Clifford Rose's Filmography on TV

Pirates... Caribbean: On Stranger Tides (2011)

Captain Jack Sparrow crosses paths with a woman from his past, and he's not sure if it's love -- or if she's a ruthless con artist who's using him to find the fabled Fountain of Youth. When she forces him aboard the Queen Anne's Revenge, the ship of the formidable pirate Blackbeard, Jack finds himself on an unexpected adventure in which he doesn't know who to fear more: Blackbeard or the woman from his past.

Pirati dei Caraibi: Oltre i confini del mare (2011)

Captain Jack Sparrow crosses paths with a woman from his past, and he's not sure if it's love -- or if she's a ruthless con artist who's using him to find the fabled Fountain of Youth. When she forces him aboard the Queen Anne's Revenge, the ship of the formidable pirate Blackbeard, Jack finds himself on an unexpected adventure in which he doesn't know who to fear more: Blackbeard or the woman from his past.

Callan (1974)

David Callan, secret agent, is called back to the service after his retirement, to handle the assasination of a german businessman, but Callan refuses to co-operate until he finds out why this man is marked for death.

The Death of Adolf Hitler (1973)

The final days in the Bunker, with Hitler becoming more and more paranoid, plumbing the depths of his madness and reaching his well deserved fate.

The Roads to Freedom (1970)

Taboo-busting adaptation for television of Jean-Paul Sartre's trilogy.

Work is a 4-Letter Word (1968)

Dreamlike satire about a young man who resists getting a job at the lone employing conglomerate in his dreary industrial town, but changes his mind when he discovers the plant's boiler room has the perfect climate to assist him with his pet horticultural (fungal) project.

Tell Me Lies (1968)

Adapted and directed by Peter Brook from the Royal Shakespeare Company’s ‘production-in-progress US’, this long-unseen agitprop drama-doc – shot in London in 1967 and released only briefly in the UK and New York at the height of the Vietnam War – remains both thought-provoking and disturbing. A theatrical and cinematic social comment on US intervention in Vietnam, Brook’s film also reveals a 1960s London where art, theatre and political protest actively collude and where a young Glenda Jackson a