Bankdam (1947). Early films as director Fisher's first film as director was A Song for Tomorrow (1948), a second feature for Highbury Productions. For the same company he did Colonel Bogey (1948) and To the Public Danger (1948). These were low budget films, though Fisher moved over to Gainsborough for more prestigious movies: Portrait from Life (1948) with Mai Zetterling; Marry Me! (1949) with Derek Bond; The Astonished Heart (1950) with Noël Coward (replacing Michael Redgrave during filming); So Long at the Fair (1950) with Dirk Bogarde and Jean Simmons. Fisher returned to supporting features with Home to Danger (1951) for Eros Films. Fisher's first feature for Hammer Films was The Last Page (1951), one of a number of low budget thrillers that studio were then making, usually with an imported American star to appeal to the US market; The Last Page featured George Brent and Diana Dors. Hammer liked Fisher's work and kept him on for Wings of Danger (1952) with Zachary Scott, and Stolen Face (1952) with Paul Henreid and Lizabeth Scott. After making Distant Trumpet (1952) for Meridian Films, Fisher returned to Hammer for Mantrap (1953) with Henreid; Four Sided Triangle (1953) with Barbara Payton; Spaceways (1953), a science fiction story, with Howard Duff; Blood Orange (1953), a crime film with Tom Conway; Face the Music (1954) with Alex Nicol; Murder by Proxy (1954) with Dane Clark; and A Stranger Came Home (1954) with Paulette Goddard. He made Final Appointment (1954) outside Hammer with John Bentley then went back to Hammer for Mask of Dust (1954) with Richard Conte. He made the comedy Children Galore (1955) and the Final Appointment sequel Stolen Assignment (1955). Next came another movie with Bentley, The Flaw (1955) before he made two crime films, The Gelignite Gang (1956) and The Last Man to Hang? (1956). He was hired by Tempean Films to make a final crime thriller with an imported American star, Kill Me Tomorrow (1957) with Pat O'Brien. During the 1950s Fisher also worked frequently in British television, directing episodes of series such as The Adventures of Robin Hood and Sword of Freedom. Hammer Horror films Fisher's career changed direction permanently when Hammer asked him to direct The Curse of Frankenstein (1957), their first colour horror film. It was the company's most important project to date, and Fisher was hand-picked by Hammer management to helm the film as he had a