Stanley Baker

In November 2006 a Lounge dedicated to his life and work was opened by his widow, Lady Ellen Baker and his sons at Ferndale Rugby club in the village of his birth.

The part that would have been played by Baker in Zulu Dawn (1979) was enacted by Burt Lancaster.

Awarded a knighthood in Harold Wilson's resignation Honour's List in June 1976. At the time his knighthood was announced, Baker thought he had beaten his lung cancer following surgery in February of that year. However, although the tumour in his lung had been removed, it had spread into his chest and attached itself to his heart. Since no further surgery was possible, he had only a maximum of nine weeks to live anyway. Three weeks after the announcement of his knighthood, Baker was hospitalized in Spain with pneumonia. As he had died without making the journey to be formally knighted at Buckingham Palace, he cannot be referred to as Sir Stanley, but Queen Elizabeth II agreed that his widow Ellen Martin could use the title "Lady Baker".

His wife Ellen and Richard Burton believed Baker's performance in How Green Was My Valley (1975) was so good because he was playing his own father.

Stanley Baker also took the opportunity to move into the realm of television, appearing in, among other productions, the dramas BBC Play of the Month: The Changeling (1974) and BBC Play of the Month: Robinson Crusoe (1974), and also in the series How Green Was My Valley (1975).

In May 1972 he was one of the co-organisers of the Great Western Bardney Pop Festival in Lincoln.

He was awarded the freedom of Ferndale, and in a ceremony which he attended in 1970, the local council placed a plaque on the house where he was born.

Baker must have felt more assured in disenchanted roles - as further films from Baker's own stable still promoted the actor in either criminal or villainous mode - as gangster Paul Clifton in Robbery (1967) and the corrupt thief-taker Jonathan Wild in Where's Jack? (1969). The success of Baker's own productions was timely and did much to enhance the prestige of what was then considered an ailing British film industry.

When Baker inaugurated his own film production company - it was Endfield he commissioned to write and direct both Zulu (1964) and Sands of the Kalahari (1965), with Baker allotting himself the downbeat roles of the martinet officer John Chard in Zulu and the reluctant hero Mike Bain in The Sands Of The Kalahari.

Although now enthroned by enthusiastic audiences Stanley Baker was obviously aware he need not desert unsympathetic parts - and his relish in playing the scheming Astaroth in Sodom and Gomorrah (1962) and the unscrupulous mobster Johnny Bannion in The Concrete Jungle (1960) was readily evident.

But soon there were more principled, if still surly characters, in The Guns Of Navarone (1961), The Games (1970), Eva (1962), and Accident (1967), the latter two films reuniting Baker with the American expatriot director of The Criminal, Joseph Losey.

With the success of The Concrete Jungle (1960), Baker all but displaced his polar opposite Dirk Bogarde to become Britain's most popular star. However, Zulu (1964) was his last huge success. His career was damaged by the commercial failure of Sands of the Kalahari (1965) and Robbery (1967), although the latter received favourable reviews.

For a time there was a distillation of Baker's screen persona in a series of roles as stern and uncompromising policemen - in Violent Playground (1958), Chance Meeting (1959), and Hell Is a City (1960). But despite never having been cast as a romantic leading man, and being almost wholly associated with villainous roles, Stanley Baker nevertheless became a star by dint of his potent personality.

Stanley Baker also established a fruitful working relationship with the American director Cy Endfield, following their early collaboration on Hell Drivers (1957).

At the beginning of his career he was typecast as villains until Laurence Olivier invited him to play Henry Tudor in Richard III (1955).

Stanley Baker was unusual star material to emerge during the Fifties - when impossibly handsome and engagingly romantic leading men were almost de rigueur. Baker was forged from a rougher mould. His was good-looking, but his features were angular, taut, austere and unwelcoming. His screen persona was taciturn, even surly, and the young actor displayed a predilection for introspection and blunt speaking, and was almost wilfully unromantic. For the times a potential leading actor cast heavily against the grain. Baker immediately proved a unique screen presence - tough, gritty, combustible - and possessing an aura of dark, even menacing power. Stanley Baker came from rugged Welsh mining stock - and as a lad was unruly, quick to flare, and first to fight. But like his compatriot and friend Richard Burton, the young Baker was rescued from a gruelling life of coal mining by a local teacher, Glyn Morse, who recognized in the proud and self-willed lad a potent combination of a fine speaking voice, a smouldering intensity, and a strong spirit. And like Burton, Stanley Baker was specially and specifically tutored for theatrical success. In fact, early on, Burton and Baker appeared together on stage as juveniles in The Druid's Rest, in Cardiff, in Wales. But later, by way of Birmingham Repertory Theatre and then the London stage, Stanley Baker charted his inevitable course toward the Cinema. Film welcomed the adult Baker as the embodiment of evil. Memorable early roles cast the actor in feisty unsympathetic parts - from the testy bosun in Captain Horatio Hornblower (1951) to his modern-day counterpart in The Cruel Sea (1953), to the arch villains in Hell Below Zero (1954) and Campbell's Kingdom (1957) to the dastardly Mordred in Knights of the Round Table (1953) and the wily Achilles in Helen of Troy (1956).

His breakthrough as an actor came in 1950 in Christopher Fry's anti-war play "A Sleep of Prisoners" alongside Denholm Elliott and Leonard White. The production later toured the United States.

Baker served in the Royal Army Service Corps from 1946-1948.

Although born in Wales, Baker spent most of his formative years in England since his parents moved to London in the mid-1930s.