Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio rank
#153587
of 909177 performers
Top 25%
Richard Wordsworth 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.
Richard Wordsworth appears in 4 films in the Nutevio catalogue, and none of them would work the same way without Richard. The Man Who Knew Too Much is the clearest case: a film rated 7.2 by our editors, where the performance carries weight the script only implies.
The recognisable elements are quiet performance, transformation, versatility. Watch two of these films back to back and the method separates from the material — the same instrument, tuned differently for science fiction, horror, mystery. It is a style built on what is withheld as much as what is played.
Working with Terence Fisher, Joseph Losey, Alfred Hitchcock and others, Richard Wordsworth 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.
The Man Who Knew Too Much (1956) as Ambrose Chappell Jr. (uncredited) · The Revenge of Frankenstein (1958) as Up Patient · The Quatermass Xperiment (1955) as Victor Carroon
Career snapshot
Ranked #153587 of 909177 performers tracked in the Nutevio library.
Films in Nutevio
4
1955–1958
Career length
3 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
7.2
The Man Who Knew Too Much
Average Nutevio score
6.7
Across catalogue work
Highest IMDb rating
7.4
The Man Who Knew Too Much
Most frequent director
Terence Fisher
1 film together
Longest collaboration
1×
With Terence Fisher
Most common genre
Science Fiction
2 titles
Average runtime
1h 35m
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
6.2
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
1950s
6.7 average MV
The 1950s are where the work and the material meet. The Revenge of Frankenstein, Time Without Pity, The Man Who Knew Too Much — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
1950s
6.7
Across 4 catalogue films in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
1950s
6.8
The public agrees most strongly about this stretch — useful context, and occasionally a decade behind our own reading.
Most awarded era
1950s
0 Academy Awards
Statuettes for the films themselves, which is the honest way to read an ensemble career. The Revenge of Frankenstein, Time Without Pity, The Man Who Knew Too Much.
Most productive era
1950s
4 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 | 1950s |
|---|---|
| Drama | 6.82 films |
| Thriller | 6.82 films |
| Crime | 6.41 film |
| Horror | 6.52 films |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio
Where our catalogue meets this career, as Victor Carroon.
Highest rated performance · Career peak
7.2 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
1958The Revenge of Frankenstein
The current state of the argument, as Up Patient.
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 Ambrose Chappell Jr. (uncredited)
Directed by Alfred Hitchcock
as Victor Carroon
Directed by Val Guest
as Up Patient
Directed by Terence Fisher
as Maxwell - the MP
Directed by Joseph Losey
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
Ambrose Chappell Jr. (uncredited)
The Man Who Knew Too Much (1956)
Performance score7.1
The performance the rest of the career is read through. Ambrose Chappell Jr. (uncredited) gives Richard Wordsworth a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Victor Carroon
The Quatermass Xperiment (1955)
Performance score7.0
The Quatermass Xperiment asks for something the previous films did not, and gets it. Victor Carroon is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#3
Up Patient
The Revenge of Frankenstein (1958)
Performance score6.5
The Revenge of Frankenstein asks for something the previous films did not, and gets it. Up Patient is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#4
Maxwell - the MP
Time Without Pity (1957)
Performance score6.5
Time Without Pity asks for something the previous films did not, and gets it. Maxwell - the MP 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 Ambrose Chappell Jr. (uncredited)
Start here. The Man Who Knew Too Much is the clearest statement of what Richard Wordsworth does — accessible, 121 minutes, and rated 7.2 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet Richard 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 Quatermass Xperiment (1955)
A deliberate change of key after The Man Who Knew Too Much — same instrument, unfamiliar tuning, and the reason range gets mentioned.
Time Without Pity (1957)
A deliberate change of key after The Quatermass Xperiment — same instrument, unfamiliar tuning, and the reason range gets mentioned.
The Revenge of Frankenstein (1958)
A deliberate change of key after Time Without Pity — same instrument, unfamiliar tuning, and the reason range gets mentioned.
Company kept
The directors and performers this career keeps returning to.
Val Guest
Director
1 film together
Notably The Quatermass Xperiment
Alfred Hitchcock
Director
1 film together
Notably The Man Who Knew Too Much
Joseph Losey
Director
1 film together
Notably Time Without Pity
Terence Fisher
Director
1 film together
Notably The Revenge of Frankenstein
Behind the camera
Who casts this performer, how often, and what the pairing produces.
Alfred Hitchcock
Director
1 film together · 7.2 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The Man Who Knew Too MuchTerence Fisher
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 Revenge of FrankensteinVal Guest
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 Quatermass XperimentJoseph Losey
Director
1 film together · 6.4 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Time Without PitySix 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 Man Who Knew Too Much
as Ambrose Chappell Jr. (uncredited)
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 Man Who Knew Too Much
as Ambrose Chappell Jr. (uncredited)
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 Man Who Knew Too Much
as Ambrose Chappell Jr. (uncredited)
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
The Man Who Knew Too Much
as Ambrose Chappell Jr. (uncredited)
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
The Man Who Knew Too Much
as Ambrose Chappell Jr. (uncredited)
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. Richard Wordsworth 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.
Science Fiction Legend
Awarded
2 catalogue titles in science fiction, 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 Man Who Knew Too Much
as Ambrose Chappell Jr. (uncredited)
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
The Man Who Knew Too Much
as Ambrose Chappell Jr. (uncredited)
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
The Man Who Knew Too Much
as Ambrose Chappell Jr. (uncredited)
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
Time Without Pity
as Maxwell - the MP
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
The Man Who Knew Too Much
as Ambrose Chappell Jr. (uncredited)
Images that would survive with the sound switched off.
Best action sequence
The Man Who Knew Too Much
as Ambrose Chappell Jr. (uncredited)
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
Time Without Pity
as Maxwell - the MP
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
The Quatermass Xperiment
as Victor Carroon
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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