===Family background===
[[File:The Poplars Berkhamsted.jpg|thumb|The Poplars, Hordern's birthplace in [[Berkhamsted]], Hertfordshire]]

Hordern's mother, Margaret Murray, was descended from [[James Murray (physician)|James Murray]], an Irish physician whose research into digestion led to his discovery of the stomach aid [[milk of magnesia]] in 1829.<ref>Hines-Davenport, Richard. [http://www.oxforddnb.com/view/article/19622, "Murray, Sir James (1788–1871)"], ''Oxford Dictionary of National Biography'', Oxford University Press, 2004, online edition, January 2016, accessed 27 January 2016 {{subscription}}</ref>{{#tag:ref|After brief employment working for [[Isambard Kingdom Brunel]], Murray studied in [[Pharmaceutical industry|pharmaceuticals]].<ref>Hordern, pp. 1–2.</ref> Murray used a fluid magnesia preparation of his own design to treat the [[Lord Lieutenant of Ireland|Lord Lieutenant of Ireland's]] stomach pain. It was so effective that it was approved by the Royal College of Surgeons in 1838.<ref>[https://news.google.com/newspapers?nid=1301&dat=18461007&id=ERkRAAAAIBAJ&sjid=m5QDAAAAIBAJ&pg=6490,1153513 "Sir James Murray's condensed solution of fluid magnesia"], ''The Sydney Morning Herald'', 7 October 1846, accessed 5 July 2015.</ref>|group= n}} The invention earned him a [[knight bachelor|knighthood]] and brought the family great wealth. Margaret grew up in England, and attended [[St Audries Park|St Audries School for Girls]] in Somerset.<ref>Hordern, p. 2.</ref>{{#tag:ref|Margaret Emily Murray was born in County Wicklow. She died in 1933. Hordern gave her cause of death as "exhaustion".<ref name="HORDERN35">Hordern, p. 35.</ref>|group= n}}

Hordern's father, Edward, was the son of a Lancastrian priest who was the rector at the [[Holy Trinity Church, Bury|Holy Trinity Church]] in [[Bury, Greater Manchester|Bury]]. As a young man Edward joined the [[Royal Indian Navy|Royal Indian Marines]] and gained the rank of lieutenant. During a short break on home-leave he fell in love with Margaret, after they were introduced by one of his brothers. The courtship was brief and the young couple married in [[Burma]] on 28 November 1903.<ref>Hordern, pp. 2–3.</ref> They had their first child, a son, Geoffrey, in 1905, followed by another, Peter, in 1907.<ref>Hordern, pp. 3–4.</ref>{{#tag:ref|Peter "Shrimp" Hordern (1907–1987)<ref name="HORDERN105"/> was a keen sportsman and excelled at Rugby. After he left school he went to Oxford where he won a [[Blue (university sport)|blue]], and later played rugby for England.<ref name="HORDERN12">Hordern, p. 12.</ref>|group= n}}

===Early years===

[[File:Windlesham House School - geograph.org.uk - 1424129.jpg|thumb|left|[[Windlesham House School]], where Hordern made his amateur stage debut]]

Four years after the birth of Peter, a pregnant Margaret returned to England, where Michael Hordern, her third son, was born on 3 October 1911 in [[Berkhamsted]], Hertfordshire. Still stationed abroad, Edward was promoted to the rank of [[Captain (Royal Navy)|captain]], for which he received a good salary. The family lived in comfort, and Margaret employed a [[scullery maid]], nanny, groundsman, and full-time cook.<ref name="HORDERN4">Hordern, p. 4.</ref>
Margaret left for India to visit her husband in 1916. The trip, although planned only as a short term stay, lasted two years because of the ferocity of the First World War. In her absence, Hordern was sent to [[Windlesham House School]] in Sussex at the age of five. His young age exempted him from full-time studies but he was allowed to partake in extracurricular activities, including swimming, football, rugby and fishing.<ref name="HORDERN6">Hordern, p. 6.</ref> After a few years, and along with a fellow enthusiast, he set up the "A Acting Association" (AAA),<!--THIS IS NOT SUPPOSED TO BE "AN ACTING ASSOCIATION"--> a small theatrical committee, which organised productions on behalf of the school. As well as the organisation of plays, Hordern arranged a regular group of players, himself included, to perform various plays which they wrote, directed, and choreographed themselves.<ref>Hordern, p. 8.</ref> He stayed at Windlesham House for nine years,<ref name="HORDERN4" /> later describing his time there as "enormous fun".<ref name="HORDERN6" />

Hordern was 14 when he left Windlesham House to continue his schooling as a member of Chichester House at [[Brighton College]].<ref name="HORDERN12" /><ref name="TELEOBIT">[https://web.archive.org/web/20121114123152/http://www.telegraph.co.uk/news/obituaries/culture-obituaries/tv-radio-obituaries/7589085/Sir-Michael-Hordern.html Sir Michael Hordern]. ''[[The Daily Telegraph]]'', 4 May 1995, accessed 28 June 2015.</ref> By the time of his enrolment, his interest in acting had matured. In his 1993 autobiography, ''A World Elsewhere'', he admitted: "I didn't excel in any area apart from singing; I couldn't read music but I sang quite well."<ref name="HORDERN12" /> There he helped organise amateur performances of various [[Gilbert and Sullivan]] operas. The first of these was ''[[The Gondoliers]]'', in which he played the role of the Duchess. The tutors called his performance a great success, and he was given a position within the men's chorus in the next piece, ''[[Iolanthe]]''.<ref>Hordern, pp. 12–13.</ref> Over the next few years, he took part in ''[[The Mikado]]'' as a member of the chorus, and then appeared as the Major-General in ''[[The Pirates of Penzance]]''. It was a period which he later acknowledged as being the start of his career.<ref name="Hordern, p. 13">Hordern, p. 13.</ref> When the war ended in 1918, Edward, who was by now a port officer in [[Calcutta]], arranged for Margaret to return to England. With her, she brought home an orphaned baby girl named Jocelyn, whom she adopted.<ref name="HORDERN9">Hordern, p. 9.</ref>{{#tag:ref|Jocelyn was the last one of triplet sisters to be born. She was the only child to survive the birth, which also claimed the life of her mother. Jocelyn was spurned by her only living relative, an English aunt, because of the child's illegitimacy.<ref name="HORDERN10">Hordern, p. 10.</ref>|group= n}} The following year, Edward retired from active service and returned to England, where he relocated his family to [[Haywards Heath]] in Sussex. There, Michael developed a love for fishing, a hobby about which he remained passionate for the rest of his life.<ref>Hordern, p. 11.</ref>

In his autobiography Hordern admitted that his family showed no interest in the theatre and that he had not seen his first professional play, ''[[Ever Green]]'', until he was 19.<ref name="Hordern, p. 13"/> Around this time he met [[Christopher Hassall]], a fellow student at Brighton College. Hassall, who also went on to have a successful stage career, was, as Hordern noted, instrumental in his decision to become an actor.<ref>Hordern, p. 15.</ref> In 1925 Hordern moved to [[Dartmoor]] with his family where they converted a disused barn into a farm house. For Hordern the move was ideal; his love of fishing had become stronger and he was able to explore the remote landscape and its isolated rivers.<ref>Hordern, p. 20.</ref>

===Early acting career (1930–39)===

====Theatrical beginnings====

Hordern left Brighton College in the early 1930s<ref>[http://www.oldbrightonians.com/notable-obs/film-theatre-television/sir-michael-hordern-c.-1925-30.html "Sir Michael Hordern (C. 1925–30)"], Oldbrightonians.com, accessed 31 January 2016.</ref> and secured a job as a teaching assistant in a [[Preparatory school (United Kingdom)|prep school]] in [[Beaconsfield]]. He joined an [[Amateur theatre|amateur dramatics]] company<ref>Hordern, pp. 29–30.</ref> and in his spare time, rehearsed for the company's only play, ''Ritzio's Boots'', which was entered into a British Drama League competition, with Hordern in the title role. The play did well but conceded the prize, a professional production at a leading London theatre, to ''Not This Man'', a drama written by [[Sydney Box]]. So envious was he of the rival show's success that Hordern supplied a scathing review to ''The Welwyn Times'' calling Box's show a "blasphemous bunk and cheap theatrical claptrap".<ref name="HORDERN30–31">Hordern, pp. 30–31.</ref> The comment infuriated Box, who issued the actor with a writ to attend court on a count of [[slander]]. Hordern won the case and left Box liable for the proceeding's expenses. Years later the two men met on a film set where Box, much to Hordern's surprise, thanked him for helping to kick-start his career in film making, as he had received a lot of publicity as a result of the court case.<ref name="HORDERN30–31" />

With the death of his mother in January 1933,<ref name="HORDERN35"/> Hordern decided to pursue a professional acting career. He briefly took a job at a prep school<ref name="HORDERN40">Hordern, p. 40.</ref> but fell ill with [[poliomyelitis]] and had to leave. Upon his recuperation,<ref name="HORDERN39">Hordern, p. 39.</ref> he was offered a job as a travelling salesman for the [[British Educational Suppliers Association]], a family-run business belonging to a former school friend at Windlesham House.<ref name="HORDERN39" /> As part of his job he spent some time in [[Stevenage]] where he joined an amateur dramatics company and appeared in two plays; ''[[Journey's End]]'', in which he played Raleigh, and ''Diplomacy'', a piece which the actor disliked as he considered it to be "too old-fashioned".<ref name="HORDERN40"/> Both productions provided him with the chance to work with a cue-script,<ref name="HORDERN40"/>{{#tag:ref|A cue-script was a script which featured cue-lines. Each cue-line acted as a prompt for the other performer.<ref name="HORDERN40" />|group= n}} something which he found to be helpful for the rest of his career. That summer he joined a Shakespearean theatre company which toured stately homes throughout the United Kingdom. His first performance was [[Orlando (As You Like It)|Orlando]] in ''[[As You Like It]]'', followed by ''[[Love's Labour's Lost]]'', in which he co-starred with Osmond Daltry.{{#tag:ref|Daltry came to serve as an officer in 135th regiment during the Second World War. He was captured in Singapore and held as a [[prisoner of war]], during which he organised camp shows to entertain fellow prisoners. He later made an attempt to escape from the camp, which left him with serious and lasting injuries.<ref>Davies, p. 76.</ref> Despite his disabilities he would later become a successful theatre manager.<ref name="HORDERN41" />|group= n}} Hordern admired Daltry's acting ability and later admitted to him being a constant influence on his Shakespearean career.<ref name="HORDERN41">Hordern, p. 41.</ref>

In addition to his Shakespearean commitments, Hordern joined the St Pancras People's Theatre, a London-based company partly funded by the theatrical manager [[Lilian Baylis]]. Hordern enjoyed his time there, despite the tiresome commute between Sussex and London, and stayed with the company for five years. By the end of 1936 he had left his sales job in Beaconsfield to pursue a full-time acting career.<ref>Hordern, pp. 41–42.</ref> He moved into a small flat at [[Marble Arch]] and became one of the many jobbing actors eager to make a name for themselves on the London stage.<ref>Hordern, p. 42.</ref>

