Haskell Wexler, R.I.P.

Haskell Wexler (1922-2015)

Photo ©Tom Hyland

Haskell Wexler, one of the 20th century's most talented and influential cinematographers, passed away on Monday at the age of 93. His son Jeff, told CNN that his father died peacefully in his sleep.

I met Wexler once, at a special evening at the Chicago International Film Festival in 2011; I wrote about that memorable occasion in this post. At 89, Wexler was engaging, direct and humorous; let's hope we're all that lively if and when we get to that age.

I've always been someone attracted to visuals; it's this sensation that gives a sense of wonder and magic to films, in my opinion. When a director of photography can create the proper mood with lighting as well as depth of field (no matter how shallow or deep) it adds to the emotional power of the movie. I can list numerous examples, but few accomplished this feat as well as Wexler.

He started out working on documentary films in the 1950s, eventually finding success in Hollywood, with one of his first notable accomplishments being the cinematographer for Elia Kazan's America America in 1963. It was only a few years later in 1966 that Wexler's work would be honored for his black and white photography for Who's Afraid of Virginia Woolf, directed by Mike Nichols. While Elizabeth Taylor and Richard Burton delivered searing performances, and Nichols directed with great urgency, it is impossible not to credit Wexler's work as any less important in this marvelous film. At times gritty, at times dreamy, at times stark, but always beautifully honest, Wexler's photography perfectly captured the raw nature of this work; he justly received an Academy Award for his contribution.

Wexler would work in color for most of his career; I especially loved his efforts on In the Heat of the Night (1967), directed by Norman Jewison. This particular scene, pictured above, has always been one of my favorites as far as photography, as the colors here are relatively cool, lending a tranquil setting to this moment. This serenity will soon be at odds with the characters in this scene, as Sidney Poitier, the detective, slaps the elderly gentleman for his bold statements; it's a jarring moment, one about racism that doesn't scream as such, thanks in large part to Jewison's staging as well as Wexler's lighting.

Wexler would win a second Academy Award for his color photography on Bound For Glory (1976), director Hal Ashby's at times laid back, at times stirring tribute to folksinger and activist Woody Guthrie. The setting of this film is the depression of the 1930s, and the spirit of the film owes much to John Steinbeck's The Grapes of Wrath, especially in the desolation of the land as well as the honesty and good spirit of the impoverished farmers and their families as they struggle with their everyday fate. The visuals are stunning, from a recreation of an apocalyptic dust storm that fills the screen to several scenes of Guthrie and others riding on top of trains, often to hide from the authorities. The color pallete that Wexler worked with in this film was based on earth tones, with dark browns and muted yellows; you feel at once transported to that era and its forlorn realization. 

Wexler would use Steadicam, invented by Garrett Brown, in this film for a scene in a labor camp; it is a tracking shot that lasts about three minutes, taking Guthrie (and the viewer) through a heartbreaking tour of the conditions the migrant workers must endure. While Steadicam is a mainstay in filmmaking these days, be it a multi-million dollar epic or a moderate budget independent production, this use in Bound For Glory was the very first in a Hollywood film. 

I was so impressed with Wexler's images in Bound For Glory that I wrote a separate post about it a few years ago (link here). Roger Ebert also pad tribute to Wexler's work on this film when he wrote, "there are images in Hal Ashby's Bound For Glory so striking or so beautiful I doubt I'll ever forget them." (Ebert's full review can be found here.)

Haskell Wexler was also a director, most notably on Medium Cool (1969), a documentary about the turmoil in the streets of Chicago during the troubled 1968 Democratic National Convention. This was his most successful film as helmsman; he would also become involved in Latin American politics with documentaries such as Brazil: A Report on Torture (1971) and Latino (1985). Activism was part of his DNA; Wexler would also direct films about the Occupy protests in 2011 in both Los Angeles and Chicago (his hometown); he was also instrumental in changing work laws in Hollywood after a fellow director of photography fell asleep while driving home after a 20-hour day on the set. Wexler's 2006 film Who Needs Sleep? would tell the story of his colleague.

While I was continually impressed by Haskell Wexler's work behind the camera, I was also fascinated by the man. A striking portrait of the man emerged in the film Tell Them Who You Are (2004), directed by his son Mark; here was a riveting look at how Haskell carried himself in his everyday existence, perfecting his craft, but also looking out to make the world a better place. His socialist politics were at odds with his son, giving this film an unforgettable human element, but it is the elder Wexler's strong personality and unshakeable belief in justice for all that stayed with me as I watched this film.

Yes, I'll always remember Haskell Wexler for the images he created on screen, but his faith in his fellow man will also stir my memories of this remarkable individual.

                                 

Documentary Channel: "Tell Them Who You Are"

During the month of December, Documentary Channel is presenting a "Best of" series of some of the most honored documentaries of the past few years. I will be reviewing several of these films over the next two weeks. Here is my first review of the film "Tell Them Who You Are." - Tom Hyland


Tell Them Who You Are (2004) is a documentary made by Mark Wexler about his father, celebrated two-time Academy Award-winning cinematographer, Haskell Wexler. Moving, funny and deeply touching, this is a first-rate film about how these two filmmakers struggle with their differences while at the same time, coming together in the mutual respect and love only a father and son could share.

Haskell Wexler has been one of Hollywood's greatest cinematographers for more than four decades (he is  currently 89 years old- he was 82 when this film was made) and his talent is legendary, as evidenced by his photography in such films as The Thomas Crown Affair (1968), In The Heat of the Night (1967)  and dozens of other films including Who's Afraid of Virginia Woolf (1966) and Bound for Glory (1976); these last two being his Oscar winners. Wexler has also directed a few films, his most famous being Medium Cool (1968), much of which was filmed during the Democratic National Convention of that years, held in Chicago, when anti-war demonstrators filled the streets of downtown Chicago in protest. Wexler has always been an activist with left-wing views and it's something he's quite proud of.

But the elder Wexler has also been a bit of a difficult person to deal with and that's much of the focus of this film. We get interviews with directors, producers and actors he's worked with and there are many comments as to how they would never work with him again. Milos Forman, who fired Wexler late in the filming of One Flew Over the Cuckoo's Nest (1975), talks about this experience, as does Michael Douglas, the producer of that film.

Yet it isn't just his work in Hollywood that has Haskell arguing with someone; it happens at home as well and his son Mark shows us a few of these instances. In one memorable scene, the two of them argue over whether or not Mark should shoot an interview of his father outside to obtain the light from the sunset, while Haskell thinks what he has to say onscreen is much more important than getting the right visual tone. This scene goes on for a bit and I loved watching every minute of it, as we see the friction between father and son on what seems to be a relatively minor point.

Lest you think that Haskell is always a handful, there is a very moving scene late in the film where he goes to visit his first wife (he has since remarried) at a care facility, where she is suffering the ravages of Alzheimer's disease. Mark's camera gives the two of them proper space and then slowly creeps in, as we see Haskell softly tell his wife about the wonderful times they shared when they were youngsters. Haskell finally breaks down, as we see him shed a few tears, as he realizes the love of his life is slipping away from him. Especially after seeing the cantankerous moods of Haskell, this scene is quite powerful.

You will learn a bit about Haskell Wexler's movie career while watching Tell Them Who You Are, but more importantly, you will see how he reacts with his son. It isn't always an ideal relationship, but at the end of the day, there's a great deal of respect there as each respects the talents and wishes of the other. This is a marvelous film that is Highly Recommended.


Tell Then Who You Are will be shown on Documentary Channel on Wednesday, December 14 at 8:00 PM Eastern time. For a schedule of the special documentaries that will be shown this month, go to the website for a schedule.