David Lean

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David Lean

Aankomst filmster Ann Todd en haar echtgenoot filmregisseur David Lean op Schiph, Bestanddeelnr 905-4605 (2).jpg
Lean in 1965
Born(1908-03-25)25 March 1908
Croydon, Surrey, England
Died16 April 1991(1991-04-16) (aged 83)
Limehouse, London, England
Resting place Putney Vale Cemetery, London, England
Occupation(s) Film director, film producer, screenwriter, film editor
Years active1930–1991
Isabel Lean
(m. 1930;div. 1936)

(m. 1940;div. 1949)

(m. 1949;div. 1957)

Leila Matkar
(m. 1960;div. 1978)

Sandra Hotz
(m. 1981;div. 1984)

Sandra Cooke
(m. 1990)
ChildrenPeter Lean

Sir David Lean CBE (25 March 1908 16 April 1991) was an English film director, producer, screenwriter and editor. Widely considered one of the most important figures in British cinema, Lean directed the large-scale epics The Bridge on the River Kwai (1957), Lawrence of Arabia (1962), Doctor Zhivago (1965), and A Passage to India (1984). [1] He also directed the film adaptations of two Charles Dickens novels, Great Expectations (1946) and Oliver Twist (1948), as well as the romantic drama Brief Encounter (1945).


Originally a film editor in the early 1930s, Lean made his directorial debut with 1942's In Which We Serve , which was the first of four collaborations with Noël Coward. Beginning with Summertime in 1955, Lean began to make internationally co-produced films financed by the big Hollywood studios; in 1970, however, the critical failure of his film Ryan's Daughter led him to take a fourteen-year break from filmmaking, during which he planned a number of film projects which never came to fruition. In 1984 he had a career revival with A Passage to India, adapted from E. M. Forster's novel; it was an instant hit with critics but proved to be the last film Lean would direct.

Lean's affinity for pictorialism and inventive editing techniques has led him to be lauded by directors such as Steven Spielberg, [2] Stanley Kubrick, [3] Martin Scorsese, [4] and Ridley Scott. [5] Lean was voted 9th greatest film director of all time in the British Film Institute Sight & Sound "Directors' Top Directors" poll in 2002. [6] Nominated seven times for the Academy Award for Best Director, which he won twice for The Bridge on the River Kwai and Lawrence of Arabia, he has seven films in the British Film Institute's Top 100 British Films (with three of them being in the top five) [7] [8] and was awarded the AFI Life Achievement Award in 1990.

Early life and education

David Lean was born on 25 March 1908 at 38 Blenheim Crescent, South Croydon, Surrey (now part of Greater London), to Francis William le Blount Lean and the former Helena Tangye (niece of Sir Richard Trevithick Tangye). [9] His parents were Quakers and he was a pupil at the Quaker-founded Leighton Park School in Reading. His younger brother, Edward Tangye Lean (1911–1974), founded the original Inklings literary club when a student at Oxford University. Lean was a half-hearted schoolboy with a dreamy nature who was labeled a "dud" [10] of a student; he left school in the Christmas Term of 1926, at the age of 18, [11] and entered his father's chartered accountancy firm as an apprentice. A more formative event for his career than his formal education was an uncle's gift, when Lean was aged ten, of a Brownie box camera. "You usually didn't give a boy a camera until he was 16 or 17 in those days. It was a huge compliment and I succeeded at it." Lean printed and developed his films, and it was his "great hobby". [12] In 1923, [13] his father deserted the family and Lean would later follow a similar path after his own first marriage and child. [10]


Period as film editor

Bored by his work, Lean spent every evening in the cinema, and in 1927, after an aunt had advised him to find a job he enjoyed, he visited Gaumont Studios where his obvious enthusiasm earned him a month's trial without pay. He was taken on as a teaboy, promoted to clapperboy, and soon rose to the position of third assistant director. By 1930 he was working as an editor on newsreels, including those of Gaumont Pictures and Movietone, while his move to feature films began with Freedom of the Seas (1934) and Escape Me Never (1935). [14]

