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Michael Powell
Born	Michael Latham Powell 30 September 1905(1905-09-30) Bekesbourne, Kent, England
Died	19 February 1990 (aged 84) Avening, Gloucestershire, England
Spouse(s)	Gloria Mary Rouger (1927-1927) Frankie Reidy (1943-1983) Thelma Schoonmaker (1984-1990)

Michael Latham Powell (30 September 1905 – 19 February 1990) was a British film director, born in Bekesbourne, Kent, England who was renowned for his partnership with Emeric Pressburger. Their partnership produced a series of classic British films under the aegis of "The Archers".

Early life

Powell was the second son and younger child of Thomas William Powell, a hop farmer, and Mabel, daughter of Frederick Corbett, of Worcester, England. Powell was born in Bekesbourne, Kent, and educated at The King's School, Canterbury and then at Dulwich College. He started work at the National Provincial Bank in 1922 but quickly realised he was not cut out to be a banker.

Film career

Powell entered the film industry in 1925 through working with director Rex Ingram working at the Victorine Studios in France (the contact with Ingram was made through Powell's father, who owned a hotel in Nice). He first started out as a general studio hand, the proverbial "gofer": sweeping the floor, making coffee, fetching and carrying. Soon he progressed to other work such as stills photography, writing titles (for the silent films) and many other jobs including a few acting roles, usually as comic characters. Powell made his film debut as a "comic English tourist" in Mare Nostrum (1926).

Returning to England in 1928, Powell worked at a diverse series of jobs for various filmmakers including as a stills photographer on Alfred Hitchcock's silent film Champagne (1928). He also signed on in a similar role on Hitchcock's first "talkie", Blackmail (1929). In his autobiography, Powell claims he suggested the ending in the British Museum which was the first of Hitchcock's "monumental" climaxes to his films.^[1] Powell and Hitchcock remained friends for the remainder of Hitchcock's life.^[2]

After scriptwriting on two productions, Powell entered into a partnership with American producer Jerry Jackson in 1931 to make "quota quickies," Powell began to direct hour-long films needed to satisfy a legal requirement that British cinemas screen a certain quota of British movies. During this period, he developed his directing skills, sometimes making up to seven films a year.^[3]

Although he had taken on some directing responsibilities in other films, Powell had his first screen credit as a director on Two Crowded Hours (1931). This thriller was considered a modest success at the box office despite its limited budget.^[3] From 1931 to 1936, Powell was the director of 23 films, including the critically received Red Ensign (1934) and The Phantom Light (1935).^[3]

By 1939, Powell had been hired as a contract director by Alexander Korda on the strength of The Edge of the World. Korda set him to work on some projects such as Burmese Silver that were subsequently cancelled.^[1] Nonetheless, Powell was brought in to save a film that was being made as a vehicle for two of Korda's star players, Conrad Veidt and Valerie Hobson. The film was The Spy in Black, where Powell first met Emeric Pressburger.

Meeting Emeric Pressburger

The original script of The Spy in Black followed the book quite closely, but was too verbose and did not have a good role for either Veidt or Hobson. Korda called a meeting where he introduced a diminutive man, saying, "Well now, I have asked Emeric to read the script, and he has things to say to us."^[1]

Powell then went on to record (in A Life in Movies) how:

"Emeric produced a very small piece of rolled-up paper, and addressed the meeting. I listened spellbound. Since talkies took over the movies, I had worked with some good writers, but I had never met anything like this. In the silent days, the top [American] screenwriters were technicians rather than dramatists[, but]... the European cinema remained highly literate and each country, conscious of its separate culture and literature, strove to outdo the other[s]. All this was changed by the talkies. America, with its enormous wealth and enthusiasm and it technical resources, waved the big stick. ... The European film no longer existed[,]... [except for]...the great German film business ... and Dr. Goebbels soon put a stop to that in 1933. But the day that Emeric walked out of his flat, leaving the key in the door to save the stormtroopers the trouble of breaking it down, was the worst day's work that the clever doctor ever did for his country's reputation, as he was soon to find out. As I said, I listened spellbound to this small Hungarian wizard, as Emeric unfolded his notes, until they were at least six inches long. He had stood Storer Clouston's plot on its head and completely restructured the film."^[1]

They both soon recognised that although they were total opposites in background and personality, they had a common attitude to film-making and that they could work very well together. After making two more films together (Contraband (1940) and 49th Parallel) with separate credits, the pair decided to form a partnership and to sign their films jointly as "Written, Produced and Directed by Michael Powell and Emeric Pressburger."^[1]

The Archers

Working together as co-producers, writers and directors in a partnership they dubbed "The Archers", they made 19 feature films, many of which received critical and commercial success. Their best films are still regarded as classics of 20th century British cinema. The BFI 100 list of "the favourite British films of the 20th century" contains five of Powell's films, four with Pressburger.^[4]

Although admirers would argue that Powell ought to rank alongside fellow British directors Alfred Hitchcock and David Lean, his career suffered a severe reversal after the release of the controversial psychological thriller film Peeping Tom, made in 1960 as a solo effort. The film was excoriated by British critics, who were offended by its sexual and violent images; Powell was ostracized by the film industry and found it almost impossible to work thereafter. However, his reputation was restored over the years, and by the time of his death, he and Pressburger were recognised as one of the foremost film partnerships of all time - and cited as a key influence by many noted filmmakers such as Martin Scorsese and Francis Ford Coppola.

