Ken Russel
| Ken Russell | |
|---|---|
Russell in 2002
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| Born |
Henry Kenneth Alfred Russell 3 July 1927 Southampton, Hampshire, England |
| Died | 27 November 2011 (aged 84) London, England |
| Occupation | Film director, screenwriter |
| Years active | 1956–2011 |
| Spouse(s) |
Shirley Ann Kingdon (1956–1978; divorced) Vivian Jolly (1983–1991; divorced) Hetty Baynes (1992–1999; divorced) Lisi Tribble (2001–2011; his death) |
| Children | 8 |
Henry Kenneth Alfred "Ken" Russell (3 July 1927 – 27 November 2011) was an English film director, known for his pioneering work in television and film and for his flamboyant and controversial style. Critics have accused him of being obsessed with sexuality and the Catholic Church. His films in the main were liberal adaptations of existing texts, or biographies, notably of composers of the Romantic era. Russell began directing for the BBC, where he made creative adaptations of composers' lives which were unusual for the time. He also directed many feature films independently and for studios.
He is best known for his Oscar-winning films Women in Love (1969), The Devils (1971), The Who's Tommy (1975), and the science fiction film Altered States (1980). Russell also directed several films based on the lives of classical music composers, such as Elgar, Delius, Tchaikovsky, Mahler, and Liszt.
Film critic Mark Kermode, speaking in 2006, and attempting to sum up the director's achievement, called Russell, "somebody who proved that British cinema didn't have to be about kitchen-sink realism—it could be every bit as flamboyant as Fellini. Later in his life he turned to making low-budget experimental films such as Lion's Mouth and Revenge of the Elephant Man, and they are as edgy and 'out there' as ever".
Russell was born in Southampton, England, on 3 July 1927, the elder of two sons of Ethel (née Smith) and Henry Russell, a shoeshop owner. His father was distant and took out his rage on his family, so Russell spent much of his time at the cinema with his mother, who was mentally ill. He cited Die Nibelungen and The Secret of the Loch as two early influences.
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