One of Ken Russell’s childhood memories was of going to school on a rainy day and noticing the clouds reflected in the puddles. These clouds—that seemed to float on the surface of the water—looked more real than the ones in the sky. They were beautiful and golden—the sky an iridescent blue. It seemed to young Ken that the reflected world down there was far more interesting than the one up in the sky.
It was a small epiphany: “If one could get down there,” he thought “it would be fantastic.” It was a vision of the world that Russell never gave up on.
In 1950s, after a stint in the merchant navy and as a ballet dancer, Russell picked up a camera and started taking pictures of the world as he saw it—this time reflected through the glass of his camera.
Over the decade, he took thousands of photographs capturing a beautifully strange and quirky world no one else seemed to have noticed. He started creating photo-essays on street scenes, market traders, parties, fashion, friends, dancers and documented the lives of many of London’s outsiders—the teenage gangs, the newly arrived immigrants and even the daily life for women in prison.
Russell then began to create his own imaginative flights of fancy—stories of cop and robbers, duels, races on bicycles and penny-farthings. He hawked his work around the agencies.
But I didn’t cut quite the right image. With my down-at-heel brogues and shiny Donegal three-piece suit I couldn’t look the least like Cecil Beaton, the popular image of the fashion photographer, no matter how much Honey and Flowers (from Woolworths) I sprinkled about my person. It was too early for the dirty photographer. You had to be dapper, suave, elegant, queer. If David Bailey had turned up in those days he wouldn’t have got past the door. Generally the editors would look at my stuff and say, “Yes, very nice but who’s your tailor? Ugh!”
Nevertheless I did land a couple of jobs because I was so cheap. £2.10.0 a page. Peanuts!
For lack of models, Russell relied on his friends and dancer pals who hung around the Troubadour coffee bar. It was an intensive apprenticeship that led to Russell making his first film in 1956 Peepshow.
Ken Russell’s photographs from the 1950s show his unique eye for capturing the unusual and an immense his talent for creating powerful and iconic imagery.
Troubadour: the penny-farthing bicycle, 1955.
Zora the Unvanquished—writer Zora Raeburn pasting some of the hundreds of rejection letters she received to a wall outside her home, spring, 1955.
More of Ken Russell’s photos from the fifties, after the jump…
Earlier this year, at the opening ceremony for the fifth session of the Scottish Parliament, makar or national bard Jackie Kay read from her poem “Threshold.” The poem is a rallying call for people to come together and protect the nation’s “incipient democracy”:
Find here what you are looking for:
Democracy, in its infancy: guard her
Like you would a small daughter -
And keep the door wide open, not just ajar…
Though I don’t regard Scotland as nation with an infant democracy—our history tells us otherwise—it is fair to say the poem’s sentiment is well-intentioned—if a tad cutesy. Democracy must be guarded responsibly if we are to enjoy its freedoms.
The issues of freedom and democracy are at the heart of a new feature-length documentary by writer and director Rupert Russell. His film Freedom for the Wolf is epic in scale—covering events on four continents—finely made, thoughtful and nuanced. It examines how different people across the world—from Tunisian rappers to Indian comedians, from America’s #BlackLivesMatter activists to Hong Kong’s students—are joining the struggle for “the world’s most radical idea—freedom—and how it is transforming the world.”
This sounds all very exciting—though I don’t think the struggle for freedom as something new—it has been a central thread of human history for millennia. Yet every generation comes afresh to politics (most recently the Occupy Movement and Bernie Sanders revolution) and sex (Fifty Shades of Grey)—and so it is with Freedom for the Wolf.
That said, Russell’s film does highlight how different movements, primarily youth movements, are fighting the threat of governments combining dictatorships with democracy to create what is termed “illiberal democracies.” In other words, countries replacing real democratic freedom with consumerist choice—the right to liberty exchanged for the right to shop—or, as Juvenal put it, “bread and circuses.”
Occupy demonstrator in Hong Kong.
Rupert Russell was born and raised in England. He is the son of the brilliant film director Ken Russell. Rupert graduated from Cambridge University before he went on to study for a PhD in sociology under Orlando Patterson at Harvard University.
Patterson is a preeminent historical and cultural sociologist—best known for his work Freedom in the Making of Western Culture (1991), which won a National Book Award. Born in Jamaica, Patterson has long had an interest in the cultural meaning of freedom. His interest was inspired by his birth country’s association with slavery. Slavery has shaped our understanding of freedom. Patterson examined slavery from a long historical perspective pointing out that the derivation of the word slave comes from the ethnic group Slavs. Blond, blue-eyed Slavs were once the main ethnicity of slaves—further the “vast majority of slaves for over 2,000 years of Western history were white.” But it’s a different kind of slavery that threatens democracy today.
Patterson appears in Russell’s documentary and his work on freedom—what is it? what does it mean? how is it being eroded today?—underpin some of the film’s central themes—as Russell explained to me when I spoke with him over the phone:
Rupert Russell: Our original intention was to examine what freedom meant in different cultures around the world. I’d been thinking about freedom and the paradox of freedom for quite a while and I decided to do a bit of exploration into not only what freedom means in different cultures but how does it relate to power.
My advisor at Harvard during my PhD was Orlando Patterson who had already done quite extensive research on this. For example, he examined how ordinary Americans when you ask them to talk about “freedom” there were all kinds of things they said from being naked on a beach to driving their car. But invariably what they they didn’t talk about was voting.
Orlando’s hypothesis actually explains how people such as George Bush and other politicians of the Iraq war era were able to use the idea of freedom in the forefront of their rhetoric while at the same time eroding democratic institutions through things like the Patriot Act.
I was already aware there was a very sophisticated way to think about the relationship between freedom and power—the different definitions of freedom and how they can interplay with each other. How we may emphasise in a culture too much of a personal version of freedom and not connect that with a democratic or institutional version of freedom upon which our personal freedom depends.
