71-612: Michael Latham Powell (30 September 1905 – 19 February 1990) was an English filmmaker, celebrated for his partnership with Emeric Pressburger . Through their production company The Archers , they together wrote, produced and directed a series of classic British films, notably The Life and Death of Colonel Blimp (1943), A Canterbury Tale (1944), I Know Where I'm Going! (1945), A Matter of Life and Death (1946, also called Stairway to Heaven ), Black Narcissus (1947), The Red Shoes (1948), and The Tales of Hoffmann (1951). His controversial 1960 film Peeping Tom , which
142-513: A big hit with Elephant Boy (1937) directed by his brother from a Rudyard Kipling story; it made a star of Sabu . Korda also made some cheaper films: Farewell Again (1938), Storm in a Teacup (1938) with Leigh and Rex Harrison , The Squeaker (1937), Action for Slander (1937), Return of the Scarlet Pimpernel (1937) and Paradise for Two (1937). Knight Without Armour (1937) with Donat and Marlene Dietrich
213-601: A boarding-school in Temesvár (today better known as Timișoara), where he was a good pupil, excelling at mathematics, literature and music. He then studied mathematics and engineering at the Universities of Prague and Stuttgart before his father's death forced him to abandon his studies. Pressburger began a career as a journalist. After working in Hungary and Weimar Republic -era Germany he turned to screenwriting in
284-406: A certain quota of British films. During this period, he developed his directing skills, sometimes making up to seven films a year. 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. From 1931 to 1936, Powell
355-400: 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 (1941), 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." Working together as co-producers, writers and directors in
426-537: A film which not only told the story he wanted but also captured the raw natural beauty of the location. 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. 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
497-557: A filmmaker. Powell was the second son and youngest 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. Powell entered
568-506: A great sense of humour. In appearance he was short, wore glasses, and had a sagacious, bird-like facial expression. He was a keen supporter of Arsenal F.C. , a passion he developed soon after arriving in Britain. From 1970 he lived in Aspall, Suffolk and he died in a nursing home in nearby Saxtead on 5 February 1988, due to the complications of old age and pneumonia . He is interred in
639-479: A massive hit with another adventure film directed by Zoltan, The Four Feathers (1939). By 1939 Michael Powell had been hired as a contract director by Korda on the strength of The Edge of the World (1937). Korda set him to work on some projects such as Burmese Silver that were subsequently cancelled. 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
710-484: 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. Although admirers would argue that Powell ought to rank alongside fellow British directors Alfred Hitchcock and David Lean , his career suffered
781-673: A producer on films such as Trainspotting (1996), and Kevin Macdonald as an Oscar -winning director. Kevin has written a biography of his grandfather, and a documentary about his life, The Making of an Englishman (1995). Pressburger became a British citizen in 1946. He was made a Fellow of BAFTA in 1981, and a Fellow of the BFI in 1983. Pressburger was a diffident and private person who, at times, particularly later on in his life, could be hypersensitive and prone to bouts of melancholia. He loved French cuisine , enjoyed music, and possessed
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#1732773106467852-541: A screenwriter. Asked by Korda to improve the script for The Spy in Black (1939), he met the film's director, Michael Powell . Their partnership would produce some of the most acclaimed British films of the next decade. However, Pressburger still did some projects on his own. Pressburger was much more than "Michael Powell's screenwriter" as some have categorised him. The films they made together in this period were mainly original stories by Pressburger, who also did most of
923-670: A series of films, including 49th Parallel (US: The Invaders , 1941), The Life and Death of Colonel Blimp (1943), A Matter of Life and Death (US: Stairway to Heaven , 1946), Black Narcissus (1947), The Red Shoes (1948), and The Tales of Hoffmann (1951). Imre József Pressburger was born in Miskolc , in the Kingdom of Hungary , of Jewish heritage. He was the only son (he had one elder half-sister from his father's previous marriage) of Kálmán Pressburger, estate manager, and his second wife, Kätherina (née Wichs). He attended
