By Patrick Charsky
Alexander Mackendrick was one of the best Directors in Hollywood when he decided to leave the industry and become Dean of the newly formed California Institute of the Arts. There he assumed the role of sage of filmmaking for twenty-five years. Those years of teaching resulted in his magnum opus about the craft and art of making films. On Filmmaking is a series of short chapters that were handouts or lectures in Mackendrick’s classes. His book is not for the lay reader looking for Hollywood gossip or results of box office returns. On Filmmaking is a deep foray into not just theoretical questions like editing theory or how to direct actors, but also little details about how to write and direct movies.
Through his use of scenes from famous works of drama Mackendrick illustrates his ideas about filmmaking that proves edifying for Film students. It is a rigorous, enlightening, study that is often referred to as one of the best books about Film production.
On Filmmaking is replete with examples about dramatic devices. One of the most lucid is Mackendrick’s explanation of Dramatic Irony. In the short chapter about the topic, Mackendrick cites, perhaps, the most prolific user of dramatic irony; Alfred Hitchcok. Hitchcock has used dramatic irony as a cinematic device countless times to great success.
Mackendrick uses a quote from Hitchcock/Truffaut. In the quote Sir Alfred talks about a film in which a bomb is placed under a table without the actors knowing where the bomb is. It is a simple definition that shows how dramatic irony can be employed to raise the tension of a story from stasis to explosion. There are countless films of Hitch’s that use dramatic irony; Psycho, Saboteur, Rope, and many others. Mackendrick’s lesson about dramatic irony is exceptionally well done.
The next lesson Mackendrick imparts to readers is about a concept that is largely taken for granted in contemporary Film or Theater. Lev Kuleshov was foremost in theorizing about the use of montage in Film. Kuleshov was adamant about Film being unique compared to Literature or Theater. This difference was because Film didn’t have to adhere to what Aristotle defined as “unity of place” or “unity of time.” Mackendrick writes that Aristotle’s theories are obsolete. In contemporary times, Film, Theater and Literature all navigate time and place without regard to linearity or a rigid story logic. Today Kuleshov’s theories seem simple. When they were in their infancy, they were revolutionary.
Another excellent tutorial Mackendrick instructs readers on is “shot to shot” relationships. In On Filmmaking Mackendrick writes about David Lean’s version of Charles Dickens’ Great Expectations. Mackendrick analyses the pivotal scene where Pip discovers Magwitch for the first time. He describes how Lean and his editor created a sense of relief in the audience before the shocking appearance of Magwitch. Mackendrick recommends students to study the scene in depth for it’s superb scene construction and editing.
On Filmmaking seeks to educate. In many ways it does. Some lessons fail to accomplish this task. The King Solomon exercise, in particular, doesn’t seem to hit home with me. It is there, but what is its purpose? It is merely a short scene without any real impact. The chapter about William Archer has some wisdom to impart, but comes off as obscure and dated.
Mackendrick intends the book for film students. I think he has discharged his commission with success. I only warn casual readers to beware. As Mackendrick says at the beginning of the book; anyone who wants out should leave now. Mackendrick prided himself on maintaining a high standard. Clearly the book is meant for serious students who want to learn about film production.
Filmmaking is all about doing. One can learn all about theory, history, and technique, but until one does it, it will never take hold. Mackendrick makes this point abundantly throughout his book. Mackendrick provides a basis from which to learn, but to act must be combined with the lessons to really understand how making a film is done. Only by actually making films will this book prove it’s ultimate usefulness.
On Filmmaking succeeds where so many other books about film production have failed. The myriad of books about filmmaking on Amazon.com and other booksellers offer cheap solutions and lessons to make millions in the business. Mackendrick’s book is not a cheap substitute. It is firmly grounded with lucid examples and well reasoned explanations. Mackendrck was one of the best teachers of the craft. His book will stand as a testament to his genius.