More from Rupert Russell on ‘Freedom for the Wolf,’ after the jump…
Pauline Boty was an artist, activist, actress and model. She was one of the leading figures of the British Pop art movement during the late 1950s and early 1960s. Her contemporaries were Peter Blake, Derek Boshier and David Hockney. But when Boty tragically died at the height of her fame in 1966, her work mysteriously disappeared. Not one of her paintings was exhibited again until 1993.
Boty was all but forgotten by the time a cache of her paintings was rediscovered on a farm in the English countryside in the early 1990s. The paintings had been stored in an old barn for safe-keeping by her brother. Their rediscovery placed Boty firmly back into the center of the Pop art boy’s club.
Throughout her life, Boty kicked against the men who tried to hold her back. Born into a Catholic family in 1938, her father (a by-the-book accountant) wanted his daughter to marry someone respectable and raise a family. Instead she chose to study art to her father’s great displeasure. In 1954, Boty won a scholarship to Wimbledon School of Art.
At college, Boty was dubbed the “Wimbledon Bridget Bardot” because of her blonde hair and film star looks. She went onto study lithography and stained glass design. However, her desire was to study painting. When she applied to the Royal College of Art in 1958, it was suggested by the male tutors that she would be more suited studying stained glass design as there were so few women painters. Though Boty enrolled in the design course she continued with her ambitions to paint.
Encouraged by the original Pop artist Eduardo Paolozzi, Boty began painting at her apartment. Her makeshift studio soon became a meeting point for her friends (Derek Marlowe, Celia Birtwell) and contemporaries (Blake, Boshier, Hockney and co) to meet, talk and work. Boty started exhibiting her collages and paintings alongside these artists and her career as a painter commenced.
In 1962, Boty was featured in a documentary about young British pop artists Pop Goes the Easel alongside Peter Blake, Derek Boshier and Peter Phillips. The film was directed by Ken Russell who created an incredibly imaginative and memorable portrait of the four artists. Each was given the opportunity to discuss their work—only Boty did not. Instead she collaborated with Russell on a very prescient dream sequence.
It opens with Boty laying out her paintings and drawings on the floor of a long circular corridor—actually the old BBC TV Center. As she examines her work a group of young women appear behind her. These women walk all over her artwork. Then from out of an office door, a nightmarish figure in a wheelchair appears and chases Boty along the seemingly endless twisting corridors. Boty eventually escapes into an elevator—only to find the ominous figure waiting inside.
Her performance in Russell’s film led to further acting roles—in Alfie with Michael Caine, with James Fox on the stage, Stanley Baxter on television and again with Russell in a small role opposite Oliver Reed in Dante’s Inferno. Boty was photographed by David Bailey, modeled for Vogue, regularly appeared as an audience dancer on Ready, Steady, Go!, and held legendary parties at her studio to which everyone who was anyone attended—from the Stones to Bob Dylan. Boty was the bright flame to whom everyone was attracted.
She was a feminist icon—living her life, doing what she wanted to do, and not letting men from hold her back. But the sixties were not always the liberated decade many Boomers would have us believe. Boty’s critics nastily dismissed her as the Pop art pin-up girl. The left-wing party girl. A dumb blonde. Of course, they were wrong—but shit unfortunately sticks.
Boty’s work became more politically nuanced. She criticised America’s foreign policy in Vietnam; dissected the unacknowledged sexism of everyday life; and celebrated female sexuality. She had a long affair with the director Philip Saville—which allegedly inspired Joseph Losey’s film Darling with Dirk Bogarde and Julie Christie. Then after a ten day “whirlwind romance” Boty married Clive Goodwin—a literary agent and activist. She claimed he was the only man who was interested in her mind.
In 1965, Boty was nearing the top of her field when she found she was pregnant. During a routine prenatal examination, doctors discovered a malignant tumor. Boty refused an abortion. She also refused chemotherapy as she did not want to damage the fetus. In February 1966, Boty gave birth to a daughter—Boty Goodwin. Five months later in July 1966, Pauline Boty died. Her last painting was a commission for Kenneth Tynan’s nude revue Oh! Calcutta! called “BUM.”
Pauline Boty in her studio holding the painting ‘Scandal’ in 1963.
‘A Big Hand’ (1960).
More of Pauline Boty’s paintings plus Ken Russell’s ‘Pop Goes the Easel,’ after the jump…
The list of movies Ken Russell didn’t make is nearly as impressive as the ones he did.
Russell had plans for a movie version of Hamlet starring David Bowie. He developed a film about Maria Callas which was to star Sophia Loren. He had plans for a film version of Bram Stoker’s Dracula with Peter O’Toole as the Count, Peter Ustinov as Van Helsing and Oliver Reed as Renfield. Other book adaptations included Graham Greene’s A Burnt Out Case, Virginia Woolf’s Mrs Dalloway, Evelyn Waugh’s A Handful of Dust, Edith Wharton’s House of Mirth and D. H. Lawrence’s St. Mawr.
He also wanted to make a film based on Leopold von Sacher-Masoch’s Venus in Furs and one of Rabelais’ Gargantua—“the man with the biggest prick in the world.” He had a thriller All-American Murder lined up with Christopher Walken, and tried for years to make a film version of Charlie Mingus’ autobiography Beneath the Underdog. He turned down The Rose (to make Valentino with Rudolf Nureyev) and had been a favorite to direct A Clockwork Orange before Stanley Kubrick with Mick Jagger in the lead.
Russell always had a film project on the go—it is only a shame that so few of them made it to the screen.
In 1997, I met Russell for the first time—interviewing him for a documentary I directed about the legendary dancer Nijinsky. I knew he had tried to make a film about Nijinsky but had somehow never managed to find the financial backing. We talked about films and he told me about two scripts he had just written. One was a full-length feature about young vampires—a rollicking romp through youth culture, gangs and the lives of traveling people. The second was a short called Ein Kitten für Hitler—A Kitten for Hitler.
