title: Churchill war ministry

text: The 1935 general election had resulted in a Conservative victory with a substantial majority and Stanley Baldwin became Prime Minister. In May 1937, Baldwin retired and was succeeded by Neville Chamberlain who continued Baldwin's foreign policy of appeasement in the face of German, Italian and Japanese aggression. Having signed the Munich Agreement with Hitler in 1938, Chamberlain became alarmed by the dictator's continuing aggression and, in March 1939, signed the Anglo-Polish military alliance which supposedly guaranteed British support for Poland if attacked. Chamberlain issued the declaration of war against Germany on 3 September 1939 and formed a war cabinet which included Winston Churchill (out of office since June 1929) as First Lord of the Admiralty.


title: Churchill war ministry

text: Dissatisfaction with Chamberlain's leadership became widespread in the spring of 1940 after Germany successfully invaded Norway. In response, the House of Commons held the Norway Debate from 7 to 9 May. At the end of the second day, the Labour opposition forced a division which was in effect a motion of no confidence in Chamberlain. The government's majority of 213 was reduced to 81, still a victory but nevertheless a shattering blow for Chamberlain.


title: Churchill war ministry

text: On Thursday, 9 May, Chamberlain attempted to form a National Coalition Government. In talks at Downing Street with Viscount Halifax and Churchill, he indicated that he was quite ready to resign if that was necessary for Labour to enter such a government. Labour's leader Clement Attlee and his deputy Arthur Greenwood then joined the meeting, and when asked, they indicated that they must first consult their party's National Executive Committee (then in Bournemouth to prepare for the annual conference), but it was unlikely they could serve in a government led by Chamberlain; they probably would be able to serve under some other Conservative.


title: Churchill war ministry

text: After Attlee and Greenwood left, Chamberlain asked whom he should recommend to the King as his successor. The version of events given by Churchill is that Chamberlain's preference for Halifax was obvious (Churchill implies that the spat between Churchill and the Labour benches the previous night had something to do with that); there was a long silence which Halifax eventually broke by saying he did not believe he could lead the government effectively as a member of the House of Lords instead of the House of Commons. Churchill's version gets the date wrong, and he fails to mention the presence of David Margesson, the government Chief Whip.


title: Churchill war ministry

text: Halifax's account omits the dramatic pause and gives an additional reason: "PM said I was the man mentioned as most acceptable. I said it would be hopeless position. If I was not in charge of the war (operations) and if I didn't lead in the House, I should be a cypher. I thought Winston was a better choice. Winston did "not" demur." According to Halifax, Margesson then confirmed that the House of Commons had been veering to Churchill.


title: Churchill war ministry

text: In a letter to Churchill written that night, Bob Boothby asserted that parliamentary opinion was hardening against Halifax, claiming in a postscript that according to Liberal MP Clement Davies, "Attlee & Greenwood are unable to distinguish between the PM & Halifax and are "not" prepared to serve under the latter". Davies (who thought Chamberlain should go, and be replaced by Churchill) had lunched with Attlee and Greenwood (and argued his case) shortly before they saw Chamberlain. Labour's Hugh Dalton, however, noted in his diary entry for 9 May that he had spoken with Attlee, who "agrees with my preference for Halifax over Churchill, but we both think either would be tolerable".


title: Churchill war ministry

text: On the morning of Friday, 10 May, Germany invaded the Netherlands, Belgium, and Luxembourg. Chamberlain initially felt that a change of government at such a time would be inappropriate, but upon being given confirmation that Labour would not serve under him, he announced to the war cabinet his intention to resign. Scarcely more than three days after he had opened the debate, Chamberlain went to Buckingham Palace to resign as Prime Minister. Despite resigning as PM, however, he continued to be the leader of the Conservative Party. He explained to the King why Halifax, whom the King thought the obvious candidate, did not want to become Prime Minister. The King then sent for Churchill and asked him to form a new government; according to Churchill, there was no stipulation that it must be a coalition government.


title: Churchill war ministry

text: At 21:00 on 10 May, Chamberlain announced the change of Prime Minister over the BBC. Churchill's first act as Prime Minister was to ask Attlee and Greenwood to come and see him at Admiralty House. Next, he wrote to Chamberlain to thank him for his promised support. He then began to construct his coalition cabinet with the assistance of Attlee and Greenwood. Their conference went on into the early hours of Saturday and they reached a broad agreement on the composition of the new war cabinet, subject to Labour Party confirmation. Attlee and Greenwood were confident of securing this on Saturday after Churchill promised that more than a third of government positions would be offered to Labour members, including some of the key posts.


title: Churchill war ministry

text: On Saturday, 11 May, the Labour Party agreed to join a national government under Churchill's leadership and he was able to confirm his war cabinet. In his biography of Churchill, Roy Jenkins described the Churchill cabinet as one "for winning", while the former Chamberlain cabinet was one "for losing". Labour leader Clement Attlee relinquished his official role as Leader of the Opposition to become Lord Privy Seal (until 19 February 1942 when he was appointed Deputy Prime Minister). Arthur Greenwood, Labour's deputy leader, was appointed a minister without portfolio.


title: Churchill war ministry

text: There was no "de facto" Leader of the Opposition from 11 May 1940 until Attlee resumed the role on 23 May 1945. The Labour Party appointed an acting Leader of the Opposition whose job, although he was in effect a member of the national government, was to ensure the continued functionality of the House of Commons. Due process in the Commons requires someone, even a member of the government, to fill the role even if there is no actual opposition. The first acting leader was Hastings Lees-Smith, the MP for Keighley, who died in office on 18 December 1941. He was briefly succeeded by Frederick Pethick-Lawrence and then by Arthur Greenwood, who had left the war cabinet, from 22 February 1942 until 23 May 1945.


title: Churchill war ministry

text: The main problem for Churchill as he became Prime Minister was that he was not the leader of the majority Conservative Party and, needing its support, was obliged to include Chamberlain in the war cabinet, but this was not to Labour's liking. Initially, Churchill proposed to appoint Chamberlain as both Leader of the House of Commons and Chancellor of the Exchequer. Attlee objected and Churchill decided to appoint Chamberlain as Lord President of the Council. The fifth member of the war cabinet was Halifax, who retained his position as Foreign Secretary. Instead of Chamberlain, Sir Kingsley Wood became Chancellor but, until 3 October 1940, he was not a member of the war cabinet.


title: Churchill war ministry

text: Churchill appointed himself as Leader of the House of Commons (it was normal procedure until 1942 for a prime minister in the Commons to lead the House) and created for himself the new role of Minister of Defence, so that he would be permanent chair of the Cabinet Defence Committee (CDC), Operations, which included the three service ministers, the three Chiefs of Staff (CoS) and other ministers, especially Attlee, and experts as and when required. The CDC was established by Churchill as soon as he took office. It was the key organisation through which the government prosecuted the war, especially in 1940 and 1941. From 1942, as the tide of war began to turn in favour of the Allies, the importance of the CDC was reduced and its meetings became fewer as its work was increasingly delegated or raised at conferences.