He edited Gabriel Pascal's film productions of two George Bernard Shaw plays, Pygmalion (1938) and Major Barbara (1941). He edited Powell & Pressburger's 49th Parallel (1941) and One of Our Aircraft Is Missing (1942). After this last film, Lean began his directing career, after editing more than two dozen features by 1942. As Tony Sloman wrote in 1999, "As the varied likes of David Lean, Robert Wise, Terence Fisher and Dorothy Arzner have proved, the cutting rooms are easily the finest grounding for film direction." [15] David Lean was given honorary membership of the Guild of British Film Editors in 1968.

British films

His first work as a director was in collaboration with Noël Coward on In Which We Serve (1942), and he later adapted several of Coward's plays into successful films. These films are This Happy Breed (1944), Blithe Spirit (1945) and Brief Encounter (1945) with Celia Johnson and Trevor Howard as quietly understated clandestine lovers, torn between their unpredictable passion and their respective orderly middle-class marriages in suburban England. The film shared Grand Prix honors at the 1946 Cannes film festival and garnered Lean his first Academy nominations for directing and screen adaptation, and Celia Johnson a nomination for Best Actress. It has since become a classic, one of the most highly regarded British films.

Two celebrated Charles Dickens adaptations followed – Great Expectations (1946) and Oliver Twist (1948). David Shipman wrote in The Story of Cinema: Volume Two (1984): "Of the other Dickens films, only Cukor's David Copperfield approaches the excellence of this pair, partly because his casting, too, was near perfect". [16] These two films were the first directed by Lean to star Alec Guinness, whom Lean considered his "good luck charm". The actor's portrayal of Fagin was controversial at the time. The first screening in Berlin during February 1949 offended the surviving Jewish community and led to a riot. It caused problems too in New York, and after private screenings, was condemned by the Anti-Defamation League and the American Board of Rabbis. "To our surprise it was accused of being anti-Semitic", Lean wrote. "We made Fagin an outsize and, we hoped, an amusing Jewish villain." [17] The terms of the production code meant that the film's release in the United States was delayed until July 1951 after cuts amounting to eight minutes. [18]

The next film directed by Lean was The Passionate Friends (1949), an atypical Lean film, but one which marked his first occasion to work with Claude Rains, who played the husband of a woman (Ann Todd) torn between him and an old flame (Howard). The Passionate Friends was the first of three films to feature the actress Ann Todd, who became his third wife. Madeleine (1950), set in Victorian-era Glasgow is about an 1857 cause célèbre with Todd's lead character accused of murdering a former lover. "Once more", writes film critic David Thomson "Lean settles on the pressing need for propriety, but not before the film has put its characters and the audience through a wringer of contradictory feelings." [19] The last of the films with Todd, The Sound Barrier (1952), has a screenplay by the playwright Terence Rattigan and was the first of his three films for Sir Alexander Korda's London Films. Hobson's Choice (1954), with Charles Laughton in the lead, was based on the play by Harold Brighouse.

International films

Lean in Northern Finland in 1965 while shooting Doctor Zhivago DavidLean1965.jpg
Lean in Northern Finland in 1965 while shooting Doctor Zhivago

Summertime (1955) marked a new departure for Lean. It was partly American financed, although again made for Korda's London Films. The film features Katharine Hepburn in the lead role as a middle-aged American woman who has a romance while on holiday in Venice. It was shot entirely on location there. Although best known for his epics, Lean's personal favourite of all his films was Summertime, and Hepburn his favourite actress. [20]

For Columbia and Sam Spiegel

Lean's films now began to become infrequent but much larger in scale and more extensively released internationally. The Bridge on the River Kwai (1957) was based on a novel by Pierre Boulle recounting the story of British and American prisoners of war trying to survive in a Japanese prison camp during the Second World War. The film stars William Holden and Alec Guinness and became the highest-grossing film of 1957 in the United States. It won seven Academy Awards, including Best Picture, Best Director, and Best Actor for Alec Guinness, who had battled with Lean to give more depth to his role as an obsessively correct British commander who is determined to build the best possible bridge for his Japanese captors in Burma.