Russell told me A Kitten for Hitler was inspired by a discussion about censorship with his friend and one-time collaborator (The Music Lovers, The Debussy Film) Melvyn Bragg—the author, broadcaster and editor of legendary arts series The South Bank Show. Russell had suggested there were some films that shouldn’t be made—as he later explained in the Times newspaper in 2007:
Ten years ago, Melvyn Bragg and I had a heated discussion on the pros and cons of film censorship. Broadly speaking, Melvyn was against it, while I, much to his surprise, was absolutely for it. He then dared me to write a script that I thought should be banned. I accepted the challenge and a month or so later sent him a short subject entitled A Kitten for Hitler.
‘Ken,’ he said, ‘if ever you make this film and it is shown, you will be lynched’.
I read both of Ken’s scripts and liked them. Russell gave me his blessing to see if I could raise funding or find a suitable production company who would be interested in making his films.
I pitched the scripts to producers, production company execs and a whole host of bland minions who were all at first excited by the name “Ken Russell” but scared of making any form of commitment. While these bods liked the vampire movie—they balked at A Kitten for Hitler. It was “sick,” “twisted,” “not suitable for viewing” and something they were “not interested in pursuing at this time.” Having already experienced years of smug, barely pubescent TV execs shitting on good ideas, I found the rejection of Russell’s scripts galling. This wasn’t some unknown film director or some hip young punk whose only claim to fame was working in a Blockbuster—this was Ken Russell. One of the greatest film directors of the second half of the twentieth century. The man who had made The Billion Dollar Brain, Women in Love, The Music Lovers, The Boyfriend, The Devils, Savage Messiah, Tommy, Altered States, Lair of the White Worm, Salome’s Last Danceand so on and so on.
While I didn’t get anywhere with these projects, Russell thankfully did. He did manage to make A Kitten for Hitler through the auspices of Comedy Box in 2007. It varies ever so slightly from the script I’d read—but the story’s the same and still as uncompromisingly offensive. Unable to cast a child actor as the boy Lenny, Russell cast Rusty Goffe. Ken’s wife Lisi Tribble plays Lenny’s Mom, Rufus Graham plays Harry S. Truman, Rosey Thewlis plays Eva Braun, and Paul Pritchard is Hitler. Ken Russell himself appears as Santa Claus.
Watch Ken Russell’s ‘A Kitten for Hitler’ after the jump…
Derek Jarman became a filmmaker by accident. He was originally a painter, an artist who started making home movies with friends at his Bankside home in London. These Super-8 films slowly evolved into movies and one of the most exciting, original and provocative filmmakers since Ken Russell arrived. During a seventeen-year career, Jarman made eleven feature films—from the Latin and sand romp Sebastiane through his punk movie Jubilee (1978) to Caravaggio (1986) and the final one color movie Blue. During all of this time, the artist, director, writer, gardener and diarist painted.
Jarman was a student the Slade School of Art in the 1960s where he was taught—like everyone else—to be an “individual.” Jarman felt he was already managing that quite well in that department without being told how. He left art school and worked as a set designer with Ken Russell—most spectacularly on The Devils in 1971 and then Savage Messiah in 1973. His painting career splits into different sections; his early work reflected his interest in landscape, form, and color—something which would recur in his films—his later work reflecting his more personal experience. However, as he began making films Jarman shifted from using paint to creating pictures with celluloid.
His return to painting came after his HIV diagnosis in 1986, when he produced a series of Black Paintings—collages made from objects found on the beach at his cottage in Dungeness. He placed these objects on an oily black background—similar to the contrasting black of the tableaux he used in Caravaggio the same year.
As his condition worsened, Jarman painted larger, more abstract canvases. He was given a large room to paint in where he splashed the canvas with thick bright paints, scrolling words and statements across its surface. His influence came from his life, his own films and the work of Jackson Pollock. The brightness and color of the paintings were a defiance in the face of illness.
The great film director Ken Russell once remarked that if he had been born in Italy and called, say, “Russellini” then critics would have thrown bouquets at his feet. He was correct as Russell’s worst critics were generally slow-witted, myopic beasts, lacking in imagination and untrustworthy in their judgement.
Take for example the critic Alexander Walker who once dismissed Russell’s masterpiece The Devils as:
...the masturbatory fantasies of a Roman Catholic boyhood.
Walker was being petty and spiteful. He was also badly misinformed. Russell was not born a Catholic, he became one in his twenties and was lapsed by the time he made The Devils. More damningly, if Walker had taken a moment to make himself cognisant with Russell’s source material—a successful West End play by John Whiting commissioned by Sir Peter Hall for the Royal Shakespeare Company or its precursor the non-fiction book The Devils of Loudon by Aldous Huxley—then he would have realised Russell’s film was based on historical fact and his so-called excesses were very tame compared to the recorded events. However, Walker’s waspish comments became his claim to fame—especially after he was royally slapped by Russell with a rolled-up copy of his review on a TV chat show in 1971—Russell later said he wished it had been an iron bar rather than a newspaper.
Oliver Reed as Grandier and Vanessa Redgrave as Sister Jeanne rehearse under the watchful eye of Ken Russell.
The Devils is the story of a priest named Urbain Grandier and his battle against the ambitions of Church and State to eradicate the independence of the French town of Loudon. In a bid to have this troublesome priest silenced, Grandier was tried for sorcery after a confession was brutally extracted from a nun, Sister Jeanne, who claimed he was an emissary of the Devil. Grandier was acquitted of all charges but a second show trial found him guilty and he was tortured and burnt at the stake. Russell described Grandier’s case as “the first well-documented political trial in history.”
There were others, of course, going back to Christ, but this had a particularly modern ring to it which appealed to me. He was also like many of my heroic characters…great despite himself. Most of the people in my films are taken by surprise, like [the dancer] Isadora Duncan and [the composer] Delius. They’re out of step with their times and their society, but nevertheless manage to produce rather extraordinary changes in attitude and events. This was exactly Grandier’s situation. He was a minor priest who was used as a fall guy in a political conflict, who lost his life and his battle but won the war.
