Harry Andrews

He was considered for the roles of Dr. Armstrong, Dr. Hans Fallada and Sir Percy Heseltine in Lifeforce (1985).

From there the roles came his way - three or four per year - well into 1979, when TV took up most of his time. His movie making was spent either before American or British cameras. And the military roles were always masterly done, whether a roughed out sergeant or a more dignified officer. Though his most famous noncom may be Sergeant Major Tom Pugh alongside John Mills in J.

He was considered for the role Bundage in Candleshoe (1977) before Leo McKern was cast.

He was considered for the role of Edward Beddowes in Murder on the Orient Express (1974) before John Gielgud was cast.

He was badly injured when riding a horse when making a film in 1972. It caused him various health problems for the rest of his life.

He was awarded the CBE (Commander of the Order of the British Empire) in the 1966 Queen's Birthday Honours List for his services to drama.

He appeared in four films directed by Sidney Lumet: The Hill (1965), The Deadly Affair (1967), The Sea Gull (1968) and Equus (1977).

Lee Thompson's classic adventure Ice Cold in Alex (1958), his achievement as Sergeant Major Bert Wilson, the near psychotic martinet, opposite Sean Connery and Ian Bannen, in The Hill (1965) was an over-the-top tour de force.

His big screen debut came the next year in a character part which would accent his career-from ancient to modern-the disciplined military man in Paratrooper (1953).

That same year he was back in costume - having played many an ancient and medieval noble role through the 1950s - in something different - playing the great Renaissance architect Donato Bramante against Charlton Heston as rival Michelangelo in The Agony and the Ecstasy (1965). Not a big part, nevertheless Andrews gave the role a subdued and matter-of-fact strength that well fit the ambitious architect of the fiery Pope Julius II (played with great verve by Rex Harrison).

"He came to the small screen before the large, having debuted in British experimental television in 1939, followed over a decade later with his debut on the ever expanding and fecund American playhouse TV in 1952.

He was befriended by stage star John Gielgud who invited him to New York and Broadway as part of the cast of "Hamlet" in 1935. On the return to London, Andrews did a run of plays in the West End. Then Gielgud invited him into his own stage company. Soon after he was asked into the Old Vic Company by its director Laurence Olivier. His roles were becoming increasingly substantial, authoritative parts to match his sharp and forceful, through-the-teeth delivery of lines. Next he did not pass up the opportunity to join the Stratford Memorial Theatre in Stratford-upon-Avon, where he spent a decade honing himself into an established, fine, versatile actor, described by the controversial London theater critic Kenneth Tynan as "the backbone of British theater.

British character actor Harry Andrews had the sort of massive granite face and square jaw that would stamp that career, but he set himself apart with brilliant stage and screen work. He had graduated from Wrekin College in Shropshire and then moved on to the stage, appearing with Liverpool Repertory in 1933 and focusing on Shakespearean roles.