After extensive location work in the Middle East, North Africa, Spain, and elsewhere, Lean's Lawrence of Arabia was released in 1962. This was the first project of Lean's with a screenplay by playwright Robert Bolt, rewriting an original script by Michael Wilson (one of the two blacklisted writers of Bridge on the River Kwai). It recounts the life of T. E. Lawrence, the British officer who is depicted in the film as uniting the squabbling Bedouin peoples of the Arab peninsula to fight in World War I and then push on for independence.

After some hesitation, Alec Guinness once again appeared, in his fourth David Lean film, as the Arab leader, Prince Faisal, despite his misgivings from their conflicts on Bridge on the River Kwai. French composer Maurice Jarre, on his first Lean film, created a soaring film score with a famous theme and won his first Oscar for Best Original Score. The film turned actor Peter O'Toole, playing Lawrence, into an international star, and was nominated for ten Oscars, winning seven, including Best Picture and Lean's second win for Best Director. He remains the only British director to win more than one Oscar for directing.


Lean had his greatest box-office success with Doctor Zhivago (1965), a romance set during the Russian Revolution. The film, based on the banned novel by Nobel Prize-winning Russian poet Boris Pasternak, tells the story of a brilliant and warm-hearted physician and poet (Omar Sharif) who, while seemingly happily married into the Russian aristocracy, and a father, falls in love with a beautiful abandoned young mother named Lara (Julie Christie) and struggles to be with her in the chaos of the Bolshevik revolution and subsequent Russian Civil War.

Initially, reviews for Doctor Zhivago were lukewarm, but critics have since come to see it as one of Lean's best films, with film director Paul Greengrass calling it "one of the great masterpieces of cinema". [21] As of 2020, it is the 9th highest-grossing film of all time, adjusted for inflation. Producer Carlo Ponti used Maurice Jarre's lush romantic score to create a pop tune called "Lara's Theme", which became an international hit song with lyrics under the title "Somewhere My Love", one of cinema's most successful theme songs. The British director of photography, Freddie Young, won an Academy Award for his color cinematography. Around the same time, Lean also directed some scenes of The Greatest Story Ever Told (1965) while George Stevens was committed to location work in Nevada.

Lean's Ryan's Daughter (1970) was released after an extended period on location in Ireland. A doomed romance set against the backdrop of 1916 Ireland's struggles against the British, it is loosely based on Gustave Flaubert's Madame Bovary . Starring the aging Hollywood 'bad boy' Robert Mitchum in an uncharacteristic role as a long-suffering Irish husband and British actress Sarah Miles as his faithless young wife, the film received far fewer positive reviews than the director's previous work, being particularly savaged by the New York critics. Some critics felt the film's massive visual scale on gorgeous Irish beaches and extended running time did not suit its small-scale romantic narrative. Nonetheless, the film was a box office success, earning $31 million and making it the 8th highest-grossing film of that year. It won two Academy Awards the following year, another for cinematographer Freddie Young and for supporting actor John Mills in his role as a village halfwit.

The poor critical reception of the film prompted Lean to meet with the National Society of Film Critics, gathered at the Algonquin Hotel in New York, including The New Yorker 's Pauline Kael, and ask them why they objected to the movie. "I sensed trouble from the moment I sat down", Lean says of the now famous luncheon. Time critic Richard Schickel asked Lean point blank how he, the director of Brief Encounter, could have made "a piece of bullshit" like Ryan's Daughter. [22] These critics so lacerated the film for two hours to David Lean's face that the devastated Lean was put off from making films for a long time. "They just took the film to bits", said Lean in a later television interview. "It really had such an awful effect on me for several years ... you begin to think that maybe they're right. Why on earth am I making films if I don't have to? It shakes one's confidence terribly." [23]

