But where did he start out (Biography) and what were the films that made him a household name (Filmography)?

Mini Biography

Henry Kenneth Alfred Russell (b. 3rd July 1927 in Southampton, UK) took a slightly circuitous path into filmmaking, although it had always been one of his passions.

After a stint in the Merchant Navy (after an unhappy time at Pangbourne Naval College) he grew disillusioned with ambition and spent six months in an armchair, refusing to join his parent's shoe company, before deciding he wanted to dance. Five years of training and touring taught him that perhaps it wasn't the career for him either, so instead he drifted into fashion photography and started making short films as a hobby. One of these found its way to the BBC and Russell started to direct for the arts programmes Omnibus and Mentor. His films, particularly those based on Debussy and Elgar, were great successes and led to him being given the opportunity to direct cinematic releases.

Once freed from the constraints of television Russell's highly individual (and in many ways excessive) style became honed, and he successfully applied it to many genres - musicals, rock operas, historical sagas, science fiction, literary adaptation and, of course, kitsch comedy-horror. Although his explicit over-use of symbolism, visual/thematic gariety and religious & sexual imagery has not always won the praise of critics, there are few directors who can sport such a diverse resume or such a defined directorial style.

Ken Russell continues to director/produce/write and act to this day, and his films continue to be purchased and screened worldwide.

Filmography (edited)

Ken Russell, aside from the films listed below, has also produced a large number of television programmes and short films, but I see no need to include a full filmography when the IMDb already have that adequately covered. (The exception in this list is the televisual adaptation of Lady Chatterley's Lover, included as it follows on from themes and locations featured in his movies).

Women in Love (1969)

Although Women in Love was actually his third cinematic release (following French Dressing (1963) and The Billion Dollar Brain (1967)) neither of these previous works contain either the themes or directorial style for which he is now known, which perhaps helps to explain why they were both critical and commercial flops. To all intents and purposes his true cinematic career began with this explicit 1969 adaptation of D.H. Lawrence's novel.

Compared to much of his later work this is an extremely restrained piece - period detail, authentic literary adaptation and quality acting dominating the frame without a hint religious debauchery or a dream sequences (well, only those that Lawrence included himself, and if anything they've been toned down). The two reasons for this are probably that this was very early on in Russell's career and, since his two previous releases had been flops, this was a make-or-break work for his future as a film (rather than television) director. Also, Russell is generally quite respectful of literary works (Lair is a bit of an exception, though it could never be claimed that his interpretation ruined the original), and since he then returned to DH Lawrence a further twice (The Rainbow and Lady Chatterley's Lover) it would be fair to assume Russell is a bit of a fan, and their two styles do seem remarkably suited.

What really sets this film apart from standard, classical Henry James/E.M. Forster adaptations, and firmly imprints Russell's hallmark, is the now notorious (and slightly gratuitous) Oliver Reed/Alan Bates naked wrestling sequence - a glimpse of Russell's future style. Aside from this (and perhaps the bull scene) there is no real scene of true Russell-esque excess, but this work does illustrate just how fine a director Russell is (critics always seem to have missed the point that his films are overblown because that's the way he wants them, rather than through any lack of skill or talent).

The cautious approach paid off, and Women in Love not only received wide critical acclaim but also earned Russell 'Best Director' BAFTA, Oscar and Golden Globe nominations, though the only award went to Glenda Jackson (Oscar for best actress). This level of public and critical praise was sadly never again to be repeated, but from this point onwards Ken Russell had most definitely arrived on the international film scene.

The Music Lovers (1970)

Following the restrained, even tasteful, Women in Love, Ken Russell then released this wildly embellished (and explicit) interpretation of the Tchaikovsky's homosexual-concealing marriage. Again employing the skills of Glenda Jackson to great effect his male lead this time was Thorn Birds favourite Richard Chamberlain (incidentally, Lair's Amanda Donohoe turned up with him in a rather disastrous Thorn Birds cash in. Nothing to do with Ken Russell, but an interesting branch on the Lair family tree). Verging on the uncomfortable to watch, this brought out a side to Tchaikovsky that many classical lovers felt the public could have done without.