Personal life

In 1927 Powell married Gloria Mary Rouger, an American dancer; they were married in France and stayed together for only three weeks. During the 1940s, Powell had love affairs with actresses Deborah Kerr and Kathleen Byron. From 1 July 1943 until her death on 5 July 1983, Powell was married to Frances "Frankie" May Reidy, the daughter of medical practitioner Jerome Reidy; they had two sons: Kevin Michael Powell (b. 1945) and Columba Jerome Reidy Powell (b. 1951). He also lived with actress Pamela Brown for many years until her death from cancer in 1975.

Subsequently, Powell was married to editor Thelma Schoonmaker from 19 May 1984 until his own death from cancer at his home in Avening, Gloucestershire.

Filmography

For his films with Emeric Pressburger, see Powell and Pressburger and Powell and Pressburger films

Early films

Many of his early films are disparagingly referred to as "quota quickies." Not all of them were, and the ones that were are often of a much higher standard than most other quota films. Some of his early films are now missing and are believed lost. But those that have survived often show some very sophisticated techniques and early versions of ideas that were reused, done better, in his later films. Those marked with a * are "Missing, believed lost"

Major films

Aside from some short films, Powell wrote, produced and directed all of his films from 1942 to 1957 with Emeric Pressburger

Television work

Powell also directed episodes of the TV series The Defenders, Espionage and The Nurses.

Non-directorial work

Powell was also involved in the following films in a non-directorial role:

• The Silver Fleet (1943) - Producer
• The End of the River (1947) - Producer
• Aila, pohjolan tytar (aka Artic Fury) - Producer
• Sebastian (1968) - Producer
• Pavlova - A Woman for All Time (1983) - Associate Producer

Other works

Books by Michael Powell

• 1938: 200,000 Feet on Foula. London: Faber & Faber. (The story of the making of The Edge of the World was also reprinted as 200,000 Feet - The Edge of the World in the United States.)
• 1956: Graf Spee. London: Hodder & Stoughton. (This book contains much information that Powell and Pressburger could not include in their film The Battle of the River Plate.)
• 1957: Death in the South Atlantic: The Last Voyage of the Graf Spee. New York: Rinehart. (American edition of Graf Spee)
• 1975: A Waiting Game. London: Joseph. ISBN 0-718-11368-3.
• 1976: The Last Voyage of the Graf Spee. London: White Lion Publishers. ISBN 0-727-40256-0. (Second British edition of Graf Spee)
• 1978: (with Emeric Pressburger) The Red Shoes. London: Avon Books. ISBN 0-804-42687-2.
• 1986: A Life In Movies: An Autobiography. London: Heinemann. ISBN 0-434-59945-X.
• 1990: Edge of the World. London: Faber & Faber. ISBN 0-571-15306-2. (This book is a paperback edition of 200,000 feet on Foula.)
• 1992: Million Dollar Movie London: Heinemann. ISBN 0-434-59947-6. (This is the second part of Powell's autobiography.)
• 1994: (with Emeric Pressburger and Ian Christie) The Life and Death of Colonel Blimp. London: Faber & Faber. ISBN 0-571-14355-5. (This book includes memos from Churchill and notes showing how the script developed.)

Many of these titles were also published in other countries or republished. The list above deals with initial publications except where the name was changed in a subsequent edition or printing.

Theatre

• 1944: Directed Ernest Hemingway's The Fifth Column at the Theatre Royal, Glasgow
• 1944: Directed Jan de Hartog's Skipper Next To God at the Theatre Royal, Windsor
• 1951: Directed James Forsyth's Heloise at the Golders Green Theatre, London