====London debut====

Hordern's London debut came in January 1937, as an [[understudy]] to [[Bernard Lee]] in the play ''Night Sky'' at the [[Savoy Theatre]].<ref name="TELEOBIT" /> On nights when he was not required, Hordern would be called upon to undertake the duties of [[Stage management|assistant stage manager]], for which he was paid £2.10s a week. In March, Daltry, who had since formed his own company, Westminster Productions, cast Hordern as Ludovico in ''[[Othello]]''.<ref>Herbert, p. 745.</ref>
The part became Hordern's first paid role as an actor for a theatre company. The play was an instant hit and ran at the People's Theatre in [[Mile End]] for two weeks.<ref>Hordern, pp. 47–48.</ref> It also starred the English actor [[Stephen Murray (actor)|Stephen Murray]] in the title role, but he became contractually obliged elsewhere towards the end of the run. This allowed Hordern to take his place for which Daltry paid Hordern an extra £1 a week.<ref name="HORDERN48">Hordern, p. 48.</ref>{{refn| £1 a week equates to £{{formatnum:{{Inflation|UK|1|1937}}}} in {{CURRENTYEAR}} (adjusted for inflation).{{inflation-fn|UK}}|group= n}}

After ''Othello'''s closure, Daltry undertook a tour of Scandinavia and the Baltic with two plays,<ref name="TELEOBIT" /> ''[[Outward Bound (play)|Outward Bound]]'', and ''[[Arms and the Man]]''. He employed Hordern in both with the first being the more successful. It was a time that the actor recognised as being a turning point in his professional acting career. On his return to London, and after spending a few weeks in unemployment, he was offered a part in the ill-fated ''Ninety Sail''. The play, about [[Christopher Wren|Sir Christopher Wren's]] time in the [[Royal Navy]], was cancelled on the day Hordern was due to start work, with "unforeseen problems" cited as the reason by its producers.<ref name="HORDERN48" />

====Bristol repertory theatre====

[[File:070522 ukbris ch01.jpg|thumb|left|[[Colston Hall]], Bristol, the former home of the Rapier Players]]

In mid-1937 the theatre proprietor Ronald Russell offered Hordern a part in his [[repertory]] company, the Rapier Players, who were then based at [[Colston Hall]] in Bristol.<ref name="TELEOBIT" /><ref>Hordern, p. 50.</ref> Hordern's first acting role within the company was as Uncle Harry<ref name="HORDERN52-53">Hordern, pp. 52–53.</ref> in the play ''[[Someone at the Door (play)|Someone at the Door]]''.<ref>"New Players in Company", ''Western Daily Press'', 22 July 1937, p. 8.</ref> Because of the play's success, Russell [[Typecasting (acting)|employed him in the same type of role]], the monotony of which frustrated the actor who longed to play the [[leading man]]. It was whilst with the Rapier Players that Hordern fell in love with Eve Mortimer, a [[Minor (law)|juvenile]] actress who appeared in minor roles in many of Russell's productions.<ref name="HORDERN52-53" /> Hordern considered his experience with the Rapier Players to be invaluable; it taught him how a professional theatre company worked under a strict time frame and how it operated with an even stricter budget. He was allowed two minutes to study each page of the script, but because of the frequent mistakes and many stalled lines, rehearsals became long and laborious. Hordern described the company's [[Theatrical property|props]] as being made to a very high standard, despite being bought on a shoe-string budget.<ref>Hordern, p. 54.</ref>

After a brief holiday with Eve in Scotland in 1938,<ref name="HORDERN57">Hordern, p. 57.</ref> Hordern returned to London, where he appeared in ''Quinneys'', a radio play broadcast by the [[BBC]] in June of that year.<ref>"Broadcast of Quinneys", ''Bath Chronicle and Weekly Gazette'', 10 June 1939, p. 8.</ref> The main part went to [[Henry Ainley]] whom Hordern described as "a great actor, who, sadly, was past his best".<ref name="HORDERN57" />
Hordern then made a return to Bristol to prepare for the following season with the Rapier Players.<ref name="HORDERN57" /> One production singled out in the ''[[Western Daily Press]]'' as particularly good was ''Love in Idleness'', in which Hordern played the lead character. A reporter for the paper thought that the play "had been noticed" among theatrical critics and that the players "filled their respective roles excellently".<ref>"Author Takes Lead In His Own Play", ''Western Daily Press'', 19 October 1938, p. 11.</ref>

By the end of 1938 Hordern's father had sold the family home and had bought a cottage in [[Holt, Wiltshire|Holt]], near [[Bath, Somerset]]. The arrangement was convenient for the young actor, who used the premises as a base while he appeared in shows with the Rapier Players. One such piece was an adaption of [[Stella Gibbons]]'s ''[[Cold Comfort Farm]]'', which starred [[Mabel Constanduros]], who had adapted the book with Gibbons's permission. Hordern was cast in the supporting role of Seth, a part he described as being fun to perform. The modernised script was "adored" by the cast, according to Hordern, but loathed by the audience who expected it to be exactly like the book.<ref name="HORDERN57" />{{refn| Writing in his autobiography, Hordern explained the reason why the play was so unsuccessful: "''Cold Comfort Farm'' horrified Bristol audiences, who imagined they would be in for an evening of pastoral idyll. Instead they were treated to a complete send-up of all pastoral idylls and they left in droves."<ref name="HORDERN57" />| group= n}}

===Second World War and film debut===

Hordern and Eve left Bristol in 1939 for [[Harrogate]], where Eve joined a small repertory company called the White Rose Players. After a brief spell of unemployment, and with [[Second World War|the outbreak of war]], Hordern volunteered for a post within the [[Air Raid Precautions]] (ARP).<ref name="Hordern, pp. 57–59">Hordern, pp. 57–59.</ref> He was accepted but soon grew frustrated at not being able to conduct any rescues because of the lack of enemy action. He decided that it was "not a very good way to fight the war" and enlisted instead as a gunner with the Royal Navy.<ref name="TELEOBIT" /><ref>Hordern, p. 59.</ref> While he was waiting to be accepted he and Eve responded to an advertisement in ''[[The Stage]]'' for actors in a repertory company in Bath. They were appointed as the company's leading man and lady. Their first and only engagement was in a play entitled ''Bats in the Belfry'' which opened at the city's [[Bath Assembly Rooms|Assembly Rooms]] on 16 October.<ref>"Bath's New Players", ''Bath Chronicle and Weekly Gazette'', 14 October 1939, p. 8.</ref> Hordern's elation at finally becoming a leading man was short-lived when he received his call-up that December. In the interest of helping to boost public morale, Hordern sought permission from the navy to allow him to complete his theatrical commitment in Bath and to appear in his first film, a thriller called ''[[Girl in the News]]'', directed by [[Carol Reed]];<ref>Hordern, p. 109.</ref> his request was accepted, and he was told to report for duty at Plymouth Barracks in the early months of 1940 when the show had finished and he was free from filming responsibilities.<ref>Hordern, p. 60.</ref>

[[File:HMS ILLUSTRIOUS, 1940. FL2425.jpg|thumb|left|{{HMS|Illustrious|87|6}}, on which Hordern served during the Second World War]]
In 1940, after a minor role in ''Without the Prince'' at the Whitehall Theatre, Hordern played the small, uncredited part of a BBC official alongside James Hayter in [[Arthur Askey|Arthur Askey's]] comedy film ''[[Band Waggon (film)|Band Waggon]]''.<ref name=dnb /><ref>[https://web.archive.org/web/20120712002322/http://explore.bfi.org.uk/4ce2b6a4936bc "''Band Waggon'' (1940)"], [[British Film Institute]], accessed 4 July 2015.</ref> Soon after, he began his naval gunnery training on board ''City of Florence'', a [[defensively equipped merchant ship]] (DEMS) which delivered ammunition to the city of [[Alexandria]] for the [[Mediterranean Fleet]].<ref name="Hordern, pp. 57–59"/><ref>{{cite web |title=Sir Michael Hordern |url=http://www.fleetairarmarchive.net/rollofhonour/Obituaries/Summary_Obituaries.htm |website=fleetairarmarchive.net |access-date=12 February 2015 |archive-url=https://web.archive.org/web/20070608044643/http://www.fleetairarmarchive.net/RollofHonour/Obituaries/Summary_Obituaries.htm |archive-date=8 June 2007 |url-status=usurped}}</ref> He found that although his middle class upbringing hindered his ability to make friends on board the ship, it helped with his commanding officers.<ref>Hordern, p. 61.</ref><ref name="HORDERN66-67">Hordern, pp. 66–67.</ref>

By 1941 [[radar]] was slowly being introduced to the Navy and Hordern was appointed as one of the first operatives who communicated enemy movements to the [[RAF]]. He later said the post was owed to his clear diction and deep vocal range.<ref name="HORDERN66-67" /> His commentary impressed his superior officers so much that by early 1942 he had been given the job as a Fighter Direction Officer and then [[first lieutenant]] on board {{HMS|Illustrious|87|6}}.{{#tag:ref|Among the people for whom Hordern was responsible was [[Kenneth More]].<ref>Hordern, p. 79.</ref>|group= n}}<ref>Hordern, p. 67.</ref> Shortly after the departure of his superior, he was promoted to [[Lieutenant commander (Royal Navy)|lieutenant commander]], a rank which he held for two years. Alongside his naval responsibilities, he was also appointed as the ship's entertainment officer and was responsible for organising shows featuring members of the crew.<ref>Hordern, p. 68.</ref>

===Marriage and post-war years===

During a short visit to Liverpool in 1943, Hordern proposed to Eve; they married on 27 April of that year with the actor [[Cyril Luckham]] as best man. After the honeymoon, Hordern resumed his duties on ''Illustrious'' while Eve returned to repertory theatre in [[Southport]]. In the months after the end of the war in 1945, he was transferred to the Admiralty where he worked briefly as a ship dispatcher.<ref>Hordern, pp. 78–79.</ref> The Horderns rented a flat in [[Elvaston Place]] in [[Kensington]], London, and he began to seek work as an actor.<ref>Hordern, p. 78.</ref> After a short while, he was approached by [[André Obey]] who cast him in his first television role, Noah, in a play adapted from the book of the same name. Hordern was apprehensive about performing in the new medium and found the rehearsal and live performance to be exhausting; but he was generously paid, earning £45 for the entire engagement.<ref name="HORDERN80">Hordern, p. 80.</ref>

