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                   circa 1982                                            Filmmaker and friend, 1981

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View Ricky's films in filmography below by clinking on the links...

Note: Ricky passed away in Paris on March 23, 2011, with Valérie Lalonde at his bedside.  It's ironic that a retrospective with Ricky and his films was planned for the Pompidou Center two evenings later, so Val carried the "RIcky and Valérie Show" by herself. She mentioned that a beautiful technician helped carry Ricky away, and Val said Ricky would have loved to have seen that! Just before he left us, Ricky published his book The Feeling of Being There: a Filmmaker's Memoir. It can be purchased from Valérie on her website. Ricky wrote a number of compelling essays on filmmaking, as well as the text of his memorable interview with the opinionated, intelligent, and sexy silent film star Louise Brooks.

On March 1, 2001, he joined us in person in San Jose to show a few of his films and meet our audience,  and remained one of the Academic Film Archive of North America's most ardent supporters. 

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Born in London, July 18, 1921, Leacock grew up on a banana plantation in the Canary Islands till shipped off to School in England. He attended Bedales, then Dartington Hall Schools from 1929 to 1938, where he helped form a student film unit, and made his first film, Canary Bananas, an eight minute silent film.

His primary contribution to classroom academic film in the United States is a series of approximately five films made for the Physical Sciences Studies Committee (PSSC) in the late 1950s, A Magnet Laboratory, Frames of Reference, Electric Fields, Coulomb’s Law, and Crystals. One of the pioneers of the ‘Cinéma Vérité’ movement, his documentary work also appeared in schools, as edited versions of films made originally for U.S. television networks. Through his teachings, he has influenced many filmmakers, and, from his farm in Sartilly, France continues to produce his own documentary work with his partner and colleague Valerie Lalonde. A brilliant essayist and film theoretician, Leacock champions the right of the individual filmmaker to create and produce his or her own work on low budget, and insists on the necessity of retaining distribution rights as well. ciné16 encourages film enthusiasts to read Leacock’s essays, powerfully written, opinionated, and refreshingly non-stuffy.

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A Biographical Filmography

The following was primarily written by Leacock, with occasional additions by Geoff Alexander. All comments are by Leacock, unless indicated by (GA).

1935 CANARY BANANAS: 8m. Filmed on his father's plantation, Leacock’s sophisticated use of pans and tilts described the process of planting, harvesting, and shipping Canary Island bananas. This film was shown to family friend Robert Flaherty, who would hire him after the war, largely based on the remembrance of this early film (GA).

1938 filmed the David Lack Expedition to the Galapagos Islands.

1939-42 Read Physics at Harvard University spending much time producing plays.

1940 Summer job as assistant to assistant editor with Frontier Films in New York, splicing much of NATIVE LAND (1942), dir. Leo Hurwitz/Paul Strand.

1941 TO HEAR YOUR BANJO PLAY: 20m, dir. Charles Korvin (Geza Karpathy). On this summer job, Leacock shot folk singers in the mountains of Virginia including Texas Gladden and Horton Barker on 35mm with sync sound (this film was completed by Willard Van Dyke & Irving Lerner after the war, with added footage of Pete Seeger, Woody Guthrie, Sonny Terry, Brownie McGhee).

1942 Left Harvard to become a "Combat-Cameraman" in the American Army, serving in the Arctic, the Burma Campaign and in China.

1946 LOUISIANA STORY: 14 months as cameraman with Robert and Francis Flaherty (“an experience of a lifetime!”).

1947-8 Cameraman-director with John Ferno (Fernhout) on seven short films in producer Louis de Rochemont's 'Earth and Its People' series, two in France, and one each in Holland, Switzerland, Italy, Greece, and the Sahara Desert (Desert Nomads).   About the films, Leacock writes: "Johny and I shot for 18 months and sent our negatives to New York where they were developed and edited without our seeing anything  until it was all over. We hated the way they were cut and narrated.  Too bad!"  Films in this series are:

'Desert Nomads'
'Factories Mines and Waterways' (Industrial Western Europe)
'Food For Paris Markets' (Northern Rural France
'Land Behind the Dikes' (The Netherlands)
'Mountain Farmers' (Switzerland)
'On Mediterranean Shores' (Southern Greece)
'The Po Valley' (Italy)

1948 Camera for Willard Van Dyke's MOUNT VERNON and THE NEW FRONTIER.

1949 Director Cameraman on EARTHQUAKE IN ECUADOR (about effects and aftermath of the Pelileo Earthquake) for United Nations.

1950 HEAD OF THE HOUSE Writer-Dir.-Edit. An acted "documentary" for US State Dept.

1952 THE LONELY NIGHT Dir. by Irving Jacoby, filmed by Leacock.

1954 JAZZ DANCE: 20 min. Cameraman with Bob Campbell on Roger Tilton's film. Photographed on 35mm with small hand held cameras; a limited breakthrough.

