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Films About Lady Hamilton
Lady Hamilton (1921), a German silent film directed by Richard Oswald The Divine Lady (1929), a Vitaphone sound film with no dialogue, directed by Frank Lloyd Emma Hamilton (1968), a co-production between Italy, West Germany, France and the United States, directed by Christian-Jacque Bequest to the Nation (1973), Hal Wallis Productions, based on the 1970 Terrence Rattigan play A Bequest to the Nation, directed by James Cellan Jones. The film was released in the United States under the title The Nelson Affair. Emma and Nelson (2013—In development). Kate Williams' biography of Emma Hamilton, England's Mistress: The Infamous Life of Emma Hamilton (2006), has been optioned for a film by Picture Palace.

Informed of Napoleon's promise of peace, Nelson replies in a speech that clearly links the historical narrative to the contemporary threat of a dictator at war:

"Gentlemen, you will never make peace with Napoleon…Napoleon cannot be master of the world until he has smashed us up, and believe me, gentlemen, he means to be master of the world! You cannot make peace with dictators. You have to destroy them–wipe them out!"

— That Hamilton Woman

In the final scene, Emma's cellmate, The Streetgirl, asks what Emma did after Emma learned of Nelson's death:

The Streetgirl: "And then?"

Emma: "Then what?"

The Streetgirl: "What happened after?"

Emma: "There is no then. There is no after."

OLD

Memorable Lines from That Hamilton Woman
In the final scene, Emma's cellmate, The Streetgirl, asks what Emma did after Emma learned of Nelson's death: The Streetgirl: And then? Emma: Then what? The Streetgirl: What happened after? Emma: There is no then. There is no after.
Informed of Napoleon's promise of peace, Nelson replies in a speech that clearly links the historical narrative to the contemporary threat of a dictator at war: Gentlemen, you will never make peace with Napoleon…Napoleon cannot be master of the world until he has smashed us up, and believe me, gentlemen, he means to be master of the world! You cannot make peace with dictators. You have to destroy them–wipe them out!

Movie Tagline: The Year's Most Exciting Team of Screen Lovers!^[1]
Because of the strict Motion Picture Production Code, the two lovers never appear in bed together, nor ever even partially undressed together. Before the affair begins, Emma sits on her bed, wherein Nelson is recovering from exhaustion, to feed him some soup. According to K.R.M. Short's study of the film, the major problem for the Production Code office was not the scenes showing romantic encounters: It was the script's treating an "adulterous relationship as a romance instead of a sin" ^[2]

Movie Tagline: The Year's Most Exciting Team of Screen Lovers!^[3]

Because of the strict Motion Picture Production Code, the two lovers never appear in bed together, nor ever even partially undressed together. Before the affair begins, Emma sits on her bed, wherein Nelson is recovering from exhaustion, to feed him some soup. According to K.R.M. Short's study of the film, the major problem for the Production Code office was not the scenes showing romantic encounters: It was the script's treating an "adulterous relationship as a romance instead of a sin" ^[4]

Horatio Nelson	Lady Nelson - Project Gutenberg eText 16914	Sir William Hamilton
Example	Example	Example

^ http://www.imdb.com/title/tt0034272/
^ K.R.M Short, ‘That Hamilton Woman! (1941): Propaganda, Feminism and the Production Code,’ Historical Journal of Film, Radio and Television, 11.1 (1991), 10.
^ http://www.imdb.com/title/tt0034272/
^ K.R.M Short, ‘That Hamilton Woman! (1941): Propaganda, Feminism and the Production Code,’ Historical Journal of Film, Radio and Television, 11.1 (1991), 10.

[1] ttp://www.imdb.com/title/tt0034272/

[2] K.R.M Short, ‘That Hamilton Woman! (1941): Propaganda, Feminism and the Production Code,’ Historical Journal of Film, Radio and Television, 11.1 (1991), 10.

[3] ttp://www.imdb.com/title/tt0034272/

[4] K.R.M Short, ‘That Hamilton Woman! (1941): Propaganda, Feminism and the Production Code,’ Historical Journal of Film, Radio and Television, 11.1 (1991), 10.

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