994-660: A serious problem in Britain in the winter months. He concluded: "Hollywood, as well as the rest of the world, will be watching with interest what Korda does at Denham". Korda was naturalised as a British subject on 28 October 1936. That same year Korda was an important contributor to the Moyne Commission, formed to protect British film production from competition, mainly from the United States. Korda said: "If American interests obtained control of British production companies, they may make British pictures here, but
1065-629: 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 mainstream 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. The film did, however, meet with the rapturous approval of the young critics of Positif and Midi Minuit Fantastique in France, and those of Motion in England, and in 1965 he
1136-528: A star of Charles Laughton . Korda followed it with The Girl from Maxim's (1933), which he shot in English and French. He tried to repeat the success of Henry with The Private Life of Don Juan (1934) starring Douglas Fairbanks , which he directed, and The Rise of Catherine the Great (1934) which he did not. Neither did as well as Henry . Korda produced a well-respected short, The Private Life of
1207-566: A success with Marius (1931) starring Raimu from the play by Marcel Pagnol . He followed it with the Swedish and German versions of Marius, respectfully Longing for the Sea (1931), and The Golden Anchor (1932). Korda relocated to London where he made Service for Ladies (1932) for Paramount. He produced Women Who Play (1932) for them. Korda then decided to form his own company. In 1932 he founded London Films . Its first production
1278-483: 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 ... the European cinema remained highly literate and each country, conscious of its separate culture and literature, strove to outdo
1349-925: A £1 million loss to MGM. The only film to come out of the deal was Perfect Strangers (1945), directed by Korda, and starring Robert Donat and Deborah Kerr . Via London Films Korda bought a controlling interest in British Lion Films . He produced A Man About the House (1947). In 1948 London Films received an advance payment of £375,000, the largest single payment received by a British film company, for three films, An Ideal Husband (1947) (which Korda directed), Anna Karenina (1948) and Mine Own Executioner (1948). The company released three other films, Bonnie Prince Charlie (1948), The Winslow Boy (1948) and The Fallen Idol (1948). The Winslow Boy and Fallen Idol were hits. An Ideal Husband and Anna Karenina had some acclaim, but lost money at
1420-673: The programmers he had previously directed in the United States. He collaborated with several figures who would contribute to his future success in Britain. Korda was offered a series of scripts, all of which he disliked, before he finally agreed to make The Princess and the Plumber (1930). Korda's reluctance to make the film led to his conflict with studio bosses, which brought to an end his first period in Hollywood. Korda went to France where he made The Men Around Lucy (1931) for Paramount. He also made Rive gauche (1931). Korda had
1491-498: 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. Powell
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#17327731064671562-554: The 1970s and early 1980s by a series of retrospectives and rediscoveries, as well as further articles and books. 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 , Brian De Palma , and Francis Ford Coppola . In 1927 Powell married Gloria Mary Rouger, an American dancer; they were married in France and stayed together for only three weeks. During
1633-594: The Austrian and German film industries during the era of silent films , before being based in Hollywood from 1926 to 1930 for the first of his two brief periods there (the other was during World War II ). The change led to a divorce from his first wife, the Hungarian film actress María Corda , who was unable to make the transition from silent films to " talkies " because of her Hungarian accent. From 1930, Korda
1704-725: The Austrian capital Vienna. Korda worked alongside Kolowrat, who had attracted several leading Hungarian and German directors into his employment, on the historical epic The Prince and the Pauper (1920). The film was a major international success and inspired Korda with the idea of making "international films" with global box office appeal. Korda's next two films, Masters of the Sea (1922) and A Vanished World (1922), were both nautical -set adventures based on Hungarian novels. By that stage, Korda had grown irritated with Kolowrat's interference with his work and left Sascha to make an independent film, Samson and Delilah (1922), set in
1775-481: The Devil (1929) with Maria Korda (who now spelled her name with a K). The latter two, though still Silent films , had sound effects and music added to their soundtracks during Hollywood's transition to fully synchronized Sound films . Korda's next film The Squall (1929), with a young Myrna Loy , was his first talkie and featured a Hungarian setting. Although, like many other directors, Korda had misgivings about
