I had planned on finishing up the Lucio Fulci tribute I started last week but I was deeply saddened to learn that the great British filmmaker & cinematographer Freddie Francis had passed away on March 17th due to complications following a stroke. In light of this, I decided to spend some time writing about Francis instead since he’s long been one of my favorite filmmakers.

Freddie Francis began his career in cinema as a camera operator working with directors like Michael Powell & Emeric Pressburger on The Tales of Hoffmann (1951) and John Huston on Moulin Rouge (1952), Beat the Devil (1953) and Moby Dick (1956).

In the late 50s, he started focusing on cinematography and quickly became a master of his craft. He helped form what would later be called the British New Wave and was responsible for the impressive look of some of the best “angry young men” films of the period such Karel Reisz’ Saturday Night And Sunday Morning (1960). He also worked with Joseph Losey on Time Without Pity (1957) and Jack Cardiff on the Oscar-winning Sons and Lovers (1960). His early work helped breathe new life into British cinema and his black & white cinematography for director Jack Clayton was especially groundbreaking. The thoughtful drama Room at the Top (1959) and the haunting thriller The Innocents (1961) are both wonderful examples of what Freddie Francis was able to do with his camera.


Francis later turned to directing and was inspired by filmmakers such as Billy Wilder, William Wyler, and Tod Browning, as well as his mentors which included John Huston and Michael Powell.

Some of his best work can be seen in the early films he made for Hammer Studios. Paranoiac is an under-appreciated gem made by Francis in 1963, which is beautifully directed and shot in stunning black & white. The director also managed to get Oliver Reed to deliver one of his greatest performances in Paranoiac playing a tormented alcoholic with a sadistic streak. Another impressive early effort from Francis was the disturbing thriller Nightmare made in 1964. In Nightmare Jennie Linden plays a young girl who’s plagued by nightmarish visions and Francis does a stellar job of bringing the dark dream world she inhabits to life.



His color films were often just as interesting as his early black & white efforts, and some of his best movies included the seven horror films he made with the great Peter Cushing. Their first Hammer film together was the impressive Evil of Frankenstein (1964). Many fans of the Hammer Frankenstein films shun The Evil of Frankenstein because it takes a much different approach to the character of the Doctor compared to how he’s usually portrayed in Hammer films. Instead of making Doctor Frankenstein a crazy & nasty man who’s out to do harm by making a monster, Freddie Francis turned him into a sympathetic character who’s horrified by his creation. It may not be the best Frankenstein film produced by Hammer but is a welcome homage to the classic Universal Frankenstein movies of the 1930s & 40s, and the “birth of the monster” is especially well executed.

Following The Evil of Frankenstein, Freddie Francis began working with Amicus and helmed my favorite British horror anthology, Dr. Terror’s House of Horrors (1965). Dr. Terror’s House of Horrors isn’t as popular or well known as some other horror anthologies but t has some particularly effective moments and is creatively shot with some exceptional and moody photography. It also has a terrific cast that includes Christopher Lee, Donald Sutherland and Peter Cushing as the mysterious fortune teller Dr. Sandor Schreck. Francis had the ability to weave shorter films into a wonderful whole. They didn’t always work, but more often than not they did and in Dr. Terror’s House of Horrors he was once again able to coax his cast of actors into giving some memorable performances as the tormented victims of Dr. Sandor Schreck’s horrific prophecies.



Freddie Francis would later on go to direct many other great horror anthologies including Torture Garden (1967) and Tales of the Crypt (1972). Tales of the Crypt is based on the EC Comic series of the same name and it was the first film Peter Cushing made after the death of his wife Helen. I’ve always been touched by the way Freddie Francis and Peter Cushing worked together on Tales of the Crypt. Both men decided to come up with a way to pay their respects to the woman Peter had deeply loved and lost, so they changed the name of Cushing’s deceased wife in the film to Helen and brought actual pictures of her onto the set. Many people assume that Cushing was distraught at the time, but Francis has always said that it was a choice that he and Peter made together to honor her memory. I’m sure that working on the film probably helped Cushing work through his grief because he delivered a terrific and sympathetic performance in Tales of the Crypt as the eccentric Mr. Grimsdyke.

Other memorable films that Francis and Cushing made together include the excellent occult thriller The Skull, which is another favorite of mine along with Legend of the Werewolf (1975), Ghoul (1975) and The Creeping Flesh (1973) which brought Peter Cushing and Christopher Lee together again in one of their best pairings.


Oddly enough, one film that Francis and Cushing did not work on together was Dracula Has Risen from the Grave (1968). The film was Francis’ feature entry into Hammer’s Dracula series, but like The Evil of Frankenstein, Francis didn’t necessarily follow Hammer formula in Dracula Has Risen from the Grave and Peter Cushing’s Van Helsing is nowhere to be found. What his Dracula film does include is some breathtaking studio photography and lovely use of color, which makes it’s one of the most visually striking of all the Hammer Dracula movies. It also has some surprisingly gory moments and the character of Dracula is smartly presented as a seductive, yet scary creature with animal instincts and a nasty temper.