Hordern's first role in 1946 came as Torvald Helmar in ''[[A Doll's House]]'' at the [[Intimate Theatre]] in [[Palmers Green]].<ref name="HORDERN82">Hordern, p. 82.</ref> This was followed by the part of Richard Fenton, a murder victim, in ''Dear Murderer'' which premiered at the [[Aldwych Theatre]] on 31 July. The play was a success<ref name="HORDERN82" /> and ran for 85 performances until its closure on 12 October.<ref>Wearing (1940–1949), p. 251.</ref> ''Dear Murderer'' thrilled the critics and Hordern was singled out by one reporter for the ''[[Hull Daily Mail]]'' who thought that the actor brought "sincerity to a difficult role".<ref>"''Dear Murderer'', Dramatic Thriller at the New Theatre", ''Hull Daily Mail'', 30 April 1946, p. 1.</ref> The following month Eve gave birth to the couple's only child,<ref name=dnb/> a daughter, Joanna, who was born at [[Queen Charlotte's and Chelsea Hospital|Queen Charlotte's Hospital]] in [[Chelsea, London|Chelsea]].<ref name="HORDERN80" />{{#tag:ref|Joanna married Fritz Curzon, the son of the concert pianist [[Clifford Curzon|Sir Clifford Curzon]] in 1982. They had a son, Nicholas, on 5{{nbsp}}September 1983, followed by a daughter, Eve Maria, in June 1986.<ref>Hordern, pp. 151–152.</ref>|group= n}} That Christmas he took the role of [[Nick Bottom]] in a festive reworking of [[Henry Purcell]]'s ''[[The Fairy-Queen]]''.<ref>[https://www.jstor.org/stable/3137705?seq=1#page_scan_tab_contents "'Gallimaufry' at Covent Garden: Purcell's ''The Fairy-Queen'' in 1946"]. ''Early Music'' by Michael Burden, Vol. 23, No. 2, pp. 268–284.</ref> The play was the first performance by the Covent Garden Opera Company, which later became known as [[The Royal Opera]].<ref>[http://www.rohcollections.org.uk/performance.aspx?performance=3696&row=0 "The Fairy Queen – 12 December 1946 Evening"], Royal Opera House Collections, accessed 10 February 2016.</ref>

Towards the end of April 1947, Hordern accepted the small part of Captain Hoyle in [[Richard Llewellyn|Richard Llewellyn's]] comic drama film ''Noose''.<ref>[http://archive.spectator.co.uk/article/27th-june-1947/13/noose-by-richard-llewellyn-saville ''Noose'', by Richard Llewellyn. (Seville).] ''The Spectator'', 26 June 1947, p. 13.</ref> Two other roles occurred that year: as Maxim de Winter in a television adaption of [[Daphne du Maurier|Daphne du Maurier's]] novel ''[[Rebecca (novel)|Rebecca]]'',<ref>[https://web.archive.org/web/20120713175332/http://explore.bfi.org.uk/4ce2b7ff15044 ''Rebecca'' (1947)], British Film Institute, accessed 22 July 2015.</ref> followed by the part of a detective in ''[[Good-Time Girl]]'', alongside [[Dennis Price]] and [[Jean Kent]].<ref>[https://web.archive.org/web/20120713124818/http://explore.bfi.org.uk/4ce2b6ab61d9a ''Good Time Girl'', (1947)], British Film Institute, accessed 22 July 2015.</ref> The following year he took part in three plays: [[Peter Ustinov|Peter Ustinov's]] ''The Indifferent Shepherd'', which appeared at the newly opened [[Q Theatre]] in [[Brentford]], West London; [[Henrik Ibsen|Ibsen's]] ''[[Ghosts (play)|Ghosts]]''; and an adaptation of ''[[The Wind in the Willows]]'' at the [[Royal Shakespeare Theatre|Shakespeare Memorial Theatre]] in [[Stratford-upon-Avon]] in which he portrayed the part of the blustery, eccentric [[Mr. Toad|Mr Toad]].<ref name="HORDERN86">Hordern, p. 86.</ref><ref>[https://collections.vam.ac.uk/pdf/O64250/costume-design-heeley-desmond/ "Wind in the Willows: Costume design"], [[Victoria and Albert Museum]], accessed 22 January 2016.</ref>{{#tag:ref|The rest of the cast comprised [[Michael Gwynn]] as Badger, [[William Squire]] as Ratty, [[Andrew Faulds]] as Chief Weasel, and [[Michael Bates (actor)|Michael Bates]] as Chief Ferret.<ref name="HORDERN86" />|group= n}}

In early 1949 Hordern appeared as Pascal in the [[Michael Redgrave]]-directed comedy ''A Woman in Love'', but disliked the experience because of the hostile relationship between Redgrave and the show's star, [[Margaret Rawlings]].<ref name="HORDERN88">Hordern, p. 88.</ref> Next, he was engaged in the minor role of Bashford in the critically acclaimed [[Ealing Studios|Ealing comedy]] ''[[Passport to Pimlico]]'',<ref>[https://web.archive.org/web/20120712175136/http://explore.bfi.org.uk/4ce2b6b2b2db6 "Passport to Pimlico (1949)"], [[British Film Institute]], accessed 21 July 2015.</ref> a performance which he described as "tense and hyperactive".<ref>Hordern, p. 84.</ref>

===1950–1960s===

====''Ivanov'' and ''Saint's Day''====

By the 1950s Hordern had come to the notice of many influential directors. In his autobiography, the actor recognised the decade as being an important era of his career. It started with a major role in [[Anton Chekhov|Anton Chekhov's]] ''[[Ivanov (play)|Ivanov]]'' in 1950. The production took place at the [[Cambridge Arts Theatre|Arts Theatre]] in [[Cambridge]] and excited audiences because of its 25-year absence from the English stage. The writer [[T. C. Worsley]] was impressed by Hordern's performance and wrote: "Perhaps an actor with star quality might have imposed on us more successfully than Mr Michael Hordern, and won our sympathy for Ivanov by his own personality. But such a performance would have raised the level of expectation all round. As it is, Mr Hordern is rich in intelligence, sensitivity and grasp, and with very few exceptions, the company give his impressive playing the right kind of support."<ref>T. C. Worsley; quoted in Hordern, pp. 88–89.</ref> The title character in ''[[Macbeth]]'', directed by [[Alec Clunes]], was Hordern's next engagement. Critics wrote of their dislike of Clunes's version, but the theatre reviewer [[Audrey Williamson (critic)|Audrey Williamson]] singled out Hordern's performance as being "deeply moving".<ref>Audrey Williamson; quoted in Hordern, p. 89.</ref>

The dramatist [[John Whiting]], trying to make a name for himself in the theatre after the war, was called by Clunes to take part in a theatrical competition at the [[Arts Theatre]] in London in 1951, for which he entered his play ''Saint's Day''. Several other amateur directors also competed for the prize, which was to have their play funded and professionally displayed at the Arts. Having seen him perform the previous year, Whiting hired Hordern for the lead role of Paul Southman, a cantankerous old poet who fights off three rebellious army deserters who threaten the tranquillity of his sleepy country village.<ref name="GUARDIAN1">[https://www.theguardian.com/stage/2002/oct/25/theatre.artsfeatures1 "Saint's Day"] by Michael Billington. ''The Guardian'', 25 October 2002, accessed 21 August 2015.</ref> The play proved popular with audiences, but not so with theatrical commentators.<ref>Hordern, pp. 89–90.</ref> Hordern liked the piece, calling it "bitter and interesting",<ref name="HORDERN90">Hordern, p. 90.</ref> but the press, who extensively reported on the competition throughout each stage, thought differently and condemned it for winning. This infuriated the actors [[Laurence Olivier]] and [[John Gielgud]], who wrote letters of complaint to the press.<ref name="HORDERN90" />

====Shakespeare Memorial Theatre====

[[File:Sir Michael Redgrave portrait.jpg|thumbnail|right|[[Michael Redgrave]], who supported Hordern financially when he was a jobbing actor]]

Hordern cited ''Saint's Day''{{'}}s negative publicity as having done his career "the power of good" as it brought him to the attention of the director [[Glen Byam Shaw]], who cast him in a series of plays at the Shakespeare Memorial Theatre in 1951. Among the roles were [[Caliban]] in ''[[The Tempest]]'', [[Jaques (As You Like It)|Jaques]] in ''As You Like It'', and Sir Politick Would-Be in [[Ben Jonson|Ben Jonson's]] comedy ''[[Volpone]]''. Hordern claimed to know very little about the bard's works and sought advice from friends about how best to prepare for the roles.<ref>Hordern, pp. 91–92.</ref> The same year, he travelled down to [[Walton Studios|Nettlefold Studios]], [[Walton-on-Thames]], to film ''[[Scrooge (1951 film)|Scrooge]]'', an adaptation of [[Charles Dickens]]'s ''[[A Christmas Carol]]'', in which he played [[Jacob Marley|Marley's ghost]]. Reviews were mixed with ''[[The New York Times]]'' giving it a favourable write-up,<ref>[https://movies.nytimes.com/movie/review?res=9C0DEEDB143BE03ABC4151DFB767838A649EDE "The Screen In Review: Dickens A Christmas Carol, With Alastair Sim Playing Scrooge, Unveiled Here"], Bosley Crowther, ''[[The New York Times]]'', 29 November 1951, accessed 24 August 2015.</ref> while ''[[Time (magazine)|Time]]'' magazine remained ambivalent.<ref>[https://web.archive.org/web/20071203005950/http://www.time.com/time/magazine/article/0,9171,889415,00.html "Cinema: Import, Dec. 3, 1951"], ''[[Time (magazine)|Time]]'', 3 December 1951, accessed 24 August 2015.</ref> The ''Aberdeen Evening Express'' echoed the comments made by an American reviewer by calling ''Scrooge'' a "trenchant and inspiring Christmas show".<ref>"Cheaper and Better", ''Aberdeen Evening Express'', 5 December 1951, p. 3.</ref> The author Fred Guida, writing in his book ''Christmas Carol and Its Adaptations: A Critical Examination'' in 2000, thought that Marley's ghost, though a "small but pivotal role", was "brilliantly played" by Hordern.<ref>Guida, p. 105.</ref>

With the first play of the season imminent, the Horderns moved to Stratford and took temporary accommodation at Goldicote House,<ref name="HORDERN92"/>{{#tag:ref|Goldicote House was the former residence of Claud Berkeley Portman, 4th Viscount Portman (1864–1929), a member of the distinguished [[Viscount Portman|Portman family]].<ref>[http://www.british-history.ac.uk/vch/worcs/vol4/pp7-12 "Parishes: Alderminster"], British History Online, accessed 23 August 2015.</ref>|group= n}} a large country property situated on the [[River Avon, Warwickshire|River Avon]]. The first of his two plays, ''The Tempest'', caused Hordern to doubt his own acting ability when he compared his interpretation of Caliban to that of [[Alec Guinness]], who had played the same role four years earlier. Reassured by Byam Shaw, Hordern remained in the role for the entire run. A few days later, the actor was thrilled to receive a letter of appreciation from Michael Redgrave, who thought Hordern's Caliban was "immensely fine, with all the pity and pathos{{nbsp}}... but with real terror and humour as well".<ref name="HORDERN93">Hordern, p. 93.</ref> More praise was received as the season continued; an anonymous theatre reviewer, quoted in Hordern's autobiography, called the actor's portrayal of Menenius Aggripa "a dryly acute study of the 'humorous patrician' and one moreover that can move our compassion in the Volscian cameo", before going on to say "we had felt that it would be long before Alec Guinness's Menenius could be matched. The fact that Michael Hordern's different reading can now stand beside the other does credit to a player who will be a Stratford prize."<ref name="HORDERN94">Hordern, p. 94.</ref>

====The Old Vic====

[[File:Rex Harrison Allan Warren.jpg|thumb|left|[[Rex Harrison]], whom Hordern despised as a person but admired as an actor]]

