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<mask> (11 May 1940 – 22 September 1993) was a Swiss writer and investigative journalist. <mask> lived in Zürich and published 14 books in his lifetime. His works were primarily about recent Swiss history. His texts are used as exemplars in Swiss journalism schools. <mask>'s best works were compiled in the book St. Fiden Paris Oerlikon. This book was republished in 2005/06 as part of the series Schweizer Bibliothek (a series of 20 of the most important Swiss books). <mask> was born 1940 in St. Gallen.He is the younger brother of missionary Peter Hildebrand <mask>. After five years in the convent school in Disentis, the 20-year-old went to the U.S. for one year. In New York City he worked as a clerk for the Federation of Migros Cooperatives and in Vancouver, Canada, as a bulldozer driver. On his return to Switzerland, he was ready to study. As a main subject, he chose history (at the University of Fribourg, then at the ETH Zurich and later thanks to a stipend, in Paris). During his years of study he reportedly was a member of a reactionary secret society. In Paris he experienced the riots of May 1968.He finished his studies in Fribourg with the title of a „lic. phil.“ and the licentiate work
De Gaulle und die USA von 1940 bis 42 (De Gaulle and the USA from 1940 to 42). From 1966 on, he was a Paris correspondent for the Weltwoche, for five years. Starting in 1971, he reported for the Swiss national television’s culture show Perspektiven (“Perspectives”) and many productions for the Swiss national radio’s transmissions, such as the satirical transmission Faktenordner („Facts Folder“). Meanwhile, he became a freelancer for the Zurich newspaper Tages-Anzeiger and the Tages-Anzeiger's magazine Magazin (today named Das Magazin.) After 1976, he was banned from writing for the Tages-Anzeiger because of his criticisms of both Swiss history and contemporary Switzerland. The longtime ban was imposed by publisher Otto Coning against the editorial staff's wishes.In 1977 had to go to court because of scenes of his movie Die Erschiessung des Landesverräters Ernst S. (English meaning: “The execution of the national betrayer Ernst S.”) and because of a planned theatre play about Ulrich Wille. <mask>, who was represented by leftist Moritz Leuenberger, a later member of the Bundesrat (Swiss Federal Council), won the process against the two sons of Wille. From 1982 to 83, <mask> <mask> was head of the Paris Bureau of the German magazine Stern. Afterwards, he was a freelancer for the weekly newspaper WOZ and acted as a writer. In spring 1987, he wrote a critical and heavy discussed biography of Ulrich Wille and his family for the Weltwoche. During fall of the same year, it was published as a book with the title Die Welt als Wille und Wahn (literally: “The World as Will and Delusion”). The German title is a play on words: “Wille” is not only a German word for “will”/”intention”, but means the surname of Ulrich Wille, too.The title in turn seems to be a reference to German philosopher Arthur Schopenhauer’s (1788–1860) main work “Die Welt als Wille und Vorstellung” (“The World as Will and Representation”, sometimes also known in English as “The World as Will and Idea”)

<mask>'s penmanship found a lot few other sophisticated word-plays, too: In "Die Erschiessung des Landesverräters Ernst S." he calls the traitor's execution "Tells Geschoss" (Tell's projectile"), because the executor shot through the betrayer's eye, like Tell shot through an apple, and the macabre punchline is as follows: in German, the "eyeball" is literally called "eye apple". Even <mask>'s book's titles attest a liking for word jokes (e.g. "The make-believing of true facts" that inverts "Die Vorspiegelung falscher Tatsachen", which is a set phrase in the world of German-speaking courts and jurisdiction.) The above-mentioned report is partially based on photographs of unpublished letters that Wille wrote to his wife. The exclusive photographs were taken by <mask> without permission - they were exposed as pieces of scenery in an exhibition. In the Afterword, <mask>, admitted this fact as follows:

The guard commanding supervisor of the local museum Meilen never had flipped open the book, but was happy that its content pleased me and photographer Roland Gretler that much, and didn’t mind me excerpting any passages of the text or Roland Gretler integrally photographing a few dozens of pages. <mask> committed suicide on 22 September 1993.In the media, the suicide of <mask> caused a big echo. The Austrian writer Erich Hackl thinks, <mask> killed himself, because he was no longer able to cope with the direction of the world. A doctor would trace this back to untreated depression. In his last letters <mask> called himself an “expiring model” (of a journalist? ), original text: “auslaufendes Modell”. <mask> <mask>'s literary remains are conserved in the Swiss Literary Archives in Bern, that amongst others also conserves the literary remains of famous names like Albert Einstein, Hermann Hesse, Patricia Highsmith and Adolf Muschg. In 1998, <mask>'s former lover, Aline Graf, published a book with the title Der andere Niklaus Meienberg (The other Niklaus <mask>), in which she describes the eight years she was his lover.She writes rather negatively about him, says that he had held her too tight and his body had looked like a cockchafer grub. Graf was invited to talk shows, gave interviews, had a big media presence. Her book received rather bad reviews in Switzerland's papers and magazines, only in Germany were some positive voices. Her style was found dirty and polluting, she was supposed to being keen on media presence. The Swiss, that defended <mask>, were disgusted and angry. Graf wanted to leave the country to recover in the Netherlands for a while. Famous voices on <mask> <mask>
 "For me, <mask> mainly is an important author of prose.It doesn’t matter, where this prose finally was published. That’s similar to Heine. Heinrich Heine wrote a big part of his work for newspapers. That now is part of the binding German-speaking prose." Peter von Matt
 "It is just right, what he wrote" Max Frisch

Awards
 1990 culture prize of the city St.Gallen
 1989 Zürich journalists price
 1988 workprice of the Max-Frisch-foundation

Films
 1976 »Die Erschiessung des Landesverräters Ernst S.« Drehbuch-Autor (with Richard Dindo) (English meaning: “The execution of the national betrayer Ernst S.”)
 1980 »Es ist kalt in Brandenburg (Hitler töten«) (with Villi Hermann and Hans Stürm) 150 minutes. CH / BRD 1978/80. (English meaning: “It’s cold in Brandenburg (killing Hitler)”)
 Films for Swiss Television, together with Villi Hermann:
 1974 Ein Fremdarbeiter namens Liebermann (English meaning: „A foreign worker called Liebermann“)
 1974 Bundesarchiv – Putzfrauen und Politiker (English meaning: „Charladies and politicians“)

