Post-War Career
Korda then, via London Films, bought a controlling interest in British Lion Films which was involved in such productions as The Third Man (1949).
In 1948 he received an advance payment of £375,000, the largest single payment received by a British film company, for three movies, An Ideal Husband (1947), Anna Karenina (1948) and Mine Own Executioner (1948). He released three other films, Bonnie Prince Charlie (1948), The Winslow Boy (1948) and The Fallen Idol (1948). Some of these films did well but others were expensive failures, and Korda was badly hurt by the trade war between the British and American film industries in the late 1940s. In 1948 Korda signed a co-production deal with David O. Selznick.
Korda did recover in part due to a ₤3 million loan British Lion received from the National Film Finance Corporation. In 1954 he received ₤5 million from the City Investing Corporation of New York, enabling him to keep producing movies until his death. The last film with Korda's involvement was Laurence Olivier's adaptation of Richard III (1955).
A draft screenplay of what became The Red Shoes was written by Emeric Pressburger in the 1930s for Korda and intended as a vehicle for his future wife Merle Oberon. The screenplay was bought by Michael Powell and Pressburger who made it for J. Arthur Rank. During the 1950s, Korda reportedly expressed interest in producing a James Bond film based upon Ian Fleming's novel Live and Let Die, but no agreement was ever reached.
He died at the age of 62 in London of a heart attack and was cremated. His ashes are at Golders Green Crematorium in London.
Read more about this topic: Alexander Korda
Famous quotes containing the words post-war and/or career:
“Much of what Mr. Wallace calls his global thinking is, no matter how you slice it, still globaloney. Mr. Wallaces warp of sense and his woof of nonsense is very tricky cloth out of which to cut the pattern of a post-war world.”
—Clare Boothe Luce (19031987)
“I doubt that I would have taken so many leaps in my own writing or been as clear about my feminist and political commitments if I had not been anointed as early as I was. Some major form of recognition seems to have to mark a womans career for her to be able to go out on a limb without having her credentials questioned.”
—Ruth Behar (b. 1956)