Martine Beswick is an English actress and model, best known for her roles in two James Bond films. Beswick was born on 26 September 1941 in Port Antonio, Jamaica to Ronald Stuart Davis Beswick, a British father and Myrtle May a Portuguese-Jamaican mother. Beswick, her sister Laurellie and her mother moved to London in 1954 following the separation of her parents. In 1955, she left high school to work to help support her family. Beswick is best known for her two appearances in the James Bond film series. Although she auditioned for the first Bond film Dr. No, she was cast in the second film From Russia with Love as the fiery gypsy girl, Zora, she engaged in a "catfight" scene with her rival Vida. She was incorrectly billed as "Martin Beswick" in the title sequence. Beswick appeared as the ill-fated Paula Caplan in Thunderball, she had been away from the Caribbean so long that she was required to sunbathe for two weeks before filming, to look like a local. Beswick went on to appear in One Million Years B.
C. opposite Raquel Welch, with whom she engaged in a catfight. She appeared in various Hammer Studio low-budget films, most notably Prehistoric Women and the gender-bending Dr. Jekyll and Sister Hyde, in which she played the titular villainess, she played Adelita in the well-regarded Spaghetti Western, A Bullet for the General opposite Klaus Kinski and Gian Maria Volontè. She starred as the Queen of Evil in Queen of Evil. In the 1970s, Beswick moved to Hollywood and appeared on both the big and small screens, she made numerous guest appearances on television series, including Sledge Hammer!, Fantasy Island, The Fall Guy, The Six Million Dollar Man and Falcon Crest. In 1980, she played the lead role in the comedy film The Happy Hooker Goes Hollywood. Beswick's career was active well into the 1990s. Since she has participated in film documentaries, providing commentary and relating her experiences on the many films in which she has appeared, she owned a removals business in London, but is now semiretired except for her guest appearances at international Bond conventions.
In April 2013, she was one of 12 Bond Girl celebrity guests in an episode of the BBC's Masterchef. Beginning with Melvin and Howard, she changed the spelling of her last name to "Beswicke", but reverted to her original name in the mid-1990s. After a 24 year absence from the screen, Beswick came out of retirement in 2018 to star in House of the Gorgon opposite fellow Hammer film stars Caroline Munro, Veronica Carlson, Christopher Neame. Martine Beswick on IMDb Martine Beswick at AllMovie Martine Beswick at HorrorStars Martine Beswick interviewed by M J Simpson
Painting is the practice of applying paint, color or other medium to a solid surface. The medium is applied to the base with a brush, but other implements, such as knives and airbrushes, can be used; the final work is called a painting. Painting is an important form in the visual arts, bringing in elements such as drawing, composition, narration, or abstraction. Paintings can be naturalistic and representational, abstract, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by religious art. Examples of this kind of painting range from artwork depicting mythological figures on pottery, to Biblical scenes Sistine Chapel ceiling, to scenes from the life of Buddha or other images of Eastern religious origin. In art, the term painting describes the result of the action; the support for paintings includes such surfaces as walls, canvas, glass, pottery, leaf and concrete, the painting may incorporate multiple other materials including sand, paper, gold leaf, as well as objects.
Color, made up of hue and value, dispersed over a surface is the essence of painting, just as pitch and rhythm are the essence of music. Color is subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West; some painters, theoreticians and scientists, including Goethe and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent; the word "red", for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a formalized register of different colors in the way that there is agreement on different notes in music, such as F or C♯. For a painter, color is not divided into basic and derived colors. Painters deal with pigments, so "blue" for a painter can be any of the blues: phthalocyanine blue, Prussian blue, Cobalt blue, so on. Psychological and symbolical meanings of color are not speaking, means of painting.