title: Churchill war ministry

text: Anthony Eden became Secretary of State for War (until December 1940); Labour's A. V. Alexander succeeded Churchill as First Lord of the Admiralty; and the Liberal Party leader, Sir Archibald Sinclair, became Secretary of State for Air. The CoS at this time were Admiral Sir Dudley Pound, the First Sea Lord; Air Marshal Sir Cyril Newall, the Chief of the Air Staff; and Field Marshal Sir Edmund Ironside, the Chief of the Imperial General Staff (CIGS). (On 27 May, Ironside was replaced at Churchill's request by his deputy Field Marshal Sir John Dill, and Ironside became Commander-in-Chief, Home Forces.) The CoS continued to hold their own Chiefs of Staff Committee (CSC) meetings. The CDC enabled Churchill to have direct contact with them so that strategic concerns could be addressed with due regard to civil matters and foreign affairs.


title: Churchill war ministry

text: In addition, for the ministry's whole term, both the war cabinet and the CDC were regularly attended by Sir Edward Bridges, the Cabinet Secretary; General Sir Hastings Ismay, Chief of Staff to the Minister of Defence; and Major General Sir Leslie Hollis, Secretary to the Chiefs of Staff Committee. Bridges was rarely absent from war cabinet sessions. He was appointed by Chamberlain – as a senior civil servant, he was not a political appointee – in August 1938 and remained "in situ" until 1946. Churchill later described Bridges as "an extremely competent and tireless worker". Ismay's role, technically, was Secretary of the CSC but he was in fact Churchill's chief staff officer and military adviser throughout the war. Hollis was Secretary to the CoS Committee, also for the duration, and he additionally served as senior assistant secretary to Bridges in the war cabinet office.


title: Churchill war ministry

text: By Monday, 13 May, most of the senior government posts were filled. That day was Whit Monday, normally a bank holiday but cancelled by the incoming government. A specially convened sitting of the House of Commons was held and Churchill spoke for the first time as Prime Minister:


title: Churchill war ministry

text: He explained that a war cabinet of five members had been formed to represent the unity of the nation with all three main party leaders agreeing to serve either in the war cabinet or in high executive office. Churchill was hoping to complete all ministerial appointments by the end of the 14th. He announced an adjournment of Commons business until the 21st and apologised for making only a short address for the present. Even so, his speech has become one of his most famous because he concluded with his statement of intent:


title: Churchill war ministry

text: In reply, Hastings Lees-Smith as acting Leader of the Opposition announced that Labour would vote for the motion to assure the country of a unified political front. After several other members had spoken, including David Lloyd George and Stafford Cripps, the House divided on the question: "That this House welcomes the formation of a Government representing the united and inflexible resolve of the nation to prosecute the war with Germany to a victorious conclusion". 381 members voted "aye" in favour of the motion and, apart from the two tellers for the "noes", the wartime coalition was endorsed unanimously.


title: Churchill war ministry

text: Meanwhile, the Labour Party's conference had gone ahead as planned. On the 13th, Attlee spoke to confirm that the party was now in coalition with the Conservatives and Liberals as a national government. He told the conference that: "We are trying to form a government that should rally all the nation and set forth the energies of the people". He added that he had "not the slightest doubt about our victory".


title: Churchill war ministry

text: Apart from a handful of junior appointments such as royal household positions, Churchill completed the construction of his government by the end of his first week in office. Only two women were appointed to government positions – Florence Horsbrugh, who had previously been a Conservative backbench MP, became Parliamentary Secretary to the Ministry of Health on 15 May; and Labour's Ellen Wilkinson, the most left-wing member of Churchill's ministry, became Parliamentary Secretary to the Ministry of Pensions on the 17th.


title: Churchill war ministry

text: The war situation in Europe became increasingly critical for the Allies as the Wehrmacht overran northern France and the Low Countries through May, culminating in the siege of Dunkirk and the desperate need to evacuate the British Expeditionary Force by Operation Dynamo. In the war cabinet, Churchill faced a serious challenge by Halifax to his direction of the war. Halifax wanted to sue for peace by asking Mussolini to broker a treaty between the British government and Hitler. Churchill wanted to continue the war. Attlee and Greenwood supported Churchill while Chamberlain, still the leader of the majority Conservative Parliamentary Party, remained neutral for several days until finally aligning himself with Churchill's resolve to fight on.


title: Churchill war ministry

text: In October 1944, Churchill had proposed to the Commons that the current Parliament, which had begun in 1935, should be extended by a further year. He correctly anticipated the defeat of Germany in the spring of 1945 but he did not expect the end of the Far East war until 1946. He therefore recommended that the end of the European war should be "a pointer (to) fix the date of the (next) General Election".


title: Churchill war ministry

text: Attlee, along with Eden, Horsbrugh and Wilkinson, attended the San Francisco Conference and had returned to London by 18 May 1945 (ten days after V-E Day) when he met Churchill to discuss the future of the coalition. Attlee, in agreement with Churchill, wanted it to continue until after the Japanese surrender but he discovered that others in the Labour Party, especially Morrison and Bevin, wanted an election in October after Parliament ended. On 20 May, Attlee attended his party conference and found that opinion was against him so he informed Churchill that Labour must leave the coalition.


title: Churchill war ministry

text: On 23 May, Labour left the coalition to begin their general election campaign. Churchill resigned as prime minister but the King asked him to form a new government, known as the Churchill caretaker ministry, until the election was held in July. Churchill agreed and his new ministry, essentially a Conservative one, held office for the next two months until it was replaced by Attlee's Labour government after their election victory.


title: Churchill war ministry

text: A total of sixteen ministers held war cabinet membership at various times in Churchill's ministry. There were five at the outset of whom two, Churchill and Attlee, served throughout the ministry's entire term. Bevin, Morrison and Wood were appointed to the war cabinet while retaining offices that had originally been outer cabinet portfolios. Anderson and Eden were promoted to the war cabinet from other offices after their predecessors, Chamberlain and Halifax, had left the government; similarly, Casey was brought in after Lyttelton switched portfolio and Moyne was appointed to replace Casey. Beaverbrook, Lyttelton and Woolton were brought in to fill new offices that were created to address current priorities. Greenwood was an original member with no portfolio and was not replaced when he assumed the acting leadership of the Opposition. Cripps was brought in as an extra member to reduce the workloads of Churchill and Attlee.


title: Churchill war ministry

text: This table lists cabinet level ministries and offices during the Churchill administration. Most of these were portfolios in the "outer cabinet" and outside the war cabinet, although some were "temporarily" included in the war cabinet, as indicated by bold highlighting of the ministers concerned. Focus here is upon the ministerial offices. Some ministries, such as Foreign Secretary, were in the war cabinet throughout the entire administration whereas others like Lord Privy Seal, Chancellor of the Exchequer and Home Secretary were sometimes in the war cabinet and sometimes not, depending on priorities at the time. A number of ministries were created by Churchill in response to wartime needs. Some of the ministers retained offices that they held in former administrations and their notes include the date of their original appointment. For new appointments to existing offices, their predecessor's name is given.


title: Churchill war ministry

text: This table lists the junior offices (often ministerial level 3) that held the title of Financial Secretary and/or Parliamentary Secretary. None of these officials were ever in the war cabinet. Their offices have rarely, if ever, been recognised as cabinet-level, although some of the office holders here did, at need, occasionally attend cabinet meetings. Some of the appointees retained offices that they held in former administrations and these are marked "in situ" with the date of their original appointment.


title: Churchill war ministry

text: This table lists the junior offices (often ministerial level 3) whose titles signify an assistant, deputy or under-secretary function. It excludes financial and parliamentary secretaries who are in the table above. None of these officials were ever in the war cabinet. Their offices have rarely, if ever, been recognised as cabinet-level, although some of the office holders here did, at need, occasionally attend cabinet meetings. Some of the appointees retained offices that they held in former administrations and these are marked "in situ" with the date of their original appointment.