Last years and unfulfilled projects

From 1977 until 1980, Lean and Robert Bolt worked on a film adaptation of Captain Bligh and Mr. Christian, a dramatized account by Richard Hough of the Mutiny on the Bounty. It was originally to be released as a two-part film, one named The Lawbreakers that dealt with the voyage out to Tahiti and the subsequent mutiny, and the second named The Long Arm that studied the journey of the mutineers after the mutiny as well as the admiralty's response in sending out the frigate HMS Pandora, in which some of the mutineers were imprisoned. Lean could not find financial backing for both films after Warner Bros. withdrew from the project; he decided to combine it into one and looked at a seven-part TV series before getting backing from Italian mogul Dino De Laurentiis. The project then suffered a further setback when Bolt suffered a serious stroke and was unable to continue writing; the director felt that Bolt's involvement would be crucial to the film's success. Melvyn Bragg ended up writing a considerable portion of the script.

Lean was forced to abandon the project after overseeing casting and the construction of the $4 million Bounty replica; at the last possible moment, actor Mel Gibson brought in his friend Roger Donaldson to direct the film, as producer De Laurentiis did not want to lose the millions he had already put into the project over what he thought was as insignificant a person as the director dropping out. [24] The film was eventually released as The Bounty .

Lean then embarked on a project he had pursued since 1960, a film adaptation of A Passage to India (1984), from E. M. Forster's 1924 novel of colonial conflicts in British-occupied India. Entirely shot on location in the sub-continent, this became his last completed film. He rejected a draft by Santha Rama Rau, responsible for the stage adaptation and Forster's preferred screenwriter, and wrote the script himself. [25] In addition, Lean also edited the film with the result that his three roles in the production (writer, editor, director) were given equal status in the credits. [26]

Lean recruited long-time collaborators for the cast and crew, including Maurice Jarre (who won another Academy Award for the score), Alec Guinness in his sixth and final role for Lean, as an eccentric Hindu Brahmin, and John Box, the production designer for Dr. Zhivago. Reversing the critical response to Ryan's Daughter, the film opened to universally enthusiastic reviews; the film was nominated for eleven Academy Awards and Lean himself nominated for three Academy Awards in directing, editing, and writing. His female star, in the complex role of a confused young British woman who falsely accuses an Indian man of attempted rape, gained Australian actress Judy Davis her first Academy nomination. Peggy Ashcroft, as the sensitive Mrs. Moore, won the Oscar for best supporting actress, making her, at 77, the oldest actress to win that award. According to Roger Ebert, it is "one of the greatest screen adaptations I have ever seen". [27]

He was signed on to direct a Warner Bros.-backed adaptation of J. G. Ballard's autobiographical novel Empire of the Sun after director Harold Becker left the project. Steven Spielberg was brought on board as a producer for Lean, but later assumed the role of director when Lean dropped out of the project; Spielberg was drawn to the idea of making the film due to his long-time admiration for Lean and his films. Empire of the Sun was released in 1987.

During the last years of his life, Lean was in pre-production of a film version of Joseph Conrad's Nostromo . He assembled an all-star cast, including Marlon Brando, Paul Scofield, Anthony Quinn, Peter O'Toole, Christopher Lambert, Isabella Rossellini and Dennis Quaid, with Georges Corraface as the title character. Lean also wanted Alec Guinness to play Dr. Monygham, but the aged actor turned him down in a letter from 1989: "I believe I would be disastrous casting. The only thing in the part I might have done well is the crippled crab-like walk." As with Empire of the Sun, Steven Spielberg came on board as producer with the backing of Warner Bros., but after several rewrites and disagreements on the script, he left the project and was replaced by Serge Silberman, a respected producer at Greenwich Film Productions.