Colors only add to the potential, derived context of meanings, because of this, the perception of a painting is subjective. The analogy with music is quite clear—sound in music is analogous to "light" in painting, "shades" to dynamics, "coloration" is to painting as the specific timbre of musical instruments is to music; these elements do not form a melody of themselves. Modern artists have extended the practice of painting to include, as one example, which began with Cubism and is not painting in the strict sense; some modern painters incorporate different materials such as sand, straw or wood for their texture. Examples of this are the works of Anselm Kiefer. There is a growing community of artists who use computers to "paint" color onto a digital "canvas" using programs such as Adobe Photoshop, Corel Painter, many others; these images can be printed onto traditional canvas. Jean Metzinger's mosaic-like Divisionist technique had its parallel in literature. I make a kind of chromatic versification and for syllables I use strokes which, variable in quantity, cannot differ in dimension without modifying the rhythm of a pictorial phraseology destined to translate the diverse emotions aroused by nature.
Rhythm, for artists such as Piet Mondrian, is important in painting as it is in music. If one defines rhythm as "a pause incorporated into a sequence" there can be rhythm in paintings; these pauses allow creative force to intervene and add new creations—form, coloration. The distribution of form, or any kind of information is of crucial importance in the given work of art, it directly affects the aesthetic value of that work; this is because the aesthetic value is functionality dependent, i.e. the freedom of perception is perceived as beauty. Free flow of energy, in art as well as in other forms of "techne", directly contributes to the aesthetic value. Music was important to the birth of abstract art, since music is abstract by nature—it does not try to represent the exterior world, but expresses in an immediate way the inner feelings of the soul. Wassily Kandinsky used musical terms to identify his works. Kandinsky theorized that "music is the ultimate teacher," and subsequently embarked upon the first seven of his ten Compositions.
Hearing tones and chords as he painted, Kandinsky theorized that, yellow is the color of middle C on a brassy trumpet. In 1871 the young Kandinsky learned to play the cello. Kandinsky's stage design for a performance of Mussorgsky's "Pictures at an Exhibition" illustrates his "synaesthetic" concept of a universal correspondence of forms and musical sounds. Music d
Dracula Has Risen from the Grave
Dracula Has Risen from the Grave is a 1968 British horror film directed by Freddie Francis for Hammer Films. It stars Christopher Lee as Count Dracula, with support from Rupert Davies, Veronica Carlson, Barry Andrews, Barbara Ewing, Ewan Hooper and Michael Ripper; this was the fourth entry in Hammer's Dracula series, the third to feature Christopher Lee as the titular vampire. The story opens in 1905 in an East European village. A young altar boy makes his way up to the bell-tower, he is about to ring the bell. He climbs into the bell chamber, where he discovers the corpse of a young woman crammed inside the church bell, another victim of Dracula. A year in 1906, following the events of the previous film, Dracula has been destroyed. Monsignor Ernest Mueller comes to the village on a routine visit only to find the altar boy is now a frightened mute and the priest has lost his faith; the villagers refuse to attend Mass at the Catholic church because the shadow of Dracula's castle touches it. To bring to an end the villagers' fears, Mueller climbs to the castle to exorcise it.
The terrified priest follows only partway up the mountain, Mueller continues alone. As he exorcises the castle, attaching a large metal cross to its gate, a thunderstorm occurs; the priest flees, is knocked unconscious when his head strikes a rock. The blood from the head wound trickles into a frozen stream through a crack in the ice, onto the lips of Count Dracula, reviving him. Mueller returns to the village, reassures the villagers, returns to his home city of Keinenberg where he lives with his widowed sister-in-law, Anna. Unknown to Mueller, Dracula takes control of the priest. Furious that his castle is now barred to him, Dracula forces the enslaved priest to reveal the name of the exorcist; the priest desecrates a coffin to provide a sleeping place for the Count, leads Dracula to Keinenberg, where the Count determines to take his revenge on Mueller's beautiful niece, Maria. Dracula enslaves Zena the tavern girl. Zena succeeds in bringing Maria under Dracula's power, but Maria's boyfriend Paul, who lives and works in the bakery beneath the tavern, rescues her.
