Wendy Hiller

Dame Wendy Margaret Hiller, (15 August 1912 – 14 May 2003) was an English film and stage actress who enjoyed a varied acting career that spanned nearly 60 years.

She first found success as slum dweller Sally Hardcastle in the stage version of Love on the Dole in 1934.

The play was an enormous success and toured the regional stages of Britain, including Hiller's West End debut in 1935 at the Garrick Theatre.

The huge popularity of Love on the Dole took the production to New York in 1936, where Hiller's performance attracted the attention of George Bernard Shaw.

Shaw recognised a spirited radiance in the young actress, which was ideally suited for playing his heroines.

Shaw cast her in several of his plays, including Saint Joan, Pygmalion and Major Barbara, and his influence on her early career is clearly apparent.

She was reputed to be Shaw's favourite actress of the time.

Unlike other stage actresses of her generation, she performed in relatively few Shakespeare productions, preferring the more modern dramatists such as Henrik Ibsen and new plays adapted from the novels of Henry James and Thomas Hardy, among others.

In the course of her stage career, Hiller won popular and critical acclaim in both London and New York.

She excelled at rather plain but strong-willed characters.

In 1937, she married the play's author Ronald Gow, 15 years her senior.

That same year, she made her film debut in Lancashire Luck, scripted by Gow.

Her performance as Eliza Doolittle in Pygmalion (1938) earned a nomination for the Academy Award for Best Actress.

Born in Bramhall, Cheshire, the daughter of Frank Watkin Hiller, a Manchester cotton manufacturer, and Marie Stone, she was educated at Winceby House School and Oriel Bank High School and at age 18 joined the Manchester Repertory Company, for which she acted and stage-managed for several years.

At Shaw's insistence, she starred as Eliza Doolittle in the film Pygmalion (1938) with Leslie Howard as Professor Higgins.

This performance earned Hiller her first Oscar nomination, a first for a British actress in a British film, and became one of her best-remembered roles.

She was also the first actress to utter the word "bloody" in a British film, when Eliza utters the line "Not bloody likely, I'm going in a taxi!"

Hiller followed up this success with another Shaw adaptation, Major Barbara (1941) with Rex Harrison and Robert Morley.

After touring Britain as Viola in Twelfth Night (1943), she returned to the West End to be directed by John Gielgud as Sister Joanna in The Cradle Song (Apollo, 1944).

Powell and Pressburger signed her for The Life and Death of Colonel Blimp (1943), but her second pregnancy forced her to bow out in favor of Deborah Kerr.

The string of notable successes continued as Princess Charlotte in The First Gentleman (Savoy, 1945) opposite Robert Morley as the Prince Regent, Pegeen in Playboy of the Western World (Bristol Old Vic, 1946) and Tess of the d'Urbervilles (Bristol Old Vic, 1946, transferring to the Piccadilly Theatre in the West End in 1947), which was adapted for the stage by her husband.

In 1947, Hiller originated the role of Catherine Sloper, the painfully shy, vulnerable spinster in The Heiress on Broadway.

The play, based on the Henry James novel Washington Square, also featured Basil Rathbone as her emotionally abusive father.

The production enjoyed a year-long run at the Biltmore Theatre in New York and would prove to be her greatest triumph on Broadway.

Her stage work remained a priority and continued with Ann Veronica (Piccadilly, 1949), which was adapted by Gow from the novel by H. G. Wells with his wife in the leading role.

On returning to London, Hiller again played the role in the West End production in 1950.

She performed in a two-year run of N. C. Hunter's Waters of the Moon (Haymarket, 1951–53) alongside Sybil Thorndike and Edith Evans.

At the Old Vic for the 1955–56 season, Hiller contributed a notable performance as Portia in Julius Caesar, among others, including as Helen of Troy in Troilus and Cressida.

Other stage work at this time included The Night of the Ball (New Theatre, 1955), the new Robert Bolt play Flowering Cherry (Haymarket, 1958, Broadway, 1959), Toys in the Attic (Piccadilly, 1960), The Wings of the Dove (Lyric, 1963), A Measure of Cruelty (Birmingham Repertory, 1965), A Present for the Past (Edinburgh, 1966), The Sacred Flame (Duke of York's, 1967) with Gladys Cooper, The Battle of Shrivings (Lyric, 1970) with John Gielgud and Lies (Albery, 1975).

In 1957, Hiller returned to New York to star as Josie Hogan in Eugene O'Neill's A Moon for the Misbegotten, a performance that gained her a Tony Award nomination as Best Dramatic Actress.

The production also featured Cyril Cusack and Franchot Tone.

Hiller won the Academy Award for Best Supporting Actress for her performance in Separate Tables (1958).

Her final appearance on Broadway was as Miss Tina in the 1962 production of Michael Redgrave's adaptation of The Aspern Papers from the Henry James novella.

As Hiller matured, she demonstrated a strong affinity for the plays of Henrik Ibsen, as Irene in When We Dead Awaken (Cambridge, 1968), as Mrs. Alving in Ghosts (Edinburgh, 1972), Ase in Peer Gynt (BBC, 1972) and as Gunhild in John Gabriel Borkman (National Theatre Company, Old Vic, 1975), in which she appeared with Ralph Richardson and Peggy Ashcroft.

Later West End successes such as Queen Mary in Crown Matrimonial (Haymarket, 1972) proved that she was not limited to playing dejected, emotionally deprived women.

She later revisited some earlier plays playing older characters, as in West End revivals of Waters of the Moon (Chichester, 1977, Haymarket, 1978) with Ingrid Bergman and The Aspern Papers (Haymarket, 1984) with Vanessa Redgrave.

She was scheduled to return to the American stage in a 1982 revival of Anastasia with Natalie Wood, but Wood died just weeks before rehearsals.

Writer Joel Hirschorn, in his 1984 compilation Rating the Movie Stars, described her as "a no-nonsense actress who literally took command of the screen whenever she appeared on film".

Despite many notable film performances, Hiller chose to remain primarily a stage actress.

Hiller made her final West End performance in the title role in Driving Miss Daisy (Apollo, 1988).