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Susan Stephen
Susan Stephen
Susan Stephen
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Susan Rennie Stephen (16 July 1931 – 21 April 2000) was an English film actress born in London.[1]

Key Information

Career

[edit]

In her teens she pursued TV roles, subsequently moving to feature films,[2] mainly in B-films in the 1950s. She appeared in more than 20 films including The Red Beret (1953)[3], The House Across the Lake (1954), Pacific Destiny (1956) and Carry On Nurse (1959).[4] She appeared in several films for the Rank Organisation.[5]

In 1952, she married Lawrence Ward. The marriage ended in divorce in 1956.[6]

In 1955, she joined other celebrities, such as Jack Payne, in British Pathé's Return to Yesterday.[7]

In 1957, she married for the second time, to Nicolas Roeg who later became a film director. She and Roeg had four sons: Luc, Waldo, Sholto and Nico. Luc later also became a cinema professional. In the 1960s, she concentrated on her family and gradually stepped down from acting. Her last role was in the 1962 comedy Three Spare Wives. The marriage with Roeg ended in divorce in 1977.[8]

Filmography

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References

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Susan Stephen

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Susan Stephen (16 July 1931 – 24 April 2000) was an English film actress known for her roles in British B-movies and comedies during the 1950s. Born Susan Rennie Stephen in , she developed an early interest in acting and trained at a dramatic school before making her television debut as Amy March in the 1950 BBC adaptation of . Her film career began in 1952 as the governor's daughter in His Excellency, a comedy-drama directed by , marking her entry into cinema alongside established stars like . Throughout the decade, Stephen appeared in over a dozen films, often portraying demure or spirited young women in supporting roles, including (1952), a Hammer Films thriller opposite , and Value for Money (1955), a with and . One of her most notable performances came in the popular series with (1959), where she played a nurse alongside an ensemble cast featuring and , contributing to the film's status as the highest-grossing British film of that year. Stephen's career slowed after her 1957 marriage to film director , with whom she had four children before their divorce in 1977; she retired from acting in 1962 to focus on family life. She passed away in , , at the age of 68, leaving a legacy of light-hearted contributions to post-war British cinema.

Early Life

Birth and Family Background

Susan Rennie Stephen was born on 16 July 1931 in , . She was the daughter of Major Frederick Stephen, MC, a who built railroads in and bridges across the in , for which he was awarded the by King Farouk. Her mother died when Susan was very young, and she was raised by her with the help of nannies and housekeepers. No verified details regarding siblings are available. Of English heritage, Stephen spent much of her childhood in Egypt due to her father's work and on a family estate in , before returning to for her schooling. This peripatetic early life reflected her father's international career during the interwar and wartime periods.

Entry into Acting

Susan Stephen developed an interest in during her youth, a period that included her return to for in the post-World War II era, marked by the resurgence of British . This burgeoning scene, with expanding opportunities in theater and the emerging medium of television, provided fertile ground for aspiring performers like Stephen. Her passion led her to begin performing on as an adolescent, gaining initial experience in amateur and local productions. To hone her skills, Stephen received formal training at a dramatic in her late teens, which equipped her with the foundational techniques needed for professional work. This education bridged her early stage endeavors and her transition to professional television, reflecting the era's emphasis on structured preparation amid the post-war boom in arts education and opportunities. By age 17 or 18, she was actively pursuing roles that aligned with her ambitions, setting the foundation for a career in . Stephen's first significant professional steps came through television in the late and early , where she secured roles that showcased her talent to a growing audience. Her breakthrough arrived in 1950 at age 19, when she portrayed Amy March in the BBC's six-part adaptation of , a role that spanned five episodes and marked her as a promising young actress in the medium. This performance, part of the BBC's early efforts to adapt classic literature for TV, highlighted her ability to embody youthful characters and propelled her toward further professional engagements.

Acting Career

Film Debut and Early Roles

Susan Stephen made her film debut in 1952 with the British comedy-drama His Excellency, directed by for , in which she portrayed the supporting role of Peggy Harrison, the daughter of the colony's governor. The film, adapted from a play by Dorothy and Campbell Christie, followed a former leader appointed as governor of a fictional British colony, and Stephen's role marked her transition from stage and early television work to cinema. Her performance in this ensemble cast, alongside and , showcased her emerging screen presence in the post-war British film landscape. Throughout the early 1950s, Stephen appeared in a series of supporting roles in British productions, often highlighting her pert, blonde persona in light-hearted or dramatic fare. Notable among these were The Red Beret (1953), a Warwick Films war drama co-starring Alan Ladd as a Canadian paratrooper training for D-Day, where she played a romantic interest; The House Across the Lake (1954), a Hammer Films noir thriller in which she supported Alex Nicol and Hillary Brooke in a tale of obsession and murder; and Value for Money (1955), a Rank Organisation comedy opposite John Gregson and Diana Dors, depicting a provincial man's infatuation with a London showgirl. These roles established her in B-films and second features, typically as demure or spirited young women, reflecting the limited opportunities for breakthrough parts in the competitive post-war industry dominated by established studios. Typecasting in such light supporting positions proved a common hurdle for emerging actresses like Stephen, as the era's focus on ensemble casts and formulaic narratives often confined them to peripheral characters. Stephen's association with the Rank Organisation during this period, including through Value for Money, positioned her among the studio's roster of young contract players groomed for modest stardom, though her career remained anchored in these early supporting efforts amid the industry's emphasis on economical productions.

