{"id":1665,"date":"2007-03-24T14:47:52","date_gmt":"2007-03-24T14:47:52","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=1665"},"modified":"2009-01-29T23:53:20","modified_gmt":"2009-01-29T23:53:20","slug":"freddie-francis-1917-2007","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2007\/03\/24\/freddie-francis-1917-2007\/","title":{"rendered":"Freddie Francis, 1917\u20132007"},"content":{"rendered":"

\"innocents.jpg\"<\/a><\/p>\n

Pamela Franklin, Deborah Kerr and Martin Stephens: The Innocents (1961).<\/em><\/p>\n

Freddie Francis<\/a>, who died last week, was a great cinematographer, and (although he may not have wanted to be remembered for it) a not-so-great director of low budget horror films. His photography on Sons and Lovers<\/em><\/a> (1960) and Glory<\/em><\/a> (1989) won him Academy Awards, and he worked three times for David Lynch, on The Elephant Man<\/em><\/a> (1980), Dune<\/em><\/a> (1984) and The Straight Story<\/em><\/a> (1999). He also photographed Cape Fear<\/em><\/a> (1991) for Martin Scorsese. All that aside, my favourite work of his remains the incredible play of light and shade he achieved for Jack Clayton’s The Innocents<\/em><\/a>, along with The Haunting<\/em><\/a> (1963) one of the best ghost stories in cinema.<\/p>\n

Previously on { feuilleton }
\n\u2022 David Lynch in Paris<\/a>
\n\u2022 Inland Empire<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Pamela Franklin, Deborah Kerr and Martin Stephens: The Innocents (1961). Freddie Francis, who died last week, was a great cinematographer, and (although he may not have wanted to be remembered for it) a not-so-great director of low budget horror films. His photography on Sons and Lovers (1960) and Glory (1989) won him Academy Awards, and … Continue reading “Freddie Francis, 1917\u20132007”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[7,22],"tags":[265,409,167],"class_list":["post-1665","post","type-post","status-publish","format-standard","hentry","category-film","category-horror","tag-david-lynch","tag-martin-scorsese","tag-obituaries"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-qR","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/1665","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=1665"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/1665\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=1665"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=1665"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=1665"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}