Hordern's contract at the Shakespeare Memorial Theatre lasted until mid-1952, and on its expiration, he secured a position within [[Michael Benthall|Michael Benthall's]] theatrical company at [[the Old Vic]] in London.<ref name="HORDERN94"/>{{#tag:ref|The 1952 company featured [[Laurence Harvey]], [[Ralph Richardson]], [[Margaret Leighton]], [[Siobhán McKenna]], [[John Gielgud]], [[George Devine]] and [[Mary Ellis]]. The designers were the [[Motley Theatre Design Group]] and [[Loudon Sainthill]]. The resident composer was [[Antony Hopkins]].<ref name="HORDERN94" />|group= n}} The company's first play, ''[[Hamlet]]'', starred [[Richard Burton]], [[Claire Bloom]], and [[Fay Compton]],<ref name="HORDERN96">Hordern, p. 96.</ref> and opened on 14 September 1953.{{#tag:ref| The cast included [[Richard Burton]] as [[Hamlet]], [[Claire Bloom]] as [[Ophelia]], [[Fay Compton]] as [[Gertrude (Hamlet)|Gertrude]], [[William Squire]] as [[Horatio (Hamlet)|Horatio]], [[John Neville (actor)|John Neville]] as [[Fortinbras]], and [[Clifford Williams (actor)|Clifford Williams]] as Player Queen.<ref name="HORDERN96" />|group= n}} Hordern called it "the perfect play with which to open the season" as it featured "fine strong parts for everyone and [was] a good showpiece for an actor's latent vanity".<ref name="HORDERN97">Hordern, p. 97.</ref> Shortly after opening, it was transferred to [[Edinburgh]], where it took part at the [[Edinburgh Festival Fringe|Fringe]] before returning to London. For his role of [[Polonius]], Hordern received mixed reviews, with one critic saying: "He was at his best in his early scenes with Ophelia{{nbsp}}... but towards the end of the performance he began to obscure less matter with more art".<ref>Hordern, pp. 96–97.</ref> After Edinburgh, Benthall took ''Hamlet'' on a provincial tour and the play had a successful run of 101 performances.<ref name="HORDERN97" />

In mid-1953 the Danish government invited Benthall and his company to Helsingør (Elsinore) to perform ''Hamlet'' for the [[Norwegian Royal Family]]. The play was well received by the royals.<ref>Hordern, pp. 97–98.</ref> On the whole, the actor enjoyed his time in ''Hamlet'' but behind the scenes, relations between him and Burton were strained. Hordern noted his colleague's "likeability, charm and charisma"<ref name="HORDENQUOTE98">Quote by the author; Hordern, p. 98.</ref> but thought that Burton had a tendency to get easily "ratty"<ref name="HORDENQUOTE99">Quote by the author; Hordern, p. 99.</ref> with him in social situations. Hordern described their working relationship as "love-hate"<ref name="HORDENQUOTE98" /> and admitted they were envious of each other's success; Burton of Hordern because of the latter's good reviews, and Hordern of Burton who received more attention from fans. When Burton left for Hollywood years later, he recommended Hordern to various casting directors; Hordern was subsequently engaged in six of Burton's films.<ref name="HORDENQUOTE98" />{{#tag:ref|The films were: ''[[Alexander the Great (1956 film)|Alexander the Great]]'' (1956), ''[[Cleopatra (1963 film)|Cleopatra]]'' (1963), ''[[The Spy Who Came in from the Cold (film)|The Spy Who Came in from the Cold]]'' (1965), ''[[The Taming of the Shrew (1967 film)|The Taming of the Shrew]]'' (1967), ''[[Where Eagles Dare]]'' (1968), and ''[[Anne of the Thousand Days]]'' (1969).<ref name="HORDENQUOTE98" />|group= n}}

''[[King John (play)|King John]]'' was next for Benthall's company and opened on 26 October 1953.<ref name="OLDVICPDF">[http://www.infotextmanuscripts.org/webb/webb_old_vic_hamlet.pdf "The Old Vic Company: The Tragedy of Hamlet, Prince of Denmark"], the Old Vic theatre programme: 1953/54 season, accessed 25 August 2015.</ref> The lead character initially went to an unknown and inexperienced young actor, but the part was re-cast with Hordern in the role.<ref name="HORDERN100">Hordern, p. 100.</ref> Hordern described ''King John'' as being "a difficult play in the sense that it has no common purpose or apparent theme".<ref name="HORDERN100" /> Simultaneously to this, he was commuting back to [[Pinewood Studios]] where he was filming ''[[Forbidden Cargo (1954 film)|Forbidden Cargo]]''.<ref>[https://web.archive.org/web/20120712170932/http://explore.bfi.org.uk/4ce2b6aa6a188 "Forbidden Cargo (1954)"], [[British Film Institute]], accessed 25 August 2015.</ref> The hectic schedule brought on a bout of exhaustion for which he received medical advice to reduce his workload.<ref name="HORDERN100" />

====Theatre Royal, Brighton====

[[File:Coral Browne in 1931.jpg|thumb|right|[[Coral Browne]], with whom Hordern had an affair during ''Nina'']]

In early 1955 Hordern was asked by the British theatre [[Theatre producer|manager and producer]] [[Binkie Beaumont]] to take the lead in [[André Roussin]]'s comedy ''Nina'', directed by [[Rex Harrison]]. The play, which starred [[Edith Evans]], [[Lockwood West]], and [[James Hayter (actor)|James Hayter]], transferred from [[Oxford]] to the [[Theatre Royal, Brighton|Theatre Royal]] in [[Brighton]]. Beaumont's request came at short notice because Hordern's predecessor had proved inadequate. The play was cursed with bad luck: Evans fell ill and was replaced midway by an understudy who neglected to learn her lines; Harrison frequently upset the cast, which resulted in reduced morale. When Evans did return, she walked off stage and left after seeing empty seats in the front row.<ref>Hordern, p. 102.</ref>

Hordern regretted his decision to take part in Roussin's ''Nina'', but admitted that the allure of appearing alongside Evans had got the better of him. Harrison held auditions to replace his leading lady and settled on the Australian-American actress [[Coral Browne]].<ref>Hordern, p. 103.</ref> Hordern and Browne grew close, aided by their mutual dislike of their disciplinarian director. They fell in love and had an affair which lasted for the duration of the run.<ref name="HORDERN105">Hordern, p. 105.</ref> Years later Hordern confessed: "I kept falling in love. It is a common complaint among actors. You cannot be at such close quarters, mind and body, without being sorely tempted."<ref name="TELEOBIT" />

Hordern and Harrison's dislike for one another was evident to the rest of the cast.<ref name="Hordern 104">Hordern, p. 104.</ref> One night, after a performance of ''Nina'' in [[Eastbourne]], and having felt that he had "acted [his] socks off",<ref name="HORDERNQUOTE104">Quote by the author; Hordern, p. 104.</ref> Hordern, along with the rest of the cast, were berated by Harrison who accused them of producing a piece "not fit for the end of a pier".<ref name="Hordern 104"/> ''Nina'' transferred to the Haymarket Theatre, London, not long after the incident but it was unsuccessful and closed after five weeks. "The play was fine", opined Hordern, "it was a disaster because of Rex Harrison."<ref name="HORDERN105" /> Hordern and Browne's relationship ended shortly after the play closed and Hordern set about rebuilding his marriage with Eve, who had long known of the affair.<ref>Hordern, p. 106.</ref>

====Films and 1950s theatre====

[[File:Dirk Bogarde Hallmark Hall of Fame.JPG|thumb|right|[[Dirk Bogarde]], one of Hordern's many film co-stars during the 1950s]]

Hordern viewed the 1950s as a good decade to appear in film, although he did not then particularly care for the medium. Writing in 1993 he said: "With cinema one has to leap into battle fully armed. From the start of the film the character has to be pinned down like a butterfly on a board. One does not always get this right, of course, sometimes starting at the beginning of shooting a film on a comedic level that cannot be sustained."<ref name="HORDERN165">Hordern, p. 165.</ref> He disliked his physical appearance, which he found to be "repulsive", and as a result loathed watching back his performances. He preferred radio because the audience only heard his voice, which he then considered his best attribute.<ref name="HORDERN165"/> Another reason was his recognition of the differences between his sense of personal achievement within a theatre compared to that on a film set: "You get a certain sort of satisfaction in delivering what the director wants of you, but the chances of being emotionally involved are slim."<ref name="HORDERN165" /> He acknowledged his good ability at learning lines, something which he found to be especially helpful for learning film scripts which frequently changed. He enjoyed the challenge of earning as much value as possible out of a scene and revelled in being able to hit "the right mark for the camera".<ref name="HORDERN165" /> With the experience of ''Nina'' still fresh in his mind, Hordern took a break from the stage and decided to concentrate on his film career.<ref name="HORDERN108">Hordern, p. 108.</ref>

Hordern was appearing in three to four films a year by 1953, a count that increased as the decade progressed. In 1956 he took a leading part in ''[[The Spanish Gardener (film)|The Spanish Gardener]]'' for which he spent many months filming in southern Spain<ref name="HORDERN108" /> alongside [[Dirk Bogarde]], [[Cyril Cusack]], and Bernard Lee.<ref>[https://variety.com/1956/film/reviews/the-spanish-gardener-1200418207/ "Review: The Spanish Gardener"] ''Variety'', 31 December 1956, accessed 26 August 2015.</ref> ''The New York Times'' called Hordern's role of the strict and pompous Harrington Brande "an unsympathetic assignment", but thought the actor did "quite well" in his portrayal.<ref>[https://www.nytimes.com/movie/review?res=9D02E6DF1E3BE433A2575AC0A96F9C946692D6CF "Screen: Father and Son; Spanish Gardener by Cronin Arrives"] by A.H. Weiler. ''[[The New York Times]]'', 9 September 1957, accessed 26 August 2015.</ref> By the mid-1950s Hordern's name was becoming one of reliability and good value; as a result, he was offered a clutch of roles. In 1956 he appeared as [[Demosthenes]] in ''[[Alexander the Great (1956 film)|Alexander the Great]]'',<ref>[https://web.archive.org/web/20120712174240/http://explore.bfi.org.uk/4ce2b6a65339c "Alexander the Great" (1955)], [[British Film Institute]], accessed 26 August 2015.</ref> and Commander Lindsay in ''[[The Night My Number Came Up]]''.<ref>[https://web.archive.org/web/20120712171350/http://explore.bfi.org.uk/4ce2b6b18276a "The Night My Number Came Up " (1955)], [[British Film Institute]], accessed 26 August 2015.</ref> He appeared in two other films the following year; the medical drama ''[[No Time for Tears (film)|No Time for Tears]]'',<ref>[https://web.archive.org/web/20120712004419/http://explore.bfi.org.uk/4ce2b6b1ba7c4 "No Time for Tears (1957)"], [[British Film Institute]], accessed 27 August 2015.</ref> and the thriller ''[[Windom's Way]]''.<ref>[https://web.archive.org/web/20120712001329/http://explore.bfi.org.uk/4ce2b6bade840 "No Time for Tears (1957)"], [[British Film Institute]], accessed 27 August 2015.</ref> The Second World War was a popular genre for filmmakers during the 1950s. Hordern said the conflict took up a large part of people's lives; "whether it be one of love, loss, nostalgia or tragedy",<ref name="HORDERN109–110">Hordern, pp. 109–110.</ref> everybody, according to the actor, had a story to tell and could relate to the situations that were being depicted before them on screen.<ref name="HORDERN109–110" /> He found his earlier naval experience to be an asset when cast in many war films,<ref name="BFIHORDERN">[https://web.archive.org/web/20120802201435/http://explore.bfi.org.uk/4ce2b9ef754d6 "Michael Hordern"], [[British Film Institute]], accessed 27 August 2015.</ref>{{#tag:ref|The war films in which Hordern appeared in the 1950s were: ''[[The Man Who Never Was]]'', ''[[Pacific Destiny]]'', ''[[The Baby and the Battleship]]'', all from 1956,<ref name="BFIHORDERN" /> and ''[[I Was Monty's Double (film)|I Was Monty's Double]]'' in 1958.<ref>[https://web.archive.org/web/20120712172858/http://explore.bfi.org.uk/4ce2b6ad6ec78 "I Was Monty's Double (1958)"], [[British Film Institute]], accessed 27 August 2015.</ref> During the 1960s he starred in ''[[Sink the Bismarck!]]'' (1960), ''[[The Spy Who Came in from the Cold (film)|The Spy Who Came in from the Cold]]'' (1965), ''[[How I Won the War]]'' (1967), and ''[[Where Eagles Dare]]'' (1968).<ref name="BFIHORDERN" />|group= n}} including ''[[The Man Who Never Was]]'', ''[[Pacific Destiny]]'', ''[[The Baby and the Battleship]]'', all in 1956, and ''[[I Was Monty's Double (film)|I Was Monty's Double]]'' two years later.<ref name="BFIHORDERN" />

