Noël Coward - Films

Films

Coward's plays adapted for film include:

  • Easy Virtue (1928; remade, 2008)
  • Private Lives, Metro-Goldwyn-Mayer (1931)
  • Bitter Sweet, British & Dominion (1933)
  • Design for Living, Paramount (1933)
  • Cavalcade, Twentieth Century-Fox (1933)
  • Tonight Is Ours (based on the play The Queen Was in the Parlour), Paramount (1933)
  • Bitter Sweet, Metro-Goldwyn-Mayer (1940)
  • We Were Dancing (based on Tonight at 8:30), Metro-Goldwyn-Mayer (1942)
  • This Happy Breed, Universal (1944)
  • Brief Encounter (based on Still Life), Cineguild (1945)
  • The Astonished Heart, Universal (1950)
  • Tonight at Eight-Thirty (based on Ways and Means, Red Peppers, and Fumed Oak), British Film Makers (1953)
  • Pretty Polly (A Matter of Innocence) (based on his short story Pretty Polly Barlow), Universal (1967)
  • Relative Values (2000)

Films in which he participated as actor, screenwriter, director or producer are as follows:

  • Hearts of the World (1918, uncredited)
  • Across the Continent (1922, uncredited)
  • The Scoundrel (1935)
  • In Which We Serve (1942, also director/screenwriter)
  • This Happy Breed (1944, as producer)
  • Blithe Spirit (1945, as screenwriter)
  • Brief Encounter (1945) screenwriter
  • The Astonished Heart (1950)
  • Around the World in Eighty Days (1956)
  • Our Man in Havana (1959)
  • Surprise Package (1960)
  • Paris, When It Sizzles (1964)
  • Present Laughter (1964, TV)
  • The Vortex (1964, TV)
  • Bunny Lake Is Missing (1965)
  • Androcles and the Lion (1967, TV)
  • Boom! (1968)
  • The Italian Job (1969)

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Famous quotes containing the word films:

    “Does art reflect life? In movies, yes. Because more than any other art form, films have been a mirror held up to society’s porous face.”
    —Marjorie Rosen (b. 1942)

    “The cinema is not an art which films life: the cinema is something between art and life. Unlike painting and literature, the cinema both gives to life and takes from it, and I try to render this concept in my films. Literature and painting both exist as art from the very start; the cinema doesn’t.”
    —Jean-Luc Godard (b. 1930)

    “Right now I think censorship is necessary; the things they’re doing and saying in films right now just shouldn’t be allowed. There’s no dignity anymore and I think that’s very important.”
    —Mae West (1892–1980)