Anthony Asquith (9 November 1902 –20 February 1968) was a leading English film director. He collaborated successfully with playwright Terence Rattigan on The Winslow Boy (1948) and The Browning Version (1951), among other adaptations. His other notable films include Pygmalion (1938), French Without Tears (1940), The Way to the Stars (1945), and a 1952 adaptation of Oscar Wilde's The Importance of Being Earnest.
Read moreShow less
Biography from TMDB.
- November 9, 1902
- February 20, 1968 (aged 65)
- London, England
- Director and writer, also producer
- 13 on MovieCove · 49 credits in all
What are Anthony Asquith's films like?
Across their 13 MovieCove titles with a thematic analysis, their films lean Self and Bonds.
Genres
Their MovieCove films by primary genre. The badge is the typical Midcredits score of the genre's films, the median percentile; an up arrow marks a genre at or above their average across these genres.
Themes
What they feel like to watch
Ironic 0 · Wry 1 · Earnest 12
A split, not a type: Light 6 · Serious 4 · Dark 3
Grounded 8 · Stylized 5 · Heightened 0
Gentle 5 · Charged 6 · Intense 2
Steady 10 · Shifting 2 · Whiplash 1
Straight-faced 5 · Some laughs 6 · Funny 2
Slow burn 9 · Even-paced 4 · Relentless 0
A split, not a type: Casual 8 · Engaged 4 · Full focus 1
Easy watch 6 · Affecting 5 · Heavy 2
Resolved 11 · Open-ended 2 · Ambiguous 0
Moods and endings
- Happy4
- Bittersweet9
AI-generated from each title's plot synopsis and cast list, with extra plot summaries, reviews and Parents Guide notes for titles the model may not know, and the model's own knowledge of the ones it recognizes. Only analyzed titles count, so this covers part of the filmography; the feel axes count films only for now.
Where can I watch Anthony Asquith's films?
As of October 24, 2026, 7 of their 13 MovieCove titles stream on a subscription or free service, most on The Criterion Channel (4).
Subscription and free streaming for Anthony Asquith's titles on MovieCove; rent and buy are not counted. Titles are listed by Midcredits score, highest first, at most 12 per service; a dashed chip is a producer credit or a minor one, such as a thanks. A service opens the browse page, which counts movies only, so its number can differ.
Filmography
49 credits, 13 with a MovieCove page; 1 appearance as themselves is hidden until asked for.
The Yellow Rolls-Royce(1964)
Midcredits score: 57th percentile of all films
An Evening With The Royal Ballet (not in the MovieCove catalog yet)(1963)
The V.I.P.s(1963)
Midcredits score: 49th percentile of all films
Guns of Darkness (not in the MovieCove catalog yet)(1962)
Two Living, One Dead (not in the MovieCove catalog yet)(1961)
Insight: Anthony Asquith (not in the MovieCove catalog yet)(1960)
The Millionairess(1960)
Midcredits score: 24th percentile of all films
Libel(1959)
Midcredits score: 83rd percentile of all films
The Doctor's Dilemma (not in the MovieCove catalog yet)(1959)
Orders to Kill (not in the MovieCove catalog yet)(1958)
On Such a Night (not in the MovieCove catalog yet)(1956)
Carrington V.C. (not in the MovieCove catalog yet)(1954)
The Young Lovers (not in the MovieCove catalog yet)(1954)
The Final Test (not in the MovieCove catalog yet)(1953)
The Net (not in the MovieCove catalog yet)(1953)
Midcredits score: 90th percentile of all films
The Browning Version(1951)
Midcredits score: 97th percentile of all films
Five Angles on Murder(1950)
Midcredits score: 71st percentile of all films
The Winslow Boy(1948)
Midcredits score: 92nd percentile of all films
While the Sun Shines (not in the MovieCove catalog yet)(1947)
Johnny in the Clouds(1945)
Midcredits score: 83rd percentile of all films
Man of Evil(1944)
Midcredits score: 65th percentile of all filmsTwo Fathers (not in the MovieCove catalog yet)(1944)
The Demi-Paradise (not in the MovieCove catalog yet)(1943)
We Dive at Dawn (not in the MovieCove catalog yet)(1943)
A Welcome to Britain(1943)
Midcredits score: 83rd percentile of all films
Uncensored (not in the MovieCove catalog yet)(1942)
Rush Hour (not in the MovieCove catalog yet)(1941)
Bombsight Stolen(1941)
Midcredits score: 74th percentile of all films
Quiet Wedding (not in the MovieCove catalog yet)(1941)
Freedom Radio (not in the MovieCove catalog yet)(1941)
Channel Incident (not in the MovieCove catalog yet)(1940)
French Without Tears (not in the MovieCove catalog yet)(1940)
Pygmalion(1938)
Midcredits score: 93rd percentile of all filmsThe Story of Papworth, the Village of Hope (not in the MovieCove catalog yet)(1936)
Brown on Resolution (not in the MovieCove catalog yet)(1935)
Moscow Nights (not in the MovieCove catalog yet)(1934)
Unfinished Symphony (not in the MovieCove catalog yet)(1934)
The Lucky Number (not in the MovieCove catalog yet)(1933)
Letting in the Sunshine (not in the MovieCove catalog yet)(1933)
Youth Shall Be Served (not in the MovieCove catalog yet)(1933)
Marry Me (not in the MovieCove catalog yet)(1932)
Dance Pretty Lady (not in the MovieCove catalog yet)(1931)
Tell England (not in the MovieCove catalog yet)(1931)
A Cottage on Dartmoor (not in the MovieCove catalog yet)(1929)
The Runaway Princess (not in the MovieCove catalog yet)(1929)
Underground (not in the MovieCove catalog yet)(1928)
Shooting Stars (not in the MovieCove catalog yet)(1928)
Boadicea (not in the MovieCove catalog yet)(1927)
Career shape
A full career of 49 titles from 1927 to 1964.