Inductively coupled plasma mass spectrometry (ICP-MS) is a type of mass spectrometry that uses an inductively coupled plasma to ionize the sample. It atomizes the sample and creates atomic and small polyatomic ions, which are then detected. It is known and used for its ability to detect metals and several non-metals in liquid samples at very low concentrations. It can detect different isotopes of the same element, which makes it a versatile tool in isotopic labeling.


title: Inductively coupled plasma mass spectrometry

text: Compared to atomic absorption spectroscopy, ICP-MS has greater speed, precision, and sensitivity. However, compared with other types of mass spectrometry, such as thermal ionization mass spectrometry (TIMS) and glow discharge mass spectrometry (GD-MS), ICP-MS introduces many interfering species: argon from the plasma, component gases of air that leak through the cone orifices, and contamination from glassware and the cones.


text: An inductively coupled plasma is a plasma that is energized (ionized) by inductively heating the gas with an electromagnetic coil, and contains a sufficient concentration of ions and electrons to make the gas electrically conductive. Not all of the gas needs to be ionized for the gas to have the characteristics of a plasma; as little as 1% ionization creates a plasma. The plasmas used in spectrochemical analysis are essentially electrically neutral, with each positive charge on an ion balanced by a free electron. In these plasmas the positive ions are almost all singly charged and there are few negative ions, so there are nearly equal numbers of ions and electrons in each unit volume of plasma.


text: The ICPs have two operation modes, called capacitive (E) mode with low plasma density and inductive (H) mode with high plasma density, and E to H heating mode transition occurs with external inputs. The Inductively Coupled Plasma Mass Spectrometry is operated in the H mode.


text: What makes Inductively Coupled Plasma Mass Spectrometry (ICP-MS) unique to other forms of inorganic mass spectrometry is its ability to sample the analyte continuously, without interruption. This is in contrast to other forms of inorganic mass spectrometry; Glow Discharge Mass Spectrometry (GDMS) and Thermal Ionization Mass Spectrometry (TIMS), that require a two-stage process: Insert sample(s) into a vacuum chamber, seal the vacuum chamber, pump down the vacuum, energize sample, thereby sending ions into the mass analyzer. With ICP-MS the sample to be analyzed is sitting at atmospheric pressure. Through the effective use of differential pumping; multiple vacuum stages separate by differential apertures (holes), the ions created in the argon plasma are, with the aid of various electrostatic focusing techniques, transmitted through the mass analyzer to the detector(s) and counted. Not only does this enable the analyst to radically increase sample throughput (amount of samples over time), but has also made it possible to do what is called "time resolved acquisition". Hyphenated techniques like Liquid Chromatography ICP-MS (LC-ICP-MS); Laser Ablation ICP-MS (LA-ICP-MS); Flow Injection ICP-MS (FIA-ICP-MS), etc. have benefited from this relatively new technology. It has stimulated the development new tools for research including geochemistry and forensic chemistry; biochemistry and oceanography. Additionally, increases in sample throughput from dozens of samples a day to hundreds of samples a day have revolutionized environmental analysis, reducing costs. Fundamentally, this is all due to the fact that while the sample resides at environmental pressure, the analyzer and detector are at 1/10,000,000 of that same pressure during normal operation.


text: An inductively coupled plasma (ICP) for spectrometry is sustained in a torch that consists of three concentric tubes, usually made of quartz, although the inner tube (injector) can be sapphire if hydrofluoric acid is being used. The end of this torch is placed inside an induction coil supplied with a radio-frequency electric current. A flow of argon gas (usually 13 to 18 liters per minute) is introduced between the two outermost tubes of the torch and an electric spark is applied for a short time to introduce free electrons into the gas stream. These electrons interact with the radio-frequency magnetic field of the induction coil and are accelerated first in one direction, then the other, as the field changes at high frequency (usually 27.12 million cycles per second). The accelerated electrons collide with argon atoms, and sometimes a collision causes an argon atom to part with one of its electrons. The released electron is in turn accelerated by the rapidly changing magnetic field. The process continues until the rate of release of new electrons in collisions is balanced by the rate of recombination of electrons with argon ions (atoms that have lost an electron). This produces a ‘fireball’ that consists mostly of argon atoms with a rather small fraction of free electrons and argon ions. The temperature of the plasma is very high, of the order of 10,000 K. The plasma also produces ultraviolet light, so for safety should not be viewed directly.


text: The ICP can be retained in the quartz torch because the flow of gas between the two outermost tubes keeps the plasma away from the walls of the torch. A second flow of argon (around 1 liter per minute) is usually introduced between the central tube and the intermediate tube to keep the plasma away from the end of the central tube. A third flow (again usually around 1 liter per minute) of gas is introduced into the central tube of the torch. This gas flow passes through the centre of the plasma, where it forms a channel that is cooler than the surrounding plasma but still much hotter than a chemical flame. Samples to be analyzed are introduced into this central channel, usually as a mist of liquid formed by passing the liquid sample into a nebulizer.


text: To maximise plasma temperature (and hence ionisation efficiency) and stability, the sample should be introduced through the central tube with as little liquid (solvent load) as possible, and with consistent droplet sizes. A nebuliser can be used for liquid samples, followed by a spray chamber to remove larger droplets, or a desolvating nebuliser can be used to evaporate most of the solvent before it reaches the torch. Solid samples can also be introduced using laser ablation. The sample enters the central channel of the ICP, evaporates, molecules break apart, and then the constituent atoms ionise. At the temperatures prevailing in the plasma a significant proportion of the atoms of many chemical elements are ionized, each atom losing its most loosely bound electron to form a singly charged ion. The plasma temperature is selected to maximise ionisation efficiency for elements with a high first ionisation energy, while minimising second ionisation (double charging) for elements that have a low second ionisation energy.


text: For coupling to mass spectrometry, the ions from the plasma are extracted through a series of cones into a mass spectrometer, usually a quadrupole. The ions are separated on the basis of their mass-to-charge ratio and a detector receives an ion signal proportional to the concentration.


text: The concentration of a sample can be determined through calibration with certified reference material such as single or multi-element reference standards. ICP-MS also lends itself to quantitative determinations through isotope dilution, a single point method based on an isotopically enriched standard.


text: Other mass analyzers coupled to ICP systems include double focusing magnetic-electrostatic sector systems with both single and multiple collector, as well as time of flight systems (both axial and orthogonal accelerators have been used).