1846-562: The Gannets (1934), and enjoyed a big success as producer of The Scarlet Pimpernel (1934). Also popular was Sanders of the River (1935) starring Paul Robeson and directed by his brother, and The Ghost Goes West (1936) starring Donat. His other credits as producer include Moscow Nights (1936) with Laurence Olivier , Men Are Not Gods (1936), and Forget Me Not (1936). Korda directed Rembrandt (1936) with Laughton, which
1917-568: The Islands (1952), Home at Seven (1952), Who Goes There! (1952), The Holly and the Ivy (1952), The Ringer (1952), Folly to Be Wise (1953), Twice Upon a Time (1953), The Captain's Paradise (1953), and The Story of Gilbert and Sullivan (1953). Cry, the Beloved Country (1951), directed by Zoltan, was acclaimed. The Sound Barrier (1952) from David Lean was
1988-717: The UFA Studios in the Dramaturgie department (script selection, approval and editing) and as a scriptwriter in his own right. In the 1930s, many European films were produced in multiple-language versions. Some of the films made in Germany survive with French intertitles and vice versa. In 1933, after the Nazis came to power, UFA's head sacked the company's remaining Jewish employees with Pressburger being told his contract would not be renewed. He left his Berlin apartment, "leaving
2059-519: The United States on board the steamer Olympic , with a view to Korda taking up a contract with the American studio First National . In Hollywood both struggled to adapt to the studio system . Korda had to wait some time before gaining his first directorial assignment, The Stolen Bride (1927), a Hungarian-themed romance about a peasant's love for a countess. The film starred the American actress Billie Dove rather than Korda's wife. Following
2130-429: The art at the time). It was "not only the most up-to-date of all the world's studios" but a "complete community in itself" from foundry and blacksmith's shops to projection theatres, with "unusually good dressing and bathroom accommodations" and able to easily manage crowds of 500. Macauley pointed to the special construction designed to ensure that even dense fog would not penetrate the buildings and interfere with filming,
2201-608: The box office. Bonnie Prince Charlie was a fiasco. Korda was also badly hurt by the trade war between the British and American film industries in the late 1940s. Korda did recover, in part due to a £3 million loan British Lion received from the National Film Finance Corporation . In 1948 Korda signed a co-production deal with David O. Selznick . This resulted in The Third Man (1949) which
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2272-582: The cemetery of St. Mary of Grace Church, Aspall. His is the only grave in that Church of England graveyard with a Star of David . Alexander Korda Sir Alexander Korda ( / ˈ k ɔːr d ə / ; born Sándor László Kellner ; Hungarian : Korda Sándor ; 16 September 1893 – 23 January 1956) was a Hungarian–born British film director, producer, and screenwriter, who founded his own film production studios and film distribution company. Born in Hungary , where he began his career, he worked briefly in
2343-476: The ending in the British Museum which was the first of Hitchcock's "monumental" climaxes to his films. Powell and Hitchcock remained friends for the remainder of Hitchcock's life. After scriptwriting on two productions, Powell entered into a partnership with American producer Jerry Jackson in 1931 to make " quota quickies ", hour-long films needed to satisfy a legal requirement that British cinemas screen
2414-625: The family name, deriving the new name Korda from the Latin phrase " sursum corda " ("lift up your hearts"). Having been excused from military service in the Austro-Hungarian Army in the First World War, because he was short-sighted , Korda became an important figure in the Hungarian film industry, initially through his magazines Pesti Mozi , Mozihét and Világ . This led to invitations to write screenplays. His first script
2485-580: The film industry in 1925 through working with director Rex Ingram at the Victorine Studios in Nice , 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
2556-502: The first filmmaker to receive a knighthood . Korda was born Sándor László Kellner into a Jewish family in Pusztatúrpásztó , Austria-Hungary . His parents were Henrik Kellner and Ernesztina Weisz. He had two younger brothers, Zoltan and Vincent , who also had careers in the film industry, often working with Alexander. After the death of his father, Korda began writing film reviews to support his family. He also changed
2627-546: The genre of Holocaust literature." On 24 June 1938, Pressburger married Ági Donáth , the daughter of Andor Donáth, a general merchant, but they divorced in 1941. The union was childless. He remarried, on 29 March 1947, to Wendy Orme, and they had a daughter, Angela, and another child who died as a baby in 1948; but this marriage also ended in divorce in Reno, Nevada in 1953 and in Britain in 1971. His daughter Angela's two sons both became successful film-makers: Andrew Macdonald as
