Richard Leacock was a documentary film director and one of the pioneers of Direct Cinema and Cinéma vérité died he was , 89..(18 July 1921 – 23 March 2011) |
Early life and career
Leacock was born in London on 18 July 1921. Leacock grew up on his father's banana plantation in the Canary Islands until being sent to boarding schools in England at the age of eight.
He took up photography with a glass plate camera, built a darkroom and developed his pictures, but was not satisfied. At age 11 he was shown a silent film Turk-Sib about the building of the Trans-Siberian Railway. He was stunned, and said to himself "All I need is a cine-camera and I can make a film that shows you what it is like to be there".At the age of 14 he wrote, directed, filmed and edited Canary Bananas (10 min. 16mm, silent), a film about growing bananas, but it did not, in his opinion, give you "the feeling of being there".
He was educated at Dartington Hall School from 1934-38, alongside Robert Flaherty's daughters, and where David Lack (Life of the Robin) taught biology.
Having filmed in the Canary Islands and then in the Galapagos Islands (1938-9) for ornithologist David Lack's expedition, he moved to the USA and majored in Physics at Harvard in order to master the technology of filmmaking. Meanwhile he worked as cameraman and assistant editor on other peoples films, notably To Hear Your Banjo Play (1941), filming a folk music festival atop a mountain in south Virginia where there was no electricity, with a 35mm studio camera and 35mm optical film sound recorder using batteries in a large truck, a rare achievement at that time. Three years as a combat photographer in Burma and China were followed by 14 months as cameraman on Robert Flaherty's Louisiana Story.[2]
In the meantime, Leacock had married Eleanor "Happy" Burke in 1941. Daughter of the world-famous literary critic, philosopher, and writer Kenneth Burke, she had studied at Radcliffe College, but graduated from Barnard in New York City. The Leacocks had four children together. After ethnographic fieldwork with the Innu (Montagnais-Naskapi) of Labrador, Eleanor Leacock (1922-1987) earned her doctorate in anthropology at Columbia University (1952). Ten years later, after her marriage broke up, she went on to become a pioneering feminist anthropologist.[3]
Documentaries
Many relatively conventional jobs followed, until 1954. He was then asked to make a reportage on a traveling tent theater in Missouri: the first film that he wrote, directed, photographed and edited himself, since Canary Bananas.
This film, Toby and the Tall Corn, went on the American cultural TV program, Omnibus, in prime time and brought him into contact with Robert Drew, an editor at LIFE magazine in search for a less verbal approach to television reportage. Another new contact, Roger Tilton wanted to film an evening of people dancing to Dixieland music spontaneously. Leacock filmed Jazz Dance for him, using hand held camera techniques.
Leacock's search for high quality, mobile, synchronous equipment to facilitate observation was ongoing. By 1960 this had been achieved, and resulted in Robert Drew's film Primary, an intimate observation of a primary election with Democratic hopefuls John F. Kennedy and Hubert Humphrey in Wisconsin.[2]
A number of films followed made by Drew, Pennebaker, Maysles and their associates, but the US networks were not impressed. In France at the Cinémathèque Française, when Drew and Leacock screened Primary and On the Pole, Henri Langlois introduced the films as "perhaps the most important documentaries since the brothers Lumiere". After the screening, a monk in robes came up to them and said, "You have invented a new form. Now you must invent a new grammar!"
When Drew went to work for ABC-TV, Leacock Pennebaker was formed and produced Happy Mother's Day, Don't Look Back, Monterey Pop, A Stravinsky Portrait and many others ending with the remnants of Jean-Luc Godard's One A.M. - One P.M. (1972).
In 1968 he was invited to join Ed Pincus creating a new, small film school at MIT. Since 16mm filming was becoming so expensive, his group developed super-8 film synch equipment with modified mass-produced cameras that were much cheaper. Many filmmakers emerged from this program, including Ross McElway (Sherman's March), among others.
In 1989 he retired and moved to Paris, where he met Valerie Lalonde and, together, they made Les Oeufs a la Coque de Richard Leacock (84 minutes), the first major film shot with a tiny Video-8 Handycam to be broadcast on prime-time television in France. Leacock and Lalonde continued making films of their own choice without the pressures of TV producers.
Leacock died on 23 March 2011 at age the age of 89 in Paris. Before his death, he was raising funds for his multi-format memoir, “Richard Leacock: The Feeling of Being There,” a bound paper book and digital video book set to be published by Semeïon Editions.[4]
Selected filmography
- 1935 Canary Bananas (8 min.)