text: One of the largest volume uses for ICP-MS is in the medical and forensic field, specifically, toxicology. A physician may order a metal assay for a number of reasons, such as suspicion of heavy metal poisoning, metabolic concerns, and even hepatological issues. Depending on the specific parameters unique to each patient's diagnostic plan, samples collected for analysis can range from whole blood, urine, plasma, serum, to even packed red blood cells. Another primary use for this instrument lies in the environmental field. Such applications include water testing for municipalities or private individuals all the way to soil, water and other material analysis for industrial purposes. In the forensic field, glass ICP-MS is popular for glass analysis. Trace elements on glass can be detected using the LA-ICP-MS. The trace elements from the glass can be used to match a sample found at the crime scene to a suspect.


text: In recent years, industrial and biological monitoring has presented another major need for metal analysis via ICP-MS. Individuals working in factories where exposure to metals is likely and unavoidable, such as a battery factory, are required by their employer to have their blood or urine analyzed for metal toxicity on a regular basis. This monitoring has become a mandatory practice implemented by OSHA, in an effort to protect workers from their work environment and ensure proper rotation of work duties (i.e. rotating employees from a high exposure position to a low exposure position).


text: ICP-MS is also used widely in the geochemistry field for radiometric dating, in which it is used to analyze relative abundance of different isotopes, in particular uranium and lead. ICP-MS is more suitable for this application than the previously used thermal ionization mass spectrometry, as species with high ionization energy such as osmium and tungsten can be easily ionized. For high precision ratio work, multiple collector instruments are normally used to reduce the effect noise on the calculated ratios.


text: In the field of flow cytometry, a new technique uses ICP-MS to replace the traditional fluorochromes. Briefly, instead of labelling antibodies (or other biological probes) with fluorochromes, each antibody is labelled with a distinct combinations of lanthanides. When the sample of interest is analysed by ICP-MS in a specialised flow cytometer, each antibody can be identified and quantitated by virtue of a distinct ICP "footprint". In theory, hundreds of different biological probes can thus be analysed in an individual cell, at a rate of ca. 1,000 cells per second. Because elements are easily distinguished in ICP-MS, the problem of compensation in multiplex flow cytometry is effectively eliminated.


text: In the pharmaceutical industry, ICP-MS is used for detecting inorganic impurities in pharmaceuticals and their ingredients. New and reduced maximum permitted exposure levels of heavy metals from dietary supplements, introduced in USP (United States Pharmacopeia) «"〈232〉Elemental Impurities—Limits"» and USP «"〈232〉Elemental Impurities—Procedures"», will increase the need for ICP-MS technology, where, previously, other analytic methods have been sufficient.


text: Laser ablation inductively coupled plasma mass spectrometry (LA-ICP-MS) is a powerful technique for the elemental analysis of a wide variety of materials encountered in forensic casework. (LA-ICP-MS) has already successfully been applied to applications in forensics, metals, glasses, soils, car paints, bones and teeth, printing inks, trace elemental, fingerprint, and Paper. Among these, forensic glass analysis stands out as an application for which this technique has great utility to provide highly.


text: Car hit and runs, burglaries, assaults, drive-by shootings and bombings such as these situations may cause glass fragments that could be used as evidence of association in glass transfer conditions. LA-ICP-MS is considered one of the best techniques for analysis of glass due to the short time for sample preparation and sample, small sample size of less than 250 nanograms. In addition there is no need for complex procedure and handling of dangerous materials that is used for digestion of the samples. This allows detecting major, minor and tracing elements with high level of precision and accuracy. There are set of properties that are used to measure glass sample such as physical and optical properties including color, thickness, density, refractive index (RI) and also, if necessary, elemental analysis can be conducted in order to enhance the value of an association.


text: Cosmetics, such as lipstick, recovered from a crime scene may provide valuable forensic information. Lipstick smears left on cigarette butts, glassware, clothing, bedding; napkins, paper, etc. may be valuable evidence. Lipstick recovered from clothing or skin may also indicate physical contact between individuals. Forensic analysis of recovered lipstick smear evidence can provide valuable information on the recent activities of a victim or suspect. Trace elemental analysis of lipstick smears could be used to complement existing visual comparative procedures to determine the lipstick brand and color.


text: Single Particle Inductively Coupled Plasma Mass Spectroscopy (SP ICP-MS) was designed for particle suspensions in 2000 by Claude Degueldre. He first tested this new methodology at the Forel Institute of the University of Geneva and presented this new analytical approach at the 'Colloid 2oo2' symposium during the spring 2002 meeting of the EMRS, and in the proceedings in 2003. This study presents the theory of SP ICP-MS and the results of tests carried out on clay particles (montmorillonite) as well as other suspensions of colloids. This method was then tested on thorium dioxide nanoparticles by Degueldre & Favarger (2004), zirconium dioxide by Degueldre "et al" (2004) and gold nanoparticles, which are used as a substrate in nanopharmacy, and published by Degueldre "et al" (2006). Subsequently, the study of uranium dioxide nano- and micro-particles gave rise to a detailed publication, Ref. Degueldre "et al" (2006). Since 2010 the interest for SP ICP-MS has exploded.


text: Previous forensic techniques employed for the organic analysis of lipsticks by compositional comparison include thin layer chromatography (TLC), gas chromatography (GC), and high-performance liquid chromatography (HPLC). These methods provide useful information regarding the identification of lipsticks. However, they all require long sample preparation times and destroy the sample. Nondestructive techniques for the forensic analysis of lipstick smears include UV fluorescence observation combined with purge-and-trap gas chromatography, microspectrophotometry and scanning electron microscopy-energy dispersive spectroscopy (SEM-EDS), and Raman spectroscopy.


text: A growing trend in the world of elemental analysis has revolved around the speciation, or determination of oxidation state of certain metals such as chromium and arsenic. One of the primary techniques to achieve this is to separate the chemical species with high-performance liquid chromatography (HPLC) or field flow fractionation (FFF) and then measure the concentrations with ICP-MS.


text: There is an increasing trend of using ICP-MS as a tool in speciation analysis, which normally involves a front end chromatograph separation and an elemental selective detector, such as AAS and ICP-MS. For example, ICP-MS may be combined with size exclusion chromatography and quantitative preparative native continuous polyacrylamide gel electrophoresis (QPNC-PAGE) for identifying and quantifying native metal cofactor containing proteins in biofluids. Also the phosphorylation status of proteins can be analyzed.


text: In 2007, a new type of protein tagging reagents called metal-coded affinity tags (MeCAT) were introduced to label proteins quantitatively with metals, especially lanthanides. The MeCAT labelling allows relative and absolute quantification of all kind of proteins or other biomolecules like peptides. MeCAT comprises a site-specific biomolecule tagging group with at least a strong chelate group which binds metals. The MeCAT labelled proteins can be accurately quantified by ICP-MS down to low attomol amount of analyte which is at least 2–3 orders of magnitude more sensitive than other mass spectrometry based quantification methods. By introducing several MeCAT labels to a biomolecule and further optimization of LC-ICP-MS detection limits in the zeptomol range are within the realm of possibility. By using different lanthanides MeCAT multiplexing can be used for pharmacokinetics of proteins and peptides or the analysis of the differential expression of proteins (proteomics) e.g. in biological fluids. Breakable PAGE SDS-PAGE (DPAGE, dissolvable PAGE), two-dimensional gel electrophoresis or chromatography is used for separation of MeCAT labelled proteins. Flow-injection ICP-MS analysis of protein bands or spots from DPAGE SDS-PAGE gels can be easily performed by dissolving the DPAGE gel after electrophoresis and staining of the gel. MeCAT labelled proteins are identified and relatively quantified on peptide level by MALDI-MS or ESI-MS.