The Nostromo project involved several writers, including Christopher Hampton and Robert Bolt, but their work was abandoned. In the end, Lean decided to write the film himself with the assistance of Maggie Unsworth (wife of renowned cinematographer Geoffrey Unsworth), with whom he had worked on the scripts for Brief Encounter, Great Expectations, Oliver Twist, and The Passionate Friends. Originally Lean considered filming in Mexico but later decided to film in London and Madrid, partly to secure O'Toole, who had insisted he would take part only if the film was shot close to home. Nostromo had a total budget of $46 million and was six weeks away from filming at the time of Lean's death from throat cancer. It was rumoured that fellow film director John Boorman would take over direction, but the production collapsed. Nostromo was finally adapted for the small screen with an unrelated BBC television mini-series in 1997.

Personal life and honours

Lean was a long-term resident of Limehouse, East London. His home on Narrow Street is still owned by his family. His co-writer and producer, Norman Spencer, has said Lean was a "huge womaniser," and that "to my knowledge, he had almost 1,000 women". [28] He was married six times, had one son, and at least two grandchildren—all from whom he was completely estranged [4] —and was divorced five times. He was survived by his last wife Sandra Cooke, art dealer and co-author (with Barry Chattington) of David Lean: An Intimate Portrait (2001), [10] and by Peter Lean, his son from his first marriage.

His six wives were:

Lean was appointed Commander of the Order of the British Empire (CBE) in 1953, and was knighted for his contributions and services to the arts in 1984. [31] Lean received the AFI Life Achievement Award in 1990. In 2012, Lean was among the British cultural icons selected by artist Sir Peter Blake to appear in a new version of his most famous artwork—the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover—celebrating the British cultural figures of his lifetime that he most admires. [32] [33]

In 1999, the British Film Institute compiled its list of the Top 100 British films. Seven of Lean's films appeared on the list:

In addition, on the American Film Institute's 1998 list of 100 Years...100 Movies, Lawrence of Arabia placed 5th, The Bridge on the River Kwai 13th, and Doctor Zhivago 39th. In the 2007 revised edition, Lawrence of Arabia placed 7th and The Bridge on the River Kwai placed 36th.

With five wins out of six nominations, Lean directed more films that won the Academy Award for Best Cinematography at the Oscars than any other director, for Great Expectations, The Bridge on the River Kwai, Lawrence of Arabia, Doctor Zhivago and Ryan's Daughter —the last nomination being for A Passage to India .[ citation needed ]

Lean died in Limehouse, London on April 16, 1991, at the age of 83. He was interred at Putney Vale Cemetery.


As Lean himself pointed out, [34] his films are often admired by fellow directors as a showcase of the filmmaker's art. According to Katharyn Crabbe, "[t]he rewards of watching a David Lean film are most often described in terms of his skillful use of cinematic conventions, his editing, his alertness to the ability of film to create effects." [35] In The Rough Guide to Film, Tom Charity writes:

Alfred Hitchcock, Michael Powell and David Lean: the three great British filmmakers of their generation were born within a radius of fifty miles and just nine years apart. Each of them served an apprenticeship in the silent era, learned their craft from the bottom up, proved their mettle in their thirties, and hit a creative peak in middle age ... Lean was first and foremost a superb craftsman. In the pre-war years he developed a reputation as the best editor in the country; his films are distinguished by their control of rhythm and shrewd use of counterpoint. Lean's camera is more self-effacing than Hitchcock's or Powell's, and although he was famed for his perfectionist compositional sense, his eye was more conventional. It's in the cutting that you feel both the romantic ardour and the repression that create the central tension in his work. [36]

According to Sarah Caldwell,

Lean has often been called a great craftsman, and his films are notable for their meticulous attention to detail, shown in the careful composition of each frame, the precise and eloquent use of sound and music, and the nuanced performances drawn from each member of the cast. However, Lean's mise-en-scène moves beyond craftsmanship: the themes and concerns of each film are variously articulated through dialogue and plot, sound, colour, editing, music and lighting. If there seems to be too much eclecticism in Lean's oeuvre for the director to imprint a "signature style", it is because his films are concerned with the integration of style and theme, with the expression of character, emotion, mood and the particularities of place and period. In this sense his most successful films attain a level of stylistic sophistication that guarantees their integrity as artworks. [37]