Awards, nominations and honours

• 1943: Oscar nominated for 49th Parallel as Best Picture
• 1943: Oscar nominated for One of Our Aircraft is Missing for Best Writing, Original Screenplay. Shared with Emeric Pressburger
• 1948: Won Danish Bodil Award for A Matter of Life and Death as Best European Film. Shared with Emeric Pressburger
• 1948 Nominated for The Red Shoes for Venice Film Festival Golden Lion. Shared with Emeric Pressburger
• 1949: Oscar nominated for The Red Shoes as Best Picture. Shared with Emeric Pressburger
• 1951: Cannes Film Festival nominated for The Tales of Hoffmann for Grand Prize of the Festival. Shared with Emeric Pressburger
• 1951: Won Silver Bear from 1st Berlin International Film Festival for The Tales of Hoffmann as Best Musical. Shared with Emeric Pressburger^[5]
• 1957: BAFTA Award nominated for The Battle of the River Plate as Best British Screenplay. Shared with Emeric Pressburger.
• 1959: Cannes Film Festival nominated for Luna de Miel for Golden Palm.
• 1978: Awarded Hon DLitt, University of East Anglia
• 1978: Awarded Hon DLitt, University of Kent
• 1981: Made fellow of BAFTA
• 1982: Awarded Career Gold Lion from the Venice Film Festival
• 1983: Made fellow of the British Film Institute (BFI)
• 1987: Awarded Hon Doctorate, Royal College of Art
• 1987: Awarded Akira Kurosawa Award from San Francisco International Film Festival

Legacy

• Cited as a major influence on many film-makers such as Martin Scorsese, Francis Ford Coppola, George A. Romero and Bertrand Tavernier.^[6]
• The Michael Powell Award for the Best New British Feature was instigated in 1993 at the Edinburgh International Film Festival and is sponsored by the UK Film Council and is "named in homage to one of Britain's most original filmmakers".^[7]
• Pinewood Studios, where Powell made many of his most notable films, has named a mixing theatre in the post-production department after him: The Powell Theatre. A giant picture of the director covers the door to the theatre, where many well-known films are mixed.

References

Notes

Bibliography

External links

• Michael Powell at the Powell & Pressburger Pages.
• Michael Powell at the Internet Movie Database
• Michael Powell at Allmovie
• Essay, Filmography, Bibliography, Links at Senses of Cinema
• BFI Filmography
• NFT interviews (audio clips)
• Articles about Michael Powell at the British Film Institute's Screenonline:
  • early work
  • sense of landscape
  • work with Pressburger
  • classic Powell & Pressburger
  • the war years
  • later years
• Michael Powell biography on BritMovie.co.uk
• Michael Powell linked filmography on BritMovie.co.uk

From Wikiquote

Michael Powell (30 September 1905 – 19 February 1990)

British film director.

Works: The Red Shoes, The Life and Death of Colonel Blimp, A Matter of Life and Death, Black Narcissus, I Know Where I'm Going!, A Canterbury Tale, and many more

Sourced

• [of his wife Frankie] "In fact, if only I had been the perfect husband, she would have been the perfect wife."
  • Million Dollar Movie

• "I live cinema. I chose the cinema when I was very young, sixteen years old, and from then on my memories virtually coincide with the history of the cinema ... I'm not a director with a personal style, I am simply cinema. I have grown up with and through cinema; everything that I've had in the way of education has been through the cinema; insofar as I'm interested in images, in books, in music, it's all due to the cinema."
  • Midi-Minuit Fantastique, Oct. 1968

• "I got my first assignment as a director in 1927. I was slim, arrogant, intelligent, foolish, shy, cocksure, dreamy and irritating. Today, I'm no longer slim."
  • Michael Powell, 1987

Attributed

• Jack Cardiff once asked Powell "Michael, do you make films for all types of audiences, or just for yourself?" Michael shook his head vigorously. "I make films for myself. What I express I hope most people will understand. For the rest, well, that's their problem."

• "My master in film, Buñuel, was a far greater storyteller than I. It was just that in my films miracles occur on the screen."

• "We decided to go ahead with David O. (Selznick) the way hedgehogs make love: verrry carefully !"

• "For ten years we had all been told to go out and die for freedom and democracy; but now the war was over, The Red Shoes told us to go out and die for art."

• "Actors and technicians were being demobbed every day. Very soon the only ham actor left in the combined forces would be General George Patton."

• "The great innovators have always been fearless.... I have fallen off haystacks, out of trees, over cliffs. I have been nearly drowned, shot and hanged. I have been in countless car crashes without getting a scratch. I have been alone in an office with Louis B. Mayer."

• "Art is merciless observation, sympathy, imagination, and a sense of detachment that is almost cruelty."

• "Everyone has heard of Canterbury if only because they murder archbishops there."

• "[After Peeping Tom] When they got me on my own [the critics] gleefully sawed off the limb and jumped up and down on the corpse."

• "The truth lies in black and white."

• "Seventy years ago there were men like D.W. Griffith and seventy years later - now - there are not many men like Martin Scorsese. But so long as there is one there will be others, and the art of the cinema will survive."

• "I am the teller of the tale, not the creator of the story."

• "Of course, all films are surrealist. They are because they are making something that looks like a real world but isn't."

External links

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Michael Powell (director)