Artful Eyes
Clapperboard / Chris Challis
Artful Eyes
Clapperboard / Chris Challis
BY: David A. Ellis
Chris Challis was born in 1919 and was keen on films from an early age. He was educated privately at King’s College in Wimbledon, London. As a schoolboy he was very interested in stills photography, writes David A Ellis.
His father was a motorcar designer, who had an American friend who would come to England each year to watch and film motor racing on 16mm film. One year he gave Challis a 16mm camera and it was used to film events at his school. His father knew the managing director of Gaumont British (GB) News, a man by the name of Castleton-Knight, his first name unknown. Challis’s father mentioned to him that his son was interested in working with films and had shot some film. Challis was invited to meet and show his films to Mr Castleton-Knight. Challis went to Film House in Wardour Street, screened the films and got a job with GB.
He said: “It was around 1936, I was eighteen and I had just left school. For the first year I would get tea and rolls for the cameramen from the Sudbury Dairy café, which was next door to Film House. Occasionally, I was allowed to touch a camera.”
He spent around eighteen months with GB and then moved on to Technicolor, which were making its first film in England called Wings Of The Morning (1937). Challis said: “I got a job as a loader. My visions of being on the studio floor and mixing with the stars didn’t happen. I ended up working in the dark room loading the three black and white negatives.”
Challis worked for Technicolor until the outbreak of war. He then went into the RAF as a cameraman. After the war he went to work on A Matter Of Life And Death (1946) with Jack Cardiff. Cardiff suggested to Michael Powell, the director, that Challis could work on the second unit.
“I had to go up and see Mickey, as he was called, rather dauntingly, because I wasn’t really all that experienced. I got the job, and then the job of camera operator on the main unit, Geoff Unsworth was offered a film as a DP. I then took over as the operator on the main unit.”
The next film he operated on for Cardiff was Black Narcissus (1947). After that he went off as DP on End Of The River (1947). “After I had finished that film they were preparing to make Red Shoes (1948). I love ballet and wanted to work on the film. Jack Cardiff was the DP and I persuaded them to let me come back as operator on the film. I did Red Shoes and wouldn’t have missed it for the world,” said Challis.
After this, Powell, who had directed Red Shoes offered him The Small Back Room (1949). From then on he shot a number of pictures for Powell and Emric Pressburger. Pressburger was a writer and with Powell they ran a company called The Archers.
Describing Powell, Challis said: “Mickey was a hard taskmaster, he could be very unkind. He was out to judge people, I think pretty quickly. Once he had made a decision he never altered it. If he didn’t like you for one reason or another it was best to leave. On the other hand the people he liked and respected he was wonderful and was very loyal. He was one of those people that liked to be challenged. He liked people to stand up to him and most ran away.”
Asked what it was like working with Vistavision, Challis replied, “It was horrible, I hated it. My first contact with it was on The Battle Of The River Plate (1956). The cameras were awful and badly designed.”
"I got a job as a loader. My visions of being on the studio floor and mixing with the stars didn’t happen. I ended up working in the dark room loading the three black and white negatives."
- Chris Challis
