Cameraman: The Life and Work of Jack Cardiff


An aging cameraman can still appreciate the timeless beauty of a young Audrey Hepburn.

An aging cameraman can still appreciate the timeless beauty of a young Audrey Hepburn.

(2010) Documentary (Strand) Jack Cardiff, Martin Scorsese, Kirk Douglas, Charlton Heston, Lauren Bacall, Kim Hunter, John Mills, Alan Parker, Thelma Schoonmaker, Freddie Francis, Rafaella de Laurentiis, Richard Fleischer, Peter Yates, Kathleen Byron, Orson Welles. Directed by Craig McCall

The golden age of Hollywood was marked by larger than life stars and beautifully photographed films in gorgeous black and white or later, in epic Technicolor. Part of the reason those movies looked so good were men like Jack Cardiff – not that there were many like him.

Cardiff has worked with some of the greatest names in Hollywood – from the stars (Marlene Dietrich, John Wayne, Sophia Loren, Audrey Hepburn) to the directors (Alfred Hitchcock, King Vidor, Michael Powell). He came out of the British cinema working with the director-writer team of Powell and Emeric Pressburger which was better known as “The Archers” and with them was responsible for such classics as The Red Shoes, Black Narcissus (for which he won the Oscar) and A Matter of Life and Death.

He would go on to work on other movies including The African Queen, The Vikings, The Barefoot Contessa, War and Peace, The Prince and the Showgirl (the Laurence Olivier/Marilyn Monroe film chronicled in My Week With Marilyn), Death on the Nile, Ghost Story and Rambo: First Blood Part II. He was active until 2007 but would pass away in 2009 while this film was in post-production.

Cardiff was known for his expertise with the then-nascent Technicolor process. Many cinematographers, used to black and white, had trouble when it came to color. You would think not since we all see in color but the fact is that the use of color can be a tricky thing when it comes to art and cinema. Cardiff always knew how to use color both subtly and epically.

McCall utilizes both archival footage and recent interviews with Cardiff and some of the people he’s worked with over the years. The segments featuring Cardiff are the most fascinating; he’s got a lot of interesting stories and his home movies on the set feature the stars letting down their hair somewhat are fascinating.

We don’t get a lot of background about Cardiff’s personal life. In fact, none at all that I can remember. I would have appreciated a bit of insight into who he was personally but that’s not really what this film is about – it’s about his professional life. That’s why his profession is the title of the movie and comes before his name although it might have been more accurately subtitled The Work and Not So Much the Life of Jack Cardiff.

There are a few too many talking heads mostly all saying essentially the same things. I thought the movie could have done with more examples of Cardiff’s work and more of Cardiff himself and less of people saying what a legend he is. But the movie serves to remind us of how glorious that age was and how much modern cinema owes to Cardiff. It makes you want to run right out and rent a copy of Black Narcissus and that can’t be a bad thing.

WHY RENT THIS: A look back at one of the greatest and most influential cinematographers ever. A reminder of Hollywood’s glamour.

WHY RENT SOMETHING ELSE: Too many talking heads. Tells us next to nothing about the man himself.

FAMILY VALUES: A few mildly bad words here and there.

TRIVIAL PURSUIT: Cardiff is to date the only cinematographer to be honored with a special Oscar (in 2001).

NOTABLE HOME VIDEO EXTRAS: There are some additional home movies Cardiff shot on the sets of his classic films as well as an examination of the three-strip Technicolor process that was one of his trademarks.

BOX OFFICE PERFORMANCE: $20,840 on an unreported production budget; I’m thinking this probably lost a few bucks.

COMPARISON SHOPPING: The Kid Stays in the Picture

FINAL RATING: 6.5/10

NEXT: Black Death

The Chronicles of Narnia: Voyage of the Dawn Treader


The Chronicles of Narnia: Voyage of the Dawn Treader

Anyone who says there are no stars in Voyage of the Dawn Treader is crazy!

(2010) Fantasy (Fox Walden) Georgie Henley, Skandar Keynes, Ben Barnes, Will Poulter, Liam Neeson (voice), Simon Pegg (voice), Gary Sweet, Laura Brent, Bille Brown, Bruce Spence, Terry Norris, Colin Moody, Tilda Swinton, Anna Popplewell, William Moseley, Shane Rangi, Arthur Angel, Arabella Morton, Rachel Blakely. Directed by Michael Apted

When we sail for unknown waters, it takes a certain amount of fortitude. Not only do you never know quite what to expect, but it’s also likely that you won’t return the same way you left.

Lucy (Henley) and Edmund (Keynes) Pevensie remain in England during the Blitz while brother Peter (Moseley) and sister Susan (Popplewell) go off to America – apparently because they’re older, they deserve greater safety. Lucy and Edmund are packed off to Cambridge where they are rooming with their despicable cousin Eustace Scrubb (Poulter) who is an insufferable know-it-all and quite the twit. Edmund would like nothing better than to punch him in the face, but prefers to try and join up for the British Army, although he is too young by a couple of years.