Books
 St. Fiden - Paris - Oerlikon.Zürich 2006
 Reportagen 1 & 2. Zürich 2000  and 3-85791-345-2 (English meaning: „Reports: Vol. 1 and Vol. 2“)
 Zunder. Überfälle, Übergriffe, Überbleibsel. Zürich 1993  (English meaning: „Tinder. Attacks, inroads, remains“)
 Geschichte des Liebens und des Liebäugelns.Zürich 1992  (English meaning: „Story of Loving and Flirting”)
 Weh unser guter Kaspar ist tot. Plädoyers u. dgl.. Zürich 1991  (English meaning: „Sore, our good Kaspar is dead“)
 Golf-Krieg. Engagement, Verfolgung und Bedrohung. 1990 (English meaning: „Gulf War. Engagement, Prosecution and Harassment”)
 Vielleicht sind wir morgen schon bleich u. tot. Zürich 1989  (out of print) (English meaning: „Maybe tomorrow we are already pale and dead“)
 Die Welt als Wille & Wahn. Elemente zur Naturgeschichte eines Clans.Zürich 1987  (English meaning: “The World as Will and Delusion. Elements about the natural history of a clan”)
 Heimsuchungen. Ein ausschweifendes Lesebuch. Zürich 1986  (English meaning: „Visitations: An outraging Storybook“)
 Der wissenschaftliche Spazierstock. Zürich 1985  (English meaning: „The Scientific Cane“)
 Vorspiegelung wahrer Tatsachen. Zürich 1983  (English meaning: „The Make-believe of true Facts”)
 Die Erweiterung der Pupillen beim Eintritt ins Hochgebirge. Poesie 1966-1981.Zürich 1981  (English meaning: „The Enlargement of Pupillas when entering High Mountains”)
 Es ist kalt in Brandenburg. Ein Hitler-Attentat. Zürich 1980, Berlin 1990 (out of print) (English meaning: “It’s cold in Brandenburg. An attempt on Hitler”)
 Die Erschiessung des Landesverräters Ernst S. Darmstadt 1977, Zürich 1992,  (English meaning: “The execution of the national betrayer Ernst S.”
 Das Schmettern des gallischen Hahns. Darmstadt 1976, Zürich 1987,  (English meaning: “The smashing of the Gallic Rooster”)
 Reportagen aus der Schweiz. Darmstadt 1974, Zürich 1994  (English meaning: “Reports from Switzerland”)

Further reading
 Klemens Renoldner: Hagenwil-les-deux-Eglises. Ein Gespräch mit <mask> <mask>.With a photographic essay by Michael von Graffenried and an essay by Erich Hackl. Limmat Verlag, Zürich 2003, 112 p.
 Marianne Fehr: Meienberg. Lebensgeschichte des Schweizer Journalisten und Schriftstellers. Limmat Verlag, Zürich 1999, 556 p.
 Aline Graf: Der andere Niklaus Meienberg. Aufzeichnungen einer Geliebten. Weltwoche ABC Verlag, Zürich 1998, 422 p.
 Christof Stillhard: Meienberg und seine Richter. Vom Umgang der Deutschschweizer Presse mit ihrem Starschreiber.Limmat Verlag, Zürich 1992, 151 p.
 Martin Durrer und Barbara Lukesch (ed. ): Niklaus <mask> als Anlass. Essays Limmat Verlag, Zürich 1988, 232 p.

References

External links
 Literary estate of <mask> Meienberg in the archive database HelveticArchives of the Swiss National Library
 Publications by and about <mask> <mask> in the catalogue Helveticat of the Swiss National Library
 http://www.meienberg.ch  – A post mortem hommage site of the Club Meienberg. It informs holistic and contains a databank of publications
 DER Meienberg  84 minutes About the post mortem documentary film from 1999]
 Reviews to Reportagen Volumes 1+2
 Reviews to M. Fehr’s Meienberg-biography of 1999
 A variety of articles, reviews etc. More secondary literature

Investigative journalists
Swiss writers
1940 births
1993 deaths
German-language writers
People from St. Gallen (city)
20th-century Swiss journalists

masks:
Niklaus Meienberg
Meienberg
Meienberg
Life Meienberg
Meienberg
Meienberg
Niklaus
Meienberg
Meienberg
Meienberg
Meienberg
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type: original

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<mask> (born February 24, 1970) is a captain in the United States Navy. A United States Naval Academy graduate, he became a naval aviator, first flying helicopters and then switching to fighters. After completing naval nuclear training, he served as an officer on several aircraft carriers. In spring 2020, he was commanding officer of the aircraft carrier  when COVID-19 broke out among the crew. He was relieved of command by then-acting Secretary of the Navy Thomas Modly after sending a letter to Navy leaders asking that most of the crew be taken ashore which was subsequently leaked to the press. <mask> himself was also later diagnosed with the virus. Early life and education
<mask> grew up in Santa Rosa, California.He graduated from Santa Rosa High School in 1988 and then entered the United States Naval Academy in Annapolis, Maryland. He graduated from the academy in 1992. He received his master's degree in National Security and Strategic Studies from the Naval War College in Newport, Rhode Island in 2007, and completed Nuclear Power School in Goose Creek, South Carolina in 2014. Naval career
<mask> was designated a naval aviator in 1994, and was assigned as a Sikorsky SH-60 Seahawk pilot to the squadron HSL-37 at Barbers Point, Hawaii. He deployed on board  and  for operations in the Pacific Ocean and Operation Southern Watch in the Persian Gulf. In 1999, <mask> served in Navy Personnel Command as an . He then shifted to flying the FA-18 Hornet.In 2002, he reported to Strike Fighter Squadron 97 (VFA-97), the "Warhawks"; the following year, the squadron deployed with  in support of Operation Iraqi Freedom (OIF). In 2004, <mask> reported to Strike Fighter Squadron 94 (VFA-94), another F/A-18 Hornet unit known as the Mighty Shrikes, as a department head, and was again deployed with Nimitz in 2005. In 2006, <mask> was assigned to VFA-125, the "Rough Raiders," and served as an instructor and Fleet Replacement Squadron Operations Officer. The following year, he reported in 2007 to the Naval War College, where he earned a master's degree in National Security and Strategic Studies. <mask> later served as the executive officer, then commanding officer (CO) of VFA-94, based at Naval Station Lemoore in California. As squadron CO, he made multiple deployments for U.S. Third, Fifth, and Seventh Fleet operations, numerous exercises and Operations Southern Watch and OIF. He led his squadron on expeditionary deployments with Marine Aircraft Group 12 based out of Marine Corps Air Station Iwakuni, Japan, to support Pacific operations and the Global War on Terror.His squadron CO tour ended in August 2010. <mask> then reported to Naval Striking and Support Forces NATO in Naples, Italy, and served as the lead air planner for Joint Task Force Odyssey Dawn and Combined Joint Task Force Deputy Director of Targeting for NATO's Operation Unified Protector, both in Libya. From April 2014 until July 2016, <mask> completed the naval nuclear power training program and served as the executive officer of . During this tour, Ronald Reagan took part in RIMPAC 2014, two , a forward deployment to Yokosuka, Japan, to relieve  as the U.S. Navy's only forward-deployed aircraft carrier, and several Forward Deployed Naval Force deployments in the United States Indo-Pacific Command area of responsibility. From June 2017 to November 2018, he commanded the amphibious command ship  while the ship completed an extensive dry-dock refit and then returned to operations at sea. He was assigned command of the nuclear aircraft carrier  on November 1, 2019. After being relieved of duty, <mask> was reassigned to a shore position in San Diego.COVID-19 outbreak onboard Theodore Roosevelt