Dracula punishes Zena by killing her. Dracula orders the priest to destroy Zena's corpse before she turns into a vampire, so the priest burns her body in the bakery ovens; the priest helps Dracula locate Maria. Dracula climbs over the rooftops of nearby buildings, enters Maria's room, bites her. Mueller enters Maria's room just after Dracula has bitten the girl and pursues a fleeing figure across the rooftops, he is knocked down by the priest. Mueller makes his way back home, he summons Paul. He passes on a book, which contains the rites of protection against vampires and ways to defeat them, before he succumbs to his wounds. Paul enlists the priest, not knowing he is under Dracula's spell. Unable to break free from Dracula's influence, the priest attacks Paul one night as they watch over Maria. Paul defeats the priest, forces him to lead the way to Dracula's lair, they try to stake Dracula through the heart, but the faithless priest and the atheist Paul are not able to say the required prayer, so Dracula rises and removes the stake himself.
He kidnaps flees to Castle Dracula, pursued by Paul and the priest. At the castle, Dracula orders Maria to remove the cross from the door, she throws it over the parapet into the ravine below. Paul fights Dracula on the parapet and throws him over the side, followed by Dracula's impaling on the cross below; the priest, freed from the vampire's influence, recites the Lord's Prayer in Latin and Count Dracula perishes, dissolving into dust. Reunited with Maria and having regained his Christian faith, Paul crosses himself while viewing Dracula's remains. Christopher Lee as Count Dracula Rupert Davies as Monsignor Ernest Muller Veronica Carlson as Maria Muller Barry Andrews as Paul Ewan Hooper as Priest Barbara Ewing as Zena Marion Mathie as Anna Muller Norman Bacon as Altar boy This Hammer Dracula production was shot at Pinewood Studios situated in Iver Heath, Buckinghamshire. Notably missing are the approach road, coach path and moat seen in front of Castle Dracula in 1958's Dracula and 1966's Dracula: Prince of Darkness.
Those films were made at Bray Studios. The film was photographed by Arthur Grant using colored filters belonging to director Freddie Francis a cameraman by trade, who used them when photographing The Innocents. Whenever Dracula is in a scene, the frame edges are tinged crimson and yellow. Terence Fisher was to direct the film, but dropped out due to illness. In Australia, the film was the first Hammer Dracula; the film was censored and ran for a three-week season at Sydney's Capitol theater in January 1970. Howard Thompson of The New York Times wrote, "'Dracula Has Risen From The Grave.' Yes, again. And judging by this junky British film in color—asplatter with catchup or paint or whatever, to simulate the Count's favorite color—he can descend again." Variety called the film "a tired episode," adding, "The story's slight, the horror and the bloodcurdling essential to these pix is minimal and Dracula himself appears bored at being resurrected yet again." The Monthly Film Bulletin of the UK was somewhat more positive, writing that the film was "rather short on shock sequences" but had "a nice gory opening" and "a suitably horrific finale."
Audiences in both Britain and the
Randall and Hopkirk (Deceased)
Randall and Hopkirk is a British private detective television series, starring Mike Pratt and Kenneth Cope as the private detectives Jeffrey Randall and Martin Hopkirk. The series was created by Dennis Spooner and produced by Monty Berman, was first broadcast in 1969 and 1970. In the United States, it was given the title My Partner the Ghost. In Spain it was entitled El Detective Fantasma. In the initial episode Hopkirk returns as a ghost. Randall is the only main character able to see or hear him, although certain minor characters are able to do so in various circumstances throughout the series such as when drunk or under hypnosis. ITC Entertainment produced a single series of 26 episodes in 1968 and 1969, aired from September 1969 to March 1970; the pilot episode was broadcast on ITV in the United Kingdom on 19 September 1969 on ATV Midlands. LWT broadcast the pilot on 21 September 1969; the series was remade in 2000, starring Bob Mortimer. On 10 May 2010 the SyFy Channel announced that it had secured the rights to Randall & Hopkirk and were looking to develop a pilot.