[[File:Playbill for Moonbirds on Broadway 1959.jpg|thumb|left|Hordern (left) and [[Wally Cox]] on ''Playbill''{{'}}s front cover for [[Marcel Aymé|Marcel Aymé's]] comedy ''Moonbirds'' in 1959]]
Hordern was cast in [[John Mortimer|John Mortimer's]] 1957 play ''The Dock Brief'' in which Hordern played the [[barrister]]. The story centres on a failed lawyer who is hired at the last minute to defend a man on a charge of murder.{{#tag:ref|A dock brief is a defunct legal procedure within a courtroom where a defendant answering a criminal charge without legal representation could, on indictment, choose any barrister within the courtroom who was not directly involved in the case to represent them in exchange for a small fee.<ref>[http://oxfordindex.oup.com/view/10.1093/oi/authority.20110803095724237 "Dock Brief"], Oxford Index, ''A Dictionary of Law'', Oxford University Press, accessed 31 August 2015.</ref>|group= n}} Hordern played the barrister opposite [[David Kossoff|David Kossoff's]] murder suspect. After some positive comments from the theatrical press, the play transferred to radio in May the same year.<ref>[http://genome.ch.bbc.co.uk/287e78b0f681463dbdb12c11524809b9 "Michael Hordern and David Kossoff in 'The Dock Brief'"], [[BBC]], accessed 31 August 2015.</ref> It was broadcast on television in September,<ref>{{cite web|url=https://genome.ch.bbc.co.uk/a8534347cd3d49198927f5c8cd76a428|title=The Dock Brief BBC Television, 16 September 1957|work=[[Radio Times]]|publisher=BBC|access-date=1 October 2019}}</ref> and earned Hordern a [[British Academy Television Award for Best Actor|Best Actor Award]] at the 1958 [[British Academy Television Awards]].<ref>{{cite news|title=Chit Chat|work=The Stage|date=27 March 1958|page=8}}</ref><ref>[http://awards.bafta.org/award/1957/television/actor "Television Actor in 1957: Michael Hordern"], [[British Academy of Film and Television Arts]] (BAFTA), accessed 1 October 2019.</ref> The Horderns moved to [[Donnington, Berkshire]] in 1958 where they renovated three cottages into one; the property became the family home and is where Hordern and Eve remained until their deaths.<ref>Hordern, pp. 123–124.</ref>

The year 1959 was professionally disastrous for Hordern. He made a return to stage at the Old Vic in [[Arthur Wing Pinero|Arthur Wing Pinero's]] ''[[The Magistrate (play)|The Magistrate]]'' in which he played Mr. Posket. The play was not particularly successful and received mixed reviews: According to the author and theatre critic J. P. Wearing, Hordern was miscast,<ref name="WEARING2">Wearing (1950–1959), p. 632.</ref> while a reporter for ''The Stage'', thought he gave a "convincing portrayal".<ref name="WEARING2"/> Wearing believed that overall the play was not "played briskly enough",<ref name="WEARING2"/> while a critic for ''[[The Times]]'' thought that it had "durable theatrical quality".<ref name="WEARING2"/> The role was followed with a part of Pastor Manders in ''Ghosts'' opposite [[Flora Robson]]. ''[[The Sunday Times]]'' published an unenthusiastic notice, and thought Hordern's character had "an anxious air" about him.<ref>''[[The Sunday Times]]'' review; quoted in Hordern, p. 125.</ref> He received equally critical notices when he took to the stage to play [[Macbeth (character)|the title character]] in ''Macbeth'', opposite [[Beatrix Lehmann]]. The press wrote of Hordern's "unintended comic interpretation" when characterising the evil king: "Half his time on stage he cringed like an American carpet seller in an ankle-length black dressing gown of fuzzy candlewick" thought one reviewer, who went on to say "he would make a sinister Shylock, a frightening Fagin. But this Thane of Cawdor would be unnerved by Banquo's valet, never mind Banquo's ghost."<ref>Anonymous critic; quoted in Hordern, p. 125.</ref>

On 9 October 1959, Hordern made his debut on [[Broadway theatre|Broadway]]<ref name="NYTOBIT">[https://www.nytimes.com/1995/05/04/obituaries/sir-michael-hordern-dies-at-83-british-actor-of-infinite-range.html "Sir Michael Hordern Dies at 83; British Actor of Infinite Range"] by Mel Gussow. ''[[The New York Times]]'', 4 May 1995, accessed 16 November 2015.</ref> at the [[Cort Theatre]] in [[Marcel Aymé|Marcel Aymé's]] comedy ''Moonbirds'', alongside the comedian [[Wally Cox]].<ref name="PLAYBILL1">[http://www.playbillvault.com/Show/Detail/Whos_who/3543/36015/Moonbirds "Moonbirds"] {{webarchive|url=https://web.archive.org/web/20160126184456/http://www.playbillvault.com/Show/Detail/Whos_who/3543/36015/Moonbirds |date=26 January 2016 }}, ''[[Playbill]]'', 9 October 1959.</ref> The play was a disaster<ref>Hordern, p. 124.</ref> and closed after only two nights and three performances.<ref name="PLAYBILL1" /> Little was offered in the way of praise, although critics singled out Hordern's performance in particular as being good.<ref>Hischak, p. 309.</ref> He was unsure why the play failed, and attributed it to clashes of personality between cast and management.<ref name="HORDERN83">Hordern, p. 83.</ref>

====''Cleopatra'' and the 1960s====

[[File:Cleopatra poster.jpg|thumb|right| ''[[Cleopatra (1963 film)|Cleopatra]]'' (1963), in which Hordern played the orator and philosopher [[Cicero]]]]

In 1960 Hordern played [[John Tovey, 1st Baron Tovey|Admiral Sir John Tovey]] in the British war film ''[[Sink the Bismarck!]]'', based on the book ''[[Last Nine Days of the Bismarck]]'' by [[C. S. Forester]]<ref>[https://web.archive.org/web/20120712170748/http://explore.bfi.org.uk/4ce2b6b607180 "Sink the Bismarck! (1960)"], [[British Film Institute]], accessed 16 November 2015.</ref> and with a plot reminiscent of his naval days.<ref name="HORDERN66-67" /> With a few smaller roles in between, Hordern started work on the American [[Epic film|epic]] historical drama film ''[[Cleopatra (1963 film)|Cleopatra]]''. It was made in 1962 and according to the actor, was "the most extraordinary piece of film-making in which I had the pleasure to take part".<ref>Quote by the author; Hordern, p. 114.</ref> He played the Roman orator [[Cicero]]<ref>[https://web.archive.org/web/20120711202742/http://explore.bfi.org.uk/4ce2b701ea47f "Cleopatra (1963)"], [[British Film Institute]], accessed 29 August 2015.</ref> and was hired on an eight-week contract which due to various setbacks, including cast sickness and adverse weather conditions, was extended to nine months.<ref name="HORDERN115-116">Hordern, pp. 115–116.</ref>{{#tag:ref|Hordern cited various reasons which held up production: [[Elizabeth Taylor]] was taken ill several times during filming; Rex Harrison refused to film scenes unless the producers paid his chauffeur's bill; location filming was often delayed by the bad weather, and financing had to be continually reviewed owing to the frequent problems. Because of this, schedules had to be changed at the last minute, causing scenes to be brought forward. Such was the rush, script changes had to be written on scrap paper which would then often go missing. Because of the quick changes, scenes were often filmed the next day which left little time for performers to learn the revised scripts. Hordern likened the manic experience to being back in repertory theatre as he felt that that too was often unorganised and required the cast to frequently improvise. Filming took so long on ''Cleopatra'' that the boy employed to play Caesar's son had grown too tall during production and had to be replaced for [[Continuity editing|continuity]] reasons.<ref name="HORDERN115-116" />|group= n}} Much to Hordern's annoyance, the film would require him to work once again with Rex Harrison, who was cast as [[Julius Caesar|Caesar]]. Despite the animosity between them, they agreed to endure each other's company for the sake of the film. The agreement was short-lived; Harrison made a drunken quip at a cast dinner about ''Nina'' which prompted Hordern to assault him. The incident almost resulted in Hordern's dismissal, but the matter was quickly resolved by producers and the two were kept separate in between filming. In 1993 Hordern claimed the incident had "cleared the air"<ref name="HORDERN119">Hordern, p. 119.</ref> between them and they eventually became friends.<ref name="HORDERN119" /> After ''Cleopatra'''s release, Hordern made a return to films, appearing in ''[[The Spy Who Came In from the Cold (film)|The Spy Who Came In from the Cold]]'' (1965),<ref>[https://web.archive.org/web/20120712181228/http://explore.bfi.org.uk/4ce2b6b71f3bf "The Spy Who Came In from the Cold (1965)"], [[British Film Institute]], accessed 16 November 2015.</ref> ''[[Khartoum (film)|Khartoum]]'' (1966, as [[Granville Leveson-Gower, 2nd Earl Granville|Lord Granville]]), ''[[How I Won the War]]'' (1967),<ref>[https://web.archive.org/web/20120713141925/http://explore.bfi.org.uk/4ce2b6acb7658 "How I Won the War (1967)"], [[British Film Institute]], accessed 16 November 2015.</ref> ''[[Where Eagles Dare]]'' (1968),<ref>[https://web.archive.org/web/20120713075901/http://explore.bfi.org.uk/4ce2b6ba99276 "Where Eagles Dare (1968)"], [[British Film Institute]], accessed 16 November 2015.</ref> and ''[[Anne of the Thousand Days]]'' (1969, as [[Thomas Boleyn, 1st Earl of Wiltshire|Thomas Boleyn]]). He also featured in the Roman [[farce]] ''[[A Funny Thing Happened on the Way to the Forum (film)|A Funny Thing Happened on the Way to the Forum]]'' in 1966.<ref>[https://web.archive.org/web/20120713175959/http://explore.bfi.org.uk/4ce2b6aabdea2 "A Funny Thing Happened on the Way to the Forum" (1966)], [[British Film Institute]], accessed 23 January 2016.</ref>

