Editing Carol Reed (section)

==Later career==
''[[Outcast of the Islands]]'' (1952), based on a novel by [[Joseph Conrad]], is considered by some to mark the start of his creative decline.<ref>David Thomson seems to think that in ''The New Biographical Dictionary of Film'', London: Little Brown, 2002, p.721, but ascribes this view to others in ''Have You Seen'', London: Allen Lane, 2008, p.632</ref> ''[[The Man Between]]'' (1953) is dismissed as a rehash of ''The Third Man''.<ref name="Kemp"/> It "makes no startling impact, such as we have learned to expect from its director, on either the mind or the heart", complained Virginia Graham in ''The Spectator''.<ref>Virginia Graham [http://archive.spectator.co.uk/article/25th-september-1953/13/cinema "Cinema"], ''The Spectator'', 24 September 1953, p.13</ref> While the fable ''[[A Kid for Two Farthings (film)|A Kid for Two Farthings]]'' (1955), Reed's first colour film, set in the [[East End of London]], has been claimed as one of very few authentic cinematic depictions of an Anglo-Jewish community,<ref name="Brooke">Michael Brooke [http://www.screenonline.org.uk/film/id/1005746/ "''Kid for Two Farthings, A'' (1955)"], BFI Screenonline</ref> it suffers from the stereotyping of Jews<ref>Matthew Reisz [https://www.theguardian.com/film/2006/sep/15/4 "EastEnders – but not as we know it"], ''The Guardian'', 15 September 2006</ref> and is no more than a "whimsical curiosity" according to Michael Brooke.<ref name="Brooke"/> It was the last film Reed made for Korda's [[London Films]]; the producer died at the beginning of 1956.

''[[Trapeze (film)|Trapeze]]'' (1956) was Reed's first venture into the then relatively new [[CinemaScope]] wide screen process, and, although largely shot in Paris, was made for the US [[Hecht-Hill-Lancaster Productions]] company and was a success at the box-office. Reed was going to make ''Summer of the Seventeenth Doll'' for that company but withdrew after the budget was cut.<ref name="natural">{{cite magazine|first=Stephen|last=Vagg|magazine=Filmink|date=27 February 2025|access-date=27 February 2025|url=https://www.filmink.com.au/wrecking-australian-stories-summer-of-the-seventeenth-doll/?fbclid=IwY2xjawItNeFleHRuA2FlbQIxMQABHdfjoDKKNPRwIUw_CpwHxvsx-Nwe0Ux0vs54ici1NORlcxM0tGnZAIlpIg_aem_B57Gkzk7qzqgKn0YaklBwA|title=Wrecking Australian stories: Summer of the Seventeenth Doll}}</ref>

''[[Our Man in Havana (film)|Our Man in Havana]]'' (1959) reunited him with Graham Greene who adapted his own novel.

He was contracted to direct a remake of ''[[Mutiny on the Bounty (1962 film)|Mutiny on the Bounty]]'' (1962) by [[Metro-Goldwyn-Mayer|MGM]], but then [[Marlon Brando]] was cast as [[Fletcher Christian]], and problems with the mock ''Bounty'' and the weather at the locations caused delays.<ref>Cliff Goodwin [https://books.google.com/books?id=RI-FAj0F7EYC&pg=PT91 ''Behaving Badly: Richard Harris''], Random House, 2011, p.91</ref> Brando had insisted on creative control,<ref>David Thomson ''Have You Seen?'', London: Allen Lane, 2008, p.585</ref> and the two men argued incessantly. Reed left at a relatively early stage of production and was replaced by [[Lewis Milestone]].<ref>Robert Sellers [https://books.google.com/books?id=dvHjgWeYh9cC&pg=PT34 ''Hollywood Hellraisers: The Wild Lives and Fast Times of Marlon Brando, Dennis Hopper, Warren Beatty and Jack Nicholson''], Random House, 2010, p.34</ref> ''[[The Agony and the Ecstasy (film)|The Agony and the Ecstasy]]'' (1965), made in the United States, was a box-office failure, and was the last film over which Reed also served as producer. ''[[Oliver! (film)|Oliver!]]'' (1968), made at [[Shepperton Studios|Shepperton]] in [[Surrey]], was financially backed by [[Columbia Pictures|Columbia]], and won the [[Academy Award for Best Director]]. "The movie may have been over-produced but it seemed everyone liked it that way", writes Thomas Hischak.<ref>Thomas Hischak ''The Oxford Companion to the American Musical: Theatre, Film and Television'', New York: Oxford University Press, 2008, p.547</ref>