As of October 2014, there had been no further developments. Randall and Hopkirk was conceived by producer Dennis Spooner in 1967. Spooner had a keen interest in the paranormal and ghostly phenomena, which he considered an inspired idea for a television series, incorporating it with the characteristic crime and action of other earlier productions in the 1960s such as The Avengers and The Saint. Spooner was influenced by other paranormal films, such as Blithe Spirit and Topper, which had a profound impact on him, providing him with an understanding of the elements of the fantasy genre, studying the aspects of paranormal activity upon which a television series could be based. While working on The Baron for ITC, Spooner met the producer Monty Berman, with whom he formed the production company Scoton. Spooner had worked with Mike Pratt and Annette Andre on The Baron, based on John Creasey's novels, in 1966 and 1967, had known Pratt and Kenneth Cope from other series such as The Avengers and his work on the BBC's Z-Cars.
Pratt and Andre had appeared in The Saint earlier in the 1960s, with which both Spooner and Berman were familiar. Screen testing began in late 1967. Scoton were informed that they were to commence the filming of Randall and Hopkirk in 1968, alongside the production of Department S. Filming commenced in 1968 and the cast worked strenuously into 1969 to complete the series; the first episode was broadcast on Friday 19 September 1969 on ATV Midlands, Westward, Granada and Ulster. Other regions, such as Anglia, Tyne-Tees and Grampian, which would continue to broadcast in black and white for several months after the initial colour broadcast start date of 15 November 1969, decided not to screen the series at this time. Of this initial run, only LWT screened all 26 episodes. Ulster and Granada rested the show after eight episodes, Yorkshire and Westward did so after 14 episodes, Harlech after 15 episodes, ATV Midlands only screened 21 of the 26 episodes. In the pilot episode, "My Late Lamented Friend and Partner", Marty is murdered in a hit-and-run during an investigation, but he returns as a ghost, whom only Jeff can see, to help Jeff bring his murderer to justice.
In helping Jeff with his case, Marty stays out of his new grave for too long and is cursed to walk the Earth for 100 years. Seeing the advantages of having a ghost at the detective agency, Marty stays as an invisible partner, playing the key role in helping Jeff solve crime thereafter meaning that he can see his widow, who works as a secretary at the agency every day. Marty is instrumental throughout the series in ensuring Jeff is aware of the occurrences of crimes and more than not is responsible for saving his partner's life in each episode by using his supernatural powers, his powers are limited, in that he physically cannot touch anything and has no extrasensory knowledge of events that take place when he is not present. While Marty aids Jeff immensely in his investigations, his persistence at urging Jeff to follow leads when Jeff has other engagements, where there is no obvious criminal activity or where he is putting his life and reputation at risk can infuriate the short-fused Jeff.
The comedic aspect of the series came to the surface in episode 2, "A Disturbing Case", which dealt with hypnotic suggestion. Written by star Mike Pratt, the episode features Marty impersonating the thick German accent of the German psychiatrist Dr Conrad, allowing him to direct the glazed, drugged Randall to do what he wants while he is in his pyjamas in a nursing home. Although the second episode is undoubtedly the most comic of the series, Marty's ability to control hypnosis is an important source of comedy in subsequent episodes, notably episode 10, "When did You Start to Stop Seeing Things?", in which he hypnotizes a hypnotist to save Randall, directing him to behave like an animal and act like a Secret Agent contrary to expected professional behaviour. In episode 3, "All Work and No Pay", a number of story elements important for episodes in the series are introduced exposing the vulnerability and naivety of Jeannie Hopkirk, traits which can leave her life in danger due to her willingness to help people.
Jeannie is manipulated by the Foster Brothers who, by using electronic equipment, falsely convince her that her late husband Marty is a po
West Germany the Federal Republic of Germany, referred to by historians as the Bonn Republic, was a country in Central Europe that existed from 1949 to 1990, when the western portion of Germany was part of the Western bloc during the Cold War. It was created during the Allied occupation of Germany in 1949 after World War II, established from eleven states formed in the three Allied zones of occupation held by the United States, the United Kingdom and France, its capital was the city of Bonn. At the onset of the Cold War, Europe was divided among the Eastern blocs. Germany was de facto divided into two countries and two special territories, the Saarland and divided Berlin; the Federal Republic of Germany claimed an exclusive mandate for all of Germany, considering itself to be the democratically reorganised continuation of the 1871–1945 German Empire. It took the line. Though the GDR did hold regular elections, these were not fair. From the West German perspective, the GDR was therefore illegitimate.