In his introduction to David Lean: Interviews, Steven Organ claims that Lean "often straddl[ed] that fine line between commercialism and artistry. To view one of Lean's films is to see the complete spectrum of tools available to the filmmaker - and used to their fullest potential. Like his contemporaries (Michael Powell, Orson Welles, John Ford), Lean understood fully that telling a story cinematically requires several components: a quality script, precision editing, dramatic composition, and structured sound. Nothing was overlooked or neglected." [38]


Steven Ross has written that Lean's films "reveal a consistently tragic vision of the romantic sensibility attempting to reach beyond the constraints and restrictions of everyday life", and that they tend to feature "intimate stories of a closely-knit group of characters [whose] fates are indirectly but powerfully shaped by history-shaking events going on around them." He further observes that, in his work, "setting [is used] as a presence with as much dramatic and thematic form as any character in the film." [39] Similarly, Lean biographer Gene D. Phillips writes that the director "saw in his style an attraction to characters who refuse to accept defeat, even when their most cherished hopes go unfulfilled. His protagonists seek to transform their lives, but often fail to do so. Pip in Great Expectations, Colonel Nicholson in The Bridge on the River Kwai, and T. E. Lawrence in Lawrence of Arabia, among others, struggle against the limitations of their own personalities to achieve a level of existence that they deem higher or nobler." [40]

John Orr, author of Romantics and Modernists in British Cinema, examines Lean in terms of "the stylised oscillation of romance and restraint that shapes so much of his work", as well as of "the intersection of culture and nature, where a story's momentous events are not only framed against landscape settings but also integrated into the very texture of the image that his camera produces." He argues that "Lean could have given us kitsch, syrupy imitations of landscape photography, but his staging and cutting blend so fluently that his evocation of the romantic sublime is linked, inextricably, to his découpage and sense of place." [41]

Michael Newton of The Guardian , analysing Brief Encounter and Doctor Zhivago, says:

Today, 50 years on, we can see how the scale of Zhivago forms the measure of its appeal, and its gorgeousness seems intrinsic to one of cinema's virtues. With Charlie Chaplin, Alfred Hitchcock and Michael Powell, Lean is one of the greatest film directors this country has produced. Like all of them, he is a romantic, and romanticism was his subject matter: the flourishing and the breaking of inordinate desires, the dangerous lure of beauty, of adventure and the untrammelled life. Both films demonstrate the impossibility of an illicit love finding a place in the world. In Brief Encounter, social convention and decency prevent it; romance flourishes only to be worn out by the talk of casual acquaintances. In Doctor Zhivago, it is history and the political realm that prove to be love's enemy. [42]

In 1991, shortly after Lean's death, Hugh Hudson wrote a tribute to the director in Sight & Sound ; in it he asserts:

Born in the Edwardian era, Lean experienced first-hand the decline of the British Empire. He lived through two world wars and matured as an artist during the 50s, when Britain was being forced to re-examine her new role. His natural taste was for a mixture of the nineteenth-century novel and landscape painting of the same period - something he never tried, nor wanted, to change. But having grown up during the demise of British influence in the world, he also had an acutely critical view of British society. So Lean's work contains an interesting paradox: the strong visual and literary legacy of British culture, which he loved and understood so well, combined with biting insights into the ludicrous aspects of a nation being forced to accept a less important role in the world. A perfect example of this ability to illustrate Britain's dilemma is the portrayal of the colonel in The Bridge on the River Kwai (1957). Here is a man using the military discipline that was the result of hundreds of years of British tradition to survive the hardships, torture and degradation of being a Japanese prisoner of war, yet whose addiction to that same discipline and tradition has turned him mad. The man is both a hero and a fool - a remarkable device to illustrate the state of Britain as she clung to meaningless tradition in a futile attempt to save her identity in the face of declining power. [43]

Lean was notorious for his perfectionist approach to filmmaking; director Claude Chabrol stated that he and Lean were the only directors working at the time who were prepared to wait "forever" for the perfect sunset, but whereas Chabrol measured "forever" in terms of days, Lean did so in terms of months. [44]


Steven Spielberg and Martin Scorsese in particular are fans of Lean's epic films and claim him as one of their primary influences. Spielberg and Scorsese also helped in the 1989 restoration of Lawrence of Arabia, which had been substantially altered both by the studio in theatrical release and in particular in its televised versions; the theatrical re-release greatly revived Lean's reputation.

