Career
Reisz was a founder member of the Free Cinema documentary film movement. His first short film, Momma Don't Allow (1955), co-directed with Tony Richardson, was included in the first Free Cinema programme shown at the National Film Theatre in February 1956. His film We Are the Lambeth Boys (1958) was a naturalistic depiction of the members of a South London boys' club, which was unusual in showing the leisure life of working-class teenagers as it was, with skiffle music and cigarettes, cricket, drawing and discussion groups. The film represented Britain at the Venice Film Festival. The BBC made two follow-up films about the same people and youth club, broadcast in 1985.
His first feature film Saturday Night and Sunday Morning (1960) was based on the social realist novel by Alan Sillitoe, and used many of the same techniques as his earlier documentaries. In particular, scenes filmed at the Raleigh factory in Nottingham have the look of a documentary, and give the story a vivid sense of verisimilitude.
He produced Anderson's This Sporting Life (1963) and directed Morgan: A Suitable Case For Treatment (1966) adapted by David Mercer from his 1962 television play. Isadora (1968), a biography of dancer Isadora Duncan, with a screenplay by (among others) Melvyn Bragg starred Vanessa Redgrave. In the following decade he made The Gambler (1974) and Who'll Stop the Rain (1978).
The French Lieutenant's Woman (1981) was probably the most successful of his later films. Adapted from the John Fowles novel by Harold Pinter, it starred Jeremy Irons and Meryl Streep. Sweet Dreams (1985), on the country singer Patsy Cline and Everybody Wins (1990), with a screenplay by Arthur Miller based on his play were his last films for the cinema. He was a patron of the British Film Institute. His standard textbook, The Technique of Film Editing was first published in 1953.
Read more about this topic: Karel Reisz
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