Three southwestern states of West Germany merged to form Baden-Württemberg in 1952, the Saarland joined the Federal Republic of Germany in 1957. In addition to the resulting ten states, West Berlin was considered an unofficial de facto 11th state. While not part of the Federal Republic of Germany, as Berlin was under the control of the Allied Control Council, West Berlin politically-aligned itself with West Germany and was represented in its federal institutions; the foundation for the influential position held by Germany today was laid during the Wirtschaftswunder of the 1950s when West Germany rose from the enormous destruction wrought by World War II to become the world's third-largest economy. The first chancellor Konrad Adenauer, who remained in office until 1963, had worked for a full alignment with NATO rather than neutrality, he not only secured a membership in NATO but was a proponent of agreements that developed into the present-day European Union. When the G6 was established in 1975, there was no question whether the Federal Republic of Germany would be a member as well.
Following the collapse of communism in Central and Eastern Europe in 1989, symbolised by the opening of the Berlin Wall, there was a rapid move towards German reunification. East Germany voted to dissolve itself and accede to the Federal Republic in 1990, its five post-war states were reconstituted along with the reunited Berlin, which ended its special status and formed an additional Land. They formally joined the Federal Republic on 3 October 1990, raising the number of states from 10 to 16, ending the division of Germany; the reunion did not result in a brand-new country. The expanded Federal Republic retained West Germany's political culture and continued its existing memberships in international organisations, as well as its Western foreign policy alignment and affiliation to Western alliances like UN, NATO, OECD and the European Union; the official name of West Germany, adopted in 1949 and unchanged since is Bundesrepublik Deutschland. In East Germany, the terms Westdeutschland or westdeutsche Bundesrepublik were preferred during the 1950s and 1960s.
This changed once under its 1968 constitution, when the idea of a single German nation was abandoned by East Germany, as a result West Germans and West Berliners were considered foreigners. In the early 1970s, starting in the East German Neues Deutschland, the initialism "BRD" for the "Federal Republic of Germany" began to prevail in East German usage. In 1973, official East German sources adopted it as a standard expression and other Eastern Bloc nations soon followed suit. In reaction to this move, in 1965 the West German Federal Minister of All-German Affairs Erich Mende issued the Directives for the appellation of Germany, recommending avoiding the initialism. On 31 May 1974, the heads of West German federal and state governments recommended always using the full name in official publications. From on West German sources avoided the abbreviated form, with the exception of left-leaning organizations which embraced it. In November 1979 the federal government informed the Bundestag that the West German public broadcasters ARD and ZDF had agreed to refuse to use the initialism.
The ISO 3166-1 alpha-2 country code of West Germany was "DE", which has remained the country code of Germany after reunification. ISO 3166-1 alpha-2 are the most used country codes, the "DE" code is notably used as country identifier extending the postal code and as the Internet's country code top-level domain.de. Accordingly the less used ISO 3166-1 alpha-3 country code of West Germany was "DEU", which has remained the country code of reunified Germany; the now deleted codes for East Germany, on the other hand, was "DD" in ISO 3166-1 alpha-2 and "DDR" in ISO 3166-1 alpha-3. The colloquial term "West Germany" or its equivalent was used in many languages. "Westdeutschland" was a widespread colloquial form used in German-speaking countries without political overtones. On 4–11 February 1945 leaders from the United States, the United Kingdom and the Soviet Union held the Yalta Conference where future arrangements as regards post-war Europe and strategy against Japan in the Pacific were negotiated.
The conference agreed that post-war Germany would be divided into four occupation zones: a French Zone in the far west.