2698-582: The key in the door so that the Stormtroopers wouldn't have to break the door down" and left for Paris. Late in 1935, Pressburger decided that he would do better in England. Pressburger arrived in Britain in 1935 as a stateless person; once he decided to settle, he changed his name to Emeric in 1938. In England, he found a small community of Hungarian film-makers who had fled the Nazis , including Alexander Korda , owner of London Films , who employed him as
2769-707: The largest film companies in Hungary with such productions as The Grandmother (1916), Tales of the Typewriter (1916), The Man with Two Hearts (1916), The One Million Pound Note (1916), Cyclamen (1916), Struggling Hearts (1916), The Laughing Saskia (1916), Miska the Magnate (1916), St. Peter's Umbrella (1917), The Stork Caliph (1917) (from the novel by Mihály Babits ), and Magic (1917). Korda later regarded Harrison and Barrison (1917) as his best film. He also made Faun (1918), Man of Gold (1918), and Mary Ann (1918). Under
2840-484: The late 1920s, working for UFA in Berlin (having moved there in 1926). The rise of the Nazis forced him to flee to Paris, where he again worked as screenwriter, and then to London. He later said, "[the] worst things that happened to me were the political consequences of events beyond my control ... the best things were exactly the same." Pressburger's early films were mainly made in Germany and France where he worked at
2911-488: The life of Madame Du Barry based on an original screenplay by Lajos Bíró . The film may have been intended to showcase Maria Corda's star potential to producers in Hollywood. Korda made his final German film, Madame Wants No Children (1926), for the Berlin-based subsidiary of the American studio Fox . Although made later, it was released before A Modern Dubarry . In December 1926 Korda and his wife sailed for
Michael Powell - Misplaced Pages Continue
2982-411: The moderate success of The Stolen Bride Korda worked on the comedy The Private Life of Helen of Troy (1927), replacing the previous director, George Fitzmaurice . The film retells the story of Helen of Troy , parodying the historical epics of the era by transforming the classical characters into everyday people with modern problems. The film was a significant success for Korda, with his wife playing
3053-460: The name was changed in a subsequent edition or printing. Emeric Pressburger Emeric Pressburger (born Imre József Pressburger ; 5 December 1902 – 5 February 1988) was a Hungarian-British screenwriter, film director, and producer. He is best known for his series of film collaborations with Michael Powell , in a collaboration partnership known as the Archers , and produced
3124-415: The new technology, he quickly adapted to making sound films. Korda's marriage was strained in Hollywood. The arrival of sound films wrecked his wife's career, as her heavy accent made her unemployable for most American films. Love and the Devil was the last of Korda's films she appeared in, and she made only two more films. She became increasingly resentful of the switch in their relationship, as her career
3195-406: The other. All this was changed by the talkies. America, with its enormous wealth and enthusiasm and its technical resources, waved the big stick. ... The European film no longer existed. ... Only the great German film business was prepared to fight the American monopoly, 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
3266-443: The pictures made would be just as American as those made in Hollywood. We are now on the verge of forming a British school of film-making in this country." Korda produced Fire Over England (1937) with Olivier and Vivien Leigh . He also attempted a version of I, Claudius with Laughton and Merle Oberon , but it was abandoned with only a few scenes shot. Korda made Dark Journey (1937) with Conrad Veidt and Leigh, and had
3337-514: The property. London Film's Denham Film Studios was financed by the Prudential and opened in 1936. On 21 June 1936, Thurston Macauley, London correspondent to The New York Times , filed a story headlined "The Korda Workshop at Denham" describing the facility, located on 165 acres of woodland, field and river scenery suitable for filming, with 28 acres of buildings and a planned total of fifteen 250-foot by 130-foot sound stages (state of
3408-799: The pseudonym "Richard Imrie". Two novels by Pressburger were published. The first Killing a Mouse on a Sunday (1961), is set in the period immediately following the Spanish Civil War . It received favourable reviews and was soon translated into a dozen languages. The Glass Pearls (1966), reissued in 2015 and again in 2022 by Faber , gained an especially negative assessment from The Times Literary Supplement , its only contemporary review. Subsequently it has been highly praised. Lucy Scholes in The Paris Review in 2019 called it "a truly remarkable work. It deserves to be recognized both for its own virtuosity, and as an important addition to
