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| That's a wrap: Philip French, Observer film critic, steps down after 50 years | That's a wrap: Philip French, Observer film critic, steps down after 50 years |
| (35 minutes later) | |
| Philip French's international reputation as a film critic is unrivalled. As recently as February, after a career with the Observer that began in 1963, an American film journal rated him as Britain's "greatest living movie analyst". But at the end of August he is to file his last column as this newspaper's film critic. After an illustrious half century, French, who was honoured with an OBE in January, has decided to step down following his 80th birthday the same month. | Philip French's international reputation as a film critic is unrivalled. As recently as February, after a career with the Observer that began in 1963, an American film journal rated him as Britain's "greatest living movie analyst". But at the end of August he is to file his last column as this newspaper's film critic. After an illustrious half century, French, who was honoured with an OBE in January, has decided to step down following his 80th birthday the same month. |
| In his first column for the Observer, he bemoaned the lack of British films offering a believable picture of criminathe underworld. He noted "the tired vignettes of sub-Runyon characters" in The Small World of Sammy Lee starring Anthony Newley. Since then, there have been many more attempts at the genre, but his words still apply to most of them. | In his first column for the Observer, he bemoaned the lack of British films offering a believable picture of criminathe underworld. He noted "the tired vignettes of sub-Runyon characters" in The Small World of Sammy Lee starring Anthony Newley. Since then, there have been many more attempts at the genre, but his words still apply to most of them. |
| The breadth and scope of French's criticism comes not just from his long service, but from a voracious interest in the history of cinema and the wider arts. That first column, fifty years ago, also mentioned Deanna Durbin. A huge star of the 1930s, Durbin died last week, her name now unknown to many. French's writing for this newspaper has always connected readers with the films of the past and kept alive a sense of their traditions. | The breadth and scope of French's criticism comes not just from his long service, but from a voracious interest in the history of cinema and the wider arts. That first column, fifty years ago, also mentioned Deanna Durbin. A huge star of the 1930s, Durbin died last week, her name now unknown to many. French's writing for this newspaper has always connected readers with the films of the past and kept alive a sense of their traditions. |
| Speaking at the north London home he shares with his wife Kersti, he has been looking back at his time on the paper and picking out memorable moments from a life largely spent in a darkened auditorium. He was once introduced to Charlie Chaplin, he recalls, at a London screening of The Tramp in the 1970s. "He had a mask-like face, I remember, but it was quite extraordinary to sit behind him and watch his younger self on the screen." | Speaking at the north London home he shares with his wife Kersti, he has been looking back at his time on the paper and picking out memorable moments from a life largely spent in a darkened auditorium. He was once introduced to Charlie Chaplin, he recalls, at a London screening of The Tramp in the 1970s. "He had a mask-like face, I remember, but it was quite extraordinary to sit behind him and watch his younger self on the screen." |
| Observer editor John Mulholland accepts that many readers will find Sundays less rich without French's film column. "There are readers who will feel that his writings are simply irreplaceable," he says. Later this summer, French's long career will be celebrated, both in print and at a public event. | Observer editor John Mulholland accepts that many readers will find Sundays less rich without French's film column. "There are readers who will feel that his writings are simply irreplaceable," he says. Later this summer, French's long career will be celebrated, both in print and at a public event. |
| In his resignation letter, he writes of his feeling for the Observer: "There is no daily or weekly newspaper of such distinction, and I count myself as extremely fortunate having had the opportunity to be part of such a tradition." | In his resignation letter, he writes of his feeling for the Observer: "There is no daily or weekly newspaper of such distinction, and I count myself as extremely fortunate having had the opportunity to be part of such a tradition." |
| Christine Langan, the head of BBC Films, spoke of her sadness at the news: "He is, of course, regarded as one of the heavyweights of criticism, but his writing, which takes you back through cinema, is so erudite and even-handed too." | Christine Langan, the head of BBC Films, spoke of her sadness at the news: "He is, of course, regarded as one of the heavyweights of criticism, but his writing, which takes you back through cinema, is so erudite and even-handed too." |
| For French, the chief duty of the critic has always been to be honest. "From time to time you may pull your punches, but not in the next round," he says. "You have to be truthful." | For French, the chief duty of the critic has always been to be honest. "From time to time you may pull your punches, but not in the next round," he says. "You have to be truthful." |
