Jack Cardiff: Britain's greatest cinematographer?

[DB7]

Jack Cardiff: Britain's greatest cinematographer?

Cinematograper Jack Cardiff worked on some of British film’s greatest masterpieces. Wally Hammond previews a new retrospective of his work



Quiz time. What links the following? Roger Deakins, Freddie Francis, Robert Krasker, Douglas Slocombe, Geoffrey Unsworth, Freddie Young. They’re a sample roll call of the great British cinematographers and lighting cameramen – and first among equals is Jack Cardiff (1914-2009), the subject of a retrospective at the BFI Southbank which runs throughout May. Born on the boards – his music hall parents put him in the silent film ‘My Son, My Son’ in 1918, aged four – he progressed through runner, clapper boy and camera operator, often under Alexander Korda, until two big breaks: being taken on as the first British trainee for Technicolor and embarking on a globetrotting colour-documentary career culminating in the Oscar-winning ‘Western Approaches’ in 1944.



Then, magic happened. Second unit on one masterpiece, ‘The Life and Death of Colonel Blimp’, he was invited by its director, Michael Powell, to film the whole of a second. His work on ‘A Matter of Life and Death’ (1946) – incredibly, his first complete credit – ‘Black Narcissus’ (also 1946) and ‘The Red Shoes’ (1948), with Cardiff’s versatility and pioneering experimentalism dancing perfectly in tune with the Archers’ own, produced a trio of achievements of beauty, impact and emotional meaning that are unsurpassed in British film.



It was a hard act to follow – for British cinema and Jack Cardiff. Both his anecdotes in his autobiography ‘Magic Hour’, however, and the testimony in Craig McCall’s new documentary, ‘Cameraman: The Life and Work of Jack Cardiff’, show that during the next six decades, his energy never dimmed.



He collected a tally of great directors: Charles Frend (‘Scott of the Antarctic’, 1948), Alfred Hitchcock (‘Under Capricorn’, 1949), John Huston (‘The African Queen’, 1951), Joseph L Mankiewicz (‘The Barefoot Contessa’, (1954), before indulging Laurence Olivier’s taste for pageantry in ‘The Prince and the Showgirl’ (1957) and creating the spectacular Norwegian backdrops for Kirk Douglas’s Norseman in Richard Flesicher’s visually arresting sea-saga ‘The Vikings’ (1958).



His achievements in the director’s chair – which he occupied, on and off, from the late 1950s, helming a dozen pictures – never quite matched those from behind the camera, but two films, included in the season, still stand up. He collaborated with fellow lensman Freddie Francis for an oddly cast but fully felt and underrated adaptation of DH Lawrence’s ‘Sons and Lovers’ in 1960 and gave colour and wanderlust to playwright Sean O’Casey’s early life, taking over the reins from John Ford on ‘Young Cassidy’ (1965).



A pioneer and a technical master – demanding and designing, typically, special water-cooled 300-amp arc spotlights for the ballet sequences on ‘The Red Shoes’ – Cardiff worked right up until his nineties. He described his role as ‘a diplomatic Jeeves’ to the director’s Bertie Wooster, but he was no mere gentleman’s gentleman. Rather, he was a master in his own right, arguably the finest ‘painter with light’ Britain has ever produced.



The Jack Cardiff season is at BFI Southbank throughout May.

[Steve Crook]

Jack Cardiff: Britain's greatest cinematographer?

Cinematograper Jack Cardiff worked on some of British film’s greatest masterpieces. Wally Hammond previews a new retrospective of his work



Quiz time. What links the following? Roger Deakins, Freddie Francis, Robert Krasker, Douglas Slocombe, Geoffrey Unsworth, Freddie Young. They’re a sample roll call of the great British cinematographers and lighting cameramen – and first among equals is Jack Cardiff (1914-2009), the subject of a retrospective at the BFI Southbank which runs throughout May. Born on the boards – his music hall parents put him in the silent film ‘My Son, My Son’ in 1918, aged four – he progressed through runner, clapper boy and camera operator, often under Alexander Korda, until two big breaks: being taken on as the first British trainee for Technicolor and embarking on a globetrotting colour-documentary career culminating in the Oscar-winning ‘Western Approaches’ in 1944.