Film career
- 1929Screen debut· A Cottage on Dartmoor
Counts from TMDB across their full career, self appearances out; a title counts in every role they held on it. The ring is the typical Midcredits score (the median percentile) of the role's titles that are on MovieCove, shown from 5 scored.
How do Anthony Asquith's films land?
Their typical MovieCove film has a Midcredits score in the 83rd percentile, the median of all 13; across their 13 films with reception data, the typical film sits in the 76th percentile for acclaim.
- 75th and up7
- 50th to 74th4
- 25th to 49th1
- Below 25th1
Shape of the crowd
None of their 13 titles divides audiences: 8 are Crowd Pleasers.
- Universally Loved4
- Crowd Pleaser8
- Broadly Agreed1
Reviewers score the atmosphere 72/100 and the pacing 49/100 in their films, across 13 reviewed titles. The element that speaks to their work as a director.
Percentiles are each film's standing among all films on MovieCove; the typical film is the median, so one outlier cannot drag it. Percentiles and reviewer scores count the films IMDb credits them on, for now; the Midcredits score bands, the shape of the crowd and the two cards count their MovieCove titles, shows included (a show ranked among shows), appearances as themselves left out. A descriptor is the shape of a title's IMDb rating distribution against the catalog; "most divisive" needs a spread wider than half of all titles, and a card names only a principal credit: a craft role, and on a show a crew role or a run of episodes, never a courtesy credit or a one-off guest spot.
Who does Anthony Asquith work with?
People who share at least 2 of Anthony Asquith's MovieCove titles, grouped by what they did on them; Anatole de Grunwald shares the most, 7.
Writers
- Anatole de GrunwaldShared titles: The Yellow Rolls-Royce (1964), The V.I.P.s (1963), Libel (1959), The Winslow Boy (1948), Johnny in the Clouds (1945), Bombsight Stolen (1941), Pygmalion (1938)See all 7 shared titles with Anatole de Grunwald
- Terence RattiganShared titles: The Yellow Rolls-Royce (1964), The V.I.P.s (1963), The Browning Version (1951), The Winslow Boy (1948), Johnny in the Clouds (1945)See all 5 shared titles with Terence Rattigan
- George Bernard ShawShared titles: The Millionairess (1960), Pygmalion (1938)See all 2 shared titles with George Bernard Shaw
Actors
- Michael RedgraveShared titles: The Importance of Being Earnest (1952), The Browning Version (1951), Johnny in the Clouds (1945)See all 3 shared titles with Michael Redgrave
- Jean KentShared titles: The Browning Version (1951), Five Angles on Murder (1950), Man of Evil (1944)See all 3 shared titles with Jean Kent
- Dennis PriceShared titles: The V.I.P.s (1963), The Millionairess (1960)See all 2 shared titles with Dennis Price
- Margaret RutherfordShared titles: The V.I.P.s (1963), The Importance of Being Earnest (1952)See all 2 shared titles with Margaret Rutherford
Cinematographers and editors
- Frank ClarkeShared titles: The Yellow Rolls-Royce (1964), The V.I.P.s (1963), Libel (1959)See all 3 shared titles with Frank Clarke
- Jack HildyardShared titles: The Yellow Rolls-Royce (1964), The V.I.P.s (1963), The Millionairess (1960)See all 3 shared titles with Jack Hildyard
- Desmond DickinsonShared titles: The Importance of Being Earnest (1952), The Browning Version (1951), Five Angles on Murder (1950)See all 3 shared titles with Desmond Dickinson
- John D. GuthridgeShared titles: The Importance of Being Earnest (1952), The Browning Version (1951), Five Angles on Murder (1950)See all 3 shared titles with John D. Guthridge
Producers
- Teddy BairdShared titles: The Importance of Being Earnest (1952), The Browning Version (1951), Five Angles on Murder (1950), The Winslow Boy (1948)See all 4 shared titles with Teddy Baird
- Roy ParkinsonShared titles: The Yellow Rolls-Royce (1964), The V.I.P.s (1963)See all 2 shared titles with Roy Parkinson
- Pierre RouveShared titles: The Millionairess (1960), Libel (1959)See all 2 shared titles with Pierre Rouve
- Earl St. JohnShared titles: The Importance of Being Earnest (1952), The Browning Version (1951)See all 2 shared titles with Earl St. John
