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Karel Reisz ______________________
England (1963-2002 )
Reisz's output has been sporadic since then (although he's kept busy making commercials and working for British television), but it includes the remake of Night Must Fall (1964), the cult favorite Morgan! A Suitable Case for Treatment (1966), and the biographical drama Isadora (1968). He also produced This Sporting Life (1963) for Lindsay Anderson. His American films have been similarly varied in nature: The Gambler (1974), Who'll Stop the Rain (1978), The French Lieutenant's Woman (1981), Sweet Dreams (1985), and Everybody Wins (1990). He is married to actress Betsy Blair. (Leonard Maltin's Movie Encyclopedia. Copyright © 1994 Leonard Maltin)
Karel Reisz, David Robinson, Lorenza Mazzetti and Walter Lassally. "Free Cinema: 45th Anniversary Conference." National Film Theatre. 22 March 2001. (Transcripts of proceedings on British Film Institute Web site). There have not been many scholarly articles written about Reisz, but this site does offer a wide range of resources, plus links to a few articles, including comments by Reisz and his colleagues who were part of the "Free Cinema" movement. Follow the various links, including "Free Cinema feature," which leads to a few articles.
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Czech-born filmmaker who lived in England from age 12, narrowly avoiding the Nazi scourge that overtook his native land, and developed a fascination with film in the early 1950s, writing numerous essays on the medium, and a seminal book on film esthetics, The Technique of Film Editing. Along with fellow theorists Lindsay Anderson and Tony Richardson, he was a prime proponent of British Free Cinema. He and Richardson codirected a 1955 short, Momma Don't Allow and in 1959 Reisz soloed on the well-received documentary We Are the Lambeth Boys. He made an impressive feature directing debut with Saturday Night and Sunday Morning (1960), a highly acclaimed look at British working-class life.