Several of the many other later directors who have acknowledged significant influence by Lean include Stanley Kubrick, [45] George Lucas, [46] Spike Lee, [47] Sergio Leone, [48] Sir John Boorman, [49] Paul Thomas Anderson [50] and Guillermo del Toro. [51]

John Woo once named Lawrence of Arabia among his top three films. [52] More recently, Joe Wright ( Pride & Prejudice , Atonement ) has cited Lean's works, particularly Doctor Zhivago, as an important influence on his work, [53] as has director Christopher Nolan ( The Dark Knight Rises ). [54]

The critical verdict was not unanimous, however. For example, David Thomson, writing about Lean in his New Biographical Dictionary of Film, comments:

From 1952 to 1991, he made eight films—and in only one of them, I suggest —Lawrence—is the spectacle sufficient to mask the hollow rhetoric of the scripts. But Lean before 1952 made eight films in ten years that are lively, stirring, and an inspiration—they make you want to go out and make movies, they are so in love with the screen's power and the combustion in editing." [55]

The New York Times film critic Bosley Crowther dismissed Lawrence of Arabia as "a huge, thundering camel-opera that tends to run down rather badly as it rolls on into its third hour and gets involved with sullen disillusion and political deceit". [56] Writing in The Village Voice , Andrew Sarris remarked that Lawrence was "simply another expensive mirage, dull, overlong, and coldly impersonal ... on the whole I find it hatefully calculating and condescending". [57]


Directed features
1942 In Which We Serve British Lion Films
1944 This Happy Breed Eagle-Lion Films
1945 Blithe Spirit General Film Distributors
Brief Encounter Eagle-Lion Films
1946 Great Expectations General Film Distributors
1948 Oliver Twist
1949 The Passionate Friends
1950 Madeleine The Rank Organization
1952 The Sound Barrier British Lion Films
1954 Hobson's Choice British Lion Films / United Artists
1955 Summertime United Artists
1957 The Bridge on the River Kwai Columbia Pictures
1962 Lawrence of Arabia
1965 Doctor Zhivago Metro-Goldwyn-Mayer
1970 Ryan's Daughter
1979 Lost and Found: The Story of Cook's Anchor South Pacific Television
1984 A Passage to India Columbia Pictures / EMI Films

Award and nominations


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    Anne Voase Coates was a British film editor with a more than 60-year-long career. She was perhaps best known as the editor of David Lean's epic film Lawrence of Arabia in 1962, for which she won an Oscar. Coates was nominated five times for the Academy Award for Best Film Editing for the films Lawrence of Arabia, Becket (1963), The Elephant Man (1980), In the Line of Fire (1993) and Out of Sight (1998). In an industry where women accounted for only 16 percent of all editors working on the top 250 films of 2004, and 80 percent of the films had absolutely no women on their editing teams at all, Coates thrived as a top film editor. She was awarded BAFTA's highest honour, a BAFTA Fellowship, in February 2007 and was given an Academy Honorary Award, which are popularly known as a Lifetime Achievement Oscar, in November 2016 by the Academy of Motion Picture Arts and Sciences.

    AFI's 100 Years...100 Movies – 10th Anniversary Edition was the 2007 updated version of AFI's 100 Years...100 Movies. The original list was unveiled in 1998.

    <span class="mw-page-title-main">Chandran Rutnam</span> Sri Lankan filmmaker and entrepreneur

    Chandran Rutnam is a Sri Lankan filmmaker and entrepreneur.

