
Robert Arden
1922 - 2004Robert Arden (11 December 1922 – 25 March 2004) was an American film, television and radio actor born in London who worked and lived mostly in the United Kingdom.
Arden was born from an American father and an English mother. His father had a successful career as a professional boxer after World War I. He attended "a combination of English and American schools."
Arden's most famous film appearance was as lead character Guy Van Stratten in Mr. Arkadin (1955), written and directed by Orson Welles. Welles had worked with Arden on the Harry Lime radio series, produced in London, and later cast the little-known actor in Mr. Arkadin, in the central role of the investigator who uncovers Arkadin's past. Reportedly, Arden was shocked that Welles might consider him for the part and initially thought that the director's phone inquiry was a crank call.
Arden's performance in Mr. Arkadin was panned by some critics : The New York Times called it "hopelessly inadequate". Film historian Jonathan Rosenbaum has defended Arden's performance, locating the problem not in the actor's work but in "the unsavoriness and obnoxiousness of the character", who was intended by Welles to be unattractive even though he occupied in the film "the space normally reserved for charismatic heroes".
The credits of one the film's Spanish versions misspelled Arden's name as "Bob Harden". Another Spanish print actually credited him as "Mark Sharpe".
Mr. Arkadin did poorly at the box-office. Afterwards, Arden played a few other lead roles, in films such as The Depraved (1957) or The Child and the Killer (1959), but he worked mostly as a character actor, appearing in film, television and stage productions. he worked mostly as a character actor, appearing in film, television and stage productions.
Never Take Sweets from a Stranger
Cyril Frankel
Patrick Allen, Gwen Watford
Peter Carter, his wife Sally and their young daughter Jean move to a sleepy Canadian village, where Peter has been hired as a school principal. Their idyll is shattered when Jean becomes the victim of an elderly, and extremely powerful, paedophile. The film was neither a box office nor a critical success, it garnered criticism for breaking a significant public taboo.
Never Take Sweets from a Stranger

Mr. Arkadin
Orson Welles
Orson Welles, Michael Redgrave
Claiming that he doesn't know his own past, a rich man enlists an ex-con with an odd bit of detective work. Gregory Arkadin says he can't remember anything before the late 1920s, and convict Guy Van Stratten is happy to take the job of exploring his new acquaintance's life story. Guy's research turns up stunning details about his employer's past, and as his work seems linked to untimely deaths, the mystery surrounding Mr. Arkadin deepens.
Mr. Arkadin

A King in New York
Charlie Chaplin
Charlie Chaplin, Maxine Audley
A recently-deposed "Estrovian" monarch seeks shelter in New York City, where he becomes an accidental television celebrity. Later, he's wrongly accused of being a Communist and gets caught up in subsequent HUAC hearings.
A King in New York

The Counterfeit Plan
Montgomery Tully
Zachary Scott, Mervyn Johns
An escaped murderer flees France to England, where he forces an ex-forger, now established as a reputable estate owner, and the forger's daughter who knew nothing of his past, to counterfeit 5-pound notes for mass distribution around the countryside.
The Counterfeit Plan

Condorman
Charles Jarrott
Michael Crawford, Oliver Reed
Comic artist and writer Woody performs a simple courier operation for his friend Harry who works for the CIA. But when he successfully fends off hostile agents, he earns the respect of the beautiful Natalia, who requests his assistance for her defection. Woody uses this request as leverage to use the CIA's resources to bring his comic book creation, Condorman, to life to battle the evil Krokov.
Condorman

The Man from Morocco
Mutz Greenbaum
Adolf Wohlbrück, Margaretta Scott
With the ending of the Spanish Civil War, a dispirited band of volunteers from the International Brigades seeks refuge in France. But on reaching the frontier, the band is disarmed, and all are detained as political prisoners. Then come instructions from Vichy that all fit prisoners are to be sent to Morocco to work on the Sahara railway for the Germans. However, one man manages to escape to London with vital information for the Allies.
The Man from Morocco

Omen III: The Final Conflict
Graham Baker
Sam Neill, Rossano Brazzi
Damien Thorn has helped rescue the world from a recession, appearing to be a benign corporate benefactor. When he then becomes U.S. Ambassador to the United Kingdom, Damien fulfills a terrifying biblical prophecy. He also faces his own potential demise as an astronomical event brings about the second coming of Christ.
Omen III: The Final Conflict

Bermuda Affair
A. Edward Sutherland
Gary Merrill, Kim Hunter
Chuck Walters and Bob Scoffield are old war buddies who run a cargo airplane service in Bermuda. Walters is happily married to Chris while Scoffield chases after every woman who looks his way. Though Walters doesn't suspect anything, Chris isn't nearly as happy as he is and has started a romance with Scoffield on the side. When Walters finally finds out about the affair, he's devastated by the betrayal and runs out into the jungle.
Bermuda Affair

The Depraved
Paul Dickson
Anne Heywood, Robert Arden
Fed up with her wealthy but abusive husband, Tom (Basil Dignam), young English homemaker Laura Wilton (Anne Heywood) conspires with her lover, American Army captain Dave Dillon (Robert Arden), to have her boozy spouse meet an "accidental" demise. But a nosy copper (Denis Shaw) suspects foul play, and soon the lovers' crafty scheme deteriorates into fear, distrust and betrayal. Paul Dickson directs this vintage noir thriller.
The Depraved

The Child and the Killer
Max Varnel
Richard Williams, Ryck Rydon
Joe Marsh (Robert Arden) is a U.S. Army captain who goes on the run in Britain after committing murder. He breaks into a family's home and forces 7-year-old Tommy Martin (Richard Williams) to guide his escape through the surrounding rural territory. A bond begins to form between the child and the desperate fugitive, but Marsh's criminal nature cannot help but show itself again before the chase comes to an end.
The Child and the Killer
