Bill Douglas
| Bill Douglas | |
|---|---|
| Born |
17 April 1934 Newcraighall, Scotland |
| Died | 18 June 1991 (aged 57) Bishop's Tawton, England |
| Years active | (1972–1990) |
William Gerald Forbes (Bill) Douglas (17 April 1934 – 18 June 1991) was a Scottish film director best known for the trilogy of films about his early life.
Born in Newcraighall on the outskirts of Edinburgh, he was brought up initially by his maternal grandmother; following her death, he lived with his father and paternal grandmother. He undertook his National Service in Egypt, where he met his lifelong friend, Peter Jewell. On returning to Britain, Douglas moved to London and began a career of acting and writing. After spending some time with Joan Littlewood's 'Theatre Workshop' company at the Theatre Royal Stratford East, he was cast in the Granada television series, The Younger Generation in 1961 and had a musical, Solo, produced in 1962 at Cheltenham.
Having been interested in film-making all his life, in 1968 Douglas enrolled at the London International Film School, where he wrote the screenplay for a short autobiographical film called Jamie. After initial difficulties in finding support for the project, he eventually found a champion at the British Film Institute in the newly appointed head of Production, Mamoun Hassan, who secured funding on the basis that Jamie should form part one of a trilogy – echoing the great childhood trilogies of Ray and Gorki. The film was renamed My Childhood, and its success on the international festival circuit paved the way for the second and third instalments of the trilogy of Douglas's formative years: My Ain Folk (1973) and My Way Home (1978).
The Bill Douglas Trilogy recounts the harrowing experiences of a young boy, Jamie, growing up in crippling poverty: material and emotional impoverishment; terrible privations at the hands of his paternal grandmother; incarceration in a children’s home; living in a hostel for down-and-outs. Eventually the call-up for national service allows Jamie to find freedom through his friendship with Robert, a young middle class Englishman who introduces him to books and the possibility of a more optimistic and fulfilling future. The austere black and white images of the films embody a stillness and intensity reminiscent of silent cinema and this visual style is augmented by the equally spare and precise use of sound. Just as the stillness of the image forces the audience to look, so the relative silence encourages greater attention to specific sounds – boots scraping on asphalt, the chirping of birds and the timbre of voices – granting an emotional power lost in the aural bombardment characterising much contemporary cinema.
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