films during the 1960s. In 1966 he played Weng in The Quiller Memorandum and in 1968 he played the Child Catcher in Chitty Chitty Bang Bang. One critic observed, "He will eternally frighten children as the demented child catcher"; others called Helpmann's performance "the most sinister presence I have ever seen on film", and "a devastating turn" that would give children nightmares. In 1968 Helpmann was appointed artistic director designate of the Adelaide Festival of 1970, and spent much time seeking out the performers for it. As well as showcasing Australian talent he aimed to attract internationally prestigious performers. 1970s Under Helpmann's direction the line-up for the 1970 Adelaide Festival was, by common consent, exceptionally impressive. Among those appearing were the Royal Shakespeare Company, led by Judi Dench and Donald Sinden, in The Winter's Tale and Twelfth Night; Benjamin Britten and Peter Pears brought the English Opera Group; there were art exhibitions from Pompeii and Mexico. Dance was represented not only by the Australian Ballet, but also by the Royal Thai Ballet, the Balinese Dance Company and the Georgian State Dance Company. Nureyev was guest artist with the Australian Ballet in a revival of Helpmann's Hamlet, new to the company's repertoire and greatly admired. Nureyev also presented his version of Marius Petipa's classic ballet Don Quixote, dancing the romantic lead, Basilio, with Helpmann in the title role of the deluded knight. This was the first time the two dancers had worked together; they took to each other with enthusiasm and continued their fruitful professional relationship. Nureyev continued to play Helpmann's old role of Hamlet in revivals of the 1942 ballet, and the two starred in a film of Don Quixote with the Australian company in 1973, shown internationally and subsequently published on DVD. By the 1970s the combination of Helpmann and Ashton in comic drag as the Ugly Sisters in Ashton's Cinderella had become a much-loved institution at Covent Garden in various revivals since its 1948 premiere. In 1972 Helpmann succeeded in getting Ashton to join him for a production by the Australian Ballet, but despite Helpmann's urging, Ashton never created a new work for the company, although he restaged his La fille mal gardée for them. Helpmann's biographer Elizabeth Salter comments that 1974 was "a year of disaster" for both directors of the Australian Ballet. Van Praag was forced by arthritis to retire, and Helpmann's partner, Michael Benthall, died.