Lindsay Anderson and Serge Reggiani: Writing, Friendship and Directorial Practice

Gourdin-Sangouard, Isabelle

doi:10.1057/978-1-137-53943-4_6

Isabelle Gourdin-Sangouard³

170 Accesses

Abstract

Serge Reggiani was a French actor, singer, poet, and painter born in Italy in 1922. He died in 2004 from a heart attack in France. Lindsay Anderson and Reggiani met in 1950 on the set of Secret People, a film directed by Thorold Dickinson and produced at Ealing Studios between October 1950 and May 1951. Anderson was aware of Reggiani’s array of work in French cinema, as he had seen him in Marcel Carné’s Les Portes de La Nuit in 1946.

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Notes

1.
Lindsay Anderson (1951), ‘Diaries’, The Lindsay Anderson Archive, University of Stirling, LA 6/1/11/2.
2.
Lindsay Anderson (1951), ‘Diaries’. LA 6/1/11/4.
3.
Paul Sutton (ed.) (2004), The Diaries: Lindsay Anderson (London: Methuen), p. 57.
4.
Paul Sutton (ed.), The Diaries, p. 58.
5.
Lindsay Anderson (1952), Making a Film: The Story of ‘Secret People’ (London: George Allen and Unwin Ltd.), pp. 11–18.
6.
Thorold Dickinson (2008), in Philip Horne and Peter Swaab (eds.) Thorold Dickinson: A World of Film (Manchester and New York: Manchester University Press), p. 86.
7.
Ibid.
8.
Lindsay Anderson (1948), ‘Diaries’, LA 6/1/10/37.
9.
Ibid.
10.
Lindsay Anderson (1948), ‘Diaries’, LA 6/1/10/39.
11.
Ibid.
12.
Lindsay Anderson, Making a Film, p. 22.
13.
Ibid.
14.
‘I’ve made fourteen films…’; ‘And, this happens everytime?’; ‘never!’.
15.
Lindsay Anderson, Making a Film, p. 23.
16.
‘You need to think it through when she gives you orders …’
17.
‘That’s it’.
18.
Lindsay Anderson, Making a Film, p. 24.
19.
Lindsay Anderson, Making a Film, pp. 26–27; 42; 52.
20.
Lindsay Anderson, Making a Film, p. 39.
21.
Lindsay Anderson, Making a Film, pp. 41–42.
22.
Ibid.
23.
Lindsay Anderson, Making a Film, p. 43.
24.
See for instance, the entries reporting on Phyllis Crocker’s work on continuity in Lindsay Anderson, Making a Film, pp. 65–66; the unit production manager, Ralph D. Hog on pp. 60–61; the director of photography, Gordon Dines on pp. 37–38; 68–69. And, on Bobby Penn, the unit still photographer on pp. 71–72.
25.
Lindsay Anderson, Making a Film, p. 32.
26.
Lindsay Anderson, Making a Film, pp. 32–34.
27.
Lindsay Anderson, Making a Film, p. 72.
28.
Serge Reggiani (1951), ‘Correspondence’ in The Anderson Archive, LA 5/1/2/45/4.
29.
Ibid.
30.
Serge Reggiani (1951), ‘Correspondence’, LA 5/1/2/45/3.
31.
Lindsay Anderson, Making a Film, p. 52.
32.
Lindsay Anderson, Making a Film, p. 96.
33.
Lindsay Anderson, Making a Film, p. 84.
34.
Serge Reggiani, “Correspondence”, LA 5/1/2/45/4.
35.
See Serge Reggiani (1951/52), ‘Correspondence’, LA 5/1/2/45/6: ‘Ophuels me propose un film en anglais avec Claudette Colbert et Anton Valbruck que je refuserai certainement …je n’aime pas …les prétentions d’Ophuels…’ [‘Ophüls has offered me a part in a film in English with Claudette Colbert and Anton Walbrook which I will in all likelihood turn down, as I detest Ophüls’s pretentiousness’].
And: ‘Dernier film refusé: le film de Pabst en Italie (saloperie et connerie ensemble)…’ [‘Latest film I turned down: Pabst’s film in Italy (s**t and utter nonsense together)’], in Serge Reggiani (1952), ‘Correspondence’, LA 5/1/2/45/7.
36.
Serge Reggiani (1951), ‘Correspondence’, LA 5/1/2/45/5.
37.
Serge Reggiani (1951), “Correspondence”, LA 5/1/2/45/2). ‘Why am I not surprised to hear you whining about your book? One should hold dear one’s bad old habits that make one who one is’.
38.
Serge Reggiani, Reggiani (1995; 2003), Dernier Courrier Avant La Nuit (Paris and Montreal: L’Archipel).
39.
Serge Reggiani, Dernier Courrier, pp. 25–33; 55–65.
40.
Serge Reggiani, Dernier Courrier, p. 25.
41.
Serge Reggiani, Dernier Courrier, p. 55.
42.
Serge Reggiani, Dernier Courrier, p. 63–64
43.
‘I am Italian but remain French’. Serge Reggiani, Dernier Courrier, p. 25.
44.
Serge Reggiani, Dernier Courrier, p. 29–31.
45.
Serge Reggiani, Dernier Courrier, p. 257–259.
46.
Lindsay Anderson (1988), ‘My Country Right or Wrong?’ in Paul Ryan (ed.) (2004) Never Apologise: The Collected Writings—Lindsay Anderson (London: Plexus), pp. 33–34, and Lindsay Anderson (1994), ‘A Child of Empire’, pp. 35–40).
47.
Lindsay Anderson (1994), ‘If…. The Colour of Monochrome’, in Paul Ryan, Never Apologise, pp. 116–119 and Lindsay Anderson (1994), ‘Britannia Hospital’, pp. 148–157).
48.
Lindsay Anderson, ‘Britannia Hospital’, p. 157.

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University of Aberdeen, Aberdeen, UK
Isabelle Gourdin-Sangouard

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Isabelle Gourdin-Sangouard
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Department of Comparative Literature, Lund University, Lund, Sweden
Erik Hedling
Intl. Federation of Film Archive (FIAF), Brussels, Belgium
Christophe Dupin

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Gourdin-Sangouard, I. (2016). Lindsay Anderson and Serge Reggiani: Writing, Friendship and Directorial Practice. In: Hedling, E., Dupin, C. (eds) Lindsay Anderson Revisited. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-53943-4_6

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DOI: https://doi.org/10.1057/978-1-137-53943-4_6
Published: 15 June 2016
Publisher Name: Palgrave Macmillan, London
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Online ISBN: 978-1-137-53943-4
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