3479-497: The role of Helen. The film was his most satisfying work in the United States and provided the template for his later success in Britain. After this film, however, Korda became pigeonholed as a director of female stars and exotic foreign locations. He was generally given similar assignments for the remainder of his first period in Hollywood. His next few films were disappointments as his career lost its momentum: Yellow Lily (1928), Night Watch (1928) both with Dove, and Love and
3550-677: The shortlived Hungarian Soviet Republic Korda made Ave Caesar! (1919), White Rose (1919), Yamata (1919) and Neither at Home or Abroad (1919). His final Hungarian film was Number 111 (1919). In October 1919 Korda was arrested during the White Terror that followed the overthrow of the Communist government, but was soon released. He then left Hungary for Austria. He never returned to his country of birth. After leaving Hungary, Korda accepted an invitation from Count Alexander Kolowrat to work for his company Sascha-Film in
3621-567: The silent films) and many other jobs including a few acting roles, usually as comic characters. Powell made his film début as a "comic English tourist" in The Magician (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
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#17327731064673692-497: The storm-troopers 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." They both soon recognised that although they were total opposites in background and personality, they had
3763-610: The studio system. He hoped to save up enough money to return to Europe and begin producing on a large scale there, but his lavish personal spending and the large amounts he lost in the Wall Street Crash prevented this. When his producer, Ned Marin , moved from First National to the Fox Film Corporation Korda followed him. Korda's new contract gave him $ 100,000 a year. His first film for Fox, Women Everywhere (1930), cost slightly more than some of
3834-431: The work of a producer for the team. Pressburger was also more involved in the editing process than Powell, and as a musician, Pressburger was also involved in the choice of music for their films. Powell and Pressburger began to go their separate ways after the mid-1950s. They remained close friends but wanted to explore different things, having done about as much as they could together. Two of his later films were made under
3905-587: The world of opera. The film was made on a lavish scale, with large crowd scenes. The lengthy shooting schedule lasted 160 working days. The film was unsuccessful. Korda left Vienna and travelled to Germany. He had frequent problems with money, and often had to receive support from friends and business associates, but in Berlin he raised funding for the melodrama The Unknown Tomorrow (1923). With backing from Germany's biggest film company, UFA , Korda returned to Vienna to make Everybody's Woman (1924). While he
3976-750: Was The Spy in Black (1939), where Powell first met Emeric Pressburger . Korda also produced the comedy Over the Moon (1939) and the drama 21 Days (1939). Korda soon ran into financial difficulties, and management of the Denham complex was merged with Pinewood in 1939, becoming part of the Rank Organisation . The outbreak of the Second World War in Europe meant that The Thief of Bagdad had to be completed in Hollywood, where Korda
4047-543: Was The Spy in Black , during pre-production of which Powell first met Emeric Pressburger in 1939. 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." Powell then went on to record (in A Life in Movies ) how: "Emeric produced
4118-565: Was Wedding Rehearsal (1932). He then produced Men of Tomorrow (1932), co-directed by his brother Zoltan Korda , That Night in London (1932) starring Robert Donat , Strange Evidence (1933), Counsel's Opinion (1933), and Cash (1933). Korda had a huge hit with The Private Life of Henry VIII (1933), which he directed. It was nominated for the Academy Award for Best Picture , established Korda internationally and made
4189-563: Was a critical rather than a commercial success. Things to Come (1936), directed by William Cameron Menzies , has come to be regarded as a classic. It was written by H. G. Wells and Korda's The Man Who Could Work Miracles (1936) is based on a Wells short story. Korda also commissioned and financed the documentary Conquest of the Air (1936). Korda bought property in Denham, Buckinghamshire , including Hills House , and built film studios on
4260-528: Was a success both critically and financially. London Films made several films with smaller budgets: The Cure for Love (1949), The Happiest Days of Your Life (1950), The Angel with the Trumpet (1950), My Daughter Joy (1950), State Secret (1950), The Wooden Horse (1950), Seven Days to Noon (1951), Lady Godiva Rides Again (1951), The Wonder Kid (1951), and Mr. Denning Drives North (1951). Korda also helped to finance Outcast of
