Michael Winner

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Winner directed his first travelogue, This is Belgium (1957), which was largely shot on location in East Grinstead. It was financed by his father. Later, he wrote, produced and directed a short, The Square (1957), starring A. E. Matthews, and which again was financed by Winner's father.

Winner's first on-screen feature credit was earned as a writer for the low-budget crime film Man with a Gun (1958) directed by Montgomery Tully. He went on to direct the shorts Danger, Women at Work (1959) and Watch the Birdie (1959), and was Associate Producer on Floating Fortress (1959), produced by Harold Baim.

Winner's first feature as director was Shoot to Kill (1960), which he also wrote. Dermot Walsh starred. He followed this with Climb Up the Wall (1960), which was essentially a series of music acts presented by Jack Jackson, but which Winner nonetheless wrote and directed.

Winner's third feature as director was the thriller Murder on the Campus (1961), also known as Out of the Shadow, which Winner also wrote and helped produce. Dermot Walsh starred once again, together with Terence Longdon. Shortly afterwards, Winner wrote and directed the short Girls Girls Girls! (1961) which was narrated by Jackson, and directed the short feature Old Mac (1961), written by Richard Aubrey and starring Charles Lamb, Vi Stevens and Tania Mallet.

Winner directed the shorts Haunted England (1961), It's Magic (1962), and Behave Yourself (1962), the latter of which was based on Emily Post's Book of Manners, and whose cast included Jackson and Dennis Price.

Winner achieved success with a musical he directed, Play It Cool (1962), starring Billy Fury and Michael Anderson Jr., and which was distributed by Anglo-Amalgamated.

Winner's next feature, Some Like It Cool (1962), is the tale of a young woman who introduces her prudish husband and in-laws to the joys of nudism. Filmed at Longleat, Winner was afraid the sight of bare flesh would offend the magistrate for the area, so he confided his worries to the landowner, the Marquess of Bath. 'Don't worry,' said the Marquess, 'I am the local magistrate.' The film cost £9,000 and Winner said it made its money back in a week.

Winner went on to update Gilbert and Sullivan, writing the screenplay and directing a version of The Mikado titled The Cool Mikado (1963), starring Frankie Howerd and Stubby Kaye and which was produced by Harold Baim.

Winner's first significant project was West 11 (1963), a realistic tale of London drifters starring Alfred Lynch, Eric Portman and Diana Dors, and which was based on a script by Hall and Waterhouse.

Winner's film The System (1964), also known as The Girl-Getters, began a partnership with actor Oliver Reed that would last for six films over a 25-year period, and was based on a script by Peter Draper. Winner would later receive an offer from Columbia to direct a comedy, You Must Be Joking! (1965). It starred American actor Michael Callan and a supporting cast that included Lionel Jeffries and Denholm Elliott, while Winner also wrote the script.

Winner was reunited with Reed on The Jokers (1967), a comedy where Reed was teamed with Michael Crawford. It was based on a script by Dick Clement and Ian La Frenais from a story by Winner for his own company, Scimitar Productions (for Universal's English operations, then under Jay Kanter). The resulting movie was a popular hit.

Winner and Reed then made the comedy-drama I'll Never Forget What's'isname (1967), co-starring Orson Welles, Carol White and Harry Andrews, also for Scimitar. Draper wrote the script, which was a spoof of the advertising world, and the film was also done for Universal.

Winner did some uncredited directing on A Little of What You Fancy (1967), a documentary about the history of the British music hall. Then he and Reed made their fourth feature together, the World War II satire Hannibal Brooks (1969), again from a Clement/La Frenais script and based on a story by Winner.

20th Century Fox hired Winner to direct The Games (1970), a film about the Olympic Games and which starred Ryan O'Neal and Stanley Baker, with script by Eric Segal.

Hannibal Brooks drew notice in Hollywood, and Winner soon received an opportunity to direct his first American film, for United Artists; this was Lawman (1971), a Western starring Burt Lancaster and Robert Duvall, and for which Gerald Wilson was the writer.

Back in England, Winner directed Marlon Brando in The Nightcomers (1971), a prequel to The Turn of the Screw by Henry James, the first of many films for which Winner was credited as editor using the pseudonym 'Arnold Crust'.

Winner edited, produced and directed Chato's Land (1972), recounting a mixed race native American fighting with white people. It starred Charles Bronson and was done for Scimitar through United Artists. Once more, Gerald Wilson wrote the script. Winner's second film for Bronson and United Artists was The Mechanic (1972), a thriller in which professional assassins are depicted. It was based on a story and script by Lewis John Carlino and Winner also edited, although he did not produce; he replaced Monte Hellman as director.