The Music Lovers was quite well received upon release, but was a little too elaborate for many critics, who had preferred his more conservative television outings with composers. A necessary stepping stone to prepare the critics for the shock of his next work.

The Devils (1971)

The Devils is nothing less than shocking. From a directors/adapters point of view it is arguably Ken Russell's greatest work, yet it is a truly horrible film to watch - the horror having been painstakingly recreated with such passion that there are few that even come close to evoking such disgust. Extreme it definitely is, yet gratuitous is not a term to apply. The horrendous occurrences - burnings, religious hysteria, torture, repression of freedom - are all (loosely) based on actual events and have been more directly lifted from the Aldous Huxley novel 'The Devils of Loudon', so although there is blatant visual excess this does not extend to the actual content.

The basic outline of the plot concerns the religious hysteria brought about by a church fearful of the individualistic effect that the priest - Father Grandier (Oliver Reed giving probably his best performance) - is having upon the townspeople and the inhabitants of a nunnery.

In a nutshell, if you are not repulsed by this film then you have no even begun to understand it, and that is why this is such a truly great movie - you've likely never seen a 'horror' film that made you do little more than jump, but The Devils continues to haunt you long after watching. Superb - not entertainment, but true masterly craftsmanship.

The Boy Friend (1971)

How can you follow a work like The Devils? Never one to be accused of being predictable Ken Russell's next project was a version of the hyper-camp 'n' fluffy The Boy Friend featuring ludicrously staged musical numbers that would have been more at home at MGM, cheesy set pieces and a starring role from 60's icon Twiggy. Complete vacuous rubbish, but Ken Russell was clearly enjoying himself. From this point no-one was ever going to be that surprised by anything he came out with, and the 'Keep 'em guessing' angle of his work became firmly rooted as part of his charm.

Savage Messiah (1972)

Russell's examination of art and energy. Passionate and angry sculptor Henri Gaudier-Brezeska shakes Edwardian society with his bohemian ideals, and slightly marginalizes the plot about his authoress wife that may have proved a bit more interesting. Not a bad film, but The Devils it's not.

Mahler (1974)

In part a pantheistic reply to Visconti's 1971 Death in Venice, this is arguably one of Russell's more successful and generally appealing works. Alternately light and serious in parts, Mahler's music is explored through a number of tableaux, all tinged with a hint of Russell's flamboyancy which (while not necessarily impressing the musical purists) conquers over the obviously minimal budget to produce quite a satisfying and entertaining experience.

Tommy (1975)

The Who's attempt at rock opera, featuring half the musical stars of the day (Elton John, Tina Turner etc.) and a daft plot about a Pinball Wizard. Ludicrous, overblown, camp and extremely kitsch, Russell's direction more than lives up to the ideas in the original material. Very, very silly, but huge amounts of fun. A genuine commercial hit, though many people in it should probably be greatly embarrassed, no matter how naff it becomes it is still light years better than modern pop efforts such as Spiceworld.

Lisztomania (1975)

An attempt to recreate the success and energy of Tommy, this was frankly a bit of a mistake. Hashed together, patronizing, misogynisitic, and the musical rearrangements are just appalling. Oh well, they can't all be winners. Nice try, anyway.

Valentino (1977)

Really not a bad biopic. Russell casts Rudolf Nureyev in the title role and, as is to be expected, his dancing is sublime even if is acting talent is minimal. Starting at the funeral then told in a retrospect, this is really quite subdued and tasteful (for the first hour or so) before Russell gets stuck in to a bit of flamboyancy, rather at the expense of the entertainment. Cynical, but contains some decent comic touches in the earlier sections. Again, not his best, but better than the hapless Lisztomania.

Altered States (1980)

An extremely interesting (if not wholly successful) evocation of sensory perception and the condition of man. Dull scientist Edward Jessup (William Hurt), a skeptic despite childhood visions of Christ, uses a sensory deprivation tank to hallucinate and regress back beyond birth. He gives it all up when he marries a fellow scientist, but returns to the experiments to greater effect once their marriage reaches its end. There are a number of classic Russell scenes in this film - in particular the scene with the goats skull flying towards the camera is very similar to the dream sequences in Lair. Although the ending does disappoint (more through the lack of continuation of ideas than the cheapness of the effects), Altered States is still an interesting piece today - numerous other drug induced and sci-fi flicks (Fear and Loathing in Las Vegas, even Bladerunner) would not have been quite the same without it.