After that they [the Church and State] couldn’t go on doing what they were doing in quite the same way, and around that time  the Church did begin to lose its power. Twenty years later no one could have been burned as a witch in France. The people of Loudon realised too late that this man they knew so well simply couldn’t have been guilty of the things he was charged with, and if they hadn’t been so bemused by the naked nun sideshow that was going on and the business and prosperity it brought to the town, they’d have realised it sooner. So the fall guy achieved as much in the end as if he had been a saint. And to me that’s just what he is.
Though Russell was on a high after his international success with the Oscar-winning Women in Love (1969) starring Glenda Jackson, Alan Bates, Oliver Reed and Jennie Linden, and The Music Lovers (1970) a flamboyant biopic on the life of Tchaikovsky with Richard Chamberlain and Glenda Jackson, he had found it difficult to find a backer for The Devils. Original producers United Artists pulled out, leaving Russell “out on a limb: having written a script and commissioned set designs from Derek Jarman and costume designs from Shirley Russell.
It would have been a disaster to scrap all that work. Bob Solo, the producer, who had spent years getting the rights to Huxley’s book and Whiting’s play started looking around for another backer, but it took four months of offering the package before Warner Brothers agreed to have a go.
Russell’s script was considered too long and cuts were made. He had originally made Sister Jeanne the focus of his story, following the nun through her involvement in Grandier’s execution to her career as a star:
I suppose it’s the film that turned out most like I wanted it to, though I would have liked to carry the story further to show what happened to [Cardinal] Richelieu and Sister Jeanne. At the end de Laubardemont says “You’re stuck in this convent for life”, but as soon as he’d gone Jeanne set about getting out because her brief moment of notoriety had whetted her appetite for more. So she gouged a couple of holes in her hands and pretended she had the stigmata, saw ‘visions’ and, with the help of Sister Agnes, gulled some old priest into thinking she was the greatest lady since the Virgin Mary.
So she and Agnes went on a jaunt all over France and were hailed with as much fervour as show biz personalities and pop stars are received today. In Paris 30,000 people assembled outside of her hotel just in the chance of getting a glimpse of her. She became very friendly with Richelieu, the King and Queen wined and dined her, she had a grand old time. When she died—I particularly wanted to include this scene—they cut off her head and put it in a glass casket and stuck it on the altar in her own convent. People came on their knees from miles around to pay her homage.
More from Ken Russell and ‘The Devils’ including special documentary, photospread and Oliver Reed interview, after the jump…
It’s getting near that time for buying presents and shit. The one present I’ll certainly be adding to my holiday wish list of hoped-for Christmas goodies is a Ken Russell T-shirt from Hirsute History.
The l’enfant terrible genius of British cinema, Unkle Ken—the man responsible for such classic movies as Women in Love, The Music Lovers, The Devils, Tommy and Altered States—is just one of the many hirsute heroes to be found on a range of colorful clothing available from Hirsute History at Amphorphia Apparel. Here he joins Sylvia Plath, John Waters, Susan Sontag, Jerry Garcia, Ada Lovelace and a whole bunch of other artists, scientists, ideas and stars that’ll look good on your body.
So, if you fancy wearing a Ken Russell or an Ada Lovelace, then hop over to the site or get a retina burn from the selection below.
Ken Russell was among the many directors originally touted to direct A Clockwork Orange before Stanley Kubrick. Russell was considered stylistically sympathetic to bring Anthony Burgess’s source novel to cinematic life—he had documented youth gangs as a photographer in the 1950s and made a series of highly influential drama-documentaries and films that had inspired not only Stanley Kubrick but also Lindsay Anderson, Tony Richardson and later Derek Jarman. I wonder what Russell’s version of A Clockwork Orange would have been like? Perhaps more flamboyant, more seedy, more of the end-of the-pier, more human than Kubrick’s aesthetically pleasing but cold and sterile vision. And though the great and the good lobbied to have Mick Jagger play Alex, I wonder if Russell would have opted for his favorite actor Oliver Reed? Oh, what japes they’d have had. Instead Kubrick chose Malcolm McDowell because of his unforgettable and iconic performance as Mick Travis in Lindsay Anderson’s If…
Casting at first sight: director Lindsay Anderson was understandably smitten by McDowell’s beauty, talented and attitude when he cast him as Mick Travis in ‘If…’ The performance that led to his role as Alex in Kubrick’s ‘A Clockwork Orange.’.
McDowell had the blue-eyed, blonde beauty of a fallen angel—he would have been the perfect choice to play Lucifer for Kenneth Anger. McDowell was born in 1943 into a lower middle class family in Leeds, he was never the working class lout as some tabloids like to pretend but a privately educated son to a family who ran a small guest house. He was clever, smart, idealistic, and decided he wanted to be an actor. After school, he found found work as a stage manager on the Isle of Wight before joining the Royal Shakespeare Company. McDowell embraced the cultural rebellion of the 1960s and hated the dominance of the established theatrical institutions, as he once explained to writer Michael Bracewell:
‘The RSC? Horrendous. Middle-class theatre crap…actorly acting with lots of shouting—after [Laurence] Olivier—and soul-searching performances…I mean I saw some great performances—Ian Richardson and Paul Scofield—but it was like being ordered around and told what to do by a bunch of little shitheads. I auditioned for the RSC by reading the Prologue from Henry VIII, for the very good reason that nobody knew it. It begins, “I come no more to make you laugh”, which was ironic, because humour has always been a great mainstay of my arsenal. I mean, A Clockwork Orange was essentially a comic performance. I used to loot my style from Eric Morecambe.’
Eric Morecambe (with umbrella and bowler) and Ernie Wise.
Eric Morecambe was the comic half to the much-beloved double-act Morecambe and Wise, who dominated British television screens in the 1960s and 1970s, which brings a different interpretation to his performance as Alex—one that would have been ideal for Ken Russell.