The following year, Winner cast Lancaster again in the espionage drama Scorpio (1973), co-starring Alain Delon and made for Scimitar and United Artists. Winner also produced and directed a third film with Bronson, The Stone Killer (1973), for Columbia and in collaboration with producer Dino De Laurentiis.

Winner and Bronson collaborated on Death Wish (1974), a film that defined the subsequent careers of both men. Based on a novel by Brian Garfield and adapted for the screen by Wendell Mayes, Death Wish was originally planned for director Sidney Lumet, under contract with United Artists. The commitment of Lumet to another film and UA's questioning of its subject matter, led to the film's eventual production by De Laurentiis through Paramount Pictures. Death Wish follows Paul Kersey, a liberal New York architect who becomes a gun-wielding vigilante after his wife is murdered and daughter is raped. With a script adjusted to Bronson's persona, the film generated controversy during its screenings but was one of the year's highest grossers.

Winner tried to break out of action films with Won Ton Ton, the Dog Who Saved Hollywood (1976), an animal comedy Winner produced and directed, starring Bruce Dern, Madeline Kahn, Art Carney, and Milton Berle. Intended as a satire of Hollywood, it was a financial failure. Of modest success was his horror film The Sentinel (1977), which Winner wrote, produced and directed for Universal, and which was based on the novel by Jeffrey Konvitz.

Winner then wrote, produced and directed the remake of Raymond Chandler's novel The Big Sleep (1978), starring Robert Mitchum as Philip Marlowe with a strong support cast including John Mills, Sarah Miles, Richard Boone and Candy Clarke. The film was relocated to England, and financed by ITC Films. Also for ITC, Winner produced, edited and directed the organized crime thriller Firepower (1979). It was meant to star Bronson, who withdrew, and wound up starring Sophia Loren and James Coburn.

By the early 1980s, Winner found himself in great need of a successful film and accepted Charles Bronson's request to film Death Wish II (1981), a sequel to the 1974 hit. Bronson had already signed a lucrative deal with Cannon Films, independent producer of exploitation fare and marginal art house titles. The sequel, co-starring Bronson's wife Jill Ireland, considerably increased the violence to more graphic levels. Winner said the film was 'the same, but different', to the original. 'That's what sequels are – Rocky II, Rocky III – you don't see Sylvester Stallone move to the Congo and become a nurse. Here the look of LA is what's different. Besides – rape doesn't date!' Death Wish II made a $2 million profit for Cannon films and made an extra $29 million worldwide.

The success of Death Wish II enabled Winner to raise money from Cannon for a dream project: a 1983 remake of 1945's The Wicked Lady, this time starring Faye Dunaway and which Winner wrote, produced and directed.

For Miracle Films, Winner produced and directed the thriller Scream for Help (1984). He also produced the film Claudia (1985), doing some uncredited directing and editing.

Winner was reunited with Bronson and Cannon for Death Wish 3 (1985), which – although set in New York City – was mostly filmed in London for budgetary reasons. Winner produced and edited."

Winner was also attached to direct Cannon's 1990 film Captain America, from a script by James Silke, which he would revise with Stan Hey, and then Stan Lee and Lawrence Block. By 1987, however, Winner was off the project.

Winner's final film for Cannon was an adaptation of the Agatha Christie novel Appointment with Death (1989) starring Peter Ustinov as Poirot. Winner produced, edited and directed; but despite a strong support cast including Lauren Bacall and Carrie Fisher, the film flopped.

After Cannon Films entered bankruptcy, Winner confined himself to British productions. He produced and directed an adaptation of the Alan Ayckbourn musical play A Chorus of Disapproval (1989) with Anthony Hopkins, and also wrote the script with Ayckbourn.

Winner produced, directed and edited the Michael Caine and Roger Moore farce Bullseye! (1990), based on a story by Winner. The film's reception was generally poor, with the film being described as "appallingly unfunny" in The Radio Times Guide to Films. Later, he wrote, produced and directed Dirty Weekend (1993), starring Lia Williams; and hosted the television series True Crimes, which was cancelled in 1994.

In 1994, Winner appeared as a guest artist – alongside Joan Collins, Christopher Biggins and Marc Sinden (who in 1983 had appeared in Winner's The Wicked Lady) – in Steven Berkoff's film version of his own play Decadence.

Winner's final film as director was Parting Shots (1999), which he also wrote, produced and edited. The film was critically reviled and flopped commercially.

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