Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio rank
#57145
of 909177 performers
Top 10%
E. E. Clive works on versatility rather than volume, and the catalogue keeps proving that the quieter choice was the correct one.
The essay
Our editors on the work, the patterns and the reason this body of work holds together.
E. E. Clive appears in 16 films in the Nutevio catalogue, and none of them would work the same way without E.. Bride of Frankenstein is the clearest case: a film rated 7.3 by our editors, where the performance carries weight the script only implies.
The recognisable elements are versatility, transformation, quiet performance. Watch two of these films back to back and the method separates from the material — the same instrument, tuned differently for action, mystery, thriller. It is a style built on what is withheld as much as what is played.
Working with Alfred Hitchcock, Alfred L. Werker, Sidney Lanfield and others, E. E. Clive helped set a standard other performers now audition against. Awards bodies have been slower than the work, which is usually the sign of a career built on choices rather than campaigns.
Bride of Frankenstein (1935) as Burgomaster · The Invisible Man (1933) as Constable Jaffers · Captain Blood (1935) as Clerk of the Court
Career snapshot
Ranked #57145 of 909177 performers tracked in the Nutevio library.
Films in Nutevio
16
1933–1940
Career length
7 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
7.3
Bride of Frankenstein
Average Nutevio score
6.7
Across catalogue work
Highest IMDb rating
7.5
The Invisible Man
Most frequent director
James Whale
3 films together
Longest collaboration
3×
With James Whale
Most common genre
Drama
7 titles
Average runtime
1h 40m
Across catalogue work
Golden Globe wins
—
Unknown
Nutevio metric
Ten weighted categories, applied identically to everyone we cover.
Nutevio Performer Score
6.8
out of 10
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio metric
Cultural impact and legacy, measured separately from craft — how far the work travelled once it left the cinema.
Nutevio Influence Score
6.3
out of 10
A quieter influence — felt inside the films rather than across the industry.
How far the work travelled past the people who saw it first.
What survives once the release-week conversation has burned off.
Institutional acknowledgement, weighted but never decisive.
Years of chosen, relevant work rather than years merely employed.
Statuettes, read as evidence rather than verdict.
Roles named without needing the film named alongside them.
Directors who wrote parts because this performer existed.
The reading other performers now have to answer.
Actor DNA
A fingerprint derived from the roles themselves — register, range and the kind of film they carry.
The shape of a career
Every performance plotted in time. Hover a point to read the title behind it.
Peak years
Where the scores, the awards and the sheer volume of work agree with each other.
Best decade
1940s
6.8 average MV
The 1940s are where the work and the material meet. Foreign Correspondent — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
1940s
6.8
Across 1 catalogue film in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
1940s
7.0
The public agrees most strongly about this stretch — useful context, and occasionally a decade behind our own reading.
Most awarded era
1930s
0 Academy Awards
Statuettes for the films themselves, which is the honest way to read an ensemble career. The Adventures of Sherlock Holmes, The Hound of the Baskervilles, The Little Princess.
Most productive era
1930s
15 films
The busiest stretch of the catalogue — volume that reads as appetite rather than availability.
Range, mapped
Genres down the side, decades across the top. Warmer cells mean stronger titles.
| Genre | 1930s | 1940s |
|---|---|---|
| Drama | 6.57 films | — |
| Action | 6.51 film | 6.81 film |
| Thriller | 6.63 films | 6.81 film |
| Comedy | 6.52 films | — |
| Crime | 6.72 films | — |
| Romance | 6.65 films | — |
| Horror | 6.94 films | — |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio
Where our catalogue meets this career, as Constable Jaffers.
Highest rated performance · Career peak
7.3 on the Nutevio scale, the top of the catalogue for this performer. Weighing billing against the film's own quality, this is the point where everything aligned at once.
Most recent film
The current state of the argument, as Mr. Naismith (uncredited).
Our order
Every performance in the catalogue, ordered by Nutevio Score.
Every title
Filter by genre or decade, and compare any two titles side by side.
16 of 16 films
as Burgomaster
Directed by James Whale
as Constable Jaffers
Directed by James Whale
as Clerk of the Court
Directed by Michael Curtiz
as Mr. Naismith (uncredited)
Directed by Alfred Hitchcock
as London Cabbie John Clayton
Directed by Sidney Lanfield
From the library
Every movie and TV credit stored for this name in the Nutevio catalogue — filter by media, role or sort by rating.
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The defining work
#1
Burgomaster
Bride of Frankenstein (1935)
Performance score7.2
The performance the rest of the career is read through. Burgomaster gives E. E. Clive a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Constable Jaffers
The Invisible Man (1933)
Performance score7.1
The Invisible Man asks for something the previous films did not, and gets it. Constable Jaffers is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#3
Clerk of the Court
Captain Blood (1935)
Performance score6.8
Captain Blood asks for something the previous films did not, and gets it. Clerk of the Court is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#4
Mr. Naismith (uncredited)
Foreign Correspondent (1940)
Performance score6.7
Foreign Correspondent asks for something the previous films did not, and gets it. Mr. Naismith (uncredited) is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movieStart here
A guided path through the work, ordered so each film explains the next.