<mask> was captain of Theodore Roosevelt, then deployed in the Pacific, on March 24, 2020, when three members of the crew tested positive for COVID-19. The next day, eight sailors were infected, and within a few days it was "dozens." The sailors became ill after more than two weeks at sea. The initial cases were airlifted to a military hospital. Theodore Roosevelt was ordered to Guam, where she docked on March 27, and all 4,865 aboard were ordered to be tested for the virus. About 100 affected sailors were offloaded, and the rest of the crew remained on board. <mask> wanted to have most of the crew immediately taken ashore, saying it was impossible to prevent the spread of the virus in the close quarters of the ship.However, his superior, Rear Admiral Stuart P. Baker, believed that to be impractical and too drastic. On March 30, <mask> emailed a four-page memorandum to 10 Navy officers. Three were admirals in his chain of command, including his immediate commander Rear Admiral Baker, Admiral John Aquilino, the commander of the Pacific Fleet, and Vice Admiral DeWolfe Miller III, commander of naval air forces in the Pacific. Crozier copied the message to seven other captains, five of whom were on board the Roosevelt and two who were executive assistants to the admirals. <mask> did not email Vice Admiral William R. Merz, who was higher than Baker in <mask>'s chain of command. In the memorandum, <mask> pleaded for authorization to have most of the crew evacuated and quarantined ashore, citing the impossibility of following CDC recommendations on social distancing and quarantine procedures on the Theodore Roosevelt, a ship more crowded than the cruise ship Diamond Princess infected earlier. On March 31, the letter was leaked to the San Francisco Chronicle, which published it.On April 1, the Navy ordered the aircraft carrier evacuated, with a skeleton crew to remain aboard to maintain the nuclear reactors, the fire-fighting equipment, and the galley. On April 2, <mask> was relieved of command by acting Secretary of the Navy Thomas Modly. At the time of his removal, 114 of 4,865 crew members had tested positive for the coronavirus. As he disembarked, sailors cheered him and chanted his name; videos of the scene were posted to Twitter and subsequently picked up by major news organizations. After being relieved of command
<mask> himself reportedly began showing symptoms of coronavirus before he was relieved, according to two of his Naval Academy classmates. He was placed in quarantine on Guam. <mask> was replaced as interim commander by Captain Carlos A. Sardiello.At a Pentagon news conference on April 3, Modly said that Crozier had "raised alarm bells unnecessarily" and showed "extremely poor judgment." Modly mischaracterized the distribution list of the memorandum, inaccurately claiming that Crozier had copied 20 to 30 other people; Crozier in fact sent the memo to 10 officers. In an April 4 interview with radio host Hugh Hewitt, Modly criticized <mask>'s decision to send the letter to what he characterized as "a large list of other people," adding "And that, to me, just represented just extremely poor judgment, because once you do that in this digital era, you know that there is no way that you can control where that information's going to go." A joint statement from four Democrats on the House Armed Services Committee, including the committee chair, Representative Adam Smith of Washington, said that Crozier "did not handle the immense pressure appropriately" but that he "was justifiably concerned about the health and safety of his crew" and "relieving him of his command is an overreaction." President Donald Trump criticized <mask>'s letter on April 4, saying "I thought it was terrible, what he did, to write a letter. This isn't a class on literature. This is a captain of a massive ship that's nuclear-powered."Former Vice President Joe Biden criticized <mask>'s dismissal, saying: "I think it's close to criminal, the way they're dealing with this guy. ... he should have a commendation, rather than be fired." Modly, Defense Secretary Mark Esper, and Chief of Naval Operations Admiral Michael Gilday each defended the decision to remove <mask>, although Gilday and General Mark A. Milley, the chairman of the Joint Chiefs of Staff, had each advised Modly not to do it until a Navy investigation into the matter had been completed. Modly said that there was no White House pressure when the decision was made to remove Crozier. On April 6, Modly visited the ship in person and made a speech to the crew over the ship's public address system. In it, he excoriated <mask>, saying he was "too naïve or too stupid to be a commanding officer" if he did not realize that the letter would be leaked to the media. An audio recording and transcript of Modly's speech was leaked to the media within hours.Later that day, Modly apologized for the comment. The following day, he resigned his position. The Navy conducted an internal preliminary investigation into the Theodore Roosevelt affair, conducted by Admiral Robert P. Burke, the Vice Chief of Naval Operations. The investigation centers on the circumstances surrounding <mask>'s firing and whether "a breakdown in communications" had taken place. The investigation did not examine why the Theodore Roosevelt went ahead with the scheduled four-day port call in Da Nang, Vietnam, beginning on March 5, despite reported coronavirus cases in the country at that time, a decision that Navy officials defended. One crew member, Chief Petty Officer Charles Robert Thacker Jr., died of the virus on April 13. The findings of the Navy's preliminary investigation went to Gilday, and on April 15, it was reported that Gilday was considering reinstating <mask> as captain of Theodore Roosevelt.Gilday confirmed that he was not ruling out reinstatement. A reinstatement of a dismissed captain would be unprecedented in the Navy. By April 17, 94% of Theodore Roosevelts crew had been tested for COVID-19, with 660 sailors testing positive for the virus, an infection rate greater than 14%. Of the sailors who tested positive, some 60% were asymptomatic, suggesting a high level of "stealth transmission" of the virus. The Theodore Roosevelt returned to sea on May 21, after being sidelined for nearly two months in Guam. Gilday and the acting Secretary of the Navy, James E. McPherson, recommended on April 24 that <mask> be reinstated as captain of Theodore Roosevelt. However, Defense Secretary Esper delayed a decision pending a "deeper review" of the situation.In the interim, <mask> has been temporarily reassigned to San Diego, where he will serve as the special assistant to the Naval Air Forces chief of staff. A Navy inquiry, whose results were announced on June 19, concluded that <mask> and Baker made poor decisions regarding the coronavirus outbreak, so that <mask> will not be restored to command of the ship, and Baker's scheduled promotion will be put on hold. Honors, awards, and decorations

See also
 Round-Robin Letter (Spanish–American War)
 Li Wenliang, Chinese doctor who first raised the alarm in regards to the early COVID-19 cases and was reprimanded by authorities. Notes

References

External links

 Navy biography

1970 births
Living people
20th-century American naval officers
21st-century American naval officers
Military personnel from California
Naval War College alumni
People from Santa Rosa, California
Recipients of the Legion of Merit
United States Naval Academy alumni
United States Naval Aviators
United States Navy captains

masks:
Brett Elliott Crozier
Crozier
Brett Elliott Crozier
Crozier
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<mask> is an entrepreneur from Sydney, Australia. Biography

