| Powell and Pressburger The Archers | |
| Fate: | Partnership amicably ended |
| Foundation: | 1939 1943 (as "The Archers") |
| Defunct: | 1957 |
| Location: | United Kingdom |
| Industry: | Film production company |
| Key People: | Michael Powell Emeric Pressburger |
| Products: | |
The British film-making partnership of Michael Powell (1905–1990) and Emeric Pressburger (1902–1988)—together often known as The Archers, the name of their production company—made a series of influential films in the 1940s and 1950s. Their collaborations—24 films between 1939 and 1972—were mainly derived from original stories by Pressburger with the script written by both Pressburger and Powell. Powell did most of the directing while Pressburger did most of the work of the producer and also assisted with the editing, especially the way the music was used. Unusually, the pair shared a writer-director-producer credit for most of their films. The best-known of these are 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), Black Narcissus (1947), The Red Shoes (1948), and The Tales of Hoffmann (1951).
In 1981, Powell and Pressburger were recognised for their contributions to British cinema with the BAFTA Academy Fellowship Award, the most prestigious award given by the British Academy of Film and Television Arts.
Powell was already an experienced director, having worked his way up from making silent films to the First World War drama The Spy in Black (1939), his first film for Hungarian émigré producer Alexander Korda. Pressburger, who had come from Hungary in 1935, already worked for Korda, and was asked to do some rewrites for the film.[1] This collaboration was the first of 19, most over the next 18 years.
After Powell had made two further films for Korda, he reunited with Pressburger in 1940 for Contraband, the first in a run of Powell and Pressburger films set during the Second World War. The second was 49th Parallel (1941), which won Pressburger an Academy Award for Best Story. Both are Hitchcock-like thrillers made as anti-Nazi propaganda. For these three films, Powell is the credited director (also producer on 49th Parallel), while Pressburger is credited with the screenplay:
The pair adopted a joint writer-producer-director credit for their next film, One of Our Aircraft Is Missing (1942) and made reference to "The Archers" in the credits. In 1943 they incorporated their own production company, Archers Film Productions, and adopted a distinctive archery target logo which began each film. The joint credit "Written, Produced and Directed by Michael Powell and Emeric Pressburger" indicates their joint responsibility for their own work and that they weren't beholden to any studio or other producers.[2]
In a letter to Wendy Hiller in 1942, asking her to appear in Colonel Blimp, Pressburger explicitly set out 'The Archers' Manifesto'. Its five points express the pair's intentions:[3]
They began to form a group of regular cast and crew members who worked with them on many films over the next 12 years. Hardly any of these people were ever under contract to The Archers—they were hired film by film—but Powell and Pressburger soon learnt whom they worked well with and who enjoyed working with them.[4] When Raymond Massey was offered the part of the Prosecuting Attorney in A Matter of Life and Death his cabled reply was "For The Archers anytime, this world or the next."[5]
Powell and Pressburger also co-produced a few films by other directors under The Archers' banner: The Silver Fleet (1943), written and directed by Vernon Sewell and Gordon Wellesley, based on a story by Pressburger, and The End of the River (1947), directed by Derek N. Twist, to which both Powell and Pressburger contributed uncredited writing. Both Sewell and Twist had worked with Powell & Pressburger previously on other films and were being given their first chance as directors.
Over the course of the war and afterwards, they released a series of acclaimed films:
Generally, Pressburger created the original story (for all their films from 1940–1946) and wrote the first draft of the script. They then passed the script back and forth a few times—they could never work on it together in the same room. For the dialogue, Pressburger knew what he wanted the characters to say but Powell would often supply some of the actual words.
They both acted as producers, perhaps Pressburger slightly more than Powell, since he could soothe the feathers ruffled by Powell's forthright manner. They became their own producers mainly to stop anyone else from interfering, since they had a considerable degree of freedom, especially under Rank, to make just about any film they wanted.
The direction was nearly all done by Powell, but even so The Archers generally worked as a team, with the cast and crew often making suggestions. Pressburger was always on hand, usually on the studio floor, to make sure that these late changes fit seamlessly into the story.[6]
Once the filming was finished, Powell usually went off for a walk in the hills of Scotland to clear his head, but Pressburger was often closely involved in the editing, especially in the way the music was used. Pressburger was a musician himself and had played the violin in an orchestra in Hungary.
When the film was finally ready and Powell was back from the Highlands, he was usually "the front man" in any promotional work, such as interviews for the trade papers or fan magazines.