‘I’ve always had to live down A Clockwork Orange wherever I go, because ever since then, with the exception of O, Lucky Man!, which I made with Lindsay [Anderson] immediately afterwards, I’ve always been cast as the heavy. It used to irritate the shit out of me, and then I just got bored with it, you know? I just wanted to get on, maybe make a few comedies or do something else, but there was Alex…I know that I’ve said some mean things about Kubrick in the past, but thinking back to the actual shooting of that film and trying to forget all the baggage of what happened afterwards, it was an incredibly stimulating experience, even though I got to the point where I hated the film because of the reaction.’
This runs contra to McDowell’s enthusiasm as expounded in this interview about A Clockwork Orange he gave with author Anthony Burgess in 1972, but this was still early days and McDowell had not been hamstrung by his move to Hollywood, where he ended-up making movies for the lowest common denominator. McDowell is an exceptionally talented actor and no matter how dire the film he always gives a powerfully memorable performance.
The book and its Beethoven-loving author, Anthony Burgess.
Anthony Burgess came to hate Kubrick’s film too, which was ironic as the movie made Burgess a bigger star than his writing up to that point had achieved. Burgess is a writer’s writer, a polymath who claimed he would rather be known for his musical compositions than his books. Burgess wrote A Clockwork Orange in 1962, after being mistakenly told he had not long to live. To ensure he left money for his wife, Burgess wrote a series of novels in quick succession, one of which was A Clockwork Orange. It was moderately successful on publication, a cult book, that became a bestseller after Kubrick’s movie. Burgess claimed he took the title from an old East London saying, “As queer as a clockwork orange,” which may or may not be true, as there appears to be no known record of this phrase. Whatever its derivation, it perfectly captured the book’s theme of a hideous artificial will imposed on natural behavior.
McDowell and Kubrick on set during filming.
After Kubrick’s film version of A Clockwork Orange was released in Britain in 1971, it was ironically linked to a series of violent crimes. The first was the murder of a tramp by a 16-year-old youth; the second involved another 16-year-old who, while dressed in the film’s distinctive gang uniform, stabbed a younger boy; the third was the brutal and horrific gang rape of a Dutch girl by a group of youths from Lancashire, as they sang “Singing in the Rain”.
Sentencing the 16-year-old for assaulting a child, a judge described the attack part of a “horrible trend” prompted by “this wretched film”. Following death threats and warnings from the police over revenge attacks, Kubrick asked Warner Brothers to pull the film from its UK release. For a very long time, through the 1980s and 1990s, the nearest place Brits could see A Clockwork Orange was Paris. It was only after Kubrick’s death in 1999 was his ban lifted and the film re-released in the UK.
Though Ken Russell wanted to be a ballet dancer, his father wouldn’t hear of it—no son of his would ever be seen in tights—so the young Russell turned his attention to photography, a craft he thought he could make his name with. He attended Walthamstow Technical College in London, where he was taught all about lighting and composition. Russell would later claim that everything he did as a trainee photographer broke the rules—a trend he continued throughout his career as a film director when producing such acclaimed movies as Women in Love, The Music Lovers, The Devils, Tommy, Altered States and Crimes of Passion.
Russell became a photographer for Picture Post and the Illustrated Magazine, and during his time with these publications took some of the most evocative photos of post-war London during the 1950s. He spent his days photographing street scenes and his nights printing his pictures on the kitchen table of his rented one-bed apartment in Notting Hill.
For fifty years, it was believed Russell’s photos had been lost, but in 2005 a box marked “Ken Russell” was discovered in the archives of a photo library. Inside was over 3,000 of Ken’s negatives.
Among his most famous work from this period is “The Last of the Teddy Girls”—a series of photos documenting London’s girl gang subculture and their male counterparts. Russell was attracted to these young women for their sense of independence and style—dressing in suits, land army clothes—while rejecting society’s expectations of more traditional, feminine roles. (Teddy kids of either sex were known for fights breaking out wherever they congregated.) The images show Russell’s innate talent for composition and offer a fascinating look into a rarely documented female subculture.
More of Unkle Ken’s beautiful photos, after the jump…
British pop artist Peter Blake still receives copies of The Beatles Sgt. Pepper’s Lonely Hearts Club Band album in the mail with a fan request to add his signature and send the iconic cover back by return of post. It’s because the cover to Sgt Pepper’s is Blake’s most famous artwork—one made in collaboration with his then wife Jann Haworth.
In 1967, the year of Sgt. Pepper’s, Blake was the leading light of the British pop art movement, exhibiting alongside his fellow talents Pauline Boty, Derek Boshier, R. B. Kitaj, Peter Phillips, Richard Hamilton and David Hockney (until he moved to Los Angeles). What made Blake’s work special then (as it is now) was his ability to create an iconic and identifiable style of representation (through collage, paint and installation) that fully captured that swinging decade. His mix of pop culture ephemera (pop stars, soccer players) together with the semi-autobiographical self-portraiture (of artist as lapel-badge wearing kid in grey short trousers) maintains a traditional narrative form within a highly individual and modernist style.
Blake has continued to produce iconic and memorable art over the decades, and long after Sgt. Pepper’s he is still in great demand as a designer of album covers. This selection ranges from his early work for Liverpool Poet Roger McGough, to his work for his former art school pupil Ian Dury (Blake was, by the singer’s admission, his most important mentor) to Oasis and Paul Weller. Blake has also worked with Eric Clapton on three separate projects though briefly thought he had lost the job on his first Clapton commission (24 Nights) when he ‘fessed up to “Slow Hand” that he couldn’t abide long guitar solos.
Roger McGough: ‘Summer with Monika’ (1967).
The Beatles: ‘Sgt. Pepper’s Lonely Hearts Club Band’ cover designed by Peter Blake and Jann Haworth, 1967.
Pentangle: Sweet Child’ (1968).
The Who: ‘Faces Dances’ (1981). Designed by Peter Blake, with portrait paintings of The Who band members by Bill Jacklin, Tom Phillips, Colin Self, Richard Hamilton, Mike Andrews, llen Jones, David Hockney, Clive Barker, R. B. Kitaj, Howard Hodgkin, Patric Caulfield, Peter Blake himself, Joe Tilson, Patric Proctor and David Tindle.