Best entry point
as Burgomaster
Start here. Bride of Frankenstein is the clearest statement of what E. E. Clive does — accessible, 75 minutes, and rated 7.3 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet E. at the most legible performance, then move forward in time so each film reads as a response to the one before it rather than a repetition of it.
The Invisible Man (1933)
Same director as Bride of Frankenstein, different problem to solve. Watching them in order shows how much of the effect was the collaboration.
Captain Blood (1935)
A deliberate change of key after The Invisible Man — same instrument, unfamiliar tuning, and the reason range gets mentioned.
The Hound of the Baskervilles (1939)
A deliberate change of key after Captain Blood — same instrument, unfamiliar tuning, and the reason range gets mentioned.
Foreign Correspondent (1940)
Keeps the mystery register of The Hound of the Baskervilles but asks for a colder reading of it.
Company kept
The directors and performers this career keeps returning to.
James Whale
Director
3 films together
Notably Bride of Frankenstein
George Cukor
Director
2 films together
Notably Camille
Michael Curtiz
Director
2 films together
Notably Captain Blood
Richard Thorpe
Director
2 films together
Notably Night Must Fall
Jack Conway
Director
1 film together
Notably A Tale of Two Cities
John Cromwell
Director
1 film together
Notably Little Lord Fauntleroy
Lambert Hillyer
Director
1 film together
Notably Dracula's Daughter
Walter Lang
Director
1 film together
Notably The Little Princess
Sidney Lanfield
Director
1 film together
Notably The Hound of the Baskervilles
Alfred L. Werker
Director
1 film together
Notably The Adventures of Sherlock Holmes
Alfred Hitchcock
Director
1 film together
Notably Foreign Correspondent
Behind the camera
Who casts this performer, how often, and what the pairing produces.
James Whale
Director
3 films together · 7.0 avg MV
A working relationship rather than a booking — 3 films, and the register shifts each time.
Best film together
Bride of FrankensteinMichael Curtiz
Director
2 films together · 6.7 avg MV
A working relationship rather than a booking — 2 films, and the register shifts each time.
Best film together
Captain BloodGeorge Cukor
Director
2 films together · 6.6 avg MV
A working relationship rather than a booking — 2 films, and the register shifts each time.
Best film together
CamilleRichard Thorpe
Director
2 films together · 6.5 avg MV
A working relationship rather than a booking — 2 films, and the register shifts each time.
Best film together
Night Must FallAlfred Hitchcock
Director
1 film together · 6.8 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Foreign CorrespondentSidney Lanfield
Director
1 film together · 6.8 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The Hound of the BaskervillesAlfred L. Werker
Director
1 film together · 6.6 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The Adventures of Sherlock HolmesJack Conway
Director
1 film together · 6.6 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
A Tale of Two CitiesWalter Lang
Director
1 film together · 6.5 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The Little PrincessJohn Cromwell
Director
1 film together · 6.5 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Little Lord FauntleroyLambert Hillyer
Director
1 film together · 6.2 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Dracula's DaughterSix degrees
Follow the thread outward — director, film, co-star, and the film after that.
Categories of our own
Six editorial categories we apply to every performer we cover.
Most rewatchable
Captain Blood
as Clerk of the Court
The one that survives a fourth viewing. Nothing in the performance depends on surprise, which is why it keeps paying out.
Most emotional performance
Captain Blood
as Clerk of the Court
Grief played at conversational volume. The film never asks the audience to cry; the performance simply makes it difficult not to.
Most influential performance
Bride of Frankenstein
as Burgomaster
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
Foreign Correspondent
as Mr. Naismith (uncredited)
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
Bride of Frankenstein
as Burgomaster
If the career had to be argued in a single scene, our editors would pick one from this film and rest the case.
In their films' words
“You can build a whole film around a performer who knows when not to speak. E. E. Clive has known it for a long time.”
Head to head
Put two careers on the same scale and see where the argument actually sits.
Ours alone
Recognitions handed out by this desk, on criteria no awards body uses.
Drama Legend
Awarded
7 catalogue titles in drama, each one a reference point for the films that followed.
Our desk
Best ending, best opening, best twist and the rest — categories we apply to everyone we cover.
Best ending
The Hound of the Baskervilles
as London Cabbie John Clayton
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
Foreign Correspondent
as Mr. Naismith (uncredited)
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
Camille
as Saint Gaudens (uncredited)
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
The Hound of the Baskervilles
as London Cabbie John Clayton
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
Tarzan Escapes
as Masters
Images that would survive with the sound switched off.
Best action sequence
Tarzan Escapes
as Masters
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
Show Boat
as Sir Arthur
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
Dracula's Daughter
as Sergeant Wilkes
The public vote sits below ours on this one, and the direction is the reason for the gap.
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Have your say
Community
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Reference
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