- 1941 To Hear Your Banjo Play (20m, dir. Charles Korvin (Geza Karpathy))
- 1946 Louisiana Story (cameraman)
- 1948 Mount Vernon and The New Frontier (cameraman)
- 1949 Earthquake in Ecuador (director cameraman)
- 1950 Head of the House (writer-director-editor)
- 1952 The Lonely Night (dir. Irving Jacoby, filmed by Leacock)
- 1954 Jazz Dance (20min., cameraman)
- 1954 Toby and the Tall Corn (30 min., writer-director-camera-editor for Omnibus)
- 1956 A Conversation with Marcel Duchamp
- 1957 How the F-100 Got Its Tail (20 min., for Omnibus)
- 1957-9 Frames of Reference, Coulomb's Law, A Magnet Laboratory, Crystals
- 1958 Bernstein in Israel (30 min., Omnibus)
- 1959 Bernstein in Moscow (55 min.)
- 1959 Bull Fight at Malaga (20 min.)
- 1960 Primary (30 min.)
- 1960 Adventures on the New Frontier (possibly a longer version of Primary, Close-Up, ABC)
- 1960 Yank! No! (55 min., Close-Up, ABC)
- 1960 Kenya: Land of the White Ghost (Close-Up, ABC)
- 1961 The Children Were Watching (dir. Leacock, Close-Up, ABC)
- 1960 On the Pole (aka, Eddie, 55 min, co-produced and directed, The Living Camera)
- 1961 Peter and Johnny (55 min., produced by Leacock, The Living Camera)
- 1961 The Chair (55 min., co-produced, directed, and photographed, The Living Camera)
- 1962 Nehru (55 min, co-produced, directed, and shot with Gregory Shuker, The Living Camera)
- 1962 Susan Starr (54 min., filmed by a number of cinematographers, including Leacock, The Living Camera)
- 1963 Crisis (55 min.)
- 1963 Happy Mother's Day (30 min.)
- 1964 Republicans - The New Breed (30 min., with Noel E. Parmentel Jr.)
- 1965 A Stravinsky Portrait (55 min., made with Rolf Liebermann)
- 1965 Geza Anda (30 min, with Rolf Liebermann)
- 1965 Ku Klux Klan - Invisible Empire (50 min., produced and written by David Lowe for CBS Reports)
- 1966 Oh Mein Pa-Pa! (made with Rolf Liebermann)
- 1966 The Anatomy of Cindy Fine (20 min.)
- 1966 Old Age, The Wasted Years (30 min. x 2 for WNET)
- 1966 Monterey Pop! (assisted D.A. Pennebaker)
- 1968 1-AM - 1-PM (90 min., with Pennebaker and Jean-Luc Godard)
- 1968 French Lunch (cameraman)
- 1968 Hickory Hill (18 min., with George Plimpton)
- 1969 Chiefs (18 min., with Noel E. Parmentel Jr.)
- 1969 Maidstone (cameraman with others)
- 1970 Company (60 min., one of three cameramen)
- 1970 Queen of Apollo (20 min., with Elspeth Leacock)
- 1972 Thread (20 min.)
- 1977 Isabella Stewart Gardner (30 min.)
- 1978 Centerbeam (20 min.)
- 1980 Light Coming Through (20 min.)
- 1981 Community of Praise (55 min.)
- 1984 Lulu in Berlin (50 min.)
- 1991 Les Oeufs a la Coque de Richard Leacock (84 min.) video
- 1992 Rehearsal: The Killings of Cariola (35 min.)
- 1992 Les Vacances de Monsieur Leacock (20 min.)
- 1992 Kren: Parking (3 min.)
- 1993 "Gott sei Dank" eine Besuch bei Helga Feddersen (30 min.)
- 1993 Felix et Josephine (33 min.)
- 1993 Hooray! We're Fifty! 1943-1993 (30 min.)
- 1993 A Celebration of Saint Silas (30 min.)
- 1994 A Hole in the Sea
- 1996 A Musical Adventure in Siberia
Films about Leacock
- Ein Film für Bossak und Leacock (1984) – German documentarist Klaus Wildenhahn's homage to Richard Leacock and Jerzy Bossak
- On Being There with Richard Leacock by Jane Weiner, a JDB Films and Striana co-production. (work-in-progress)
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