Band Aid: ‘Do They Know It’s Christmas Time?’ (1984).
Paul Weller: ‘Stanley Road’ (1995).
Various: ‘Brand New Boots and Panties—Tribute to Ian Dury’ (2001).
In 1962, director John Schlesinger approached Peter Blake to make a documentary for the BBC about British Pop Art. From the outset, the pair did not get on—Schlesinger had ambitions to make a movie (he did, it was called Billy Liar). Schlesinger left the project and was replaced by the young Ken Russell, who was fast becoming the star director at the BBC’s Monitor arts documentary series. Russell and Blake hit it off immediately and the two developed the documentary into something bigger and better. Russell brought in artist Pauline Boty, who he had wanted to make film with, while Blake brought in artists Peter Philips and Derek Boshier. Under Russell’s directorial guidance the four artists collaborated on a dazzling and highly original film that captured elements of each artist’s personality. The title Pop Goes the Easel was apparently Blake’s suggestion, but the film’s style is all Russell.
Happy Birthday to Ken Russell, born July 3rd in 1927. Once the so-called enfant terrible of British cinema, Russell produced a dazzling array of powerful, vibrant and intelligent movies during his lifetime, which placed him among the greatest film and television directors of the second half of the twentieth century.
His love of cinema started early in childhood when he escaped to the local picture house to watch innumerable flickering matinees with his mother. The films fired his imagination, in particular Fritz Lang’s Die Nibelungen and the early monster movie The Secret of the Loch, both of which would be filtered into his later work (Dance of the Seven Veils, Altered States and Lair of the White Worm). At first Russell had ambitions to be a ballet dancer, but this was superseded by a passion for photography, which he studied at Walthamstow Technical College in London. After service in the Royal Navy, where he once presented a musical number of fishermen darning their nets with sailors in drag sewing their silk stockings, he began taking photographs of teenagers—most famously his series on “Teddy Girls,” which were published in Picture Post. Looking at these early photographs, you can see hints of Russell’s distinctive cinematic framing and compositional style.
It was a small leap from stills to motion pictures and Russell started directing small films for very little money, notably Amelia and the Angel and a documentary on Lourdes. These helped Russell secure work as a documentary director with BBC’s prestigious Monitor arts series. Here, under the guidance of editor Huw Wheldon, Russell developed the form of the drama-documentary and made a series of radical films on artists and composers such as Elgar, Dante’s Inferno, The Debussy Film, Song of Summer and the banned Dance of the Seven Veils.
The flamboyance of his talent could not be contained by television and by the late sixties Russell felt he was repeating himself and therefore made the move to cinema. Over the next five decades Ken Russell made a series of consistently brilliant movies from The Billion Dollar Brain, the Oscar-winning Women in Love, the controversial The Devils, Savage Messiah, Mahler, a version of The Who’s rock opera Tommy, Altered States and The Rainbow.
Russell’s approach to film and television has influenced generations of directors, including such luminaries as Stanley Kubrick, Lindsay Anderson, Francis Ford Coppola, Derek Jarman and Baz Luhrmann.
Though influential and greatly loved, Russell did have to deal with several overbearing and self-important journalists, who made small careers out of attacking his work. Russell famously attacked one such critic on live TV with a rolled-up copy of his newspaper review. “Unkle Ken” was well aware that had he been Italian and called “Russellini” such critics would have sung his praises. No matter—Ken Russell’s films will long outlive such superfluous individuals.
To celebrate Unkle Ken’s birthday, here is one of his early, pioneering television documentaries Dante’s Inferno from 1967, which examines the relationship between the 19th-century artist and poet Dante Gabriel Rossetti and his model, Elizabeth Siddal. It stars a young Oliver Reed, Judith Paris and poet Christopher Logue, and is filled with Russell’s arresting and powerful vision.
In 1964, The British Labour Party was elected into government with a slim majority of 4 seats. Such a small majority made governing the country difficult for canny Prime Minister, Harold Wilson. Therefore, after 17 months in power, Wilson called a second election. In support of winning re-election, the Labour Party’s magazine, Tribune asked a selection of writers and artists who they would vote for in the 1966 General Election. In response, sensing Labour might not hold to their socialist ideals, poet Christopher Logue wrote the poem “I shall vote Labour.”
I shall vote Labour
I shall vote Labour because
God votes Labour.
I shall vote Labour to protect
the sacred institution of The Family.
I shall vote Labour because
I am a dog.
I shall vote Labour because
upper-class hoorays annoy me in expensive restaurants.
I shall vote Labour because
I am on a diet.
I shall vote Labour because if I don’t
somebody else will:
I shall vote Labour because if one person
everybody will be wanting to do it.
I shall vote Labour because if I do not vote Labour
my balls will drop off.
I shall vote Labour because
there are too few cars on the road.
I shall vote Labour because I am
a hopeless drug addict.
I shall vote Labour because
I failed to be a dollar millionaire aged three.
I shall vote Labour because Labour will build
more maximum security prisons.
I shall vote Labour because I want to shop
in an all-weather precinct stretching from Yeovil to Glasgow.
I shall vote Labour because
the Queen’s stamp collection is the best
in the world.
I shall vote Labour because
deep in my heart
I am a Conservative.
Christopher Logue was a poet, writer, journalist, dramatist, screenwriter, actor and performer. Born in Portsmouth, in 1926, Logue was an only child of middle-aged parents. After school, he served in the Black Watch regiment, from which he was given a court-martial for selling stolen pay books, and given a 16-months’ jail sentence.
‘It was so drab. There was nowhere to go. You couldn’t seem to meet any girls. If you went up to London in 1951, looking for the literary scene, what did you find? Dylan Thomas. I thought that if I came to the place where Pound flourished, I might too.’