1954 TOBY AND THE TALL CORN: 30 min. Writer-Director-Camera-Editor, a film report on a traveling tent-theater in the Middle West, (made for the 'Omnibus' television series).

1954 WHO'S RIGHT: 18 min. Written and Directed by Irving Jacoby, cinematography by Leacock.

1956 A CONVERSATION WITH MARCEL DUCHAMP. Filmed for NBC News’ ‘Conversations with Elder Wisemen’ series.

1957 HOW THE F-100 GOT IT'S TAIL 20 min. 35 mm Dir. by Leacock. A military reenactment for Omnibus TV.

1957-9 Directed five physics films, including FRAMES OF REFERENCE, COULOMB’S LAW, THE COULOMB FORCE CONSTANT, A MAGNET LABORATORY, and CRYSTALS for the Physical Science Study Committee (PSSC).

1958 BERNSTEIN IN ISRAEL: 30 min. A close look at a conducting tour. (Used 16mm film & sound equipment for the first time, also for 'Omnibus').

1959 BERNSTEIN IN MOSCOW: 55 min. The New York Philharmonic visit to USSR.

1960 Joined Robert Drew in Drew Associates along with Pennebaker, Albert Maysles and others, making experiments in journalism that came to be called "Direct Cinema", which -resulted in such films as:

1959 BULL FIGHT AT MALAGA: 20 min. 1959 Drew and I tried to film “mano á mano" with equipment built for us that didn't work the way it was supposed to. With Luis-Miguel Dominguin, Ordoñez, Hemingway, et a1.

1960 PRIMARY: 30 min. Sen. Kennedy's election campaign in Wisconsin.

1960-1 ABC’s ‘CLOSE-UP’ series was originally produced by in-house producer John Secondari, but four episodes were contributed by John Drew’s group. In protest of the utilization of this independent production team, ABC VP of News John Daly resigned. Leacock was directly involved in the following episodes:

YANKI NO!: 55 min. Castro's takeover in Cuba.
KENYA: LAND OF THE WHITE GHOST The election of the first black majority in Kenya.
THE CHILDREN WERE WATCHING. Desegregation in New Orleans, directed by Leacock.
ADVENTURES ON THE NEW FRONTIER. Focused on the 1960 presidential primary and inauguration of JFK. This is probably a longer version of PRIMARY, filmed in 1960 (GA).

1961-2 ‘THE LIVING CAMERA’ series was produced by Robert Drew and distributed for television by Time-Life. This series explored the lives of ten people, utilizing the ‘direct cinema’, or ‘cinéma vérité’ style of hand-held cameras and synch-sound. Leacock’s contribution included the following:

ON THE POLE (also known as ‘Eddie’): 55 min. Eddie Sachs driving the Indianapolis 500. Co-produced and directed.
PETEY AND JOHNNY: 55 min. Teenage gangs in East Harlem. Produced by Leacock.
NEHRU: 55 min. His last campaign for election. Co-produced, directed, and shot with Gregory Shuker.
THE CHAIR: 55 min. The last moment commutation of Paul Crump's death sentence. Co-produced, directed, and photographed.
SUSAN STARR: 19 year-old pianist vies for Mitroupoulos prize. Filmed by a number of cinematographers, including Leacock.

1963 CRISIS: BEHIND A PRESIDENTIAL COMMITMENT 58 min. President Kennedy's confrontation with Gov. George Wallace of Alabama.

1963 Formed Leacock Pennebaker Inc., making:

l963 HAPPY MOTHER'S DAY: 30 min. With Joyce Chopra. Mrs. Fisher bears quintuplets in Aberdeen, S. Dakota.

1964 REPUBLICANS - THE NEW BREED: 30 min. The Goldwater Campaign, made with Noel E. Parmentel Jr.

1965 A STRAVINSKY PORTRAIT: 55 min. Made with Rolf Liebermann. Sarah Hudson recording sound.

1965 GEZA ANDA: 30 min. With Rolf Liebermann, a film on pianism. Sarah Hudson recording sound.

1965 KU KLUX KLAN --- INVISIBLE EMPIRE:  50 min.  Produced and written by David Lowe for 'CBS Reports', sound by Noel Parmentel.

1966 PORTRAIT OF VAN CLIBURN: 54 min. Produced by Leacock and Pennebaker for the Bell Telephone Hour.  Cliburn visits Interlochen Music Camp where he conducts an all-student orchestra, visits his childhood home in Shreveport, La., and is shown recording the Chopin B minor sonata, and other pieces.

1966 OH MEIN PA-PA! A portrait of Paul Burkhard: made with Rolf Liebermann. Helga Feddersen recording sound.

1966 THE ANATOMY OF CINDY FINK: 20 min. A view of the art world made with Patricia Jaffe. (The film features an informal dance class accompanied by a post-bop musical tro featuring artist Larry Rivers (tenor sax), Walter De Maria (drums), and Jesse Brown (bass).

