British cinematographer Douglas Slocombe has died during a age of 103, his family has said.
Slocombe shot 80 films, from classical Ealing comedies such as The Lavender Hill Mob and Kind Hearts and Coronets, to 3 Indiana Jones adventures.
In 1939 he filmed some of a beginning fighting of World War Two in Poland.
Indiana Jones executive Steven Spielberg pronounced Slocombe – who won Baftas for a Great Gatsby, The Servant, and Julia – “loved a movement of filmmaking”.
He pronounced a cinematographer was “a good co-operator and a pleasing tellurian being”.
“Dougie Slocombe was facile, enthusiastic, and desired a movement of filmmaking. Harrison Ford was Indiana Jones in front of a camera, though with his whip-smart crew, Dougie was my behind a scenes favourite for a initial 3 Indy movies,” Spielberg added.
Slocombe other work enclosed The Italian Job and Jesus Christ Superstar.
Among his possess favourites was Kind Hearts and Coronets, a Ealing Studios classical of 1949, starring Alec Guinness and Joan Greenwood.
A decade earlier, as a immature newsreel cameraman, London-born Slocombe had shot tools of a Nazi advance of Poland.
The peculiarity of that footage, that was used in a documentary Lights Out in Europe, swayed Ealing to occupy him.
Steven Spielberg chose Slocombe, afterwards impending 70, to fire Harrison Ford in Raiders of a Lost Ark and afterwards dual serve Indiana Jones films in a 1980s.
Slocombe was nominated for an Oscar on 3 occasions, including for Raiders, and was given a lifetime feat endowment by a British Society of Cinematographers in 1996. He was done an OBE in a New Year Honours list in 2008 for services to a film industry.
‘Amiability and intelligence’
by Vincent Dowd, BBC World Service
With Dougie Slocombe’s flitting during 103 we’ve mislaid a couple to several eras of Britain’s cinematic history. His typically benevolent comment of how as a news cameraman he transient from wartime Poland by equine and trap and afterwards by sight would make a film in itself. He became, as he said, ‘last male standing’ of a good craftsmen who helped Michael Balcon spin Ealing Studios into a force to be reckoned with. Of a films he shot there he many desired a dim humour of Kind Hearts and Coronets – though he told me he was also unapproachable of how Hue and Cry (1947) found black and white beauty in bombed-out London post-war. When Ealing closed, he went on to an unusual array of 1960s and 70s films: from The Servant (again, London in beautiful monochrome) to a explosively charming Jesus Christ Superstar in 1973.
Four years later, Steven Spielberg drafted him in to film scenes for Close Encounters of a Third Kind: they got on so good that he asked Dougie to be cinematographer on a initial of 3 Indiana Jones movies. Dougie was already 70 when he started a job. we didn’t know him until he was 100 and roughly blind, though in a prolonged conversations we had with him, his memory remained pin-sharp. The charity and comprehension that helped make him one of a world’s good cameramen were still there. His appetite amazed. When he was 102, we telephoned to ask if we could come turn a subsequent day to talk him about an aspect of a Ealing years. Dougie pronounced he’d be delighted. But it would have to be in a morning since in a afternoon he was requisitioned in to record a five-hour TV talk – in French.
His other films enclosed Whisky Galore, The Man in a White Suit, Rollerball and Never Say Never Again.
Speaking to a BBC final year, Slocombe removed operative underneath a Ealing Studio mogul, Sir Michael Balcon, as good as filming on plcae in a city still scarred by explosve damage.
“I consider I’m a final male standing,” he said. “All a vital technicians and a producers and directors are left – and that famous repertory association of actors and actresses.”
Slocombe’s daughter pronounced he died in sanatorium in London.