| |
|
David Lean |
|
Director / Screenwriter /
Editor |
 |
|
1908 - 1991 |
|
Born March 25,
Croydon, Surrey, England |
|
Key
Production Country: UK |
|
Key Genres: Drama,
Period Film, Romantic Drama, Melodrama, Romance |
|
Key
Collaborators: Alec
Guinness (Leading Character Player), Jack
Harris (Editor), John Mills (Leading Player), Guy Green (Cinematographer), Jack
Hildyard (Cinematographer), Maurice Jarre (Composer), John Bryan (Production
Designer), Ann Todd (Leading Player), Trevor Howard (Leading Player),
Ronald Neame (Producer/Screenwriter/Cinematographer) |
|
|
Highly Recommended: Great Expectations
(1946),* Oliver Twist (1948) |
|
Recommended:
In Which We Serve (1942) [co-directed by Noel Coward], This Happy Breed
(1944), Brief
Encounter (1945)*, Blithe Spirit (1945), Madeleine (1949), Passionate
Friends (1949), Hobson's Choice (1954), Summertime (1955), Lawrence of Arabia (1962)* |
|
Worth a Look: The
Sound Barrier (1952), The Bridge on the River Kwai (1957)*, Doctor
Zhivago (1965)*, Ryan's Daughter (1970) |
|
Approach with Caution:
A Passage to India (1984) |
|
* Listed in TSPDT's
1,000 Greatest Films
section. |
|
|
Links:
[
Amazon
] [
IMDB ] [
TCMDB ] [
All-Movie
Guide ] [
Senses
of Cinema: Great Directors ] [
Film Reference ] [
David Lean.com ] [
Wikipedia ] [
Screen Online
Biography ] [
BFI
Tribute ] [
BBC
Audio Interview (1966) ] [
BritMovie Biography ] [
New Yorker Article (2008) ] [
The Criterion Collection ]
[
Flickering Myth Profile ] |
|
Books:
[
David Lean: Interviews ] [
David Lean's Dedicated Maniac Memoirs of a Film
Specialist ]
[
The Art of David Lean: A Textual Analysis of
Audio-Visual Structure ]
[
David
Lean: A Biography ] [
David
Lean: A Portrait ] [
David
Lean and His Films ] [
David
Lean: An Intimate Portrait ] [
David Lean ] [
Beyond the Epic: The Life And Films of David Lean ] [
The Cinema of David Lean ] |
|
|
    |
| |
| |
|
|
| |
"All
of his films, no matter how small or large their dimensions,
demonstrate an obsessive cultivation of craft, a fastidious
concern with production detail that defines the "quality"
postwar British cinema. That craft and concern are as hyperbolic
in their devices as is the medium itself. Viewers surprised at
the attention to detail and composition in Ryan's Daughter,
a work whose scope would appear to call for a more modest
approach, had really not paid attention to the truly enormous
dimensions of Brief Encounter, a film that defines, for
many, intimist cinema." -
Charles Affron (The St. James Film Directors Encyclopedia, 1998) |
|
| |
|
|
| |
"Notoriously a pernickety perfectionist, he favoured weighty
historical and literary subjects but regularly succumbed to
visual grandiosity... Indeed, his early, more modest films are
his best, notably his versions of Dickens' Great Expectations
and Oliver Twist, where his feel for design and sharp
editing combine to create lively, intelligent entertainments in
which the characters are not yet overshadowed by milieu." -
Geoff
Andrew (The Director's Vision, 1999) |
|
| |
|
|
| |
"I
am more than ever of the opinion that Lean became lost in the
sense of his own pictorial grandeur. The Passionate Friends
and Madeleine, for instance, stand up so much better than
those battleship pictures that came later. Not even the
re-release of Lawrence - beautiful, and with some lost
material restored - could furnish any sense of ideas behind
it... I challenge anyone to see Oliver Twist and Dr.
Zhivago and not admit the loss. It will take a very good
biography to explain that process." -
David Thomson (The New Biographical Dictionary of Film, 2002)
|
|
| |
|
|
| |
"Brief
Encounter (46) illustrates Lean's great ability with modest
drama; Great Expectations (47) likewise for period
stories. The director's understanding that grandeur can never
replace plot and character accounts for the brilliance of his
spectacles (Bridge on the River Kwai, 57; Lawrence of
Arabia, 62), which are pictorially stunning and dramatically
powerful." -
William R. Meyer (The Film Buff's Catalog, 1978) |
|
| |
|
|
| |
"My
distinguishing talent is the ability to put people under the
microscope, perhaps to go one or two layers farther down than
some other directors." -
David Lean |
|
| |
|
|
|
|
|
|
|
|
8 |
| |
|
"Alfred
Hitchcock,
Michael Powell and David Lean: the three great
British filmmakers of their generation were born within a
radius of fifty miles and just nine years apart. Each of
them served an apprenticeship in the silent era, learned
their craft from the bottom up, proved their mettle in their
thirties, and hit a creative peak in middle age... Lean was
first and foremost a superb craftsman. In the pre-war years
he developed a reputation as the best editor in the country;
his films are distinguished by their control of rhythm and
shrewd use of counterpoint. Lean's camera is more
self-effacing than
Hitchcock's or
Powell's, and although he
was famed for his perfectionist compositional sense, his eye
was more conventional. It's in the cutting that you feel
both the romantic ardour and the repression that create the
central tension in his work."
-
Tom Charity, The Rough Guide to Film |
| |
 |
| |
|
●
Top 250 Directors |
|
●
Less Than Meets the Eye |
|
●
Telegraph's Top 21 British Directors of All Time |
|
●
501 Movie Directors: A
Comprehensive Guide to the Greatest Filmmakers |
|
|
|
See Also |
|
| |
|
David Lean's Favourites |
| À
nous la liberté (1931)
René Clair,
Citizen Kane (1941)
Orson Welles,
City Lights (1931)
Charles Chaplin,
The Crowd (1928)
King Vidor,
Les Enfants du paradis (1945)
Marcel Carné,
La Grande illusion (1937)
Jean Renoir,
Intolerance (1916)
D.W. Griffith,
Le Jour se lève (1939)
Marcel Carné,
Variety (1925)
E.A. Dupont,
White Shadows in the South Seas (1928)
W.S. Van Dyke.
Source: Cinematheque Belgique (1952) |
| |
|
|
|
|