|Industry|| Film production |
|Fate||Absorbed into EMI Films|
|Successor||Anglo-EMI Film Distributors|
| Nat Cohen |
|Divisions||Anglo Amalgamated Film Distributors|
Anglo-Amalgamated Productions was a British film production company, run by Nat Cohen and Stuart Levy, which operated from 1945 until roughly 1971 (after which it was absorbed into EMI Films). Low-budget and second features, often produced at Merton Park Studios, formed much of its output. It was the UK distributor of many films produced by American International Pictures (AIP), who distributed AA's films in the United States.
It is remembered for producing the first 12 Carry On films (all of which were produced at Pinewood Studios) and B-movie series such as The Scales of Justice , Scotland Yard and the Edgar Wallace Mysteries . It did, however, produce the Michael Powell film Peeping Tom (1960) and such films as John Schlesinger's A Kind of Loving (1962), Billy Liar (1963) or Ken Loach's Poor Cow (1967). The company's distribution arrangement with American International Pictures led to the last two films in Roger Corman's series of films based on the works of Edgar Allan Poe, The Masque of the Red Death and The Tomb of Ligeia (both 1964), being joint productions made in the UK. AA's film distribution subsidiary was Anglo Amalgamated Film Distributors Ltd. Anglo had a film production arm called Insignia Films.
In 1962, Associated British Picture Corporation (ABPC) purchased 50% of the shares of Anglo Amalgamated.   In 1967 they took over 74%. 
At its peak Anglo Amalgamated made a return of £3 million a year. 
Its library is now owned by StudioCanal via Cannon Films. 
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Nat Cohen was a British film producer and executive. For over four decades he was one of the most significant figures in the British film industry, particularly in his capacity as head of Anglo-Amalgamated and EMI Films; he helped finance the first Carry On movies and early work of filmmakers such as Ken Loach, John Schlesinger, Alan Parker and David Puttnam. In the early 1970s while head of EMI Films he was called the most powerful man in the British film industry.
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