| Crucial to his life experience, and perhaps to his appreciation of film, was the impact of the war on his early years. (On joining the Observer, he was particularly impressed by the service record of renowned literary editor Terence Kilmartin, although this was not unusual on Fleet Street at the time.) Educated at Bristol Grammar School, the young French volunteered and joined the Parachute Regiment, serving in the Middle East. To those who want to understand the second world war through film, he recommends In Which We Serve, The Way Ahead and The Way to the Stars. | |
| Another formative early experience was an "incredible double bill" of feature films at the Ritz cinema in Brislington, Bristol. Two of his favourite films, Billy Wilder's Ace in the Hole, starring Kirk Douglas, and the Marx Brothers' early hit Horse Feathers, were served up together and engendered a passionate interest in America. The films, he says, introduced him to the potent idea of the loser in a country supposedly all about success, and the wit of Jewish émigré culture. | Another formative early experience was an "incredible double bill" of feature films at the Ritz cinema in Brislington, Bristol. Two of his favourite films, Billy Wilder's Ace in the Hole, starring Kirk Douglas, and the Marx Brothers' early hit Horse Feathers, were served up together and engendered a passionate interest in America. The films, he says, introduced him to the potent idea of the loser in a country supposedly all about success, and the wit of Jewish émigré culture. |
| Next weekend, he will be speaking about his 50 years as an Observer critic, and his love of Ace in the Hole, at the Bristol Festival of Ideas. Other highlights of his career include serving on the Cannes film festival jury in 1986. | Next weekend, he will be speaking about his 50 years as an Observer critic, and his love of Ace in the Hole, at the Bristol Festival of Ideas. Other highlights of his career include serving on the Cannes film festival jury in 1986. |
| French believes that alongside the growing ranks of online amateur film writers, there should still be a role for an experienced critic. A narrow understanding, he argues, can breed its own kind of arrogance: "No critic should ever say they are bored. It is not enough just to understand a film; you must try to say something of interest or value." | French believes that alongside the growing ranks of online amateur film writers, there should still be a role for an experienced critic. A narrow understanding, he argues, can breed its own kind of arrogance: "No critic should ever say they are bored. It is not enough just to understand a film; you must try to say something of interest or value." |
| It is important not to talk down to readers too. "You should assume your reader is intelligent, but not necessarily as well-informed, since they spend their days doing something else for a living." | It is important not to talk down to readers too. "You should assume your reader is intelligent, but not necessarily as well-informed, since they spend their days doing something else for a living." |
| French's status as a repository of film knowledge means he has been asked to draw up many top 10 lists, from the best dogs on film (including Lassie, Toto from The Wizard of Oz and Asta from The Thin Man) to the best leading actors. In the latter he would place Michael Redgrave – star of an all-time favourite, Hitchcock's The Lady Vanishes – Spencer Tracy, especially for Bad Day at Black Rock, Gary Cooper for High Noon and Henry Fonda for Twelve Angry Men. He also admires Lee Marvin, Al Pacino and Warren Oates. More recently, he salutes the talents of Ryan Gosling and of Leonardo DiCaprio, who, he says "has suddenly started to do it". | French's status as a repository of film knowledge means he has been asked to draw up many top 10 lists, from the best dogs on film (including Lassie, Toto from The Wizard of Oz and Asta from The Thin Man) to the best leading actors. In the latter he would place Michael Redgrave – star of an all-time favourite, Hitchcock's The Lady Vanishes – Spencer Tracy, especially for Bad Day at Black Rock, Gary Cooper for High Noon and Henry Fonda for Twelve Angry Men. He also admires Lee Marvin, Al Pacino and Warren Oates. More recently, he salutes the talents of Ryan Gosling and of Leonardo DiCaprio, who, he says "has suddenly started to do it". |
| Aside from writing on cinema, French has worked as an arts producer at the BBC and reviewed theatre for the New Statesman. Yet he is comfortable to have focused on film. After all, he says, his first experience of Dickens was David Lean's Great Expectations and his first experience of Graham Greene was John Boulting's Brighton Rock. | Aside from writing on cinema, French has worked as an arts producer at the BBC and reviewed theatre for the New Statesman. Yet he is comfortable to have focused on film. After all, he says, his first experience of Dickens was David Lean's Great Expectations and his first experience of Graham Greene was John Boulting's Brighton Rock. |
| "Cinema was the great art form of the 20th century and this century is continuing the same way," he says. Commenting on the great directors, he adds "not all artists have a life-lease on their talent", and the same may apply to critics: "But at least I am giving up now, while I still have my mind." | "Cinema was the great art form of the 20th century and this century is continuing the same way," he says. Commenting on the great directors, he adds "not all artists have a life-lease on their talent", and the same may apply to critics: "But at least I am giving up now, while I still have my mind." |