<mask> was born in Fairfield, New South Wales on 7 January 1967. He is the son of Sanctuary Cove Developer <mask>. <mask> spent his early life in the western suburbs of Sydney and attended Westfields Sports High School until moving to Queensland to live with his father, later attending The Southport School on Queensland's Gold Coast. After completing his year ten certificate, <mask> left school and began working for one his father's business, Cheoy Lee boats, which his father was importing from Hong Kong during the 1980s. After leaving his father's employ <mask> established a advertising agency called Take one Creative alternative, with his then partner and long time friend Ross Clarkson. In the late 1990s after his first bankruptcy, <mask> managed a number of advertising accounts for a small advertising agency on the central coast of New South Wales.As a result, <mask> was contracted to help establish the Arnold's Ribs and Pizza Franchise nationally. This resulted in <mask> owning and operating several stores himself on the central Coast, in Woy Woy, Gorokan and Toukley. It was in late 1996 <mask> meet partner, Sydney accountant John Atkinson, and established a home loan company called Right Home Loans. After a successful beginning this business later became known as Wright Patton Shakespeare Financial Services Group. Known as WPS, the business grew into one of Australia's largest independent financial Services companies, with more than 400 employees and licence holders Australia wide. WPS established offices in Sydney, Melbourne, Brisbane, Adelaide and Perth. <mask>, as one of the founders and former owner of the Australian Financial Planning chain "WPS", sold his interest in WPS to British Author Lord Michael Ashcroft for $160M AUD.The later was introduced to <mask> via his then Chairman The Hon Shane Stone, who served as Chairman of WPSFSG for two years before <mask> merged his companies with an Ashcroft Entity creating a new company with a focus on purchasing marina developments. This was called International Marina Development and Management Pty Ltd. Stone the served as Chairman of the merged group. This company made a number of aggressive acquisitions in a slowing economy, these included Hope Harbour Marina, The Townsville Ocean Terminal and Breakwater Marina in Townsville. The sale of WPSFG and other assets to Ashcroft entities was later to become central to a dispute between <mask> and Ashcroft and the focus of the Insolvency trustees report to creditors, which claimed, Mayfair Ltd Uk, a company owned and controlled by Ashcroft, owed <mask> more than 100M AUD. <mask> was also the co-founder of property development company Atkinson Gore Group,. Atkinson Gore group developed predominantly residential properties on the east coast of Australia, in New South Wales, Victoria and Queensland, including the Hope Island Canal adjacent to his late father's Sanctuary Cove development. <mask> was instrumental in establishing the masterplan for the Hope Island Canal development,a development that now houses more than 15000 residents.<mask> also developed high rise apartment buildings on The Gold Coast, In Sydney and Melbourne CBD. <mask> also established Big State Earth Moving a company that completed the earth works to the Hope Island Canal, as well as contracting to large developers to complete civil and residential development sites. <mask> planned to develop the Hope Island site into Australia first Adult Community However <mask> later sold part of this site to Australand Ltd for A$90m in 2003. <mask> also founded a wine exporting company called "Aussie Vineyards", which at the time was Queensland Largest exporter of wine. He was ranked sixth on the Business Review Weekly young rich list in 2006 with an estimated wealth of A$160 million. The following year he appeared 199th in the BRW Rich 200 list with an estimated wealth of A$183 million. He has sponsored and owned V8 Supercars and IndyCar and Champ Car racing teams such as Team Australia racing.As a result, <mask> played a part in the careers of two of Australia's most successful Motorsport exports Marcos Ambrose (NASCAR) and Will Power (INDYCAR). In 2004 <mask>, at the request of the Queensland Government, invested in Australian driver David Besnard, who drove in the INDY 300 classic on the Gold Coast drawing one of the biggest one day crowds to a motorsport event in Australian history. Crag <mask> has business interest in Australia, the United States and Europe, mostly in the property development sector. Insolvency and bankruptcy
<mask> was Bankrupted in 1992 after the failure of his advertising agency and the failure of his father's business. <mask>'s bankruptcy was later annulled after a meeting of creditors was called by the public trustee. In 2008, Secured Capital & Finance, a firm jointly owned by <mask> and John Atkinson froze redemptions to its clients. The appointed liquidator CRSWarnerKugel found that Wright Patton Shakespeare, a financial advice firm then owned by the duo, had recommended that their clients invest in SC&F.The liquidator went on to describe the arrangement to "something akin to a Ponzi scheme", something denied by <mask>. The liquidators investigations suggested that between 2001 and 2004, Secured Capital & Finance used investors' money to make interest payments to other investors, forward money to other companies with the Atkinson Gore Group owned by <mask> and Atkinson. none of the liquidators claims were tested in a court nor was any public examination undertaken to test the veracity of the liquidators claims. Wright Patton Shakespeare, which had been subsequently acquired by British Author Lord Michael Ashcroft, after negotiations with <mask>, to settle claims by investors, offered to pay investors 10¢ in the dollar and take over their debts, before paying out 60¢ in the dollar over four years. <mask>'s creditors accepted an offer which provided for a payment of 3 million dollars, over three years, and 30% of all profits from a Gore-controlled trust on 18 November 2010. His creditors decided to terminate the PIA on 24 February 2012.  after the appointment of CRS Krugel were appointed as trustee to Gore Bankruptcy, which <mask> contested was a direct conflict of interest as CRSWarnerKrugel had previously made unfounded claims against <mask> and business partner Atkinson. <mask> declared himself bankrupt and the Public Trustee ITSA consented to on act as official trustee 18 April 2012.Creditors concerned about the contents of the official trustees' report, voted to terminate the official trustees appointment and voted in Gregory Moloney of Ferrier Hodgson on 19 September 2012. <mask> was released from bankruptcy in April 2015, after concluding no evidence existed to properly extend <mask>'s bankruptcy. <mask> has been associated with a number of large scale property developments since he release. On 27 October 2020, following an earlier five-day judge-alone trial at the Brisbane District Court, Mr <mask> <mask> was found guilty of six counts of fraud. References

Businesspeople from New South Wales
People from the Gold Coast, Queensland
Living people
1967 births

masks:
Craig Gore
Craig Kirrin Gore
Mike Gore
Gore
Gore
Gore
Gore
Gore
Gore
Gore
Gore
Gore
Gore
Gore
Gore
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Craig Gore
Craig Kirrin
Gore


