Jane Hylton
| Jane Hylton | |
|---|---|
 |
|
| Born |
Audrey Gwendolene Clark 16 July 1927 London, England, UK |
| Died | 28 February 1979 (aged 51) Glasgow, Scotland, UK |
| Occupation | Actress |
| Years active | 1946 – 1979 |
| Spouse(s) |
Euan Lloyd (divorced) 1 daughter Peter Dyneley (?-1977) (his death) |
| Children | Rosalind Lloyd |
Jane Hylton (16 July 1927 – 28 February 1979), born as Audrey Gwendolene Clark, was an English actress who accumulated 30 film credits, mostly in the 1940s and 1950s, before moving into television work in the latter half of her career in the 1960s and 1970s.
Talent-spotted in her teens, Hylton was a product of the Rank Organisation's Company of Youth (more commonly referred to as the Rank Charm School), which took promising young actors and groomed them for a career in film. The programme turned out some genuine stars such as Dirk Bogarde and Diana Dors, but most alumni went on to more modest film careers, regularly employed in British films but rarely if ever receiving star-billing. Female graduates of the programme were often referred to somewhat disparagingly as "Rank Starlets", with the implication that their purpose was merely to appear on screen and look glamorous; however Hylton did go on to feature in a number of substantial acting roles with prominent billing.
Hylton's first screen appearance came in a 1946 programmer A Girl in a Million. She quickly moved on to minor roles in films produced by Gainsborough Studios (Jassy, When the Bough Breaks) and Ealing Studios (Holiday Camp, It Always Rains on Sunday), then in 1948 landed her largest role to date, as an escaped convict's mistress in Gainsborough's My Brother's Keeper. She was cast as one of the daughters in Ealing's very successful comedy Here Come the Huggetts, then in 1949 as Molly Reed in the Ealing Comedy Passport to Pimlico.
In the early 1950s Hylton was cast in major roles in several films with a predominantly female cast and targeted at female audiences; Dance Hall (1950), It Started in Paradise (1952 – set in the world of haute couture) and 1954 women's prison drama The Weak and the Wicked. The quality of film roles offered to her then began to fall and she found herself for the rest of the decade toiling mainly in quickly-shot B-films, an exception being a prominent role in the 1960 horror film Circus of Horrors.
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