In Paris, Logue met writer Alexander Trocchi (who saved Logue from an attempted suicide), and the pair set-up and edited the legendary literary magazine Merlin, which premiered work by Samuel Beckett, Eugene Ionesco, Chester Himes, as well as Logue and Trocchi. The pair also wrote pornographic novels for Maurice Girodias’ Olympia Press, and briefly met William S. Burroughs, Allen Ginsberg and Gregory Corso in the late 1950s.
George Whitman, propietor of Shakespeare and Co., described the pairing of Trocchi and Logue as:
‘True bohemians, Beats before Beats officially existed. Christopher was the scruffy poet, quite down and out most of the time. He definitely fancied himself as Baudelaire or somebody like that.’
In Paris, Logue toyed with Marxism, and was once famously put down by the author Richard Wright.
‘You’ve got nothing to fight for, boy—you’re looking for a fight. If you were a black, boy, you’re so cheeky you’d be dead.’
But Logue lost none of his mettle, or his socialist convictions and he continued to be a gadfly throughout his life. In the 1960s, he collaborated with Lindsay Anderson, giving poetry readings at the National Film Theater between features. He was a pacifist and a member of Campaign for Nuclear Disarmament, taking part with Bertrand Russell on the marches to Aldermarston.
He appeared at Peter Cook’s club The Establishment and wrote songs for jazz singer Annie Ross, and had one recorded by Joan Baez. He also appeared at the Isle of Wight Rock Festival, and contributed the wonderfully bizarre “True Stories” to Private Eye magazine. He acted for Ken Russell in The Devils, wrote the screenplay for Russell’s Savage Messiah, and acted in Terry Gilliam’s Jabberwocky. Logue’s poetry was incredibly popular, even appearing in posters throughout the London Underground. His most famous works were Red Bird, a jazz colaboration with Tony Kinsey, and War Music, a stunning and critically praised adaption of Homer’s Illiad. He was awarded the 2005 Whitbread Poetry Prize for his collection Cold Calls.
Logue died in 2011, and Wilson won the 1966 election with a majority of 96 seats.
This is Christopher Logue reading “I shall vote Labour” in 2002, as filmed by Colin Still.
Ken Russell had thought about making a film on Debussy for some time. He was ‘hovering on the feature film fringe,’ having just made his first movie French Dressing, in 1964. But it had sadly flopped and he had returned to work as a producer and director for the BBC’s arts series Monitor.
Making a feature film had encouraged Russell’s ambitions, and he now had a revolutionary idea for a new kind of documentary arts film, but he wasn’t quite sure how best to achieve it. This was when Russell met Melvyn Bragg, a young Northern writer, who was also working in the Monitor office.
At twenty, Bragg had decided to become a writer, but thought ‘quite rightly as it turned out,’ that he wouldn’t be able to make a living from it. So, he got a job, to support his literary ambitions.
‘I got a BBC traineeship when I was twenty-one,’ Bragg told me in 1984. ‘Went into radio, which I liked an awful lot. Worked in Newcastle. Worked in the World Service, Bush House. Then I worked in Broadcasting House, in the Features Department. I was going to stay there—I didn’t like television, except for Monitor—and I said I’d only go into television if I could get an attachment onto Monitor. Eventually, one came up, and I got it.’
Russell wanted to share his idea with Bragg. He met him in a cafe, and told Bragg about Debussy and his plan for a new kind of arts documentary—a film-within-a-film. Together they wrote a script, and Bragg turned it into a screenplay.
‘When I did Debussy, Ken’s first talkie on television, nobody had done that before I did that as a screenplay as a way to make it work. The real problem you’ve got with biopics about people is that there is no structured drama in anybody’s life. You’ve got to make it.
‘What you’ve got are pits, which are very good, all over the fucking shop, and you’ve got to have that bit because [they’re] terrific, and you’ve got to have that bit because there’s hardly any relationship between them. Where, if you write a play, or write a book, there is a relationship because you’ve written it like that. But in people’s lives, something happens there, and 7 years later, something else happens. This enables us to dip in-and-out.’
It was a lunchtime in May, and I was interviewing Bragg in his office, at London Weekend Television, where he worked as editor and presenter of the (now legendary) arts series, The South Bank Show. Bragg sat behind his desk, dressed as usual in a suit (‘Another way to get people to forget about me and concentrate on the person that I am talking to’), eating an apple for his lunch.
Bragg said he thought Russell ‘a very brilliant, eccentric and erratic talent, he can be marvelous.’
The Debussy Film was the first of several highly successful collaborations between Russell and Bragg—as director and writer. A partnership that lasted until The Music Lovers (‘I had a big row with [Ken] on that which is fairly public. I hated it.’) The pair later worked together again on several documentaries for The South Bank Show .
It was also Russell’s first collaboration with actor Oliver Reed, who later described the director as:
Jesus is not Christ, only Russell.
Reed was a rare talent, who had been slightly over-looked by film producers because of a scar on his face, which he had received on a drunken night out. But Reed was more than just a feared Hell-raiser, he was a brilliant actor who brought an incredibly complex and emotional depth to the role of Debussy.
‘Debussy was an ambiguous character,’ Russell told one of his biographers, John Baxter in 1973.
...and I always let the character of the person or his work dictate the way a film goes. Also, one was a bit critical of artists like Debussy and I thought the time had come to ask questions, and the natural way for me to ask questions was to have a film director [Vladek Sheybal] talking to an actor [Oliver Reed], because an actor always asks questions about the character he’s playing and the director usually had to answer them, or try to, often to keep him happy. And when I found Debussy was friendly with an intellectual named Pierre Louys from whom he derived a lot, it seemed an analogous relationship to that of a film director and an actor. There are some points in the film, I think, where it doesn’t matter if it’s the director talking to the actor or Louys talking to Debussy—passages of intentional ambiguity.
Born in his music and his life, Debussy was a great sensualist. There’s a line of his in the film: “Music should express things that can’t be said,” which simply means to me that music is something which, the moment you talk about it, disintegrates and becomes meaningless. That’s what I mean by sensuality—something that’s felt rather than reasoned.