text: The ICP-MS allows determination of elements with atomic mass ranges 7 to 250 (Li to U), and sometimes higher. Some masses are prohibited such as 40 due to the abundance of argon in the sample. Other blocked regions may include mass 80 (due to the argon dimer), and mass 56 (due to ArO), the latter of which greatly hinders Fe analysis unless the instrumentation is fitted with a reaction chamber. Such interferences can be reduced by using a high resolution ICP-MS (HR-ICP-MS) which uses two or more slits to constrict the beam and distinguish between nearby peaks. This comes at the cost of sensitivity. For example, distinguishing iron from argon requires a resolving power of about 10,000, which may reduce the iron sensitivity by around 99%.


text: A single collector ICP-MS may use a multiplier in pulse counting mode to amplify very low signals, an attenuation grid or a multiplier in analogue mode to detect medium signals, and a Faraday cup/bucket to detect larger signals. A multi-collector ICP-MS may have more than one of any of these, normally Faraday buckets which are much less expensive. With this combination, a dynamic range of 12 orders of magnitude, from 1 ppq to 100 ppm is possible.


text: Unlike atomic absorption spectroscopy, which can only measure a single element at a time, ICP-MS has the capability to scan for all elements simultaneously. This allows rapid sample processing. A simultaneous ICP-MS that can record the entire analytical spectrum from lithium to uranium in every analysis won the Silver Award at the 2010 Pittcon Editors' Awards. An ICP-MS may use multiple scan modes, each one striking a different balance between speed and precision. Using the magnet alone to scan is slow, due to hysteresis, but is precise. Electrostatic plates can be used in addition to the magnet to increase the speed, and this, combined with multiple collectors, can allow a scan of every element from Lithium 6 to Uranium Oxide 256 in less than a quarter of a second. For low detection limits, interfering species and high precision, the counting time can increase substantially. The rapid scanning, large dynamic range and large mass range is ideally suited to measuring multiple unknown concentrations and isotope ratios in samples that have had minimal preparation (an advantage over TIMS), for example seawater, urine, and digested whole rock samples. It also lends well to laser ablated rock samples, where the scanning rate is so quick that a real time plot of any number of isotopes is possible. This also allows easy spatial mapping of mineral grains.


text: In terms of input and output, ICP-MS instrument consumes prepared sample material and translates it into mass-spectral data. Actual analytical procedure takes some time; after that time the instrument can be switched to work on the next sample. Series of such sample measurements requires the instrument to have plasma ignited, meanwhile a number of technical parameters has to be stable in order for the results obtained to have feasibly accurate and precise interpretation. Maintaining the plasma requires a constant supply of carrier gas (usually, pure argon) and increased power consumption of the instrument. When these additional running costs are not considered justified, plasma and most of auxiliary systems can be turned off. In such standby mode only pumps are working to keep proper vacuum in mass-spectrometer.


text: The constituents of ICP-MS instrument are designed to allow for reproducible and/or stable operation.


text: The first step in analysis is the introduction of the sample. This has been achieved in ICP-MS through a variety of means.


text: The most common method is the use of "analytical nebulizers." Nebulizer converts liquids into an aerosol, and that aerosol can then be swept into the plasma to create the ions. Nebulizers work best with simple liquid samples (i.e. solutions). However, there have been instances of their use with more complex materials like a slurry. Many varieties of nebulizers have been coupled to ICP-MS, including pneumatic, cross-flow, Babington, ultrasonic, and desolvating types. The aerosol generated is often treated to limit it to only smallest droplets, commonly by means of a Peltier cooled double pass or cyclonic spray chamber. Use of autosamplers makes this easier and faster, especially for routine work and large numbers of samples. A Desolvating Nebuliser (DSN) may also be used; this uses a long heated capillary, coated with a fluoropolymer membrane, to remove most of the solvent and reduce the load on the plasma. Matrix removal introduction systems are sometimes used for samples, such as seawater, where the species of interest are at trace levels, and are surrounded by much more abundant contaminants.


text: Laser ablation is another method. While being less common in the past, is rapidly becoming popular has been used as a means of sample introduction, thanks to increased ICP-MS scanning speeds. In this method, a pulsed UV laser is focused on the sample and creates a plume of ablated material which can be swept into the plasma. This allows geochemists to spacially map the isotope composition in cross-sections of rock samples, a tool which is lost if the rock is digested and introduced as a liquid sample. Lasers for this task are built to have highly controllable power outputs and uniform radial power distributions, to produce craters which are flat bottomed and of a chosen diameter and depth.


text: For both Laser Ablation and Desolvating Nebulisers, a small flow of Nitrogen may also be introduced into the Argon flow. Nitrogen exists as a dimer, so has more vibrational modes and is more efficient at receiving energy from the RF coil around the torch.


text: Other methods of sample introduction are also utilized. Electrothermal vaporization (ETV) and in torch vaporization (ITV) use hot surfaces (graphite or metal, generally) to vaporize samples for introduction. These can use very small amounts of liquids, solids, or slurries. Other methods like vapor generation are also known.


text: The plasma used in an ICP-MS is made by partially ionizing argon gas (Ar → Ar + e). The energy required for this reaction is obtained by pulsing an alternating electric current in load coil that surrounds the plasma torch with a flow of argon gas.


text: After the sample is injected, the plasma's extreme temperature causes the sample to separate into individual atoms (atomization). Next, the plasma ionizes these atoms (M → M + e) so that they can be detected by the mass spectrometer.


text: An inductively coupled plasma (ICP) for spectrometry is sustained in a torch that consists of three concentric tubes, usually made of quartz. The two major designs are the Fassel and Greenfield torches. The end of this torch is placed inside an induction coil supplied with a radio-frequency electric current. A flow of argon gas (usually 14 to 18 liters per minute) is introduced between the two outermost tubes of the torch and an electrical spark is applied for a short time to introduce free electrons into the gas stream. These electrons interact with the radio-frequency magnetic field of the induction coil and are accelerated first in one direction, then the other, as the field changes at high frequency (usually 27.12 MHz or 40 MHz). The accelerated electrons collide with argon atoms, and sometimes a collision causes an argon atom to part with one of its electrons. The released electron is in turn accelerated by the rapidly changing magnetic field. The process continues until the rate of release of new electrons in collisions is balanced by the rate of recombination of electrons with argon ions (atoms that have lost an electron). This produces a ‘fireball’ that consists mostly of argon atoms with a rather small fraction of free electrons and argon ions.


text: Making the plasma from argon, instead of other gases, has several advantages. First, argon is abundant (in the atmosphere, as a result of the radioactive decay of potassium) and therefore cheaper than other noble gases. Argon also has a higher first ionization potential than all other elements except He, F, and Ne. Because of this high ionization energy, the reaction (Ar + e → Ar) is more energetically favorable than the reaction (M + e → M). This ensures that the sample remains ionized (as M) so that the mass spectrometer can detect it.