An actor is a person who portrays a character in a performance. The actor performs "in the flesh" in the traditional medium of the theatre or in modern media such as film and television; the analogous Greek term is ὑποκριτής "one who answers". The actor's interpretation of their role—the art of acting—pertains to the role played, whether based on a real person or fictional character. Interpretation occurs when the actor is "playing themselves", as in some forms of experimental performance art. In ancient Greece and Rome, the medieval world, the time of William Shakespeare, only men could become actors, women's roles were played by men or boys. After the English Restoration of 1660, women began to appear on stage in England. In modern times in pantomime and some operas, women play the roles of boys or young men. After 1660 in England, when women first started to appear on stage, the terms actor or actress were used interchangeably for female performers, but influenced by the French actrice, actress became the used term for women in theater and film.
The etymology is a simple derivation from actor with -ess added. When referring to groups of performers of both sexes, actors is preferred. Actor is used before the full name of a performer as a gender-specific term. Within the profession, the re-adoption of the neutral term dates to the post-war period of the 1950 and'60s, when the contributions of women to cultural life in general were being reviewed; when The Observer and The Guardian published their new joint style guide in 2010, it stated "Use for both male and female actors. The guide's authors stated that "actress comes into the same category as authoress, manageress,'lady doctor','male nurse' and similar obsolete terms that date from a time when professions were the preserve of one sex.". "As Whoopi Goldberg put it in an interview with the paper:'An actress can only play a woman. I'm an actor – I can play anything.'" The UK performers' union Equity has no policy on the use of "actor" or "actress". An Equity spokesperson said that the union does not believe that there is a consensus on the matter and stated that the "...subject divides the profession".
In 2009, the Los Angeles Times stated that "Actress" remains the common term used in major acting awards given to female recipients. With regard to the cinema of the United States, the gender-neutral term "player" was common in film in the silent film era and the early days of the Motion Picture Production Code, but in the 2000s in a film context, it is deemed archaic. However, "player" remains in use in the theatre incorporated into the name of a theatre group or company, such as the American Players, the East West Players, etc. Actors in improvisational theatre may be referred to as "players". In 2015, Forbes reported that "...just 21 of the 100 top-grossing films of 2014 featured a female lead or co-lead, while only 28.1% of characters in 100 top-grossing films were female...". "In the U. S. there is an "industry-wide in salaries of all scales. On average, white women get paid 78 cents to every dollar a white man makes, while Hispanic women earn 56 cents to a white male's dollar, Black women 64 cents and Native American women just 59 cents to that."
Forbes' analysis of US acting salaries in 2013 determined that the "...men on Forbes' list of top-paid actors for that year made 21/2 times as much money as the top-paid actresses. That means that Hollywood's best-compensated actresses made just 40 cents for every dollar that the best-compensated men made." The first recorded case of a performing actor occurred in 534 BC when the Greek performer Thespis stepped onto the stage at the Theatre Dionysus to become the first known person to speak words as a character in a play or story. Prior to Thespis' act, Grecian stories were only expressed in song, in third person narrative. In honor of Thespis, actors are called Thespians; the male actors in the theatre of ancient Greece performed in three types of drama: tragedy and the satyr play. Western theatre developed and expanded under the Romans; the theatre of ancient Rome was a thriving and diverse art form, ranging from festival performances of street theatre, nude dancing, acrobatics, to the staging of situation comedies, to high-style, verbally elaborate tragedies.