Notable Films and Peak Period

Susan Stephen's peak period in film occurred during the late , when she frequently appeared in British B-films, showcasing her versatility in supporting and leading roles within adventure and genres. One of her notable contributions came in Pacific Destiny (1956), directed by Wolf Rilla, where she portrayed Margaret Grimble, the supportive wife accompanying her husband, played by , to a remote Pacific island posting; the film drew from real-life colonial experiences and highlighted her portrayal of resilient young women adapting to exotic challenges. This role exemplified her screen image in adventure narratives, emphasizing poise and domestic strength amid unfamiliar settings. By 1959, Stephen had transitioned into the burgeoning Carry On series with , directed by , marking the franchise's second installment and its most commercially successful entry at the British box office that year. In the film, she played Georgie Axwell, a nurse navigating the chaotic antics of hospital patients and staff, including stars like and ; her character's involvement in the ensemble comedy underscored her adeptness at light-hearted, flirtatious supporting roles that amplified the series' signature bawdy humor. This collaboration with Thomas and producer solidified her place in British comedic cinema, where she embodied the pert, wholesome femininity that contrasted with the film's broader satirical elements. Entering the 1960s, Stephen's film output continued with roles in The Court Martial of Major Keller (1961), a war drama directed by Ernest Morris, before culminating in her final feature, Three Spare Wives (1962), also helmed by Morris for the low-budget Danziger Studios. In Three Spare Wives, she took a lead role as Susan, entangled in a comedic plot involving an inherited , which reflected her ongoing affinity for while signaling the winding down of her active screen career. Throughout this era, her collaborations with directors like Wolf Rilla, , and Ernest Morris, alongside appearances in British Pathé newsreels such as Susan Stephen (1953) and This Was Yesterday (1955), reinforced her image as a reliable presence in mid-tier productions blending adventure's exploratory spirit with comedy's playful domesticity.

Television Appearances and Retirement

Stephen's entry into acting began with television roles during her late teens, including her debut as Amy March in the 1950 BBC serial adaptation of Little Women, a six-part production based on Louisa May Alcott's novel. This early work in British television anthology-style dramas laid the groundwork for her subsequent career, though she soon transitioned primarily to film. Her television appearances remained sparse throughout the 1950s and into the 1960s, featuring guest spots in notable dramatic series. In 1958, she portrayed Alma, the starstruck innkeeper's daughter, in the episode "Too Many Robins" of the adventure series The Adventures of Robin Hood. One of her final on-screen roles came in 1961, playing Peggy Sinclair in an episode of the crime procedural Stryker of the Yard. By 1962, following her last film appearance in the low-budget comedy Three Spare Wives, Stephen retired from to prioritize personal commitments, including responsibilities. The lack of major leading roles in an industry shifting toward more experimental and international projects further contributed to her withdrawal from professional performing. She made no return to in the subsequent decades, maintaining a low profile away from the screen until her death in 2000.

Personal Life

Marriages

Susan Stephen's first marriage was to fellow actor Lawrence Ward in 1952. They met while filming the Italian production Fanciulle di lusso (1952), during the early stages of her acting career. The couple settled in a quaint cottage in , where their domestic life received public attention through a British Pathé in June 1953, depicting Ward serving Stephen tea in bed and tending to household chores as a portrayal of their newlywed bliss. This union coincided with Stephen's debut films, such as His Excellency (1952) and (1952), marking her emergence in British cinema. The marriage ended in divorce on December 20, 1956, with no children from the partnership. Following her divorce, Stephen married film director Nicolas Roeg in April 1957, shortly after meeting him on the set of Pacific Destiny (1956). Roeg, then an up-and-coming cinematographer in British cinema, would later gain prominence for directing innovative films like Performance (1970) and Don't Look Now (1973). Their wedding at Chelsea Register Office drew media interest, with photographs capturing the couple smiling post-ceremony. This second marriage overlapped with Stephen's peak period in the late 1950s and early 1960s, including roles in Value for Money (1955) and Carry On Nurse (1959), though her career began to shift focus amid family life. The union lasted two decades, ending in divorce on October 3, 1977, amid Roeg's rising fame and the professional pressures of his extensive filming schedules, which caused prolonged separations.