text: Argon can be purchased for use with the ICP-MS in either a refrigerated liquid or a gas form. However it is important to note that whichever form of argon purchased, it should have a guaranteed purity of 99.9% Argon at a minimum. It is important to determine which type of argon will be best suited for the specific situation. Liquid argon is typically cheaper and can be stored in a greater quantity as opposed to the gas form, which is more expensive and takes up more tank space. If the instrument is in an environment where it gets infrequent use, then buying argon in the gas state will be most appropriate as it will be more than enough to suit smaller run times and gas in the cylinder will remain stable for longer periods of time, whereas liquid argon will suffer loss to the environment due to venting of the tank when stored over extended time frames. However, if the ICP-MS is to be used routinely and is on and running for eight or more hours each day for several days a week, then going with liquid argon will be the most suitable. If there are to be multiple ICP-MS instruments running for long periods of time, then it will most likely be beneficial for the laboratory to install a bulk or micro bulk argon tank which will be maintained by a gas supply company, thus eliminating the need to change out tanks frequently as well as minimizing loss of argon that is left over in each used tank as well as down time for tank changeover.


text: Helium can be used either in place of, or mixed with, argon for plasma generation. Helium's higher first ionisation energy allows greater ionisation and therefore higher sensitivity for hard-to-ionise elements. The use of pure helium also avoids argon-based intereferences such as ArO. However, many of the interferences can be mitigated by use of a collision cell, and the greater cost of helium has prevented its use in commercial ICP-MS.


text: The carrier gas is sent through the central channel and into the very hot plasma. The sample is then exposed to radio frequency which converts the gas into a plasma. The high temperature of the plasma is sufficient to cause a very large portion of the sample to form ions. This fraction of ionization can approach 100% for some elements (e.g. sodium), but this is dependent on the ionization potential. A fraction of the formed ions passes through a ~1 mm hole (sampler cone) and then a ~0.4 mm hole (skimmer cone). The purpose of which is to allow a vacuum that is required by the mass spectrometer.


text: The vacuum is created and maintained by a series of pumps. The first stage is usually based on a roughing pump, most commonly a standard rotary vane pump. This removes most of the gas and typically reaches a pressure of around 133 Pa. Later stages have their vacuum generated by more powerful vacuum systems, most often turbomolecular pumps. Older instruments may have used oil diffusion pumps for high vacuum regions.


text: Before mass separation, a beam of positive ions has to be extracted from the plasma and focused into the mass-analyzer. It is important to separate the ions from UV photons, energetic neutrals and from any solid particles that may have been carried into the instrument from the ICP. Traditionally, ICP-MS instruments have used transmitting ion lens arrangements for this purpose. Examples include the Einzel lens, the Barrel lens, Agilent's Omega Lens and Perkin-Elmer's Shadow Stop. Another approach is to use ion guides (quadrupoles, hexapoles, or octopoles) to guide the ions into mass analyzer along a path away from the trajectory of photons or neutral particles. Yet another approach is Varian patented used by Analytik Jena ICP-MS 90 degrees reflecting parabolic "Ion Mirror" optics, which are claimed to provide more efficient ion transport into the mass-analyzer, resulting in better sensitivity and reduced background. Analytik Jena ICP-MS PQMS is the most sensitive instrument on the market.


text: A sector ICP-MS will commonly have four sections: an extraction acceleration region, steering lenses, an electrostatic sector and a magnetic sector. The first region takes ions from the plasma and accelerates them using a high voltage. The second uses may use a combination of parallel plates, rings, quadrupoles, hexapoles and octopoles to steer, shape and focus the beam so that the resulting peaks are symmetrical, flat topped and have high transmission. The electrostatic sector may be before or after the magnetic sector depending on the particular instrument, and reduces the spread in kinetic energy caused by the plasma. This spread is particularly large for ICP-MS, being larger than Glow Discharge and much larger than TIMS. The geometry of the instrument is chosen so that the instrument the combined focal point of the electrostatic and magnetic sectors is at the collector, known as Double Focussing (or Double Focussing).


text: If the mass of interest has a low sensitivity and is just below a much larger peak, the low mass tail from this larger peak can intrude onto the mass of interest. A Retardation Filter might be used to reduce this tail. This sits near the collector, and applies a voltage equal but opposite to the accelerating voltage; any ions that have lost energy while flying around the instrument will be decelerated to rest by the filter.


text: The collision/reaction cell is used to remove interfering ions through ion/neutral reactions. Collision/reaction cells are known under several names. The dynamic reaction cell is located before the quadrupole in the ICP-MS device. The chamber has a quadrupole and can be filled with reaction (or collision) gases (ammonia, methane, oxygen or hydrogen), with one gas type at a time or a mixture of two of them, which reacts with the introduced sample, eliminating some of the interference.


text: The integrated Collisional Reaction Cell (iCRC) used by Analytik Jena ICP-MS is a mini-collision cell installed in front of the parabolic ion mirror optics that removes interfering ions by injecting a collisional gas (He), or a reactive gas (H), or a mixture of the two, directly into the plasma as it flows through the skimmer cone and/or the sampler cone. The iCRC removed interfering ions using a collisional kinetic energy discrimination (KED) phenomenon and chemical reactions with interfering ions similarly to traditionally used larger collision cells.


text: As with any piece of instrumentation or equipment, there are many aspects of maintenance that need to be encompassed by daily, weekly and annual procedures. The frequency of maintenance is typically determined by the sample volume and cumulative run time that the instrument is subjected to.


text: One of the first things that should be carried out before the calibration of the ICP-MS is a sensitivity check and optimization. This ensures that the operator is aware of any possible issues with the instrument and if so, may address them before beginning a calibration. Typical indicators of sensitivity are Rhodium levels, Cerium/Oxide ratios and DI water blanks.


text: One of the most frequent forms of routine maintenance is replacing sample and waste tubing on the peristaltic pump, as these tubes can get worn fairly quickly resulting in holes and clogs in the sample line, resulting in skewed results. Other parts that will need regular cleaning and/or replacing are sample tips, nebulizer tips, sample cones, skimmer cones, injector tubes, torches and lenses. It may also be necessary to change the oil in the interface roughing pump as well as the vacuum backing pump, depending on the workload put on the instrument.


text: For most clinical methods using ICP-MS, there is a relatively simple and quick sample prep process. The main component to the sample is an internal standard, which also serves as the diluent. This internal standard consists primarily of deionized water, with nitric or hydrochloric acid, and Indium and/or Gallium. The addition of volatile acids allows for the sample to decompose into its gaseous components in the plasma which minimizes the ability for concentrated salts and solvent loads to clog the cones and contaminate the instrument. Depending on the sample type, usually 5 mL of the internal standard is added to a test tube along with 10–500 microliters of sample. This mixture is then vortexed for several seconds or until mixed well and then loaded onto the autosampler tray.


text: For other applications that may involve very viscous samples or samples that have particulate matter, a process known as sample digestion may have to be carried out, before it can be pipetted and analyzed. This adds an extra first step to the above process, and therefore makes the sample prep more lengthy.