texts:
<mask>,  (24 September 1920 – 15 January 2001) was an English writer, screenwriter, and cryptographer. During the Second World War he headed the codes office supporting resistance agents in occupied Europe for the secret Special Operations Executive organisation. After the war, <mask> became a playwright and screenwriter, writing scripts that frequently utilised his war-time cryptographic experiences. He wrote the script for Peeping Tom, the controversial film directed by Michael Powell which had a disastrous effect on Powell's career, but was later described by Martin Scorsese as a masterpiece. In 1998, towards the end of his life, <mask> published a personal history of his experiences during the war, Between Silk and Cyanide, which was critical of the leadership of SOE. Early life
<mask> was born into a devout Jewish family. He was the son of <mask>, the joint owner of Marks & Co, an antiquarian bookseller in Charing Cross Road, London.He was introduced at an early age to cryptography when his father showed him Edgar Allan Poe's story, The Gold-Bug. From this early interest, he demonstrated his skill at codebreaking by deciphering the secret price codes which his father wrote inside the covers of books. The bookshop subsequently became famous as a result of the book 84, Charing Cross Road, which was based on correspondence between American writer Helene Hanff and the shop's chief buyer, Frank Doel. Work in cryptography
<mask> was conscripted in January 1942 and trained as a cryptographer; apparently he demonstrated the ability to complete one week's work in decipherment exercise in a few hours. Unlike the rest of his intake, who were sent to the main British codebreaking centre at Bletchley Park, <mask> was regarded as a misfit and he was assigned to the newly formed Special Operations Executive (SOE) in Baker Street, which was set up to train agents to operate behind enemy lines in occupied Europe and to assist local resistance groups. SOE has been described as "a mixture of brilliant brains and bungling amateurs". <mask> wrote that he had an inauspicious arrival at SOE when it took him all day to decipher a code he had been expected to finish in 20 minutes, because, not atypically, SOE had forgotten to supply the cipher key, and he had to break the code which SOE had regarded as secure.<mask> briefed many Allied agents sent into occupied Europe, including Noor Inayat Khan, the Grouse/Swallow team of four Norwegian Telemark saboteurs and his own close friend 'Tommy' Yeo-Thomas, nicknamed "the White Rabbit." In an interview which accompanied the DVD of the film Peeping Tom, <mask> quoted General Eisenhower as saying that his group's work shortened the war by three months, saving countless lives. <mask> was portrayed by Anton Lesser in David Morley's BBC Radio drama A Cold Supper Behind Harrods. The fictional play was inspired by conversations between <mask> and David Morley and real events in SOE. It featured David Jason, and Stephanie Cole as Vera Atkins. Developments of cryptographic practice
One of <mask>'s first challenges was to phase out double transposition ciphers using keys based on poems. These poem ciphers had the limited advantage of being easy to memorise, but significant disadvantages, including limited cryptographic security, substantial minimum message sizes (short ones were easy to crack), and the fact that the method's complexity caused encoding errors.Cryptographic security was enhanced by <mask>'s innovations, especially "worked-out keys." He was credited with inventing the letter one-time pad, but while he did independently discover the method, he later found it already in use at Bletchley. Preference for original code poems
While attempting to relegate poem codes to emergency use, he enhanced their security by promoting the use of original poems in preference to widely known ones, forcing a cryptanalyst to work it out the hard way for each message instead of guessing an agent's entire set of keys after breaking the key to a single message (or possibly just part of the key.) <mask> wrote many poems later used by agents, the most famous being one he gave to the agent Violette Szabo, The Life That I Have, which gained popularity when it was used in the 1958 film about her, Carve Her Name With Pride. According to his book, <mask> wrote the poem in Christmas 1943 about a girlfriend, Ruth, who had recently died in an air crash in Canada; supposedly the god-daughter of the head of SOE, Sir Charles Jocelyn Hambro. The life that I have
Is all that I have
And the life that I have
Is yours. The love that I have
Of the life that I have
Is yours and yours and yours.A sleep I shall have
A rest I shall have
Yet death will be but a pause. For the peace of my years
In the long green grass
Will be yours and yours and yours. Gestapo activities and "Indecipherables"
Gestapo signal tracers endangered clandestine radio operators, and their life expectancy in occupied France averaged about six weeks. Therefore, short and less frequent transmissions from the codemaster were of value. The pressure could cause agents to make mistakes encoding messages, and the practice was for the home station to tell them to recode it (usually a safe activity) and retransmit it (dangerous, and increasingly so the longer it took). In response to this problem, <mask> established, staffed and trained a group based at Grendon Underwood, Buckinghamshire to cryptanalyse garbled messages ("indecipherables") so they could be dealt with in England without forcing the agent to risk retransmitting from the field. Other innovations of his simplified encoding in the field, which reduced errors and made shorter messages possible, both of which reduced transmission time."Das Englandspiel" in the Netherlands
The Germans generally did not execute captured radio operators out of hand. The goal was to turn and use them, or to extract enough information to imitate them. For the safety of entire underground "circuits", it was important to determine if an operator was genuine and still free, but means of independently checking were primitive. <mask> claims that he became convinced (but was unable to prove) that their agents in the Netherlands had been compromised by the German counter-intelligence Abwehr. The Germans referred to their operation as "a game"—Das Englandspiel. <mask>'s warnings fell on deaf ears and perhaps as many as 50 further agents were sent to meet their deaths in Holland. The other side of this story was published in 1953 by <mask>'s German opposite number in the Netherlands, Hermann Giskes, in his book London Calling North Pole.Reporting to Brigadier Gubbins
In his book (pp. 222–3), <mask> describes the memorandum he wrote detailing his conviction that messages from the Netherlands were being sent either by Germans or by agents who had been turned. He argued that, despite harrowing circumstances, "not a single Dutch agent has been so overwrought that he's made a mistake in his coding...."  <mask> had to face Brigadier (later Sir) Colin Gubbins:

Gubbins grills <mask>. In particular he wants to know who has seen this report, who typed it (<mask> did):

Later life
After the war, <mask> went on to write plays and films, including The Girl Who Couldn't Quite! (1947), Cloudburst (1951), The Best Damn Lie (1957), Guns at Batasi (co-writer) (1964), Sebastian (1968), and Twisted Nerve (1968). <mask> wrote the script for Michael Powell's film Peeping Tom (1960), the story of a serial killer who films his victims while stabbing them. The film provoked critical revulsion at the time, and was described as "evil and pornographic."The film was critically rehabilitated when younger directors, including Martin Scorsese, expressed admiration for <mask>'s script. Scorsese subsequently asked <mask> to supply the voice of Satan in his 1988 film The Last Temptation of Christ. In 1998, <mask> published his account of his work in SOE – Between Silk and Cyanide: A Codemaker's Story 1941–1945. The book was written in the early 1980s, but didn't receive UK Government approval for publication until 1998. Three of the poems published in the book were scrambled into the song "Dead Agents" by John Cale performed at the Institute of Contemporary Arts, London, in April 1999. <mask> describes himself as an agnostic in Between Silk and Cyanide, but frequently refers to his Jewish heritage. Marriage and death
He married the portrait painter Elena Gaussen in 1966.The marriage lasted until shortly before his death at home from cancer in January 2001. References

Sources
 <mask> (1998), Between Silk and Cyanide: A Codemaker's Story 1941–1945. HarperCollins. Philippe Ganier-Raymond (1968), The Tangled Web, (Arthur Barker; [reprint]: Warner Paperback , originally published in French as Le Réseau Étranglé). One of the central stories in <mask>'s book, the betrayal of the SOE Dutch network, is told from the Dutch and German points of view. External links

