DB7

Jack Cardiff: Life behind the lens

Cinematographer Jack Cardiff tells Chris Sullivan his tales of the biggest names in cinema.

Published: 09 December 2005
"I think starting with Michael Powell would be a nice idea, wouldn't you?" suggests the wonderfully loquacious 91-year-old director/cinematographer Jack Cardiff. "One day as I worked on second unit for Michael Powell shooting all the dull stuff on The Life and Death of Colonel Blimp, I was asked to photograph this large wall full of animal heads. I heard a voice saying, 'Very interesting.' It was Michael Powell. He then asked if I'd like to photograph his next film. That was in 1943 and I was 29; but I had to wait another three years to do the job on A Matter of Life and Death - but I suppose I had been waiting all my life."

"My first job as crew was on the last big British silent movie, The Informer, in 1928," recalls Cardiff chuckling. "It was my job to be on hand all day to supply the director Dr Arthur Robison with a glass of Vichy water to help with his flatulence problem."

From such beginnings Cardiff moved through the ranks - special effects for Alexander Korda in 1930, clapper boy for Hitchcock in 1931; then in 1937 he was made camera operator for Jacques Feyder on Knight Without Armour starring Marlene Dietrich. "I looked at each frame as a painting and then the camera became my paintbrush."

Cardiff's artistry was never more evident than on his work with Powell. "Michael really encouraged suggestions," says Cardiff. "In the beginning of A Matter of Life and Death when David Niven sees this long shot of a beach and thinks he's in heaven, in the script it says 'Fade in' and Michael said, 'This sounds so corny. I wish I could do something different.' So I said, 'Michael, look through the camera.' He did, and I went to the front and breathed on the lens so that it went foggy. After a few seconds it cleared. Michael was absolutely delighted."

Their next collaboration, Black Narcissus, won Cardiff the Best Color Cinematography Oscar for 1948. In the next few years he would shoot Ingrid Bergman and Joseph Cotten in Under Capricorn for Hitchcock ("a really ordinary Cockney type"); Tyrone Power and Orson Welles in The Black Rose for Henry Hathaway ("pedantic"), Audrey Hepburn in War and Peace for King Vidor ("a plodder")and Humphrey Bogart and Katharine Hepburn in The African Queen for John Huston ("a wonderful man").

"I did a few films with Bogie and we became very good friends," remembers Cardiff. "He was a great guy but could be very explosive. When I first met him he said, 'Cardiff! See my face? See all these lines? It has taken years for me to get these lines and I don't want you to soft light me so I look like a goddamn fag.' And I said, 'Well, Mr Bogart, I am sorry to inform you that I can't do anything about your face - there is too much debauchery in it.' So he laughed and said, 'Put down that sissy drink' (I had a beer) and he got me a whisky."

Cardiff was also great friends with Marilyn Monroe during The Prince and the Showgirl, photographed by Cardiff. "I think she hated being looked at. One day she told me she had this disguise that would enable her to blend in. But when she showed it to me I couldn't believe it: it was the most screaming bright red wig you've ever seen. And I said, 'Marilyn, it will just attract attention' and she said: 'D'you think so? OK.' And that was her mentality. On one side she was the great the sex goddess, and the other she was like a little child."

'Magic Hour: a Life in Movies' is published by Faber & Faber, priced £14.99

Steve Crook

Is this a republishing? In which case, my one (signed in person by Jack) has just become a first edition
Or is it a new review of a book that's been available for the last 9 years?

It was first published by Faber & Faber in 1996
But when did it change its name from Magic Hour: The Life of a Cameraman to Magic Hour: a Life in Movies?

Steve

DB7

Maybe they felt Life of a Cameraman clashed with Alun Hume's Memoir's of a Cameraman.

Steve Crook

Whereas "A Life in Movies" clashes with Michael Powell's autobiography (first volume) of the same name.
It's hard to find a good name for a biography/autobiography.

Steve

theuofc

Jack Cardiff's "Magic Hour" is a fascinating look at Jack's career from his early acting days as a child in silents, talkies, as a cinematographer working with some of the greatest directors and actors in the business.

If you want to dig further, get Mike Figgis' "Conversations with Jack Cardiff: Art, Light, and Direction in Cinema" (2003 pb) which gives us Cardiff's comments and in greater depth, understandably, than his autobiography which paints a larger landscape.

Like Steve, I have a signed copy of 'Magic Hour' and also of Jack's 'Conversations'...and they're both safely locked away :-)

All the best,

Barbara

samkydd

I noticed his name on the credits for First Blood Part 2 the other night.

"...the chairman of Littlewoods stores made a Keynote speech!"

harryfielder

And a nice guy in front of the lens....

Aitch,

http://www.turnipnet.com/aitch/aitch/gallery.htm

Steve Crook

One of Jack's anecdotes (he's reached his anecdotage ) is how when he was making this, Stallone started telling people where to put the lights. Jack soon stopped that, reminded Stallone of his experience and that he was in charge of the lighting. Stallone backed down sheepishly

Steve

Hackett

I'v seen a couple of clips over the years and would love to see all the other remaining shots of "THE STORY OF WILLIAM TELL" 1953 that Cardiff directed Errol Flynn in. If it had been completed it would have been the first Independent CinemaScope release. Shame Jack can't get all the scenes together and make a documentary like FOX did with Monroe's footage from "SOMETHING'S GOT TO GIVE" 1962.

theuofc

Hear, hear, Aitch! Jack Cardiff would have every right to be remote, given his long career behind and in front of the lens and his accomplishments, but as you say, he is wonderful: cordial, patient with everyone who approaches him, and although getting on in years, he cheerfully chats with everyone at his talks, signs countless books, poses for photos, and in general is the warm sun around which all bask. He's a rare, rare person.

All the best,

Barbara

Dirk_Bogarde_Brigade - a Yahoo Group

stevie boy

I very much enjoyed the interview with Jack on the extras of AMOLAD. I am so glad that he is still around, he is a legend and seems like such a nice man. I love the story about breathing on the lens and with regard to Stallone why did'nt Jack hit him over the head with his oscar.