Hordern first met the British theatre director [[Jonathan Miller]] in 1968. Miller, who had long been an admirer of Hordern,<ref>Croall, p. 61.</ref> offered him the part of the agonistic Professor Parkin in his forthcoming television drama ''[[Whistle and I'll Come to You]]''. Hordern, who had heard positive things of Miller from theatrical friends, likewise thought highly of the director, and was quick to take up location filming in [[Norfolk]] that year. He came to like Miller's way of working, such as having the freedom to improvise instead of adhering to the strict rules of a script; the actor wrote in his autobiography that he had never experienced that degree of professional freedom.<ref>Hordern, p. 137.</ref> The programme was released towards the end of 1968 and was a hit with audiences and critics. Mark Duguid of the [[British Film Institute]] called it "a masterpiece of economical horror that remains every bit as chilling as the day it was first broadcast",<ref>Mark Duguid, [http://www.screenonline.org.uk/tv/id/1155174/index.html ''Whistle and I'll Come to You''], [[British Film Institute]], accessed 23 November 2015</ref> while a journalist for ''The Telegraph'', writing in 2010 about that year's remake starring [[John Hurt]], reminded readers of the "brilliant Sixties production by Jonathan Miller [in which] Michael Hordern made a fine, crusty Parkin".<ref>[https://www.telegraph.co.uk/culture/tvandradio/bbc/8220294/John-Hurt-interview-Whistle-and-Ill-Come-to-You-BBC-One.html "John Hurt interview: Whistle and I'll Come to You, BBC One"] by Olly Grant. ''The Telegraph'', 23 December 2010, accessed 23 November 2015.</ref> The year ended with a role in [[Peter Hall (director)|Peter Hall's]] production of [[Edward Albee|Edward Albee's]] ''[[A Delicate Balance (play)|A Delicate Balance]]'' at the Aldwych Theatre.<ref>Hordern, p. 141.</ref> The piece received lukewarm reviews, with Hilary Spurling of ''The Spectator'' thinking Hordern was "ill-served" as the principal character, Tobias.<ref>[http://archive.spectator.co.uk/article/24th-january-1969/20/theatre "A Delicate Balance (Aldwych) Life Price (Royal Court)"] by Hilary Spurling. ''The Spectator'', 24 January 1969, p. 20.</ref>

===Later career: 1969–1990===

====''King Lear''====

Miller and Hordern's collaboration continued into 1969 with ''[[King Lear]]'' at the [[Nottingham Playhouse]]. Hordern immediately accepted the title role but later said that it was a character he never much cared to play.<ref>Hordern, p. 138.</ref> Writing about Miller in his autobiography, Hordern stated: "It was one of the most exhilarating and funny experiences I have had in the theatre."<ref>Hordern, pp. 138–139.</ref> Miller recruited [[Frank Middlemass]] to play the [[Shakespearean fool|fool]],<ref>Croall, p. 64.</ref> but contrary to tradition, Miller made the character an intimate of Lear's as opposed to a servant, something which Shakespearean purists found difficult to accept.<ref name="HORDERN139">Hordern, p. 139.</ref>{{#tag:ref|Miller saw Lear and the Fool as equals, despite the fact that Lear was born in a palace and the Fool in a stable. Miller thought of no reason why the two should not be closer as the two characters had "known each other for years".<ref name="HORDERN139" />|group= n}} Miller decided to further defy convention by concentrating on the relationships between the characters rather than adding detail to scenery and costume; he was eager not to use lavish sets and lighting for the fear of detracting from the characterisations and the sentimentality of the storyline. As such, the sets were bleak and the costumes more so; it was a style that was also used when the play was televised by the BBC later that decade.<ref name="HORDERN139" />

When ''King Lear'' played at the Old Vic in 1970, reviews were mixed; J.W. Lambert thought that the "grey sets" and Hordern's "grizzled" costume were how Shakespeare would have intended them to be,<ref>[https://books.google.co.uk/books?id=Zz-Cb8ZfnwoC&lpg=PA86&dq=michael%20Hordern%20King%20Lear&pg=PA86#v=onepage&q=michael%20Hordern%20King%20Lear&f=false "Plays in Performance"], ''Drama'' (Summer, 1970), pp. 27–31; Quoted in Wells, p. 86.</ref> while Eric Shorter thought otherwise, stating "I still do not understand those costumes."<ref>[https://books.google.co.uk/books?id=Zz-Cb8ZfnwoC&lpg=PA86&dq=michael%20Hordern%20King%20Lear&pg=PA86#v=onepage&q=michael%20Hordern%20King%20Lear&f=false "Plays in Performance"], ''Drama'' (Spring, 1970), pp. 15–28; Quoted in Wells, p. 86.</ref> Of the performance, the dramatist and critic [[Martin Esslin]] called Hordern's portrayal "a magnificent creation"<ref name="QUOTE141">Quote from Martin Esslin in February 1969; Hordern, p. 141.</ref><ref name="CROALL67">Croall, 67.</ref> before going on to say: "Hordern's timing of the silences from which snatches of demented wisdom emerge is masterly and illuminates the subterranean processes of his derangement."<ref name="QUOTE141" /> Writing for ''The Times'' later that year, the theatre critic [[Irving Wardle]] described Hordern's Lear as a "sharp, peremptory pedant; more a law-giver than a soldier, and (as justice is an old man's profession) still in the prime of his life".<ref>Quote from Irving Wardle in November 1969; Hordern, p. 140.</ref> Hordern played Lear once more that decade, in 1975, which was televised by the BBC<ref name="CROALL67" /> for their series ''[[Play of the Month]]''.<ref>Willis, p. 127.</ref>

====''Jumpers''====

The playwright [[Tom Stoppard]] approached Hordern in 1971 with a view to him playing a leading part in<ref name="HORDERN132-133">Hordern, pp. 132–133.</ref> the playwright's new play ''[[Jumpers (play)|Jumpers]]'', a comic satire based around the field of academic philosophy.<ref>Hordern, p. 132.</ref> Hordern was to play George Moore, a bumbling old philosophy professor, who is employed at a modern university and who, throughout the play, is in constant debate with himself over his moral values.<ref name="HORDERN132-133" /> Hordern, though thinking the play was brilliant, disliked the script on the initial read-through as he did not understand its complex situations and strange dialogue. His co-star would be [[Diana Rigg]], who played Moore's wife Dotty, and the entire piece was to be directed by [[Peter Wood (director)|Peter Wood]].<ref>Hordern, p. 133.</ref>

''Jumpers'' was scheduled to appear at the [[Royal National Theatre|National Theatre]] at the start of 1972, but encountered problems when the theatre's director, Laurence Olivier, called the play "unintelligible" before walking out during the first read-through in disgust. Despite this, rehearsals went ahead, which the cast found difficult; the play featured many scenes, a complicated script, and relied heavily on the opening scene, a sceptical speech about the existence of God which lasted 13 minutes. In his autobiography, Hordern commented: "Each day my fists would sink into my cardigan pockets as I tried to make sense of it all."<ref name="HORDERN134">Hordern, p. 134.</ref> In a meeting shortly before the opening night, Olivier complained to Stoppard that the play was overlong and, in some parts, laborious. Stoppard agreed to reduce the epilogue by half. The decision angered Hordern as it meant the extra stress of learning a new script at short notice. He vented his frustrations on Wood who agreed to leave his character alone and instead to cut many of the other scenes.<ref name="HORDERN134" /> The final dress rehearsal also experienced disruption when the [[revolving stage]] broke down and had to be fixed half-way through. The problems had ceased by the opening performance the following evening; it was a night which Hordern called "unbelievable, one of the highlights of my career".<ref name="HORDERN135">Hordern, p. 135.</ref> The actress [[Maureen Lipman]], who was in the audience on the opening night, said that her husband, the playwright [[Jack Rosenthal]], had "laughed so hard he thought he was going to be seriously ill".<ref>Quote from Maureen Lipman; Hordern, p. 135.</ref>

The critic [[Michael Billington (critic)|Michael Billington]], writing in ''The Guardian'', gave a mixed review: "Once or twice one of Stoppard's brightly coloured balls falls to the ground, partly because Michael Hordern's moral philosopher substitutes academic mannerism for apprehension of the argument. But this is not to deny that Hordern's simian habit of scratching his left earlobe with right hand or leaning over his desk as if he is doing intellectual press-ups is very funny to watch or that he is brilliant at displaying cuckolded curiosity."<ref>The author quoting Michael Billington in ''The Guardian''; Hordern, p. 135.</ref> Harold Hobson, the drama critic, thought that failing to enjoy the play was "not actually a criminal offence but it is a sad evidence of illiteracy".<ref>The author quoting Harold Hobson; Hordern, p. 135.</ref> ''Jumpers'' won the ''Evening Standard''{{'}}s Best Play Award which, much to Hordern's amusement, was presented by the philosopher [[A. J. Ayer]].<ref name="HORDERN135" />

====''Stripwell'', and voice work====
Between 1973 and 1981, Hordern appeared on radio for the BBC as [[Jeeves]] in the series ''[[What Ho! Jeeves]]'' alongside [[Richard Briers]] as [[Bertie Wooster]].<ref>[http://genome.ch.bbc.co.uk/087f6f13b1fc4a2eac61ff3994d6ef96 "What Ho, Jeeves!: Part 1: Jeeves Exerts the Old Cerebellum"], BBC, accessed 12 February 2016.</ref> In 1974, Hordern narrated several other, one-off programmes for the broadcaster, including ''The Honest Broker'', ''The Last Tsar'', and ''Tell the King the Sky Is Falling''.<ref name="BFIHORDERN" /> In 1975 Hordern played the judge in [[Howard Barker|Howard Barker's]] play ''Stripwell'' at the [[Royal Court Theatre]]. Hordern described the character as "a man wracked by guilt, full of self-doubt and pessimism".<ref name="HORDERN143">Hordern, p. 143.</ref> It was a role which the actor found to be too close to his own personality for comfort. His time in the play was marred by personal problems; he and Eve had briefly separated and the actor was forced to rent a small flat in [[Sloane Square]] from the actor [[Michael Wilding (actor)|Michael Wilding]] after being banished from the family home. Hordern and Eve soon reconciled, but it was a time which he was keen to forget, including the play. Critics were complimentary of his performance, with one writing: "''Stripwell'''s ambiguities are therefore viewed half affectionately and half contemptuously and this comes over well in Michael Hordern's portrayal of bumbling, sometimes endearing ineffectiveness, as skilful and accomplished a performance as one would expect from this actor."<ref name="HORDERN143" />

