Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio rank
#185603
of 909177 performers
Top 25%
June Duprez works on quiet performance 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.
June Duprez appears in 4 films in the Nutevio catalogue, and none of them would work the same way without June. And Then There Were None is the clearest case: a film rated 6.8 by our editors, where the performance carries weight the script only implies.
The recognisable elements are quiet performance, versatility, transformation. Watch two of these films back to back and the method separates from the material — the same instrument, tuned differently for mystery, crime, drama. It is a style built on what is withheld as much as what is played.
Working with René Clair, Tim Whelan, Zoltan Korda and others, June Duprez 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.
And Then There Were None (1945) as Vera Claythorne · The Thief of Bagdad (1940) as Princess · The Four Feathers (1939) as Ethne Burroughs
Career snapshot
Ranked #185603 of 909177 performers tracked in the Nutevio library.
Films in Nutevio
4
1939–1945
Career length
6 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
6.8
And Then There Were None
Average Nutevio score
6.7
Across catalogue work
Highest IMDb rating
7.1
The Thief of Bagdad
Most frequent director
René Clair
1 film together
Longest collaboration
1×
With René Clair
Most common genre
Drama
2 titles
Average runtime
1h 44m
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. And Then There Were None, The Thief of Bagdad — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
1940s
6.8
Across 2 catalogue films 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 Four Feathers, The Spy in Black.
Most productive era
1930s
2 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 | 6.71 film | 6.81 film |
| Thriller | 6.41 film | — |
| Crime | — | 6.81 film |
| Romance | — | 6.81 film |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio
Where our catalogue meets this career, as Ethne Burroughs.
Highest rated performance · Career peak
6.8 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 Vera Claythorne.
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.
4 of 4 films
as Princess
Directed by Tim Whelan
as Vera Claythorne
Directed by René Clair
as Ethne Burroughs
Directed by Zoltan Korda
as Anne Burnett
Directed by Michael Powell
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
Princess
The Thief of Bagdad (1940)
Performance score7.2
The performance the rest of the career is read through. Princess gives June Duprez a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Vera Claythorne
And Then There Were None (1945)
Performance score7.0
And Then There Were None asks for something the previous films did not, and gets it. Vera Claythorne is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#3
Ethne Burroughs
The Four Feathers (1939)
Performance score6.9
The Four Feathers asks for something the previous films did not, and gets it. Ethne Burroughs is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#4
Anne Burnett
The Spy in Black (1939)
Performance score6.6
The Spy in Black asks for something the previous films did not, and gets it. Anne Burnett 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 Princess
Start here. The Thief of Bagdad is the clearest statement of what June Duprez does — accessible, 107 minutes, and rated 6.8 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet June 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 Four Feathers (1939)
Keeps the adventure register of The Thief of Bagdad but asks for a colder reading of it.
The Spy in Black (1939)
Keeps the war register of The Four Feathers but asks for a colder reading of it.
And Then There Were None (1945)
A deliberate change of key after The Spy in Black — same instrument, unfamiliar tuning, and the reason range gets mentioned.
Company kept
The directors and performers this career keeps returning to.
Michael Powell
Director
1 film together
Notably The Spy in Black
Zoltan Korda
Director
1 film together
Notably The Four Feathers
Tim Whelan
Director
1 film together
Notably The Thief of Bagdad
René Clair
Director
1 film together
Notably And Then There Were None
Behind the camera
Who casts this performer, how often, and what the pairing produces.
René Clair
Director
1 film together · 6.8 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
And Then There Were NoneTim Whelan
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 Thief of BagdadZoltan Korda
Director
1 film together · 6.7 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The Four FeathersMichael Powell
Director
1 film together · 6.4 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The Spy in BlackSix 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
The Four Feathers
as Ethne Burroughs
The one that survives a fourth viewing. Nothing in the performance depends on surprise, which is why it keeps paying out.
Most emotional performance
The Thief of Bagdad
as Princess
Grief played at conversational volume. The film never asks the audience to cry; the performance simply makes it difficult not to.
Most influential performance
The Thief of Bagdad
as Princess
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
And Then There Were None
as Vera Claythorne
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
The Thief of Bagdad
as Princess
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. June Duprez 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
2 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
And Then There Were None
as Vera Claythorne
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
And Then There Were None
as Vera Claythorne
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
The Thief of Bagdad
as Princess
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
And Then There Were None
as Vera Claythorne
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
The Four Feathers
as Ethne Burroughs
Images that would survive with the sound switched off.
Best action sequence
The Four Feathers
as Ethne Burroughs
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
The Four Feathers
as Ethne Burroughs
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
The Spy in Black
as Anne Burnett
The public vote sits below ours on this one, and the direction is the reason for the gap.
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Community
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Reference
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