Family and Children

Susan Stephen and her second husband, film director , had four sons together: Luc (born 1962), Waldo, Sholto, and Nico, with the latter three born in the . The family initially resided in , where Stephen devoted significant time to raising her children amid Roeg's rising career in the film industry. After her in 1962, she prioritized child-rearing, which shaped her decision to step away from public life and focus on domestic responsibilities. Later, the family relocated to , where Stephen continued her low-profile existence centered on family dynamics into the 1970s. Several of her sons followed their parents into the film industry. Luc Roeg became a noted producer, working on projects such as The Falling (2014) and (2010). Waldo Roeg served as a first assistant director on films including (1978) and (1987), while Sholto Roeg worked in similar roles on The Witches (1990) and Bully (2001); Luc appeared as the brother in his father's film (1971).

Later Years and Death

Following her divorce from in 1977, Susan Stephen maintained a low public profile while residing in , . In her later years, she focused on supporting her family and showed no interest in returning to or pursuing public endeavors. Stephen died on 21 April 2000 in at the age of 68; the was not publicly disclosed, consistent with natural causes given her age. Her private lifestyle resulted in minimal public tributes or details about her funeral, with any obituary mentions primarily connected to her association with the Roeg family.

Filmography

Feature Films

Susan Stephen appeared in approximately 20 feature films between 1952 and 1962, primarily in supporting roles within British B-movies, war adventures, comedies, and domestic dramas produced by studios such as , , and Danziger Brothers.
YearTitleRoleDirectorStudioNotable Co-stars
1952His ExcellencyPeggy HarrisonRobert HamerEaling StudiosEric Portman, Cecil Parker
1952Stolen FaceBettyTerence FisherHammer Film ProductionsPaul Henreid, Lizabeth Scott
1952Finishing School (Fanciulle di lusso)Lorna WhitmoreBernard VorhausNot specifiedAnna Maria Ferrero, Jacques Sernas
1952Treasure HuntMary O'LearyJohn Paddy CarstairsGroup Three FilmsJimmy Edwards, Googie Withers
1952Father's Doing FineBickyHenry CassRenown PicturesJoan Greenwood, Ronald Shiner
1953The Red BeretPenny GardnerTerence YoungWarwick FilmsAlan Ladd, Leo Genn
1954The House Across the LakeAndrea ForrestKen HughesHammer Film ProductionsAlex Nicol, Sidney James
1954Dangerous CargoJanie MatthewsJohn HarlowCoronet FilmsJack Watling, Karel Stepanek
1954For Better, for WorseAnne PurvesJ. Lee ThompsonGroup Three FilmsDirk Bogarde, Brenda de Banzie
1955Value for MoneyEthelKen AnnakinRank OrganisationJohn Gregson, Diana Dors
1955As Long as They're HappyCorinne BentleyJ. Lee ThompsonRank OrganisationJack Buchanan, Brenda de Banzie
1956Pacific DestinyOlivia GrimbleWolf RillaCoronet FilmsDenholm Elliott, Michael Hordern
1956It's Never Too LateTessa HammondMichael McCarthyRenown PicturesPhyllis Calvert, Patrick Barr
1957Golden IvoryRuth MeechamGeorge BreakstonHammer Film ProductionsLon Chaney Jr., Michael Craig
1957The Barretts of Wimpole StreetBella BarrettSidney FranklinMetro-Goldwyn-MayerJennifer Jones, Bill Travers
1959Carry On NurseGeorgie AxwellGerald ThomasAnglo-Amalgamated ProductionsKenneth Williams, Hattie Jacques
1961Return of a StrangerPam ReedMax VarnelMerton Park StudiosJohn Ireland, Cyril Shaps
1961The Court Martial of Major KellerLaura WinchErnest MorrisDanziger BrothersLaurence Payne, Maxine Audley
1962Three Spare WivesSusanErnest MorrisDanziger BrothersJohn Hewer, Robin Hunter

Television Roles

Susan Stephen began her television career in the early , appearing in guest roles and serial adaptations on British broadcasts, which served as an entry point into the industry before her film prominence. Her breakthrough television role came in 1950 when she portrayed Amy March, the youngest of the March sisters, in the BBC's six-part adaptation of Louisa May Alcott's . This serial depicted the of the four sisters during the [American Civil War](/page/American Civil War) era, with Stephen's performance earning her early recognition for her youthful charm and dramatic poise. Throughout the , Stephen continued with sporadic guest appearances in anthology and adventure series, often in light dramatic parts that mirrored her film characterizations. In 1953, she appeared as Peggy Sinclair in episodes of the crime series of the Yard, including "The Case of the Studio Payroll" and "The Case of Uncle Harry," which were later compiled into a theatrical feature. The series followed Inspector Stryker investigating various London-based crimes, and Stephen's role involved supporting the procedural narrative in these self-contained stories. Her television output remained limited, with one notable later guest spot in 1958 on the popular adventure series . Stephen played Alma, the romantic innkeeper's daughter, in the episode "Too Many Robins," where her character becomes infatuated with a man impersonating the outlaw hero, adding a comedic element to the escapades. By the early 1960s, her television work tapered off as she transitioned toward family life, with no major series commitments beyond these early contributions.
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