Then, magic happened. Second unit on one masterpiece, ‘The Life and Death of Colonel Blimp’, he was invited by its director, Michael Powell, to film the whole of a second. His work on ‘A Matter of Life and Death’ (1946) – incredibly, his first complete credit – ‘Black Narcissus’ (also 1946) and ‘The Red Shoes’ (1948), with Cardiff’s versatility and pioneering experimentalism dancing perfectly in tune with the Archers’ own, produced a trio of achievements of beauty, impact and emotional meaning that are unsurpassed in British film.



It was a hard act to follow – for British cinema and Jack Cardiff. Both his anecdotes in his autobiography ‘Magic Hour’, however, and the testimony in Craig McCall’s new documentary, ‘Cameraman: The Life and Work of Jack Cardiff’, show that during the next six decades, his energy never dimmed.



He collected a tally of great directors: Charles Frend (‘Scott of the Antarctic’, 1948), Alfred Hitchcock (‘Under Capricorn’, 1949), John Huston (‘The African Queen’, 1951), Joseph L Mankiewicz (‘The Barefoot Contessa’, (1954), before indulging Laurence Olivier’s taste for pageantry in ‘The Prince and the Showgirl’ (1957) and creating the spectacular Norwegian backdrops for Kirk Douglas’s Norseman in Richard Flesicher’s visually arresting sea-saga ‘The Vikings’ (1958).



His achievements in the director’s chair – which he occupied, on and off, from the late 1950s, helming a dozen pictures – never quite matched those from behind the camera, but two films, included in the season, still stand up. He collaborated with fellow lensman Freddie Francis for an oddly cast but fully felt and underrated adaptation of DH Lawrence’s ‘Sons and Lovers’ in 1960 and gave colour and wanderlust to playwright Sean O’Casey’s early life, taking over the reins from John Ford on ‘Young Cassidy’ (1965).



A pioneer and a technical master – demanding and designing, typically, special water-cooled 300-amp arc spotlights for the ballet sequences on ‘The Red Shoes’ – Cardiff worked right up until his nineties. He described his role as ‘a diplomatic Jeeves’ to the director’s Bertie Wooster, but he was no mere gentleman’s gentleman. Rather, he was a master in his own right, arguably the finest ‘painter with light’ Britain has ever produced.



The Jack Cardiff season is at BFI Southbank throughout May.

Craig's documentary is great. I took Nicky (Captain Waggett) to see a preview première at the Curzon Soho yesterday morning.



But as she said, it's a shame that the Jack Cardiff season isn't showing some of his rarer films, they're just showing all the usual suspects



Steve

[theuofc]

Jack Cardiff: Britain's greatest cinematographer?

Cinematograper Jack Cardiff worked on some of British film’s greatest masterpieces....



His achievements in the director’s chair – which he occupied, on and off, from the late 1950s, helming a dozen pictures – never quite matched those from behind the camera, but two films, included in the season, still stand up. He collaborated with fellow lensman Freddie Francis for an oddly cast but fully felt and underrated adaptation of DH Lawrence’s ‘Sons and Lovers’ in 1960 and gave colour and wanderlust to playwright Sean O’Casey’s early life, taking over the reins from John Ford on ‘Young Cassidy’ (1965). ...

StephenP has uploaded in the Sixties Diary thread the wonderful May 1960 cover of Films and Filming featuring Jack's SONS AND LOVERS. When I spoke to Jack after one Q&A, he said that Sons and Lovers was his favourite and at that point he was still waiting for it to come out on DVD. Here's to Jack!




Barbara

[Steve Crook]

And let's not forget that as well as being a genius cinematographer and a great director, he was also a really nice bloke. He was always willing to chat. To share his memories about his films, and to give comments on his opinions of other films. He was also very encouraging to students and to people just starting out in the business.



Although he was best known for his work in Technicolor he embraced new technology as it came along and soon mastered that as well.



RIP and thank you Jack





Jack with the Attenboroughs at Canterbury in October 2004



Steve

[theuofc]

And let's not forget that as well as being a genius cinematographer and a great director, he was also a really nice bloke. He was always willing to chat. To share his memories about his films, and to give comments on his opinions of other films. He was also very encouraging to students and to people just starting out in the business.



