mdblist.com logo The Best Richard Leacock Directed Movies


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poster
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50
/2/

RainForest (1968)
Leacock and 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 David Tudor, costumes by Jasper Johns and sets by Andy Warhol.
poster
?
10
/1/

Light Coming Through: A Portrait of Maud Morgan (1980)
This 23-minute, 16mm color film by Nancy V. Raine (Producer/Co-Director) and Richard Leacock (Co-Director/Cinematographer) is a poetic, lyrical, impressionistic collaboration by Raine, a poet and writer, Leacock, a leading figure in the direct cinema movement, and Maud Morgan, the film’s subject, a Boston-area visual artist who was 78 years old when the film premiered at the Boston Museum of Fine Arts on October 21, 1980.
poster
?
10
/1/

Rebuilding an Old Japanese House (1981)
Five Japanese carpenters came to Boston that summer to reconstruct a Kyoto silkweaver's 150 year old townhouse that had been packed in crates and shipped to Boston Children's Museum. This first-hand observation of traditional tools and woodworking techniques chronicles the assembly process. In the progress of construction the contractor performed three Shinto housebuilding ceremonies.
poster
?
10
/1/

Les oeufs à la coque de Richard Leacock (1991)
Inspired by both new love and Gulliver's Travels, Les Oeufs à la Coque (aka Richard Leacock's Soft-Boiled Eggs), is a ravishingly beautiful, important film about nothing in particular, a love song dedicated to France, French women in general and one Frenchwoman in particular, and a montage portrait of quotidian life in a country at peace.
poster
?
10
/1/

Kenya: Land of the White Ghost (1962)
A film by the Drew-Leacock team.
poster
Kanopy
?
8.0
/12/
95
/1/

Frames of Reference (1960)
An educational physics film utilizing a fascinating set consisting of a rotating table and furniture occupying surprisingly unpredictable spots within the viewing area, Leacock’s Frames of Reference (1960), features fine cinematography by Abraham Morochnik, and funny narration by University of Toronto professors Donald Ivey and Patterson Hume, in a wonderful example of the fun a creative team of filmmakers can have with a subject other, less imaginative types might find pedestrian.
poster
?
10
/1/

Queen of Apollo (1970)
In 1970 I went to New Orleans with Noel Parmentel to shoot fragments of the “The Moviegoer.” While we were down there my daughter Elspeth and I went to visit some friends of mine whose teenager daughter was to be Queen of a fancy Mardi Gras ball. I didn’t know anything about this, but my friends thought it would be a nice idea if we filmed it. So we went over for an evening; black tie, dinner gown and all the rest of it. We changed a few light bulbs in the house and unobtrusively filmed the evening. I ended up making a 12-minute short with my daughter Elspeth taking sound. – Richard Leacock
poster
?
7.3
/13/

Canary Island Bananas (1935)
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 made with a little help from Polly Church and Noel Florence. 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
poster
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10
/1/

Ku Klux Klan—The Invisible Empire (1965)
A documentary on the KKK
poster
?
10
/1/

The Living Camera: Mooney vs. Fowle (1962)
The doc brings us back to a 1961 football game played in front of 40,000 people at the Orange Bowl. A high school football game, pitting Miami High against their rivals from Edison High. The title refers to the coaches of each, and the film follows them separately, with their real families and their clan of players, in the days leading up to the big event. And then at last it astonishingly chronicles the game from all kinds of angles you wouldn’t expect from even the newly mobile tools of the Drew crew. Today’s television coverage doesn’t come nearly as close to capturing the spirit of the sport and its fans the way Lipscomb does here. (Nothing But the Doc)
poster
?
10
/1/

On the Pole: Eddie Sachs (1961)
The documentary traces Eddie Sachs (one of the most popular drivers in the history of the Indianapolis 500) in a behind-the-scenes look at the race from his perspective, starting from a week before the race through the day after the big event. You can feel the fervor and anticipation build (*pay close attention to the scaffolding that collapses with too many people on it during the race) as Eddie prepares to keep his place, "on the pole." Preserved by the Academy Film Archive in 2010.
poster
?
10
/1/

Nehru (1962)
The first candid film made on a foreign chief of state, three weeks in the life of Jawaharlal Nehru.
poster
Criterion Channel
56
?
7.1
/85/
40
/2/
45
/2/
3.5
/251/

Lambert, Hendrick & Co. (1964)
Jazz vocalist Dave Lambert auditions a new group of singers at RCA Studios in 1964.
poster
Kanopy
?
20
/1/