Crimes of Passion (1984)

Russell made a bit of a comeback with this blacker-than-Satan's-soul comedy. Kathleen Turner gets to be both camp and sexy as a career woman who leads a double life as a sexy hooker named China Blue. After getting a bit carried away on a cop with her stilettos she runs into a repressed fundamentalist (Anthony Perkins - who else). Shocking, amusing and provocative, this established Russell as a strong player to both the British and American markets. Great stuff.

Gothic (1986)

It all sounds like such a good idea on paper - in June 1816, Byron, Shelley, Mary Shelley and her half-sister Claire meet at Byron's Villa Diodata at Lake Geneva, hold a séance during a brewing storm to conjure up their darkest demons, then have laudanum induced trips that then inspire the writing of (amongst other works) Frankenstein. Then why is this such a pretentious load of old tosh? Though there is ample excess (goblins on beds, breasts turning into eyes and winking, ludicrous dialogue) it doesn't even constitute camp - if the whole thing came across as funny it would have been superb. Sadly, this really thinks it is Art with a purpose, and if the budget had been that bit higher and the script considerably better then it might have worked; but the whole thing comes across as a rather dreary nightmare rather than a frightening embodiment of the evils that plague humanity. Another nice attempt, but for pseudo intellectuals only.

Salome's Last Dance (1988)

Another film that sounds good on paper. Oscar Wilde's is invited to a private performance of his play, banned in public, to be staged by members of a sleazy Victorian brothel - hence the action is all crammed onto a single set. There are too many in-jokes that are decidedly low brow, and the attempts to link the dialogue to Wilde's passion for Bosie Douglas are too far-fetched and overplayed. Some of the acting is less than inspired, although Russell himself does a quick turn as a photographer. Tacky and really rather poor.

Lair of the White Worm (1988)

The one and only. At last, a film that achieved what it set out to - a camp mix of horror, comedy and gothic thriller. It is by no means the best film ever made (it's not even the best Russell) but there is something wholly satisfying about this movie. Many of the classic Russell hallmarks are there - dream sequences, nuns, some bad acting and clunky dialogue, but something about it really works and is both genuinely endearing and extremely good fun. On a scale of 5 this is a 3 star film at best, but it will always be my favourite. One to forgive for its mistakes and sit back and enjoy. Fabulous.

The Rainbow (1989)

Here Russell came back to his home territory - DH Lawrence, several people he'd worked with before (Christopher Gable, Glenda Jackson, Sammi Davis, Amanda Donohoe etc.), literary adaptation by himself. It's not a bad film, but it's not Women in Love either. It's difficult to pinpoint exactly where it went wrong. Sammi Davis as heroine Ursula Brangwen, although she'd done a sterling job in Lair, seems somewhat miscast. Paul McGann as her soldier suitor seems bored, and the script is just a bit more episodic and less punchy than was needed. For once, Russell opts too far on the tasteful side and produces a work a little too formulaic for its own good - the TV version with Imogen Stubbs was a lot better. Aside from these criticisms it is still perfectly enjoyably stuff and Amanda Donohoe (Lair's one and only Lady Sylvia) does a very convincing turn (in a ridiculous blonde wig) as Winifred Inger, the bisexual teacher who seduces Ursula then marries her rich uncle. Worth watching for her performance alone.

Whore (1991)

A bit too sad to be either erotic or funny, Whore is the story of Liz (Theresa Russell), a downtrodden hooker with a miserable past (broken marriage, child in care) that has just left her abusive pimp. Peppered through the cavalcade of straight-to-camera monologues are some really quite amusing clips of some of her older clients (the only ones she can actually abide), but the whole thing really lacks the spark of the earlier Crimes of Passion. Again, perfectly watchable entertainment but a bit more depressing and a bit less powerful than was the intention.

More to follow...