    <span class="mw-page-title-main">David Lean filmography</span>

    The following is a filmography of David Lean, whose body of work in the film industry spanned the period from 1930 to 1984. This list includes the release year of the film, the role(s) Lean had in the production of each film, and additional notes such as awards and nominations. Lean directed 17 feature films in total. Lean often directed the large-scale epics The Bridge on the River Kwai (1957), Lawrence of Arabia (1962), Doctor Zhivago (1965), and A Passage to India (1984). He also directed two adaptations of Charles Dickens novels, Great Expectations (1946) and Oliver Twist (1948), as well as the romantic drama Brief Encounter (1945).

    <span class="mw-page-title-main">Alec Guinness</span> British actor (1914–2000)

    Sir Alec Guinness was an English actor. After an early career on the stage, Guinness was featured in several of the Ealing comedies, including Kind Hearts and Coronets (1949), in which he played nine different characters, The Lavender Hill Mob (1951), for which he received his first Academy Award nomination, and The Ladykillers (1955). He collaborated six times with director David Lean: Herbert Pocket in Great Expectations (1946), Fagin in Oliver Twist (1948), Col. Nicholson in The Bridge on the River Kwai (1957), for which he won both the Academy Award for Best Actor and the BAFTA Award for Best Actor, Prince Faisal in Lawrence of Arabia (1962), General Yevgraf Zhivago in Doctor Zhivago (1965), and Professor Godbole in A Passage to India (1984). In 1970, he played Jacob Marley's ghost in Ronald Neame's Scrooge. He also portrayed Obi-Wan Kenobi in George Lucas's original Star Wars trilogy; for the original 1977 film, he was nominated for Best Supporting Actor at the 50th Academy Awards.

    <span class="mw-page-title-main">Laurent Bouzereau</span> French director and filmmaker

    Laurent Bouzereau is a French-American documentary filmmaker, producer, and author.

    Phyllis Dalton, MBE, is a British costume designer known for her work on Lawrence of Arabia, Doctor Zhivago, Oliver!, The Princess Bride, Henry V and Much Ado About Nothing. She has received two Academy Awards, a BAFTA and an Emmy for her designs.

    Norman Savage (1930–1973) was an English film editor. He is credited as the principal editor on seven feature films, and as the sound editor on another four. He worked with the director David Lean on four films that spanned Savage's entire career. Lean has been noted as possibly "the best British film director ever", and was himself a masterful editor. Savage started his career as an assistant editor on Lean's Hobson's Choice (1954). Savage was Anne V. Coates' first assistant editor for Lean's Lawrence of Arabia (1962). He was nominated for an Academy Award for Best Film Editing for Lean's 1965 film Doctor Zhivago, and was nominated for the BAFTA Award for Best Editing for Lean's 1970 film Ryan's Daughter. Savage died of leukemia while editing the film Lady Caroline Lamb (1972). That film is the only one directed by Robert Bolt, a playwright and screenwriter who had worked on several films directed by Lean.

    <span class="mw-page-title-main">Alec Guinness on stage and screen</span> List of performances by the English actor

    Sir Alec Guinness, (1914–2000) was an English actor. After an early career on the stage, Guinness was featured in several of the Ealing Comedies, including The Ladykillers and Kind Hearts and Coronets in which he played nine different characters. He is known for his six collaborations with David Lean: Herbert Pocket in Great Expectations (1946), Fagin in Oliver Twist (1948), Col. Nicholson in The Bridge on the River Kwai, Prince Faisal in Lawrence of Arabia (1962), General Yevgraf Zhivago in Doctor Zhivago (1965), and Professor Godbole in A Passage to India (1984). He is also known for his portrayal of Obi-Wan Kenobi in George Lucas' original Star Wars trilogy; for the original film, he was nominated for Best Supporting Actor at the 50th Academy Awards.


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    Works cited

    General references

    Further reading

    Preceded by NFTS Honorary Fellowship Succeeded by