star, however, until given one of the four leading roles in the Gainsborough melodrama The Man in Grey (1943). The movie was a huge success, making her and her three co-stars – Stewart Granger, James Mason and Margaret Lockwood – genuine box office stars in Britain. Calvert followed it with Fanny by Gaslight (1944), co-starring Granger and Mason, which was another big hit. Also popular was Two Thousand Women (1944), made by Launder and Gilliat, about British women interned in occupied France. It co-starred Patricia Roc, who appeared with Calvert and Granger in Madonna of the Seven Moons (1945), another Gainsborough melodrama, and another hit. Calvert's successful run at the box office continued when she and Mason were reunited in They Were Sisters (1945), a more contemporary-set Gainsborough melodrama. Exhibitors voted her the fifth-most popular star of 1945 in Britain. She was one of Stewart Granger's loves in The Magic Bow (1946) and had the female lead in a drama about colonialism in Africa Men of Two Worlds (1946), made a few years before being released. It was a success, though not profitable because of its high cost. The Root of All Evil (1947) was one of the last of the Gainsborough melodramas. She was voted the sixth most popular British star at the box office in 1946. Hollywood Calvert's success had been noticed in the US, although her films had not been as popular there. Universal-International signed her to star in Time Out of Mind (1947), which was a box office disappointment. She received several offers from studios and eventually decided to sign a six-picture deal with Paramount. She returned to Britain to make Broken Journey (1948) playing a role written especially for her, but the film failed at the box-office. Calvert went to Hollywood to make two films, both for Paramount: My Own True Love (1949), with Melvyn Douglas, and Appointment with Danger (1951 but made two years earlier) with Alan Ladd, in which she played a nun. She did Peter Pan on stage in Britain. Producer Back in Britain she made two films with director Ladislao Vajda, neither particularly successful: Golden Madonna (1950), shot in Italy, and The Woman with No Name (1950). She invested her own money in the latter. She wanted to produce other films: Eastward Ho, about an Englishwoman who romances a cowboy, and Equilibrium, about a trapeze artist, as well as star in