Later, in 1975, Hordern narrated ''[[Barry Lyndon]]'', [[Stanley Kubrick|Stanley Kubrick's]] filmed adaptation of [[William Makepeace Thackeray]]'s novel ''[[The Luck of Barry Lyndon]]''.<ref>[https://web.archive.org/web/20120711213838/http://explore.bfi.org.uk/4ce2b6bc285f7 "Barry Lyndon (1975)"], [[British Film Institute]], accessed 26 January 2016.</ref> The critic John Riley, writing for the British Film Institute, thought that the actor provided "a witty and ironic foil to the characters' helplessness".<ref>[http://www.screenonline.org.uk/film/id/498104/ "Barry Lyndon (1975)"], by John Riley. BFI Screenonline, [[British Film Institute]], accessed 26 January 2016.</ref> The same year Hordern was asked to narrate 30 episodes of the children's animation series ''[[Paddington (1975 TV series)|Paddington]]'', which was based on the [[Paddington Bear]] book series by [[Michael Bond]].<ref>Hordern, pp. 167–169.</ref> In his 1993 autobiography, Hordern wrote of his enjoyment at working on ''Paddington'' and that he could not differentiate between his enjoyment in comedy and drama: "it's a bit like difference between roast beef and meringue, both delicious in their way, but there is nothing more satisfying than a thousand people sharing their laughter with you".<ref>Quote from the author; Hordern, p. 167.</ref>

====Return to Stratford-upon-Avon and ''Jumpers'' revival====

In 1976 Hordern joined the [[Royal Shakespeare Company|RSC]] in Stratford-upon-Avon, where he appeared as Prospero for [[Trevor Nunn]] in ''The Tempest'', an engagement which the actor found to be unpleasant because of his poor relationship with the show's director, [[Clifford Williams (actor)|Clifford Williams]].<ref name="HORDERN143" /> After that came a short run of ''Love's Labour's Lost'' in which he played Don Adriano de Armado opposite [[Alan Rickman]] and [[Zoë Wanamaker]]. Hordern was the oldest member of the company and found it difficult to adjust to the behaviour and attitudes of some of the younger and less experienced actors. He found it different from the 1950s: non-intimate, characterless, and lacking in morale because management preferred discipline rather than offering guidance and assistance to their young actors.<ref>Hordern, p. 144.</ref> Writing in his 1993 autobiography, Hordern wrote: "Being at Stratford again after all these years was rather like being on a battleship or an aircraft carrier that doesn't often come into harbour. You are at sea for long periods and away from the rest of your service and if the captain of your ship is a good one then the ship is happy; if not, then the commission you serve is very unhappy because you are a long way from land. At Stratford that season I was a long way from land."<ref>Hordern, p. 145.</ref> Later, in 1976, Hordern portrayed the kingly father of the Prince (played by [[Richard Chamberlain]]) in the musical film adaptation of ''[[Cinderella]]'', ''[[The Slipper and the Rose]]'',<ref>[http://www.bfi.org.uk/films-tv-people/4ce2b6b635dea "The Slipper and the Rose"], [[British Film Institute]], accessed 18 February 2016.</ref> and returned to the role of George in Stoppard's ''Jumpers'' at the Lyttelton Theatre.<ref>[http://archive.spectator.co.uk/page/2nd-october-1976/28 "''Jumpers''"], ''The Spectator'', 1 October 1976, p. 28.</ref>{{#tag:ref|The Lyttelton Theatre is one of three separate auditoriums which form the [[Royal National Theatre]]. It was named after [[Oliver Lyttelton, 1st Viscount Chandos|Oliver Lyttelton]], the National Theatre's first board chairman. It can accommodate an audience of 890 people.<ref name="NATIONAL">[http://www.nationaltheatre.org.uk/backstage/lyttelton-theatre "Littleton Theatre"] {{webarchive|url=https://web.archive.org/web/20160213191458/http://www.nationaltheatre.org.uk/backstage/lyttelton-theatre |date=13 February 2016 }}, Nationaltheatre.org, accessed 23 January 2016.</ref>|group= n}} The theatre critic Kenneth Hurren "enjoyed it immoderately" and thought the revival revealed a "tidier play than it look[ed]". Hordern compared it to the 1972 version by saying: "It is unquestionably a busy little number, and my first impression of the piece, back in 1972, was that it had more decoration than substance, and that the decoration was more chaotic than coherent."<ref name="NATIONAL" />

====Television and radio: 1980–83====

In 1981 Hordern played the role of [[Gandalf]] in the [[The Lord of the Rings (1981 radio series)|BBC radio adaptation]] of [[J. R. R. Tolkien|Tolkien's]] ''[[The Lord of the Rings]]''. The BBC's budget was generous, and attracted well-known actors from stage and television. The series ran for 26 episodes and was a hit with audiences and critics. The author Ernest Mathijs singled out Hordern in particular as being one of the more powerful characters of the series and his personal favourite,<ref>Mathijs, p. 62.</ref> while co-star [[Ian Holm]], writing years later in his autobiography ''Acting My Life'', said he thought Hordern interpreted the role "in a grand, rather old fashioned way".<ref>Holm, p. 381.</ref> Writing in his autobiography in 1993, Hordern said he found the part of Gandalf to be "a bit of a slog".<ref>Hordern, p. 183.</ref>

Hordern and Jonathan Miller reprised their collaboration in 1982 with a final performance of ''King Lear'' for the [[BBC Television Shakespeare]] production. The actor considered this version to be his best and attributed its success to the fact he was getting older and therefore able to better understand the character.<ref>Hordern p. 140.</ref> The author [[Joseph Pearce]], writing in 2008, claimed that Hordern played the king "straight up with no gloss"<ref name="PEARCE240">Pearce, p. 240.</ref> and made a "reliable and workmanlike Lear"<ref name="PEARCE240" /> who is "forceful when he should be forceful, compassionate when he should be compassionate, [and] sorrowful when he should be sorrowful".<ref name="PEARCE240" /> Despite the praise, Pearce thought that Hordern's performance in Act{{nbsp}}3 "lack[ed] the required fierceness and miss[ed] the mythic quality when compared to some of the bigger names".<ref name="PEARCE240" />

In January 1983 Hordern was knighted, an honour which the actor called "a great thrill and [a] surprise to us all".<ref>Hordern, p. 151.</ref> That year he became popular among children as the voice of Badger in the [[ITV (TV network)|ITV]] film ''[[The Wind in the Willows (1983 film)|The Wind in the Willows]]''.<ref>[https://web.archive.org/web/20120809182410/http://explore.bfi.org.uk/4ce2b78aed8bc "Wind in the Willows (1983)"], [[British Film Institute]], accessed 22 January 2016.</ref> He then spent the rest of 1983 appearing as Sir Anthony Absolute in ''[[The Rivals]]'' for Peter Wood at the Royal National Theatre and received excellent notices.<ref>Hordern, p. 152.</ref> He was nominated for an award at that year's [[Olivier Awards]] for best comedy performance of the year, but lost out to [[Griff Rhys Jones]].<ref>[http://www.olivierawards.com/winners/view/item98517/olivier-winners-1983/ "Olivier Winners (1983)"], Olivierawards.com, accessed 22 January 2016.</ref> His success on the stage was tinged with private turmoil; Eve was taken ill after she suffered a [[brain haemorrhage]], a condition from which she never fully recuperated. She required constant care but recovered enough to become partially self-sufficient. However, in 1986 she had a fatal heart attack at the couple's London flat.<ref>Hordern, pp. 156–157.</ref> Hordern was devastated and became consumed in self-pity,<ref>Hordern, p. 157.</ref> in part because of his guilt at the extramarital affairs he had had with many of his leading ladies during the marriage.<ref>Hordern, p. 156.</ref>

====''Paradise Postponed'' and ''You Never Can Tell''====

In 1986, John Mortimer, a writer whom Hordern respected greatly, engaged the actor in ''[[Paradise Postponed]]'', an eleven-part drama which took a year to make and cost in excess of £6 million. Set in rural England, the saga depicts the struggles within British middle-class society during the post-war years.<ref>Hordern, pp. 159–160.</ref> In his autobiography, Hordern described himself as "a man of prejudice rather than principle" and as such, had very little in common with his character, the left-wing, [[Marxist]]-loving vicar, Simeon Simcox. Despite the political differences, Hordern felt great empathy towards his character, and admired his "plain, straightforward attitude to life, his dottiness, and the way he hung to his faith in a wicked world with a saintliness verging on the simple".<ref name="HORDERN160">Hordern, p. 160.</ref>{{#tag:ref|The cast included [[David Threlfall]], [[Richard Vernon]], [[Annette Crosbie]], [[Jill Bennett (British actress)|Jill Bennett]], [[Colin Blakely]], [[Zoë Wanamaker]], [[Peter Egan]], and [[Paul Shelley]].<ref name="HORDERN160" />|group= n}}

Hordern made a return to the London stage in 1987 after a four-year absence. The play in which he starred, ''[[You Never Can Tell (play)|You Never Can Tell]]'', transferred to the [[Haymarket Theatre]] that December having made its debut at the [[Theatr Clwyd]] in Wales earlier that year.<ref name="HORDERN158">Hordern, p. 158.</ref> It was the second time the actor had appeared in the play, the first being back in Bristol fifty years previously when he starred as the youthful lead, Valentine. This time he was cast as William, the elderly waiter, a part which he considered to be "a real hell to play",<ref name="HORDERN158" /> partly because of the many meals he had to serve up on stage, whilst at the same time trying to remember the complex script. He enjoyed the play immensely and was thrilled at its successful run. His engagement also gave him a chance to reunite with some old friends, including [[Irene Worth]], [[Michael Denison]] and Frank Middlemass, all of whom were in the cast.<ref name="HORDERN158" /> Hordern admitted that, on the whole, the experience made him feel "a little happier" about life.<ref>Hordern, pp. 158–159.</ref>

===Final years and death===

{{multiple image|caption_align=center| align = right | direction = vertical | header_align = center | footer_align = left | footer_background = | image1 =Michael Hordern bronze bust.jpeg| width1 = 210 | caption1 = Bronze bust and memorial plaque of Hordern in "The Hordern Room" at [[Brighton College]]| image2 = Michael Hordern plaque.jpeg| width2 = 210 | caption2 = }}

By the early 1990s Hordern was concentrating more on television. His roles were mostly those of ageing teachers, bank managers, politicians and clergymen.<ref name="HORDERN161">Hordern, p. 161.</ref> In 1989 he appeared alongside [[John Mills]] in an adaptation of [[Kingsley Amis|Kingsley Amis's]] ''Ending Up'',<ref name="Benedick">[https://www.independent.co.uk/news/people/obituary-sir-michael-hordern-1618094.html "Obituary: Sir Michael Hordern"] by Adam Benedick. ''[[The Independent]]'', 3 May 1995, accessed 18 January 2016.</ref> a tale about a group of pensioners growing old together in a residential home. After that he took the part of Godfrey Colston in ''Memento Mori'',<ref name="BFIMORI">[http://www.screenonline.org.uk/tv/id/504351/ "''Memento Mori'' (1992)"], [[British Film Institute]], accessed 18 January 2016.</ref> a television film about a group of elderly friends succumbing to old age, which was adapted for television from the [[Muriel Spark]] [[Memento Mori (novel)|novel of the same name]]. The film received excellent notices<ref name="HORDERN161" /> and Hordern's performance was described as outstanding by the critic Neil Sinyard.<ref name="BFIMORI" /> All that was required of Hordern in his next role, the wealthy but terminally ill landowner Peter Featherstone in the BBC adaptation ''[[Middlemarch (1994 TV serial)|Middlemarch]]'', was for him simply to lie in bed and pretend to die.<ref name="HORDERN161" /> It was the kind of role which he found to be most fitting for someone of his advanced years and confirmed to him that the older he got, the more typecast he became. It was a situation that did not altogether bother him as he felt grateful for being employable at the age of 81.<ref name="HORDERN161" />