As the Western Roman Empire fell into decay through the 4th and 5th centuries, the seat of Roman power shifted to Constantinople and the Byzantine Empire. Records show that mime, scenes or recitations from tragedies and comedies and other entertainments were popular. From the 5th century, Western Europe was plunged into a period of general disorder. Small nomadic bands of actors traveled around Europe throughout the period, performing wherever they could find an audience. Traditionally, actors were not of high status. Early Middle Ages actors were denounced by the Church during the Dark Ages, as they were viewed as dangerous and pagan. In many parts of Europe, traditional beliefs of the region and time period meant actors could not receive a Christian burial. In the Early Middle Ages, churches in Europe began staging dramatized versions of biblical events. By the middle of the 11th century, liturgical drama had spread from Russia to Scandinavia
Anthony Ainley was an English actor best known for his work on British television and for his role as the Master in Doctor Who. He was the fourth actor to play the role of the Master, the first actor to portray the Master as a recurring role since the death of Roger Delgado in 1973. Ainley was born in Stanmore, Middlesex the son of the actor Henry Ainley on 20 August 1932 although his birth was not registered until January 1938 at around the time that he was admitted to the actors' orphanage; the birth certificates of Anthony and his brother Timothy identify their mother as Clarice Holmes and it is under this surname that they are recorded in the Official Register. Although no father is named on the birth certificates Timothy's marriage certificate identifies Henry Ainley as his father. Under the name of Anthony Holmes, Ainley attended Cranleigh School from 1947 to 1950, his first job was as an insurance clerk, followed by a period at RADA. He won the Fabia Drake Prize for Comedy whilst at RADA.
His half-brother, Richard Ainley, was an actor. Ainley's swarthy appearance tended to get him parts as villains, though an early regular role on British television was as Det. Sgt Hunter, sidekick to William Mervyn's Chief Inspector Rose in the second series of It's Dark Outside in 1966. Other notable roles include a subaltern in the 1969 film version of Oh! What a Lovely War, Dietz in the 1975 film version of The Land That Time Forgot, Reverend Fallowfield in the Tigon film The Blood on Satan's Claw, Henry Sidney in Elizabeth R, Clive Hawksworth in Spyder's Web, Rev. Emilius in the BBC's adaptation of The Pallisers, Johnson in the first episode of the BBC programme Secret Army, Sunley in The Avengers episode "Noon Doomsday", he was one of the Hong Kong policemen who discover James Bond's supposed corpse in the opening sequence of You Only Live Twice. Ainley played the role of the wealthy young peer Lord Charles Gilmour in the ITV series Upstairs, Downstairs, it was his performance as Rev. Emilius that led to him being offered the role of the Master by John Nathan-Turner, who had worked on The Pallisers seven years before becoming producer of Doctor Who.
Ainley first portrayed the Master in the 1981 serial The Keeper of Traken and appeared in every season up until the cancellation of the original series in 1989, including its final serial, Survival. Ainley's Doctor Who appearances included: The Keeper of Traken 1981, Logopolis 1981, Castrovalva 1982, Time Flight 1982, The King's Demons 1983, The Five Doctors 1983, Planet of Fire 1984, The Caves of Androzani 1984, The Mark of the Rani 1985, The Ultimate Foe 1986, Survival 1989, he reprised the role for the 1997 BBC computer game Destiny of the Doctors. Ainley's great love of the role is cited in documentaries and DVD commentaries. Script editor Eric Saward claimed that he introduced himself over the phone by saying "This is the Master" and would laugh. In the commentary and documentary for The Mark of the Rani, both Colin Baker and Kate O'Mara say that "He only wanted to play the Master." Baker remarked that he could afford this luxury because he had built up a private income by the mid-1980s and had inherited a considerable sum of money from his father.
In "Cat Flap - Making of Survival", Sylvester McCoy confirms that all he wanted to be is the Master, he kept his role active not on set. "He was as scary off camera as he was on it." Ainley remained unmarried throughout his life. He joked on the DVD commentary for The Keeper of Traken that he didn't like the three rings of marriage: the engagement ring, the wedding ring and the bickering. Ainley was a keen sportsman, he was a rugby player, he played at fly-half for the Old Cranleighans and Middlesex. He turned his attentions to cricket—even abruptly citing Sophie Aldred as his friend once he learned that she played the game, he appeared on many occasions for the Stage and London Theatres C. C. as an opening batsman. Ainley died at the age of 71 on 3 May 2004; the Times' obituary for him listed the cause as cancer. Ainley was known to be private, remained out of the public eye for most of his life after Doctor Who was placed in long-term hiatus in 1989. Anthony Ainley on IMDb Obituary in The Guardian Obituary at the Wayback Machine in The Independent