1966 OLD AGE, THE WASTED YEARS: Two 30 min. parts for WNET made with Nell Cox.

1966 Helped filming Pennebaker's MONTEREY POP!

1967 Film projections that were seen in Sarah Caldwell's productions of Berg's Opera LULU, Berlioz's LES TROYENS and others, for The Opera Company of Boston.

1968 1-PM: 90 min. Pennebaker put together this material, gleaned from a film we shot under the direction of Jean-Luc Godard which was to be 1-AM (one American Movie, get it?) which he decided not to complete.

1968: TWO AMERICAN AUDIENCES: 40 min. With Pennebaker, an interview with Jen-Luc Godard (GA)

1968 FRENCH LUNCH: Camera on Nell Cox's film about the elaborate preparing of lunch the New York's La Caravelle Restaurant..

1968 HICKORY HILL: 18 min. With George Plimpton. A visit to a children's charity pet-show at the home of Robert Kennedy.

1968 RAINFOREST: 27 min. With Pennebaker, filmed choreographer Merce Cunningham’s dance “RainForest” as part of the 1968 Buffalo Arts Festival’s program “Whose Afraid of the Avant-Garde” presenting experimental art, music, dance, poetry and theater.  The dance composition also featured music by John Tudor, costumes by Jasper Johns and sets by Andy Warhol. (GA)

1969 Appointed Professor of Cinema at Massachusetts Institute of Technology.

1969 CHIEFS: 18 min. With Noel E. Parmentel Jr. A convention of 3,500 American Police Chiefs and their wives at Waikiki Beach, Hawaii.

1969 MAIDSTONE: Norman Mailer's film. One of several Cameras.

1970 COMPANY: 60 min. Pennebaker’s film of Original cast recording session for Sondheim's musical hit. One of three cameras.

1970 QUEEN OF APOLLO: 20 min. With Elspeth Leacock. A 16 year old is Queen of a Mardi Gras ball, in New Orleans.

1972 TREAD: 20 min. A direct camera view of a ballet by Merce Cunningham. By Richard Leacock with Sandy D'Annunzio.

1972 VD: 26 min.  Describes public health clinics and programs.  Included is a segment that includes filmmaker Stan Brakhage describing a first-hand experience with NSU).

1977 ISABELLA STEWART GARDNER: 30 min. a tribute to the memory of the founder of the Gardner Museum in Boston.

1978 CENTERBEAM: 20 min. A document of Documenta. John Ruben and Leacock film of the Centerbeam art machine created by the Center for Advanced Visual Studies of MIT, in Kassel, Germany.

1980 LIGHT COMING THROUGH: 20 min. A Portrait of Maud Morgan, painter.

1981 COMMUNITY OF PRAISE: 55 min. With Marisa Silver. A portrait of a fundamentalist Christian family, in middle America. (I have a UMatic copy of the original edit which I consider to be a far better film).

1984 LULU IN BERLIN 50 min. with Susan Woll. A conversation with Louise Brooks (when she was 67) about her work with G.W.Pabst. With excerpts of her films.

1988 Leacock retired from MIT, came to Paris and started shooting on Video-8. He met and started working with, Valerie Lalonde. They became fascinated with the possibility of carrying this tiny, sensitive tool with them everywhere they went.
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                           With Valerie Lalonde
                    photo by Pieter Vandermeer

1991 LES OEUFS A LA COQUE DE RICHARD LEACOCK: 84 min. video by Valerie Lalonde and Richard Leacock, a lighthearted view of life in France.

1992 REHEARSAL: THE KILLINGS OF CARIOLA: 35 min. video by Valerie Lalonde and Richard Leacock. Rehearsals of the Duchess of Malfi with the Cherub Company, in London.

1992 LES VACANCES DE MONSIEUR LEACOCK: 20 min. video by Valerie Lalonde & Richard Leacock. Travels in the US of A.

1992 KREN: PARKING. 3 min. A portrait of an Art Work.

1993 "GOTT SEI DANK" EINE BESUCH BEI HELGA FEDDERSEN: 30 min.Leacock visits his friend, the actress, a year before her death.

1993 FELIX ET JOSEPHINE: 33 min. a fiction based on a reality.

1993 HOORAY! WE'RE FIFTY! 1943-1993: 30 min. Leacock's Harvard 50th reunion.

1993 A CELEBRATION OF SAINT SILAS: 30 min. Preparation for and celebration of the Heavenly Birthday of Saint Silas, with Him ! Twenty-seven Anglican Priests, orchestra, solo trumpets, solo voices, ...

1994 A HOLE IN THE SEA: A lighthearted visit to both sides of the Channel as the "Chunnel" was about to open. For Arte.

1996 A MUSICAL ADVENTURE IN SIBERIA: With Sarah Caldwell. The preparation of a first ever performance of Prokofiev's Eugene Onegin, a Symphonic Drama (Actors not singers) which was banned before it opened in 1937. With the Eketarinsburg Symphony orchestra conducted by Sarah Caldwell, Artistic director of the Opera Company of Boston (videoed in mini digital).

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