Because collaborative efforts such as Powell and Pressburger's were, and continue to be, unusual in the film industry, and because of the influence of the auteur theory, which elevates the director as a film's primary creator, Pressburger has sometimes been dismissed as "Michael Powell's scriptwriter". Powell himself consistently, emphatically and categorically rejected this characterization, and was the first to say, in many interviews, that he couldn't have done most of what he did without Pressburger working as a full and equal film-making partner.
After the early 1950s, Powell and Pressburger began to produce fewer films. Their last two films were financially successful, but the duo's mid-1950s output met with less critical success than their earlier films. Powell himself felt that Ill Met by Moonlight was The Archers' worst film.
The Archers' productions officially came to an end in 1957, and the pair separated to pursue their individual careers. The separation was amicable, and they remained devoted friends for the rest of their lives.
The pair reunited for two films:
For both these films, Powell was credited as the sole director, and Pressburger as the sole screenwriter (for They're a Weird Mob, Pressburger used the pseudonym "Richard Imrie"). Powell produced They're a Weird Mob, Pressburger produced The Boy Who Turned Yellow.
Powell and Pressburger re-used actors and crew members in a number of films. Actors who were part of The Archers' "stock company" include:
Notable crew members include:
Powell & Pressburger also produced two films written and directed by crewmembers or compatriots of through their production company.
British film critics gave the films of Powell and Pressburger a mixed reaction at the time, acknowledging their creativity, but sometimes questioning their motivations and taste. For better or worse, The Archers were always out of step with mainstream British cinema.[8] [9] [10] [11]
From the 1970s onwards, British critical opinion began to revise this lukewarm assessment, with their first BFI retrospective in 1970 and another in 1978. They are now seen as playing a key part in the history of British film, and have become influential and iconic for many film-makers of later generations, such as Martin Scorsese, Francis Ford Coppola and George A. Romero, among others.[12]
Four of their films are among the Top 50 British films of the 20th century according to the British Film Institute, with The Red Shoes placing in the top 10.
| Year | Film | Award | Powell | Pressburger | Others | |
|---|---|---|---|---|---|---|
| 1937 | The Edge of the World | |||||
| 1943 | 49th Parallel | |||||
| Rodney Ackland | ||||||
| One of Our Aircraft Is Missing | ||||||
| Oscar nominated for Best Effects, Special Effects | Ronald Neame (photographic) and C.C. Stevens (sound) | |||||
| 1946 | A Matter of Life and Death | |||||
| 1948 | Winner Danish Bodil Award for Best European Film | |||||
| Black Narcissus | Oscar winner for Best Art Direction-Set Decoration, Color | Alfred Junge | ||||
| Oscar winner for Best Cinematography, Color | Jack Cardiff | |||||
| The Red Shoes | Nominated for Venice Film Festival Golden Lion | |||||
| 1949 | Oscar winner for Best Art Direction-Set Decoration, Color | Hein Heckroth and Arthur Lawson | ||||
| Oscar winner for Best Music, Scoring of a Dramatic or Comedy Picture | Brian Easdale | |||||
| Oscar nominated for Best Film Editing | Reginald Mills | |||||
| 1950 | The Small Back Room | BAFTA Award nominated for Best British Film | ||||
| 1951 | The Tales of Hoffmann | Oscar nominated for Best Art Direction-Set Decoration, Color | Hein Heckroth | |||
| Oscar nominated for Best Costume Design, Color | Hein Heckroth | |||||
| Cannes Film Festival nominated for Grand Prize of the Festival | ||||||
| Winner Silver Berlin Bear from Berlin International Film Festival as Best Musical | ||||||
| 1956 | The Battle of the River Plate | |||||
| 1957 | BAFTA Award nominated for Best British Film | |||||
| BAFTA Award nominated for Best British Screenplay | ||||||
| BAFTA Award nominated for Best Film from any Source | ||||||
| 1959 | Luna de Miel | Cannes Film Festival nominated for Golden Palm | ||||
| 1970 | ||||||
| 1972 | The Boy Who Turned Yellow | Children's Film Foundation winner of the 'Chiffy' award for the best film | ||||
| 1978 | ||||||
| 1978 | ||||||
| 1978 | ||||||
| 1980 | ||||||
| 1981 | ||||||
| 1982 | ||||||
| 1983 | Made Fellows of the British Film Institute (BFI) | |||||
| 1987 | ||||||
| 1987 |
Powell and Pressburger, the people and their films have been the subject of many documentaries and books as well as doctoral research.[13] [14] [15]
An English Heritage blue plaque to commemorate Powell and Pressburger was unveiled on 17 February 2014 by Martin Scorsese and Thelma Schoonmaker at Dorset House, Gloucester Place, London, where The Archers had their offices from 1942–47.[6]