Although he was best known for his work in Technicolor he embraced new technology as it came along and soon mastered that as well.



RIP and thank you Jack





Jack with the Attenboroughs at Canterbury in October 2004



Steve

I love this photo. You were there, and that's the one I missed by a day to be at the Bogarde bio launch in '04. Jack had the youngest spirit, always embracing as you say, new technology vs. some who would not. On impulse, during the Q&A I asked him what he thought of digital back then and he was immediately enthusiastic about it, saying he was using it in an upcoming film.



And he was witty, but as you say, in his typical gentle and gentlemanly way: on another occasion when I asked him to sign my GIRL ON A MOTORCYCLE (1968) dvd, his eyes lit up at seeing the dvd, and then with a witty smile said, "Barbara, there's no room on the cover, so I'll have to sign on Marianne's bosom!" and he chuckled, adding, 'I hope she doesn't mind.'... "I don't think so, Jack!" :-) Here's a clip of Jack's GOAM :


Such a lovely, lovely man and a genius of a talent.



Barbara

[theuofc]

name='DB7']Jack Cardiff: Britain's greatest cinematographer?

Cinematograper



...he was a master in his own right, arguably the finest ‘painter with light’ Britain has ever produced. ....

Here are some of Jack's memorable photos of Marilyn:






Barbara

[Timmy_Lea]

Cameraman: The Life & Work of Jack Cardiff | Review | Screen

[Steve Crook]

Cameraman: The Life & Work of Jack Cardiff | Review | Screen

They're right. It is eminently watchable and does leave you wanting more, even after 90 minutes of Jack's life and work.



Steve

[Steve Crook]

I love this photo. You were there, and that's the one I missed by a day to be at the Bogarde bio launch in '04. Jack had the youngest spirit, always embracing as you say, new technology vs. some who would not. On impulse, during the Q&A I asked him what he thought of digital back then and he was immediately enthusiastic about it, saying he was using it in an upcoming film.



And he was witty, but as you say, in his typical gentle and gentlemanly way: on another occasion when I asked him to sign my GIRL ON A MOTORCYCLE (1968) dvd, his eyes lit up at seeing the dvd, and then with a witty smile said, "Barbara, there's no room on the cover, so I'll have to sign on Marianne's bosom!" and he chuckled, adding, 'I hope she doesn't mind.'... "I don't think so, Jack!" :-) Here's a clip of Jack's GOAM :


Such a lovely, lovely man and a genius of a talent.



Barbara

Jack wasn't even expected at that screening. Sheila Sim (Lady Attenborough) was introducing a screening of A Canterbury Tale and she brought Lord Dicky along. Young Lucy, their granddaughter, on the right in the photo, was at school at King's School, Canterbury and it was a chance for her to see her grandmother on screen. Tragically Lucy and her mother were killed by the Boxing Day tsunami later that year. I sent Sheila a copy of the photo.



Jack just happened to have a free evening and as he lived nearby, he came along as well. It was a great evening



Steve

[orpheum]

I was at the NFT yesterday to see a rather silly film,The Living Idol,starring James Robertson Justice.in the gallery there is an exhibition devoted to Jack Cardiff with s ome fascinating personal effects.in the atrium there is a continuous 11minute sequence of his home movies.These were taken on the sets of The Viking,The African Queen ,War and Peace.Worth a visit evn if you are not going to a film.Lasts till 29thJune.

[Brief Encounter]

The film is being issued on DVD by Optimum (it's just been passed by the BBFC).

[silverwhistle]

I recently saw again his remake of The Wicked Lady. OK, it's a Michael Winner film, increasing the Restoration bawdry from the original, but Jack's cinematography is superb: some scenes are extremely beautiful visually, shot like 17C paintings.

[Steve Crook]

The film is being issued on DVD by Optimum (it's just been passed by the BBFC).

The British DVD release has been put back to 21 July



The UK Tour is still going on. Quite a few places are showing the documentary with other films that he worked on



There are plans for an American DVD release

Strand Points to "Cameraman" for North America



Steve

[TimR]

....There are plans for an American DVD release

Strand Points to "Cameraman" for North America



Steve

Good news....