Ken Russell directing ‘The Debussy Film’ (1965)
While The Debussy Film may at first appear a film that is “felt rather than reasoned,” it has to be understood that every element of it is based on fact, taken from letters and personal details of the main characters. Also, by presenting inter-linking narratives, Russell was able to question, examine and comment on Debussy’s creative life, and the damage it caused him to those he loved.
With Debussy I felt it was important to say something about his music and attitudes to it as well as relevant facts of his life. A good example of this is his relationship with his mistress Gaby, and her inability to understand either him or his art. There’s a scene where the actor playing Debussy goes to a party with his girlfriend (playing Gaby) and puts on a record of Danse Sacre et Danse Profane. He wants to listen to it, to be immersed completely; he sees in it images of art nouveau. But everyone else in the room, instead of carrying on talking, or dancing to it, or giving it half an ear, all become silent and listen to the music with a mixture of duty and piety, which is all too often the case. His girlfriend, who just sees him as being perverse, does a strip-tease to it and ridicules both the man and his music. People are very wary of the heightening of experience, and want to knock it down. It’s fear as much as anything that makes her do the strip dance, fear of something she doesn’t understand and so can only get level with by ridiculing. A lot of people still do that, not just with art but with life.
I wasn’t totally on Debussy’s side; in a sense he had no right to disrupt the party. But artists are dogmatic and pig-headed, and they over-ride people. Most of the people I’ve dealt with in films have quite dispassionately sacrificed someone in their way who understood them. It’s not nice but that’s how it works. The end of the film, the music from his unfinished opera The Fall of the House of Usher, with Debussy alone in the castle and his ghostly mistress—whom he drove to attempted suicide—rising up, was an analogy of the lost romantic ideal he had destroyed by his disregard for people. You can be an egomaniac up to a point but in the end it can destroy you, or your work, or both.
The Debussy Film is Russell developing the style and technique that would make him internationally recognized as one of the greatest directors of the twentieth century. His approach was revolutionary and brilliant, and The Debussy Film changed television and cinematic biography for good. It also revealed another side to Oliver Reed (who is quite brilliant) and Vladek Sheybal, who was usually typecast as KGB agents. The film also contains cameos form artists Duggie Fields and Pauline Boty.
Oliver Reed would have been 75-years-young today. Probably still making movies, entertaining audiences and no doubt fulfilling the needs of unimaginative TV commissioners by appearing, or pretending to be drunk on their tacky chat shows.
I think boredom inspired much of Reed’s bad behavior—it usually took less than 10 minutes of dumb questioning before Reed was playing-up as the resident drunk. It is still refreshing to find an olde interview with the great Hell Raiser, when he was having a night-off and talking (mainly) sense to his interrogator—here Michael Parkinson.
In interviews, Reed could still play the idiot savant (here making daft and knowingly offensive comments about intelligent women—who probably terrified him—Reed was dsylexic, and his own education had been piecemeal), if he had lost interest in the subject matter. Then reveal himself as someone who thought about what he was doing—notably here he discussed making The Devils with Ken Russell, which he tied directly into the “Troubles” in Northern Ireland, where Religion had once again divided a country and set its people murderously against each other.
‘I’m still getting paid for that film. Neither Ken Russell or I got any money for that film [The Devils]. We got our expenses—but we made that film because we thought it was the proper time, and in light, maybe, of the Troubles in Ulster now, it was the proper time for that film to be made. We weren’t trying to afford anybody proper niceties, any proper little entertainments, little asides before tea, we were showing them the bigotry that goes on, or that humanity is capable of, and that was all we were doing….
....How many times have armies fought under the banner of Christianity, and how many lives have been destroyed? Let’s not have it again, please.’
The interview is from the Parkinson chat show in 1973, and amongst the guests are novelist Mickey Spillane and TV personality (famed for being on What’s My Line? in the 1950s, who sadly committed suicide after a shop-lifting charge in the 1980s). Throughout, Reed’s self-deprecating humor is evident and he did couple of funny impressions of Michael Winner and James Stewart. However, it’s still sad to think that such a naturally talented actor is no longer with us.
Happy Birthday Oliver Reed!
Bonus: the full interview with Oliver Reed, after the jump…
It seems that if you are talented and you live long enough, then you will eventually win some recognition for your art. Last year, actor, writer and director Bryan Forbes won a British Film Institute Fellowship. It was a hell of a time of a time coming for a man whose greatest work was made during the 1950s, 1960s and1970s, and who hasn’t made a movie in over 20-years. Yet, the award was more than deserved, and only a small token of praise directors as diverse as Forbes merits. I hope this award (which undoubtedly should also have been given to Ken Russell during his lifetime) will bring a reassessment to one of British cinema’s quite mavericks.
Bryan Forbes is responsible for such classic movies as Whistle Down the Wind, The L-Shaped Room, Séance on a Wet Afternoon, The Whisperers, and The Stepford Wives. If that wasn’t enough, Forbes has also directed Of Human Bondage, George Segal in King Rat, Michael Caine in Deadfall, Malcolm McDowell and Nanette Newman in Raging Moon and the fairy tale romance, The Slipper and the Rose.
Forbes started off as an actor, and was hailed as one of best Shakespearean actors of his generation. On film he is a recognizable face in many of those British “Bulldog Breed” flicks of the 1950s. From here, he progressed as a writer, with over 30 film screenwriting credits to his name—from The Cockleshell Heroes, to the brilliance of The League of Gentlemen, to Robert Downey’s Chaplin.
In the late 1960s, Forbes took up a position as Head of Associated British (EMI) Films, where he was involved in financing such films as The Railway Children and The Tales of Beatrix Potter. However, he resigned his position in 1971, frustrated by his inability to develop and produce films that he believed in. Forbes view on film is summed-up by an answer from this interview, made after his resignation in April 1971.
‘Life is pretty grotty, and anything that brings back a little Romanticism to life is not to be despised.’
There is a truth here, and while we hanker after films that push boundaries and shock our imaginations into overdrive, there is much to be said for those who can deliver strong, emotionally rewarding entertainments—like Bryan Forbes.