John Schlesinger's Cinematic Journey: Triumphs, Flops, and Enduring Influence
British director John Schlesinger, born a century ago this month, left an indelible mark on cinema with his diverse and often disruptive work. From pioneering kitchen-sink dramas in the 1960s to making bisexuality mainstream, his career was a rollercoaster of critical acclaim and commercial failures. Yet, his legacy remains complex, culminating in a surprising turn to Tory party advertisements in the 1990s. Those closest to him, including his longtime partner Michael Childers, now share insights into the man behind the movies.
A Fateful Meeting and the Birth of Midnight Cowboy
In 1967, Michael Childers, a 22-year-old student, was set up on a date with Schlesinger, who was nearly two decades older and recovering from the stateside flop of Far from the Madding Crowd. Childers, initially wary due to Schlesinger's "mercurial" reputation, brought a friend for backup. However, he quickly found the director charming and witty. Their connection deepened when actress Lee Remick and Frank Sinatra joined them, hinting at the glamorous life ahead. The pair remained together until Schlesinger's death in 2003.
Childers soon became integral to Schlesinger's professional life. During the preparation for Midnight Cowboy, an adaptation of James Leo Herlihy's novel, Childers read the script and was stunned by its ribald, X-rated content. He contributed to the film's wildness by suggesting an Andy Warhol-inspired party scene in Greenwich Village, enlisting Warhol's circle, including Viva and Joe Dallesandro. This scene, shot over three days, became increasingly debauched, reflecting the film's bold spirit.
Breaking Boundaries and Facing Backlash
Midnight Cowboy, starring Dustin Hoffman and Jon Voight, faced initial backlash, with preview audiences walking out during a graphic scene. Hoffman recalled fearing it could "end everybody's career." Instead, the film defied expectations, winning Schlesinger an Oscar for Best Director and becoming the first X-rated movie to secure the Best Picture award. Its success paved the way for Sunday Bloody Sunday in 1971, a masterpiece exploring a bisexual love triangle with a groundbreaking, unapologetic kiss between Peter Finch and Murray Head.
Schlesinger's early work, including A Kind of Loving, Billy Liar, and Darling, helped crystallize advances in British cinema. He continued with commercial hits like Marathon Man and critically acclaimed TV films such as An Englishman Abroad. Yet, despite these achievements, his name often fails to resonate with modern audiences, partly due to his eclectic filmography, which ranged from Hollywood decadence in The Day of the Locust to the vulgar comedy Honky Tonk Freeway.
LGBTQ+ Representation and Personal Conflicts
Schlesinger's pioneering LGBTQ+ representation is a key thread in his legacy. From the casual cruising in Darling to the explicit themes in Sunday Bloody Sunday, he brought queer characters to the forefront. Childers emphasizes the importance of these works, expressing frustration when younger generations overlook them. Schlesinger was open about his sexuality, even interpreting a remark from Queen Elizabeth II during his CBE ceremony as a "coded acknowledgment" of his identity.
However, this openness clashed with his 1991 decision to create a promotional film for the Conservative party, known informally as John Major: The Movie. This move came just three years after Section 28, which restricted the "promotion" of homosexuality in schools. Insiders attribute this to contrarianism and financial need, as Schlesinger was handsomely paid for the project, unlike peers who worked pro bono for Labour.
Struggles with Flops and Mental Health
Schlesinger's career was marred by significant flops, such as the costly disaster Honky Tonk Freeway in 1981, which damaged his Hollywood standing. Later low points included The Believers and his final film, The Next Best Thing, starring Madonna and Rupert Everett, which Childers described as "a load of shit." The director's temper was legendary, with Alan Bennett noting his "short fuse," and crew members comparing him to "Zeus, flinging down lightning bolts."
Childers reveals that Schlesinger dealt with these failures through "manic depression," a challenging aspect of their life together. Financial pressures, including maintaining three homes, forced him into journeyman work later in his career, leading to a decline in his artistic output. Sean Penn observed this waning talent during The Falcon and the Snowman, where communication broke down on set.
Reviving Interest in a Complex Legacy
To mark Schlesinger's centenary, Childers is hosting a programme in Palm Springs called My Husband Makes Movies, while the UK tours The Consummate Professional: John Schlesinger at 100. Claire Nicolas, a producer of the UK season, argues that understanding Schlesinger requires examining both his successes and failures. "He made these incredible award-winning classics but also some questionable pieces of work," she says, urging audiences to look beyond the award-winners to grasp his full impact.
Schlesinger's story is one of contradictions: a director who broke barriers in representation yet aligned with oppressive policies, who achieved Oscar glory but also faced profound professional setbacks. His films, from Midnight Cowboy to Sunday Bloody Sunday, continue to influence modern cinema, with parallels drawn to directors like Luca Guadagnino. As his centenary celebrations unfold, they invite a reevaluation of a filmmaker whose work remains as relevant and provocative as ever.