As the 1970s approached Freddie Francis was becoming increasingly tired of the British horror genre he helped create. He had never intended on making a name for himself as a purveyor of horror cinema but the dramas and comedies he wanted to direct never materialized. Horror fans greatly admired his skills as a director and cinematographer so studios like Hammer, Tigon and Amicus continued to offer him projects which he reluctantly accepted. I’m thankful that he did because I think some of his best and most successful work can be found in the atmospheric films he made during the 1960s.

Even his failures were interesting such as The Vampire Happening (1971) which plays like a stylish and utterly silly gothic episode of Benny Hill and the ill-conceived musical horror comedy Son of Dracula (1974) which features an impressive cast of musicians including Ringo Starr, Harry Nilsson, Peter Frampton, Keith Moon and John Bonham.

In the 80s Francis worked as a cinematographer on many critically acclaimed films as The Elephant Man (1980, David Lynch), The French Lieutenant’s Woman (1981, Karel Reisz), Dune (1984, David Lynch), Cape Fear (1991, Martin Scorsese) and Glory (1989, Edward Zwick) which won him his second Oscar.

Thankfully he returned to directing for a brief time to make the terrific chiller The Doctor and the Devils (1985). The Doctor and the Devils was a film that Freddie Francis had wanted to make for 10 years and he got the opportunity to direct it when Mel Brooks (who he had met while working on The Elephant Man) agreed to help produce it. The film is based on a script by Dylan Thomas about the infamous Burke & Hare murders, and it features some terrific performances by a great cast that includes Timothy Dalton, Jonathan Pryce, Stephen Rea, Julian Sands, Patrick Stewart and model/pop singer turned actress Twiggy. Unfortunately, Francis was upset with the cuts that 20th Century Fox decided to make to the film. His disappointment and frustration with making The Doctor and the Devils lead him to end his career as a director and focus exclusively on cinematography.

There are few cinematographers that can compare to Freddie Francis and he will be greatly missed, but I also think his wonderful career as a filmmaker has few rivals. It’s a shame that he didn’t make more films but he left us with an amazing filmography of work to enjoy. Even though he often regretted the years he spent in the British horror industry I think his disappoint was largely due to the way critics berated and disregarded the genre. Despite this, he achieved his greatest success there and we are lucky that his talent was used to advance horror cinema in creative and intelligent new directions.

6 thoughts on “R.I.P. Freddie Francis 1917-2007

  1. Nice overview of the man’s work. I’ve only caught the second half of the Doctor and The Devils on TV, and I now feel guilty I never watched it in its entire. Better late than never.

    Apparently it was due to his past as a horror director that made Scorsese feel Freddie Francis should be his D.O.P. on Cape Fear, to hel phim with doing such a film.

  2. This was a pleasure to read. Very insightful and thoughtful tribute to one of the greats. Very nicely done, thanks for posting it.

  3. Kevin – Thanks a lot! I think you’d enjoy The Doctor and the Devils so you should give the DVD a look. It’s funny, but personally I think the best thing about the Cape Fear remake is the cinematography. The movie is shot really well!

    Jeremy – Thanks! Besides the great write-up by Tim Lucas, I haven’t thought much about the other Francis tributes I’ve read. A lot of them read like back-handed compliments and the writers seem to have very litte regard or understanding of the work he did outside of his stuff with Lynch. It’s a shame that there isn’t more appreciation of British horror, as well as the British New Wave. I love British cinema so many of my favorite filmmakers & actors are Brits.

  4. I was a little disappointed with Freddie on the commentary for Dr Terrors H of H. dvd, he seemed rather dismissive of his horror films. He had drifted into direction, he was primarily a d.o.p. & considered directing as secondary & more of a pot boiling activity & whilst he always had clear recollections of his “worthy” work, eg. The Innocents, he had little recollection of favourites like The Skull, The Creeping Flesh & Mumsy,Nanny,Sonny & Girly.

    I don’t think he appreciated how well loved his films are, having said that I think Roy Ward Baker is much the same. People forget what great technicians were involved in british horror, world class d.o.p.’s & art directors working with tiny budgets.

    It’s ironic that the film snobs who ignore his horror work in favour of his modern photography with Scorsese & Lynch, it was these horror films that these directors grew up with & were inspired to make films from in the first place!

    Dozens of “respectable” directors cite Hammer films as a formative influence & re paid this debt by using ppl like Francis & Douglas Slocombe to photograph their films. Yet no mention is made of these films in most film books, it’s as if Hammer never happened.

    It’s only their post modern “cult” status & Scorsese approval that allows non horror critics to grudgingly afford them some column inches.

    We fans however have never had that problem. We grew up with them, we continue to watch them & blogs like yours celebrate them….good for us!

  5. I think I love you.

    Do you know ‘Freakmaker’ and ‘Death Line/Raw Meat?
    Great British Films, 1973; Donald Plesence as evil botanist and funny cop, Tom Baker in hideous make-up knocking ‘freaks’ around: lovely!

  6. Thanks! I appreciate all the comments.

    I love British horror films in general so yep, I really fond of Freakmaker and Raw Meat. I actually watched Raw Meat again a few weeks ago and thought about writing something about it. I need to see Freakmaker again. Great stuff!

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