Anthony Havelock-Allan

The company was sold in 1969 after the closure of a trial service.

In 1960 Havelock-Alland and Lord Brabourne formed British Home Entertainment, which sought to introduce pay-TV into Britain.

With that company he made Paul Gallico's Never Take No for an Answer (1951).

Cineguild broke up in 1949 and Havelock-Allan formed Constellation Films, an independent production company financed by the Rank Organisation.

He is also remembered for two films he made starring his then-wife Valerie Hobson: the melodrama Blanche Fury (1948) and The Hideout (1948), which introduced Howard Keel to the screen. Born at Blackwell Manor, near Darlington, England, Havelock-Allan was educated at Charterhouse. Having turned down a career in the army he worked as a stockbroker and nightclub manager before becoming a casting director.

A year later he formed the creative partnership of Cineguild Productions with Noel Coward, David Lean and Ronald Neame, which made This Happy Breed (1944), Blithe Spirit (1945) and Brief Encounter (1945), an adaptation of Coward's play "Still Life".

Anthony Havelock-Allan produced some of the best known and critically acclaimed films of British cinema, including In Which We Serve (1942), Brief Encounter (1945), Blithe Spirit (1945) and Great Expectations (1946). The films were commercial triumphs for Two Cities and Cineguild production companies, making Havelock-Allan one of the most influential producers in the British film industry.

In 1942 he produced one of the most famous of all flag-waving war films: Noël Coward's In Which We Serve (1942), co-directed by Coward with David Lean. The naval epic was a thinly disguised saga of the maritime exploits of Lord Louis Mountbatten and included definitive performances from Bernard Miles, Celia Johnson and John Mills.

In the early 1930s he spent two years producing "quota quickies", low-budget, quickly-made films--often in six days or less--made for Paramount-British in order to satisfy a British government requirement that a certain percentage of films shown in Britain had to be made in Britain. While these "quickies" were made for little money and varied greatly in quality, they did provide a valuable training ground for directors such as Michael Powell and such cameramen Ronald Neame (later to become a top director). Many of them also featured then unknown actors, such as Rex Harrison and Margaret Rutherford.