In January 1995 Hordern was invited back to his old college in Brighton, where a room was named in his honour.<ref>[https://books.google.co.uk/books?id=RYJMAQAAQBAJ&lpg=PA61&dq=%22Hordern%20Room%22%20brighton%20January%201995&pg=PA61#v=onepage&q=%22Hordern%20Room%22%20brighton%20January%201995&f=false "Brighton College"], ''Independent Schools Yearbook 2012–2013'', p. 61.</ref> Inside, the college had commissioned the sculptor [[Peter Webster (artist)|Peter Webster]] to create a bronze bust of the actor which is displayed with a plaque. Hordern's last physical acting role came shortly afterwards as Lord Langland in the comedy film ''A Very Open Prison''.<ref>[https://web.archive.org/web/20140730032503/http://explore.bfi.org.uk/4ce2b7e2e2e04 "A Very Open Prison (1995)"], [[British Film Institute]], accessed 20 January 2016.</ref> This was followed by two narration performances, firstly in ''Spode A History of Excellence'',<ref>[https://web.archive.org/web/20120810120521/http://explore.bfi.org.uk/4ce2b82e6bc39 "Spode A History of Excellence (1995)"], [[British Film Institute]], accessed 20 January 2016.</ref> and then in the five-part film ''Dinosaurs and Their Living Relatives''.<ref>[https://web.archive.org/web/20120810120520/http://explore.bfi.org.uk/4ce2b70c28d23 "Dinosaurs and Their Living Relatives (1995)"], [[British Film Institute]], accessed 20 January 2016.</ref>

Hordern died of [[kidney disease]] at the [[Churchill Hospital]], Oxford, on 2{{nbsp}}May 1995, at the age of 83.<ref name=dnb /> Medical staff confirmed that he had been suffering from "a long illness and had been receiving dialysis treatment".<ref>[http://www.heraldscotland.com/news/12109322.Sir_Michael_Hordern_dies/ "Sir Michael Hordern dies"], ''Herald Scotland'', 3 May 1995, accessed 19 January 2016.</ref>

==Approach to acting==

Hordern was a self-confessed "lazy bugger"<ref name="HORDERN92">Hordern, p. 92.</ref> when it came to role preparation. He did not regret his lack of formal acting training, and attributed his abilities to watching and learning from other actors and directors. He said: "I am bored of the intellectual view of the theatre. Actually, it scares the shit out of me, my view being that an actor should learn the lines without too much cerebral interference."<ref>Hordern, p. 162.</ref> In 1951, he asked Byam Shaw how best to rehearse unfamiliar roles. The director advised him to "never read up on them"<ref name="HORDERN92" /> before going on to say "read the plays as much as [you like] but never read the commentators or critics".<ref name="HORDERN92" /> It was advice which Hordern adopted for the role of King Lear, and for the rest of his career.<ref name="HORDERN92" /> The critic Brian McFarlane, writing for the British Film Institute, said that Hordern, despite his relaxed attitude, "had one of the most productive careers of any 20th century British actor".<ref>[http://www.screenonline.org.uk/people/id/470152/ "Hordern, Sir Michael (1911–1995)"], by Brian McFarlane. BFI Screenonline, [[British Film Institute]], accessed 27 August 2015.</ref>

{{Quote|1=After all the great parts I have played in my career, Prospero, Lear, Sir Anthony Absolute, George in ''Jumpers'', after all the accolades, the CBE, knighthood, honorary degrees, mixing with the great and the good, I was brought down to earth recently by a small boy whom I had noticed having an intense argument with two other small boys outside my phone box. I seemed to be the centre of discussion. When I stepped out of the box, one of the boys came up to me, looked up earnestly, and very politely asked, 'Excuse me, aren't you Paddington?' I felt gratified.|2=Michael Hordern|3=''A World Elsewhere''<ref>Hordern, pp. 169–170.</ref>}}

Throughout his 1993 autobiography ''A World Elsewhere'', Hordern exhibited his pride on being able to play a wide range of parts, something which made him a frequent subject among theatrical critics. The author Martin Banham thought that many of Hordern's characters shared a general identity of "an absent-minded, good-hearted English eccentric".<ref>Banham, p. 497.</ref> The American journalist Mel Gussow, writing in Hordern's obituary in ''The New York Times'' in 1995, described the actor as being "a classical actor with the soul of a clown",<ref name="NYTOBIT" /> while the actors [[John Hurt]] and [[Michael Bryant (actor)|Michael Bryant]] described Hordern as being "the [[Austin Princess]] among British actors",<ref>"Sir Michael Hordern obituary", ''The Times'', 4 May 1995, p. 23.</ref> which implied to the author [[Sheridan Morley]] that Hordern possessed an element of "reliability but [with] a faint lack of charisma".<ref name=dnb /> Morley, who wrote Hordern's biography for the ''[[Oxford Dictionary of National Biography]]'', went on to describe the actor as being "one of the great eccentrics of his profession, perched perilously somewhere half way between Alastair Sim and Alec Guinness".<ref name=dnb />

==Stage roles and filmography==

{{further|Michael Hordern on stage, screen and radio}}

==Notes and references==

'''Notes'''
{{Reflist|group=n|colwidth=40em}}

'''References'''
{{Reflist|colwidth=25em}}

==Sources==

{{refbegin|25emem|ref=none}}
* {{cite book| last=Banham| first=Martin| year=1995| title=The Cambridge Guide to Theatre| location=Cambridge| publisher=Cambridge University Press| isbn=978-0-521-26595-9| url-access=registration| url=https://archive.org/details/cambridgeguideto00banh|ref=none}}
* {{cite book | last= Croall| first=Jonathan| year=2015| title=Performing King Lear: Gielgud to Russell Beale| location=London |publisher=Bloomsbury Publishing| isbn=978-1-4742-2387-4|ref=none}}
* {{cite book | last= Davies| first=Peter| year=2012| title=The Man Behind the Bridge: Colonel Toosey and the River Kwai| location=London |publisher=Bloomsbury Publishing| isbn=978-1-78093-960-5|ref=none}}
* {{cite book | last= Guida| first=Fred| year=2000| title=Christmas Carol and Its Adaptations: A Critical Examination| location=North Carolina |publisher=McFarland and Co.| isbn=978-0-7864-0738-5|ref=none}}
* {{cite book|last=Herbert|first=Ian|title=Who's Who in the Theatre: a Biographical Record of the Contemporary Stage|year=1978|publisher=Pitman Publishing|location=London|isbn=978-0-273-01195-8|ref=none}}
* {{cite book | last= Hischak| first=Thomas S.| year=2009| title=Broadway Plays and Musicals: Descriptions and Essential Facts of More Than 14,000 shows through 2007| location=North Carolina |publisher=McFarland & Company | isbn=978-0-7864-3448-0|ref=none}}
* {{cite book | last= Holm| first=Ian| year=2004| title=Acting My Life| location=London|publisher=Bantam Press | isbn=978-0-552-15107-8|ref=none}}
* {{cite book | last= Hordern| first=Michael| year=1993| title=A World Elsewhere| location=London | publisher=Michael O'Mara Books Ltd | isbn=978-1-85479-188-7|ref=none}}
* {{cite book | last=Mathijs| first=Ernest|year=2006|title=The Lord of the Rings: Popular Culture in Global Context|location=San Francisco|publisher=Wallflower Press| isbn=978-1-904764-82-3|ref=none}}
* {{cite book | last=Pearce| first=Joseph| year=2008| title=The Tragedy of King Lear: With Classic and Contemporary Criticisms|location=San Francisco|publisher=IgnatiusPress| isbn=978-1-58617-137-7|ref=none}}
* {{cite book | last= Wearing| first=J.P.| year=2014| title=The London Stage 1940–1949: A Calendar of Productions, Performers, and Personnel| location=London | publisher=Rowman & Littlefield Education| isbn=978-0-8108-9306-1|ref=none}}
* {{cite book | last= Wearing| first=J.P.| year=2014| title=The London Stage 1950–1959: A Calendar of Productions, Performers, and Personnel| location=London |publisher=Rowman & Littlefield Education| isbn=978-0-8108-9307-8|ref=none}}
* {{cite book | last= Wells| first=Stanley| year=1986| title=Shakespeare Survey: Volume 39| location=Cambridge |publisher=Cambridge University Press| isbn=978-0-521-32757-2|ref=none}}
* {{cite book| last=Willis| first=Susan| year=1991| title=The BBC Shakespeare Plays: Making the Televised Canon| location=Chapel Hill| publisher=University of North Carolina Press| isbn=978-0-8078-4317-8| url-access=registration| url=https://archive.org/details/bbcshakespearepl0000will|ref=none}}
{{refend|ref=none}}

== External links ==
{{Commons category|Michael Hordern}}
* {{findagrave|107083477}}
* {{IMDb name|394588}}
* {{IBDB name}}
* {{Screenonline name|470152|Michael Hordern}}
* [https://web.archive.org/web/20121114010408/http://www.telegraph.co.uk/news/obituaries/7589085/Sir-Michael-Hordern.html Sir Michael Hordern] – Daily Telegraph obituary
* [http://www.thisoldradioshow.com/OldRadioShows/Adventure/HoratioHornblower/HoratioHornblower.php The Adventures of Captain Horatio Hornblower] radio series

{{-}}
{{British Academy Television Award for Best Actor 1955–1959}}
{{Portal bar|Biography|Film|Theatre|Television |Radio|United Kingdom}}

{{authority control}}

{{DEFAULTSORT:Hordern, Michael}}
[[Category:1911 births]]
[[Category:1995 deaths]]
[[Category:20th-century English male actors]]
[[Category:Actors awarded knighthoods]]
[[Category:Best Actor BAFTA Award (television) winners]]
[[Category:Commanders of the Order of the British Empire]]
[[Category:Deaths from kidney disease]]
[[Category:English male film actors]]
[[Category:English male radio actors]]
[[Category:English male stage actors]]
[[Category:English male television actors]]
[[Category:English male voice actors]]
[[Category:English people of Irish descent]]
[[Category:Knights Bachelor]]
[[Category:Male actors from Hertfordshire]]
[[Category:People educated at Brighton College]]
[[Category:People educated at Windlesham House School]]
[[Category:People from Berkhamsted]]
[[Category:Royal Navy officers of World War II]]
[[Category:Royal Shakespeare Company members]]
[[Category:Audiobook narrators]]