Flora Natapoff - An American Painter (1999)
Flora Natapoff, known for her large collages of urban and industrial motifs, due to MS begins to work on a smaller scale that is no less powerful. She speaks of her way of looking, the impact of landscape, and a new sense of narrative and composition. A legendary teacher at Harvard, her compelling account introduces us to her highly original work.
poster
61
?
7.2
/121/
46
/3/
70
/4/

Lulu in Berlin (1984)
Vérité documentarian Richard Leacock’s LULU IN BERLIN features one of the few long interviews ever done with actor Louise Brooks. It took place in her apartment in Rochester, New York, in 1971.
poster
Criterion Channel
53
?
5.7
/149/
48
/9/
55
/8/

A Happy Mother's Day (1963)
In 1963 the first known surviving set of American quintuplets were born to Mary Ann and Andrew Fischer, this film looks at some of the changes their arrival caused to their family.
poster
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6.4
/39/
55
/2/
70
/1/

A Stravinsky Portrait (1967)
This documentary follows composer and conductor Igor Stavinsky at his home in California, in London, and in Hamburg where he conducts an orchestra rehearsal. Includes conversations with a variety of friends and musical collaborators. Includes footage of Stravinsky and Balanchine discussing the Variations (in memoriam Aldous Huxley) and rehearsing their ballet Apollo with Suzanne Farrell.
poster
?
10
/1/

Campaign Manager (1964)
This brief portrait follows 28-year-old campaign manager John Grenier as he maps out strategies for Barry Goldwater’s 1964 presidential run and engineers a takeover of the Republican convention.
poster
Criterion Channel
?
7.1
/42/
53
/3/

Brussels Loops (1958)
A collection of twenty short films, averaging 2-3 minutes, by various filmmakers depicting American life, intended to be shown in a continuous loop at the American Pavilion of the 1958 Brussels World’s Fair. Some releases of the film include ten extra minutes of rough cuts.
poster
?
6.5
/25/
10
/1/
60
/1/

Two American Audiences: La Chinoise - A Film in the Making (1968)
Jean-Luc Godard visits NYU in order to discuss his latest feature "La chinoise" with graduate students on filmmaking and politics.
poster
Criterion Channel
63
?
6.6
/79/
44
/9/
72
/5/
3.4
/205/

Chiefs (1968)
Filmed at the October 1968 meeting in Hawaii of several hundred police chiefs of the International Association of Chiefs of Police as they watch demonstrations of gruesome anti-riot weapons, sing patriotic songs, and defend their policies in front of the camera. Although filmed with the permission of the chiefs, the view is unsympathetic, sometimes funny, and more often frightening.
poster
Criterion Channel
?
6.2
/58/
42
/4/
50
/1/

Christopher and Me (1960)
Twins Christopher and David gets into an untethered sailboat and inadvertently gets involved in a nearby sailboat race.
poster
56
?
6.0
/242/
43
/3/
58
/8/
3.3
/249/

1 P.M. (1971)
Lighter and livelier than the films Jean-Luc Godard had made in France, his U.S. collaboration with Direct Cinema documentarian D. A. Pennebaker was meant to be One A.M., as in “one American movie”; but Godard quit the project and the U.S., where to his dismay he discovered that revolution wasn’t imminent, and Pennebaker edited Godard’s material, to which he and Richard Leacock even added a bit more, releasing the result as One P.M., as in “one parallel movie.” It’s a stunning mixture of cinéma-vérité, political theater, and interviews of key sixties figures.
poster
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A Magnet Laboratory (1959)
In the hands of another director, the inner-workings of a magnet laboratory could have caused a whole classroom to fall asleep of boredom. No so when Leacock was hired to produce this twenty-minute version of lab mayhem. Try this: six researchers in a lab at MIT in the late 1950's show-off the power of electro-magnets, and in the process, accidentally set an experiment on fire. Or this: half way through the film the phone rings off screen, and host Francis Bitter says "tell 'em I'll call 'em back later" while he's looking at the camera, discussing bus bars. Leacock’s fleshed out all the personalities here, from "Beans" Bardo, who cranks up the generator to nearly explosive proportions, to the mysterious Mr. Lin, who barely peeks over his shoulder at us, seemingly in mockery, disdain, or curiosity.
poster
Kanopy
?

Community of Praise (1983)
This documentary examines one family's desperate search for faith and religious meaning in Muncie, Indiana.
poster
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Centerbeam (1977)
Film produced and directed by Ricky Leacock, Edward Pincus, and MIT Center for Advanced Visual Studies documenting the Centerbeam kinetic sculpture project and its first installation at documenta 6 in Kassel, Germany in 1977


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