4331-422: Was active in the British film industry, and soon became one of its leading figures. He was the founder of London Films and, post-war, the owner of British Lion Films , a film distribution company. Korda produced many outstanding classics of the British film industry, including The Private Life of Henry VIII , Rembrandt , Things To Come , The Thief of Baghdad and The Third Man . In 1942, Korda became
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#17327731064674402-574: Was an expensive epic that failed to recoup its money. The Divorce of Lady X (1938) was a comedy with Olivier and Merle Oberon. Korda had a big success with The Drum (1938), directed by Zoltan and starring Sabu. He produced South Riding (1938), The Challenge (1938), The Rebel Son (1939) and Prison Without Bars (1938). During the Second World War Korda made more propaganda films, including Q Planes (1939), with Olivier, and The Lion Has Wings (1939). Korda had
4473-427: Was appointed a Knight Bachelor , for his contribution to the war effort, in the 1942 Birthday Honours . On 22 September 1942 he was knighted at an investiture ceremony at Buckingham Palace by George VI . He was the first film director to receive the honour. He returned to Britain in 1943 as production chief of MGM-London films , with a £35 million ten-year programme. The scheme ended after one year, one film and
4544-472: Was based again for a few years. While he was in the United States he produced and directed That Hamilton Woman (UK title: Lady Hamilton) (1941) with Laurence Olivier and Vivien Leigh , and produced Lydia (1941) with Oberon. He also supervised Jungle Book (1942), a live-action version of Kipling 's stories, directed by Zoltán Korda. He also had minor involvement in To Be or Not to Be (1942). Korda
4615-552: Was for Watchhouse in the Carpathians (1914), which he also helped to direct. He also made a film with Gyula Zilahy , The Duped Journalist (1914), and directed Tutyu and Totyo (1915), The Officer's Swordknot (1915) and Lyon Lea (1915). In 1916, Korda established his own production company, Corvin Film . Its first film was White Nights (1916), which was a big success. Korda went on to build Corvin into one of
4686-812: Was introduced to film editor Thelma Schoonmaker by Martin Scorsese and London-based film producer Frixos Constantine. The couple were married from 19 May 1984 until his own death from cancer on 19 February 1990 at his home in Avening , Gloucestershire . The couple had no children. His niece was the Australian actress Cornelia Frances , who appeared in bit parts in her uncle's early films. The Academy Film Archive has preserved A Matter of Life and Death and The Life and Death of Colonel Blimp by Michael Powell and Emeric Pressburger . Many of these titles were also published in other countries or republished. The list above deals with initial publications except where
4757-459: Was now over while Korda, who had once relied on her for the success of his films, was relatively flourishing. Their marriage collapsed, and they divorced in 1930. Korda made two more sound films at First National: Her Private Life (1929) and Lilies of the Field (1930), both of which were remakes of earlier silent films. Korda grew more frustrated in Hollywood as he came to strongly dislike
4828-578: Was so vilified on first release that it seriously damaged his career, is now considered a classic, and possibly the earliest " slasher movie ". Many renowned filmmakers, such as Francis Ford Coppola , George A. Romero and Martin Scorsese have cited Powell as an influence. In 1981, he (along with his partner Pressburger) received the BAFTA Fellowship , the highest honour the British Academy of Film and Television Arts can bestow upon
4899-454: Was subject of a major positive revaluation by Raymond Durgnat in the auteurist magazine Movie , later included in Durgnat's influential book A Mirror for England . In 1982, Coppola invited Powell to be 'senior director in residence' at his Zoetrope Studios. There, Powell "pottered around", (started to write his autobiography). Powell's films came to have a cult reputation, broadened during
4970-460: Was the director of 23 films, including the critically received Red Ensign (1934) and The Phantom Light (1935). In 1937 Powell completed his first truly personal project, The Edge of the World . Powell gathered together a cast and crew who were willing to take part in an expedition to what was then a very isolated part of the UK. They had to stay there for quite a few months and finished up with
5041-567: Was there he began work on his next film, the historical Tragedy in the House of Habsburg (1924), which portrayed the Mayerling Incident . It earned back around half of its production costs. He followed this with Dancing Mad (1925), another melodrama. Korda cast his wife Maria Corda [ sic ] as the female lead in all his German-language films. To a large degree the success of his productions depended on her star power. Korda cast her again in A Modern Dubarry (1927), an update of
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