title: OK Human

text: OK Human is the fourteenth studio album by American rock band Weezer, released on January 29, 2021 by Crush Music and Atlantic Records. Featuring a baroque-pop influenced sound, inspired by albums such as Harry Nilsson's "Nilsson Sings Newman" (1970) and the Beach Boys' "Pet Sounds" (1966), the album was recorded entirely with analogue equipment and features a 38-piece orchestra. The album was preceded by the lead single "All My Favorite Songs", released on January 21, 2021. The album received generally positive reviews from critics. "OK Human" is the first of two Weezer albums to be released in 2021, followed nearly four months later by "Van Weezer".


title: OK Human

text: Work on "OK Human" began as early as 2017, when the band decided to make an album that combined rock instrumentation with an orchestra. Producer Jake Sinclair suggested that they hire a 38-piece orchestra and also gave Weezer frontman Rivers Cuomo the album "Nilsson Sings Newman" to listen to, on which singer Harry Nilsson covered songs by Randy Newman. They had just finished production on the album when they got an offer to join bands Green Day and Fall Out Boy on the Hella Mega Tour for the summer of 2020. This prompted them to start work on another album, "Van Weezer," which featured music that would translate better to a stadium tour, but when the COVID-19 pandemic delayed the tour, they decided to switch around the release dates of the albums once again.


title: OK Human

text: Cuomo first mentioned "OK Human" prior to the release of "Weezer" (The Black Album) in a February 2019 interview with the Los Angeles Times. He noted the album was "piano-based" and "very eccentric" and that he had recorded strings for the album at Abbey Road Studios. In May 2020, Cuomo commented during a Zoom call that he estimated "OK Human" was "75% done", but that he did not anticipate the album being released in 2020. The album was planned to be released following their intended fourteenth album, "Van Weezer", but when the album suffered a year-long delay following the COVID-19 pandemic, the band hinted that they were shifting their focus to completing "OK Human" first. On November 17, 2020, the band announced the completion of "OK Human" during a Q&A session following a livestream performance. On January 18, 2021, the band announced a release date of January 29 with the release date of the lead single, "All My Favorite Songs" on January 21.


title: OK Human

text: The album's title is a play on the 1997 Radiohead album "OK Computer". The cover art was created by Mattias Adolfsson.


title: OK Human

text: Musically, "OK Human" has been described as orchestral pop, chamber pop, baroque pop, pop, and pop rock.


title: OK Human

text: "OK Human" received generally favorable reviews. At Metacritic, which assigns a normalized rating out of 100 to reviews from professional publications, the release received an average score of 75, based on 21 reviews, indicating "generally favorable reviews". Aggregator AnyDecentMusic? gave the album a 7.3 out of 10, based on their assessment of the critical consensus.


title: OK Human

text: Writing for AllMusic, Stephen Thomas Erlewine wrote a highly positive review of the album, stating that the album "offers a singular, complete listening experience unlike anything else in their catalog." Similarly, R.A. Hagan, writing for Clash Music, praised the album for being "more careful, sincere, and delicately crafted" than the band's previous two studio albums, "Pacific Daydream" and the "Black Album". Aaron Mook of Chorus.fm recommended the album, calling it "a left-field masterpiece that comes dangerously close to reaching the heights of the band's early career."


title: OK Human

text: However, publications like "Entertainment Weekly" and "Pitchfork" were more critical of the album. Writing for "Pitchfork", Ian Cohen wrote that the album felt "as impersonal as water-cooler small talk". Eli Enis wrote for "Entertainment Weekly" that "the fleeting moments of authenticity are hidden beneath a pile of hokey one-liners, spotty vocal performances, and awkward arrangements that rely on the accompanying orchestra to provide all of the emotional depth", but still noted that "it's arguably the darkest and most personal record that Cuomo has written since his fans' beloved "Pinkerton"."


title: OK Human

text: Other music critics were more ambivalent in their judgement of the album. Writing for "Consequence of Sound", Tyler Clark concluded; "Chalk it up to the unpredictability of 2021; despite the creative and cultural headwinds into which it was released, OK Human lands as a surprisingly charming collection of pop tunes whose imperfections add to rather than detract from the experience." In the review for "The Line of Best Fit", Alex Wisgard stated that "Weezer’s greatest misses may come from their frontman’s visceral desperation to stay relevant, but it’s a relief to hear them take chances and risk failure in such a new way. The album might just be OK, but it’s been a long time since Weezer have dared to be this human."


title: Henry Willson

text: Henry Leroy Willson (July 31, 1911 – November 2, 1978) was an American Hollywood talent agent who played a large role in developing the beefcake craze of the 1950s. He was known for his stable of young, attractive clients, including Rock Hudson, Tab Hunter, Chad Everett, Robert Wagner, Nick Adams, Guy Madison, Kerwin Mathews, Troy Donahue, Mike Connors, Rory Calhoun, John Saxon, Yale Summers, Clint Walker, Doug McClure, Dack Rambo, Ty Hardin, and John Derek. He noticed Rhonda Fleming as she was walking to Beverly Hills High School, brought her to the attention of David O. Selznick, and helped groom her for stardom. He was also instrumental in advancing Lana Turner's career.


title: Henry Willson

text: Willson was born into a prominent show business family in Lansdowne, Pennsylvania. His father, Horace, was the vice-president of the Columbia Phonograph Company and advanced to the presidency in 1922. Willson came in close contact with many Broadway theatre, opera, and vaudeville performers. Will Rogers, Fanny Brice, and Fred Stone numbered among the family's friends, after they moved to Forest Hills, an upscale neighborhood in the New York City borough of Queens.


title: Henry Willson

text: Concerned about his son's interest in tap dance, the elder Willson enrolled Henry in the Asheville School in North Carolina, where he hoped the school's many team sports and rugged weekend activities, such as rock climbing and backpacking, would have a positive influence on the boy. He later attended Wesleyan University in Middletown, Connecticut, spending weekends in Manhattan, where he wrote weekly gossip columns for "Variety".


title: Henry Willson

text: In 1933, Willson traveled to Hollywood by steamship via the Panama Canal. On board he cultivated a friendship with Bing Crosby's wife, Dixie Lee, who introduced him to the Hollywood elite and secured him a job with "Photoplay", where his first article was about the newborn Gary Crosby. He began writing for "The Hollywood Reporter" and the "New Movie Magazine", became a junior agent at the Joyce & Polimer Agency, moved into a Beverly Hills home purchased by his father, and became a regular at Sunset Strip gay bars, where he wooed young men for both professional and personal reasons. One of his first clients was Junior Durkin, whose career was cut short when he died in an automobile accident on May 4, 1935.


title: Henry Willson

text: Willson joined the Zeppo Marx Agency, where he represented newcomers Marjorie Belcher, Jon Hall, and William T. Orr. He was introduced to Julia Turner, a Hollywood High School student, in 1937, whom he renamed "Lana Turner" and got cast in small roles, finally introducing her to Mervyn LeRoy at Warner Bros. In 1943, David O. Selznick hired Willson to head the talent division of his newly formed Vanguard Pictures. The first film he cast was the World War II drama "Since You Went Away" (1944) with Claudette Colbert, Jennifer Jones, and Shirley Temple. He placed Guy Madison, Craig Stevens, and John Derek (billed as Dare Harris) in small supporting roles.