 <mask> at the Powell & Pressburger pages
 Imperial War Museum Interview

British cryptographers
Pre-computer cryptographers
British Special Operations Executive personnel
British Army officers
British Army personnel of World War II
English agnostics
English Jews
Jewish agnostics
Jewish scientists
1920 births
2001 deaths
English male screenwriters
English dramatists and playwrights
Writers from London
English male voice actors
English male dramatists and playwrights
20th-century British dramatists and playwrights
20th-century English male writers
20th-century English screenwriters

masks:
Leopold Samuel Marks
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Benjamin Marks
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Marks
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Leo Marks
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Leo Marks


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<mask> (December 16, 1860 – April 29, 1945) was the most internationally known Colombian painter of his time and the pioneer of impressionism in Colombia. His work in solitary as a vanguardist painter frames the beginnings of modern art in Colombia. <mask>'s search for new artistic expressions generated rejection and controversies around his work. He lived a great part of his life in Europe. Early life
<mask> was born in Bogotá, Colombia on December 16, 1860. He was the third son of <mask> and Manuela Hurtado. He belonged to a well off family that was politically connected.Both his grandfather and his father worked for several years in high official positions for the Colombian government. In 1862, when he was two years old, his parents took him to Europe. The family lived in London until 1869 when they moved to Brussels. In 1878, his father obtained a position at the Colombian Embassy in France and his family settled in Paris. <mask>'s desire to be a painter faced the strong opposition of his parents who forced him to follow a career in finances. For a time, he worked as a banker, but at the death of his father in 1882, he was finally able to study painting. He entered the School of Art in Paris and worked in the workshops of Ferdinand Jacques Humbert (1842–1881) and Henri Gervex (1852–1929).Prince Eugen of Sweden and the Spanish painter, Ignacio Zuloaga y Zabaleta, studied with him under Gervex's guidance. The impressionist art movement had a great influence on his career, but <mask> was also interested in social subjects shown in the work of Alfred Roll and through him, he was influenced by the realism movement and the paintings of Jean-François Millet and Gustave Courbet. <mask> first obtained recognition when he won a first prize and was accepted to participate in the salon of French Artists in 1887 with his painting Launderers of the Seine. This large and ambitious painting already shows impressionist elements in the use of the reflection of light and his interest in social subjects. He took part in the salons of 1888, 1889 and 1890. In this early period, <mask> painted a variety of works with a refined liking for realism in the style of Courbet in works as: The shooters (1885), The reading (1886) and Salomón F. Koppel (1889). These paintings also show <mask>'s clear command of the rules of the academy.In 1891, he exhibited his painting: The tea party, at the Artistic union of Paris. The tea party is one of the best works of his early period that concludes when he left Europe to go back to Colombia. Colombia

<mask> <mask> married Amalia Bidwell Hurtado on January 25, 1893, in Saint-Jean-de-Luz. They had eight children. In 1894, the couple decided to come back to Colombia, where they lived for almost two decades. Shortly after arriving at Bogotá, <mask> was appointed professor of landscape at the Escuela Nacional de Bellas Artes (English: The National Academy of Fine Arts), where he brought the experience he had learned in France. However, his work as a vanguardist artist breaking with the traditional academic painting in Colombia was controversial.During the Colombian Civil War called, the Thousand Days War, the Academy was closed and <mask> made a long trip to Europe. In Paris, he took part in the French salon  with his painting los dragoniantes de la guardian inglesa,  which received a congratulation letter from the jurors. At the end of the Thousand Days War, he came back to Colombia, where in 1904, he was appointed director of the Academy of Arts,  a position he held for the rest of the years he lived in his native country (until 1911). He was invited by the president of the republic, general Rafael Reyes, to perform an exhibition with the writers Sanín Cano, Hinestroza Daza and Max Grillo. In 1906 he painted the triptych of the National Capital, in this represented Simon Bolivar directing the liberation campaign. While in charge of the Academy, he also founded the school of decorative and industrial arts, in which other artistic techniques like pottery, wood and stone carving and smelting were taught. In 1910, he organized an exhibition commemorating the centenary of the Independence of Colombia in which he exhibited forty-six of his works .As an artist, <mask> did not enjoy great recognition and his work as director of the academy was controversial. Under a cloud of criticism, he decided to resign to his post and left Colombia to never return. On finishing his work as director of the School of Fine Arts, he returned again to Europe and settled in Brussels. Later life
<mask> left for Europe in 1911. With his family, he traveled to England, the Netherlands and France before settling in Brussels. At the outbreak of World War I, he moved to Paris where he established a friendship with the sculptor <mask>. During the war he traveled to London; he finally settled in San Sebastian, where he remained until 1918.At the end of the war, he came back to Brussels. During this, the third period of his career, he earned distinctions as a painter in exhibitions in 1936 in Brussels and in 1937 in London (Burlington Gallery, displaying 125 paintings made over a 30-year period from 1907). He captured the modern tendencies of the European art, but was inspired by the great master like el Greco. Until the last years of his life, <mask> remained active and held many exhibitions of his works. <mask> <mask> died on April 29, 1945, of kidney infection. He was eighty-five years old. After his death, there have been many exhibitions of his works, most notably at the Colombian National Museum  in 1949 and the Museo de Arte Moderno de Bogotá in 1971, when 126 of his paintings were exhibited.Style and legacy
His paintings can be divided into three different periods of evolution. In his early works, executed while living in France, light and color have great importance. His second period began with his return to Colombia. It is characterized by a style within the divisionism, a method of painting that uses pure color, harmony and contrast. His last period began when he was back in Europe. He used a richer pictorial language, employing knives and spatulas to apply thick layers of paint. The forms became denser and more vibrant.<mask>'s work was in essence, impressionist in character and his work influenced modern painting in Colombia. Sometimes, this impressionism however would take passage to postimpressionist and other influences. He influenced the work of later artists such as Fídolo Alfonso González Camargo and Roberto Páramo. In Latin America, one can draw parallels of his work with the Venezuelan Armando Reverón and the Uruguayan Pedro Figari. The greatest collection of his works amounting to some 30 oil paintings is conserved by the National Museum of Colombia in Bogota. The museum owns emblematic pieces such as "En la Playa de Macuto" (Ca. 1907).His other works are in museums such as Colección de Arte del Banco de la República, the Biblioteca Luis Ángel Arango, Museo de Arte Moderno de Bogotá and the Museo de Antioquia in Medellín, Antioquia. Notes

Bibliography
 Martinez Betancour, : William, <mask>  <mask>, Biblioteca Virtual del Banco de la República, 2004. <mask>  <mask>maria, : Exh. cat. Museo Nacional de Bogotá and  Musée Marmottan, Paris. 1986

External links
Biblioteca Luis Ángel Arango at www.lablaa.org
https://web.archive.org/web/20070928104136/http://www.villegaseditores.com/loslibros/8084096/7.php
<mask> de Santa María at ColArte