He is frustrated because as a King in Narnia, he has fought wars against superior forces and led armies into battle but here on Earth he is just a silly boy. Lucy is the embodiment of the Stiff Upper Lip but she is deeply insecure about her looks; while Susan is already a bit of a stunner, Lucy feels invisible and ignored by comparison.

When the nautical painting in the bedroom Edmund shares with Eustace begins to change and a Narnian-looking ship appears on the horizon, Lucy realizes magical forces are work and a call back to the magical land is just around the corner. Eustace has always pooh-poohed their talk of Narnia and thinks them barking mad. He’s about to find out how wrong he is.

The sea floods out of the painting and into the bedroom; rather than opening the door or window and escaping the children essentially wait for the room to fill up before swimming to the surface and being greeted by the flagship of Narnia’s fleet, the Dawn Treader. On board is good Prince Caspian..err, King Caspian (Barnes) who is searching for seven lord of Telmar that supported his father but then had to flee for their lives. They carried with them seven magic swords that Aslan (Neeson) had given the Narnians for protection. They don’t know it but they are about to need them.

The two Pevensies are overjoyed to be back in Narnia; Eustace not so much. He thinks that everyone and everything not named Eustace are complete idiots and utterly lacking in…well, anything useful. He is basically the ultimate spoiled brat, a precursor to Dudley Dursley from the Harry Potter series, only far more venal and wretched.

Also aboard is the swashbuckling Reepicheep (Pegg), the mouse with the gentlemanly mien and the bold attitude. He becomes something of a mentor to Eustace, although of course Eustace detests him at first. There’s more involving a malevolent green mist, an island that is the embodiment of evil and a blue star that is in fact not a star but you get my drift. Eustace also turns into a dragon, a Lord turns into gold and the Dawn Treader will battle a vicious sea serpent before the final credits.

This is based on the third in the six-book series by C.S. Lewis which was meant to be Christian allegories as well as morality lessons for children. Amazingly, both of those aspects of the books were left intact in all three of the movies (much more overtly here).

However, there’s a new director in town; Apted, who has previously directed Coal Miner’s Daughter and The World Is Not Enough. This is kind of a new genre for him and he does a great job, never allowing the special effects to overwhelm the movie but using them when he needs to. While the effects aren’t particularly groundbreaking, they are serviceable – the sea serpent particularly at the end is hideous and scary.

Part of the problem with the first two movies is that the acting wasn’t up to the level of the Harry Potter movies. The child stars were all a bit on the wooden side; thankfully, Keynes has gotten much better and Henley as well, although she still can be annoying in places. Poulter, who was in the indie film Son of Rambow was actually really good, bringing out both the awful and redeemed sides of Eustace nicely.

Barnes also gets to shed the ill-advised Spanish accent of Prince Caspian and comes off much more mature and far more likable here. While the character tends to be much more of a second banana to the Pevensies than perhaps he should be, nonetheless Barnes makes the most of what he has to work with. My only wish is that Apted had let Caspian’s feelings for his father get a little more attention; that was an interesting subplot that seemed to go nowhere really.

I actually liked this film better than the first two and even better than TRON: Legacy to be honest. The books were a big part of my childhood, being a lover of fantasy and science fiction from an early age as I was. Seeing these films is a bit like going home, Dawn Treader a bit more than even the first two (and I thought The Lion, the Witch and the Wardrobe was a good solid movie). While the box office numbers have been underwhelming for a movie with this kind of budget, I’m hoping that it makes enough to warrant the making of The Silver Chair. This might well be the most entertaining movie of the holiday season, far more so than the overly grim and overwhelming Harry Potter and the Deathly Hallows Part 1 and a little bit more than the uneven TRON: Legacy. Unfortunately, it doesn’t appear like the audiences are giving it the chance it deserves.

REASONS TO GO: The best of the series so far. Poulter brings the horrible Eustace Scrubb to life. Barnes has improved 100% as Caspian.

REASONS TO STAY: Not really groundbreaking effects work and Henley remains a work in progress.

FAMILY VALUES: There are some scenes that are probably too scary for younger, more impressionable children (particularly during the sea serpent battle) but by and large, perfect movie material for most kids.

TRIVIAL PURSUIT: Simon Pegg as Reepicheep replaces Eddie Izzard who voiced the cavalier mouse in The Chronicles of Narnia: Prince Caspian.

HOME OR THEATER: This may sound a bit strange but as big a movie as this is, I don’t know that the epic scope is diminished on the smaller screen. I usually recommend the multiplex for movies like this but it might be just as well for you to see it at home.

FINAL RATING: 8/10

TOMORROW: The Holly and The Quill begins!