title: Henry Willson

text: Willson eventually opened his own talent agency, where he nurtured the careers of his young finds, frequently coercing them into sexual relationships in exchange for publicity and film roles. In his book, "Screened Out: Playing Gay in Hollywood from Edison to Stonewall", Richard Barrios writes, "talent agent Henry Willson... had a singular knack for discovering and renaming young actors whose visual appeal transcended any lack of ability. Under his tutelage, Robert Mosely became Guy Madison, Orison Whipple Hungerford Jr. was renamed Ty Hardin, Arthur Gelien was changed to Tab Hunter, and Roy Scherer turned into Rock Hudson. So successful was the beefcake aspect of this enterprise, and so widely recognized was Willson's sexuality, that it was often, and often inaccurately, assumed that all of his clients were gay. In her book "Natasha: The Biography of Natalie Wood", Suzanne Finstad confirms that "some of the would-be actors Willson represented were heterosexual, but a disproportionate number were homosexual, bisexual, or 'co-operated' with Willson 'to get gigs,' in the observation of Natalie [Wood]'s costar Bobby Hyatt. ..." "if a young, handsome actor had Henry Willson for an agent, 'it was almost assumed he was gay, like it was written across his forehead,' recalls Ann Doran, one of Willson's few female clients."


title: Henry Willson

text: His most prominent client was Rock Hudson, whom he transformed from a clumsy, naive, Chicago-born truck driver named Roy Scherer into one of Hollywood's most popular leading men. The two were teamed professionally until 1966. In 1955, "Confidential" magazine threatened to publish an exposé about Hudson's secret homosexual life, and Willson disclosed information about Rory Calhoun's years in prison and Tab Hunter's arrest at a gay party in 1950 in exchange for the tabloid not printing the Hudson story. At his agent's urging, Hudson married Willson's secretary Phyllis Gates in order to put the rumors to rest and maintain a macho image, but the union dissolved after three years.


title: Henry Willson

text: In his later years, Willson struggled with drug addiction, alcoholism, paranoia, and weight problems. Because his own homosexuality had become public knowledge, many of his clients, both gay and straight, distanced themselves from him for fear of being branded the same. In 1974, the unemployed and destitute agent moved into the Motion Picture & Television Country House and Hospital, where he remained until he died of cirrhosis of the liver. With no money to cover the cost of a gravestone, he was interred in an unmarked grave in Valhalla Memorial Park Cemetery in North Hollywood, California. A headstone was eventually placed at his burial site with the epitaph "Star - Star Maker".


title: Henry Willson

text: Willson is portrayed by Jim Parsons in the 2020 Netflix miniseries "Hollywood", a counterfactual re-imagining of post World War II Hollywood.


title: Michael Hordern

text: Sir Michael Murray Hordern 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.


title: Michael Hordern

text: 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.


title: Michael Hordern

text: 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 Michael Benthall'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).


title: Michael Hordern

text: 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. Hordern'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.


title: Michael Hordern

text: Hordern was born 3 October 1911 at Berkhamsted, Hertfordshire, third son of Edward Joseph Calveley Hordern (1867-1945), of a family of Hampshire landed gentry with a strong clerical tradition, and Margaret Emily, daughter of mechanical engineer Edward Francis Murray.


title: Michael Hordern

text: Edward Hordern's father, Rev. Joseph Calveley Hordern, 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.


title: Michael Hordern

text: Margaret 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.


title: Michael Hordern

text: Four years after the birth of Peter, a pregnant Margaret returned to England, where Michael Hordern, her third son, was born. 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.


title: Michael Hordern

text: 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, Hordern 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, Hordern 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".


title: Michael Hordern

text: 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, Michael developed a love for fishing, a hobby about which he remained passionate for the rest of his life.


title: Michael Hordern

text: In his autobiography Hordern 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 Hordern 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.


title: Michael Hordern

text: 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 Hordern'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.


title: Michael Hordern

text: With the death of his mother in January 1933, Hordern 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. Hordern admired Daltry's acting ability and later admitted to him being a constant influence on his Shakespearean career.


title: Michael Hordern

text: In addition to his Shakespearean commitments, Hordern joined the St Pancras People's Theatre, a London-based company partly funded by the theatrical manager Lilian Baylis. Hordern 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.


title: Michael Hordern

text: 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, Hordern 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 Hordern as Ludovico in "Othello".


title: Michael Hordern

text: The part became Hordern'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 Hordern to take his place for which Daltry paid Hordern an extra £1 a week.


title: Michael Hordern

text: After "Othello"'s 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.


title: Michael Hordern

text: 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'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 Hordern fell in love with Eve Mortimer, a juvenile actress who appeared in minor roles in many of Russell's productions. Hordern 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. Hordern described the company's props as being made to a very high standard, despite being bought on a shoe-string budget.


title: Michael Hordern

text: 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".


title: Michael Hordern

text: Hordern 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".


title: Michael Hordern

text: By the end of 1938 Hordern'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.


title: Michael Hordern

text: 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. 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.


title: Michael Hordern

text: 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". 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. He found that although his middle class upbringing hindered his ability to make friends on board the ship, it helped with his commanding officers.


title: Michael Hordern

text: By 1941 radar was slowly being introduced to the Navy and Hordern 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.


title: Michael Hordern

text: During a short visit to Liverpool in 1943, Hordern proposed to Eve; they married on 27 April of that year with the actor Cyril Luckham as best man. After the honeymoon, Hordern 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.


title: Michael Hordern

text: 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 Garden Opera Company, which later became known as The Royal Opera.


title: Michael Hordern

text: 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.


title: Michael Hordern

text: In early 1949 Hordern appeared as Pascal in the Michael Redgrave-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".


title: Michael Hordern

text: 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 Michael Hordern, 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".


title: Michael Hordern

text: 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 Hordern 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.


title: Michael Hordern

text: Hordern cited "Saint's Day"s 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". Hordern 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.


title: Michael Hordern

text: 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 Michael Redgrave, 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 Michael Hordern's different reading can now stand beside the other does credit to a player who will be a Stratford prize."


title: Michael Hordern

text: Hordern's contract at the Shakespeare Memorial Theatre lasted until mid-1952, and on its expiration, he secured a position within Michael Benthall'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.


title: Michael Hordern

text: 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. Hordern 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 Hordern of Burton who received more attention from fans. When Burton left for Hollywood years later, he recommended Hordern to various casting directors; Hordern was subsequently engaged in six of Burton's films.


title: Michael Hordern

text: "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 Hordern in the role. Hordern 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.


title: Michael Hordern

text: In early 1955 Hordern 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 Hordern'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.


title: Michael Hordern

text: Hordern 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. Hordern 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 Hordern 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."


title: Michael Hordern

text: Hordern 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", Hordern, 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." Hordern 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.


title: Michael Hordern

text: 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, Hordern took a break from the stage and decided to concentrate on his film career.


title: Michael Hordern

text: Hordern 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.


title: Michael Hordern

text: Hordern was cast in John Mortimer's 1957 play "The Dock Brief" in which Hordern 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. Hordern 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. 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.


title: Michael Hordern

text: 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, Hordern 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 Hordern'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."


title: Michael Hordern

text: On 9 October 1959, Hordern 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 Hordern'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.