1860 births
1945 deaths
19th-century Colombian painters
19th-century male artists
20th-century Colombian painters
20th-century male artists
Colombian male painters

masks:
Andrés de Santa Maria
Santa Maria
Andrés de Santa Maria Hurtado
Andrés de Santa Maria Rovira
Santa Maria
Santa Maria
Santa Maria
Santa Maria
Santa Maria
Andrés de
Santa Maria
Santa Maria
Santa Maria
Santa Maria
Santa Maria
Antoine Bourdelle
Santa Maria
Andrés de
Santa Maria
Santa Maria
Andrés
de Santamaria
Andrés
de Santa
Andrés


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<mask> CBE (3 October 19112 May 1995) was an English actor whose career spanned nearly 60 years. He is best known for his 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 where he reached the rank of 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 Shakespeare Memorial Theatre where he played major parts, including Caliban in The Tempest, Jaques in As You Like It, and Sir Politick Would-Be in Ben Jonson's comedy Volpone. The following season Hordern joined <mask>'s company at the Old Vic where, among other parts, he played Polonius in Hamlet, and the title role in King John. In 1957 he won a best actor award at that year's British Academy Television Awards for his role as the barrister in John Mortimer's courtroom drama The Dock Brief.Along with his theatrical responsibilities Hordern had regular supporting roles in various films including Cleopatra (1963), and 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. <mask>'s next major play was 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, and the BBC adaptation of Middlemarch. He was appointed a CBE in 1972 and was 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

Hordern's mother, Margaret Murray, was descended from James Murray, an Irish physician whose research into digestion led to his discovery of the stomach aid milk of magnesia in 1829. The invention earned him a knighthood and brought the family great wealth. Margaret grew up in England, and attended St Audries School for Girls in Somerset. Hordern's father, Edward, was the son of a Lancastrian priest who was the rector at the Holy Trinity Church in Bury. As a young man Edward joined the 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. They had their first child, a son, Geoffrey, in 1905, followed by another, Peter, in 1907. Early years

Four years after the birth of Peter, a pregnant Margaret returned to England, where <mask>, her third son, was born on 3 October 1911 in Berkhamsted, Hertfordshire. Still stationed abroad, Edward was promoted to the rank of 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. 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, <mask> 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. After a few years, and along with a fellow enthusiast, he set up the "A Acting Association" (AAA), a small theatrical committee, which organised productions on behalf of the school. As well as the organisation of plays, <mask> arranged a regular group of players, himself included, to perform various plays which they wrote, directed, and choreographed themselves. He stayed at Windlesham House for nine years, later describing his time there as "enormous fun". Hordern was 14 when he left Windlesham House to continue his schooling as a member of Chichester House at Brighton College. 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." 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. 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. 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. The following year, Edward retired from active service and returned to England, where he relocated his family to Haywards Heath in Sussex. There, <mask> developed a love for fishing, a hobby about which he remained passionate for the rest of his life. In his autobiography <mask> 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. 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. In 1925 <mask> 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. Early acting career (1930–39)

Theatrical beginnings

Hordern left Brighton College in the early 1930s and secured a job as a teaching assistant in a prep school in Beaconsfield. He joined an amateur dramatics company 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". 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 <mask>'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. With the death of his mother in January 1933, <mask> decided to pursue a professional acting career. He briefly took a job at a prep school but fell ill with poliomyelitis and had to leave. Upon his recuperation, 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. 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". Both productions provided him with the chance to work with a cue-script, 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 in As You Like It, followed by Love's Labour's Lost, in which he co-starred with Osmond Daltry. <mask> admired Daltry's acting ability and later admitted to him being a constant influence on his Shakespearean career. In addition to his Shakespearean commitments, <mask> joined the St Pancras People's Theatre, a London-based company partly funded by the theatrical manager Lilian Baylis. <mask> 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. 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. 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.On nights when he was not required, <mask> would be called upon to undertake the duties of 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 <mask> as Ludovico in Othello. The part became <mask>'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. It also starred the English actor Stephen Murray in the title role, but he became contractually obliged elsewhere towards the end of the run. This allowed <mask> to take his place for which Daltry paid <mask> an extra £1 a week. After Othellos closure, Daltry undertook a tour of Scandinavia and the Baltic with two plays, 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 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. Bristol repertory theatre

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.Hordern, p. 50. Hordern's first acting role within the company was as Uncle Harry in the play Someone at the Door. Because of the play's success, Russell 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 <mask> fell in love with Eve Mortimer, a juvenile actress who appeared in minor roles in many of Russell's productions. <mask> 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. <mask> described the company's props as being made to a very high standard, despite being bought on a shoe-string budget. After a brief holiday with Eve in Scotland in 1938, Hordern returned to London, where he appeared in Quinneys, a radio play broadcast by the BBC in June of that year. The main part went to Henry Ainley whom Hordern described as "a great actor, who, sadly, was past his best". <mask> then made a return to Bristol to prepare for the following season with the Rapier Players.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". By the end of 1938 <mask>'s father had sold the family home and had bought a cottage in 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.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 the outbreak of war, Hordern volunteered for a post within the Air Raid Precautions (ARP). 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.Hordern, p. 59. 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 Assembly Rooms on 16 October.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; 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. 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's comedy film Band Waggon. "Band Waggon (1940)", British Film Institute, accessed 4 July 2015. 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. "Sir <mask>" , Fleet Air Arm Archives (1939–1945), accessed 12 February 2015. He found that although his middle class upbringing hindered his ability to make friends on board the ship, it helped with his commanding officers.Hordern, pp.66–67. By 1941 radar was slowly being introduced to the Navy and <mask> 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. 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 . Shortly after the departure of his superior, he was promoted to 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. Marriage and post-war years

During a short visit to Liverpool in 1943, <mask> proposed to Eve; they married on 27 April of that year with the actor Cyril Luckham as best man.After the honeymoon, <mask> 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. The Horderns rented a flat in Elvaston Place in Kensington, London, and he began to seek work as an actor. 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. Hordern's first role in 1946 came as Torvald Helmar in A Doll's House at the Intimate Theatre in Palmers Green. 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 and ran for 85 performances until its closure on 12 October. 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". The following month Eve gave birth to the couple's only child, a daughter, Joanna, who was born at Queen Charlotte's Hospital in Chelsea. That Christmas he took the role of Nick Bottom in a festive reworking of Henry Purcell's The Fairy-Queen. The play was the first performance by the Covent

masks:
Sir Michael Murray Hordern
Michael Benthall
Hordern
Michael Hordern
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Michael
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Michael Hordern
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Hordern