[theuofc]

I recently saw again his remake of The Wicked Lady. OK, it's a Michael Winner film, increasing the Restoration bawdry from the original, but Jack's cinematography is superb: some scenes are extremely beautiful visually, shot like 17C paintings.

Much agree, silverwhistle. A film may not be the best, but Jack's camera work was always memorable, or as close as he could make it, e.g. his superb filming of War and Peace. It's not my favorite W&P, but Jack's cinematography is wonderful.



Best,



Barbara

[theuofc]

The British DVD release has been put back to 21 July



The UK Tour is still going on. Quite a few places are showing the documentary with other films that he worked on



There are plans for an American DVD release

Strand Points to "Cameraman" for North America



Steve

Jack's coming to the States in 2011. Best news ever!



Thanks, Steve.



Barbara

[theuofc]

TCM-US - SPOTLIGHT ON JACK CARDIFF, January 2012

5th of January, est times

8:00 PM
Cameraman: The Life and Work of Jack Cardiff (2010)

9:30 PM
Wings of the Morning (1937)

11:00 PM
Cameraman: The Life and Work of Jack Cardiff (2010)

12:30 AM
Four Feathers, The (1939)

2:30 AM
Things To Come (1936)

6:30 AM
Caesar And Cleopatra (1945)

4:30 AM
Knight Without Armour (1937)
-----------------------------

12th January:

8:00 PM
Life and Death of Colonel Blimp, The (1943)
11:00 PM

Cameraman: The Life and Work of Jack Cardiff (2010)
12:30 AM

Matter of Life and Death, A (1947)
2:30 AM

Red Shoes, The (1948)
5:00 AM

Black Narcissus (1947)

=======================

19th January:

Master of Ballantrae, The (1953)
12:00 AM

Prince And The Showgirl, The (1957)
2:00 AM

Pandora and the Flying Dutchman (1951)
4:15 AM

Cameraman: The Life and Work of Jack Cardiff (2010)

=======================

26th January:

8:00 PM

Intent to Kill (1958)
9:45 PM

Lion, The (1962)
11:30 PM

Young Cassidy (1965)
1:30 AM

Liquidator, The (1966)

3:30 AM

Dark Of The Sun (1968)

[Nick Dando]

I take it that those are Eastern Standard Times, rather than estimated?

Nick

[theuofc]

I take it that those are Eastern Standard Times, rather than estimated?

Nick

Hi, Nick,

They are Eastern Standard Time, but I'm going to check the actual times vs. the printed ones from TCM. I noticed tonight when I programmed recording titles for the 5th and 12th so far, a few of the times had changed. I'll try to post corrected ones today or early tomorrow before the 5th. It's a wonderful lineup of Jack-related films.

All best,

Barbara

[theuofc]

TCM-US - SPOTLIGHT ON JACK CARDIFF, January 2012

5th of January, est times

8:00 PM
Cameraman: The Life and Work of Jack Cardiff (2010)

9:30 PM
Wings of the Morning (1937)

11:00 PM
Cameraman: The Life and Work of Jack Cardiff (2010)

12:30 AM
Four Feathers, The (1939)

2:30 AM
Things To Come (1936)

4:30 AM
Knight Without Armour (1937)

6:30 AM
Caesar And Cleopatra (1945)

-----------------------------

12th January:

8:00 PM
Life and Death of Colonel Blimp, The (1943)

11:00 PM
Cameraman: The Life and Work of Jack Cardiff (2010)

12:30 AM
Matter of Life and Death, A (1947)

2:30 AM
Red Shoes, The (1948)

5:00 AM
Black Narcissus (1947)

=======================

19th January:

10:15 PM
Master of Ballantrae, The (1953)

12:00 AM
Prince And The Showgirl, The (1957)

2:00 AM
Pandora and the Flying Dutchman (1951)

4:15 AM
Cameraman: The Life and Work of Jack Cardiff (2010)

=======================

26th January:

8:00 PM
Intent to Kill (1958)

9:45 PM
Lion, The (1962)

11:30 PM
Young Cassidy (1965)

1:30 AM
Liquidator, The (1966)

3:30 AM
Dark Of The Sun (1968)

These times are now correct, but best to check the dates and your local times in the U.S.