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 Garden Opera Company, which later became known as The Royal Opera. Towards the end of April 1947, Hordern accepted the small part of Captain Hoyle in Richard Llewellyn's comic drama film Noose. Two other roles occurred that year: as Maxim de Winter in a television adaption of Daphne du Maurier's novel Rebecca, followed by the part of a detective in Good-Time Girl, alongside Dennis Price and Jean Kent.The following year he took part in three plays: Peter Ustinov's The Indifferent Shepherd, which appeared at the newly opened Q Theatre in Brentford, West London; Ibsen's Ghosts; and an adaptation of The Wind in the Willows at the Shakespeare Memorial Theatre in Stratford-upon-Avon in which he portrayed the part of the blustery, eccentric Mr Toad. "Wind in the Willows: Costume design", Victoria and Albert Museum, accessed 22 January 2016. In early 1949 <mask> appeared as Pascal in the <mask>-directed comedy A Woman in Love, but disliked the experience because of the hostile relationship between Redgrave and the show's star, Margaret Rawlings. Next, he was engaged in the minor role of Bashford in the critically acclaimed Ealing comedy Passport to Pimlico, a performance which he described as "tense and hyperactive". 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's Ivanov in 1950.The production took place at the 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 <mask>, 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." 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 singled out Hordern's performance as being "deeply moving". 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 <mask> 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. The play proved popular with audiences, but not so with theatrical commentators. Hordern liked the piece, calling it "bitter and interesting", 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. Shakespeare Memorial Theatre

Hordern cited Saint's Days 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 in As You Like It, and Sir Politick Would-Be in Ben Jonson's comedy Volpone.<mask> claimed to know very little about the bard's works and sought advice from friends about how best to prepare for the roles. The same year, he travelled down to Nettlefold Studios, Walton-on-Thames, to film Scrooge, an adaptation of Charles Dickens's A Christmas Carol, in which he played Marley's ghost. Reviews were mixed with The New York Times giving it a favourable write-up, while Time magazine remained ambivalent. The Aberdeen Evening Express echoed the comments made by an American reviewer by calling Scrooge a "trenchant and inspiring Christmas show". 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. With the first play of the season imminent, the Horderns moved to Stratford and took temporary accommodation at Goldicote House, a large country property situated on the 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 <mask>, who thought Hordern's Caliban was "immensely fine, with all the pity and pathos... but with real terror and humour as well". 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 <mask>'s different reading can now stand beside the other does credit to a player who will be a Stratford prize." The Old Vic

Hordern's contract at the Shakespeare Memorial Theatre lasted until mid-1952, and on its expiration, he secured a position within <mask>'s theatrical company at the Old Vic in London. The company's first play, Hamlet, starred Richard Burton, Claire Bloom, and Fay Compton, and opened on 14 September 1953. 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".Shortly after opening, it was transferred to Edinburgh, where it took part at the 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... but towards the end of the performance he began to obscure less matter with more art". After Edinburgh, Benthall took Hamlet on a provincial tour and the play had a successful run of 101 performances. 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. 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" but thought that Burton had a tendency to get easily "ratty" with him in social situations.<mask> described their working relationship as "love-hate" and admitted they were envious of each other's success; Burton of Hordern because of the latter's good reviews, and <mask> of Burton who received more attention from fans. When Burton left for Hollywood years later, he recommended Hordern to various casting directors; <mask> was subsequently engaged in six of Burton's films. King John was next for Benthall's company and opened on 26 October 1953. The lead character initially went to an unknown and inexperienced young actor, but the part was re-cast with <mask> in the role. <mask> described King John as being "a difficult play in the sense that it has no common purpose or apparent theme". Simultaneously to this, he was commuting back to Pinewood Studios where he was filming Forbidden Cargo. The hectic schedule brought on a bout of exhaustion for which he received medical advice to reduce his workload.Theatre Royal, Brighton

In early 1955 <mask> was asked by the British theatre 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, transferred from Oxford to the Theatre Royal in Brighton. Beaumont's request came at short notice because <mask>'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. <mask> 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.<mask> 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. Years later <mask> 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." <mask> and Harrison's dislike for one another was evident to the rest of the cast. One night, after a performance of Nina in Eastbourne, and having felt that he had "acted [his] socks off", <mask>, 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".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." <mask> 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. Films and 1950s theatre

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."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. 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." 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". With the experience of Nina still fresh in his mind, <mask> took a break from the stage and decided to concentrate on his film career. <mask> 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 for which he spent many months filming in southern Spain alongside Dirk Bogarde, Cyril Cusack, and Bernard Lee. 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. 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, and Commander Lindsay in The Night My Number Came Up. He appeared in two other films the following year; the medical drama No Time for Tears, and the thriller Windom's Way. 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", everybody, according to the actor, had a story to tell and could relate to the situations that were being depicted before them on screen.He found his earlier naval experience to be an asset when cast in many war films, including The Man Who Never Was, Pacific Destiny, The Baby and the Battleship, all in 1956, and I Was Monty's Double two years later. <mask> was cast in John Mortimer's 1957 play The Dock Brief in which <mask> 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. <mask> played the barrister opposite David Kossoff's murder suspect. After some positive comments from the theatrical press, the play transferred to radio in May the same year. It was broadcast on television in September, and earned Hordern a Best Actor Award at the 1958 British Academy Television Awards. "Television Actor in 1957: <mask>", British Academy of Film and Television Arts (BAFTA), accessed 1 October 2019.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. The year 1959 was professionally disastrous for Hordern. He made a return to stage at the Old Vic in Arthur Wing Pinero's 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, <mask> was miscast, while a reporter for The Stage, thought he gave a "convincing portrayal". Wearing believed that overall the play was not "played briskly enough", while a critic for The Times thought that it had "durable theatrical quality". 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.He received equally critical notices when he took to the stage to play the title character in Macbeth, opposite Beatrix Lehmann. The press wrote of <mask>'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." On 9 October 1959, <mask> made his debut on Broadway at the Cort Theatre in Marcel Aymé's comedy Moonbirds, alongside the comedian Wally Cox. The play was a disaster and closed after only two nights and three performances. Little was offered in the way of praise, although critics singled out <mask>'s performance in particular as being good. He was unsure why the play failed, and attributed it to clashes of personality between cast and management.Cleopatra and the 1960s

In 1960 <mask> played 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 and with a plot reminiscent of his naval days. With a few smaller roles in between, <mask> started work on the American epic historical drama 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". He played the Roman orator Cicero 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. Much to Hordern's annoyance, the film would require him to work once again with Rex Harrison, who was cast as 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 <mask>'s dismissal, but the matter was quickly resolved by producers and the two were kept separate in between filming. In 1993 <mask> claimed the incident had "cleared the air" between them and they eventually became friends. After Cleopatra'''s release, <mask> made a return to films, appearing in The Spy Who Came In from the Cold (1965), Khartoum (1966, as Lord Granville), How I Won the War (1967), Where Eagles Dare (1968), and Anne of the Thousand Days (1969, as Thomas Boleyn). He also featured in the Roman farce A Funny Thing Happened on the Way to the Forum in 1966. <mask> first met the British theatre director Jonathan Miller in 1968. Miller, who had long been an admirer of Hordern, offered him the part of the agonistic Professor Parkin in his forthcoming television drama Whistle and I'll Come to You. <mask>, 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. 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", 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] <mask> made a

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