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Medienwissenschaft / Hamburg: Berichte und Papiere

110 / 2010: Ken Russell.


ISSN 1613-7477.

Redaktion und Copyright dieser Ausgabe: Tarek Krohn u. Hans J. Wulff.

Letzte Änderung: 7. August 2010.


Ken Russell als Regisseur: Chronologische Filmographie.
Komp. von Tarek Krohn u. Hans J. Wulff.

1. Filme

2. Projekte

Ken Russell – Bibliographie
Komp. von Hans J. Wulff in Zusammenarbeit mit Tarek Krohn.

1. Texte von Russell

2. Interviews

3. Texte über Russell: Bücher

4. Texte über Russell: Artikel

5. Artikel/ Kritiken/ Analysen zu einzelnen Filmen (chronologisch)

6. Diversa

7. Internet

8. Noten

Ken Russell als Regisseur: Chronologische Filmographie.
Komp. von Tarek Krohn u. Hans J. Wulff.

[*] Die hier recherchierten Inhalte sind den wichtigsten Filmdatenbanken, Ken-Russell-Sites sowie der BBC-Dokumentation entnommen.





Knights on Bikes (Großbritannien 1956)

5min. A fantasy about a penny-farthing bicycle.


Peepshow (Großbritannien 1956)

23min. A parable made in the manner of an old silent comedy about artistry and illusion.


Amelia and the Angel  (Großbritannien 1957)

28min. A young girl (Amelia) is distressed and feeling guilty about losing the wings she was to wear in her school play. Then she notices an angel and follows the angel into a dark building. Upstairs in the attic, bathed in heavenly light, is an artist's model - the ‚Angel‘. The painter ascends a ladder until he is out of shot - supposedly to heaven-and reappears to restore Amelia's joy with a pair of wings.


Lourdes  (Großbritannien 1958)

40min. Short film. Record of an expedition to Lourdes made by two non-professionals, presenting the town, the shrines, and the ceremonies. Music: Britten's Prince of the Pagodas.


Monitor  (Großbritannien 1958-65)

Television series. Russell directed a number of episodes, including:

- Always on Sunday (1965).

- Bartok (1964).

- Elgar (1962).

- Gordon Jacob (1959).

- Journey Into a Lost World (1960).

- Lotte Lenya Sings Kurt Weill (1961).

- Marie Rambert Remembers (1958?).

- Old Battersea House (1958?).

- Pop Goes the Easel (1958?).

- Portrait of a Soviet Composer (1963).

- Scottish Painters (1959).

- The Debussy Film (1965).

- The Dotty World of James Lloyd (1958?).

- The Light Fantastic (1960).

- The Miner's Picnic (1960).

- Variations on a Mechanical Theme (1959).

- Watch the Birdie (1963).


Portrait of a Goon / aka: Portrait of a Goon, or A Day in the Life of Spike Milligan  (Großbritannien 1959)

14min. TV production. A documentary short on one of the Goons from 'The Goon Show' - Spike Milligan.


Variations on a Mechanical Theme  (Großbritannien 1959)

13min. TV-Production. Docúmentary short. An illustration of various mechanical instruments, from the musical-box to 1950s electronica.


Gordon Jacob  (Großbritannien 1959)

17min. TV-Production. Documentary short. A portrait of the English composer Gordon Jacob, shown at home and at work and interspersed with visualizations of his music.


Poet's London / aka: John Betjeman: A Poet in London  (Großbritannien 1959)

12min. TV production. Documentary short. John Betjeman muses on the origins of his poetry in a bomb-scarred London, and performs some of his work.


Guitar Craze / aka: From Spain to Streatham  (Großbritannien 1959)

10min. TV production. Short film.


Scottish Painters / aka: McBryde and Colquhoun: Two Scottish Painters  (Großbritannien 1959)

12min. TV production. Short film. The Scottish painters Robert MacBryde (1913-1966) and Robert Colquhoun (1914-1962) at work in their Suffolk studio.


Shelagh Delaney's Salford (Großbritannien 1960)

15min. TV production. Documentary short. The author of A Taste of Honey and The Lion in Love visits her home town of Salford, in which both plays are set.


Cranks at Work  (Großbritannien 1960)

TV production. Documentary short. Seems to be lost.


Marie Rembert / aka: Marie Rambert Remembers  (Großbritannien 1960)

22min. TV production. Documentary short.


The Light Fantastic  (Großbritannien 1960)

23min. TV production. Documentary short.


The Miner's Picnic  (Großbritannien 1960)

TV production. Documentary short.


Architecture of Entertainment  (Großbritannien 1960)

22min. TV production. Documentary short. The BBC documentary 'Architecture of Entertainment' gives John Betjeman an opportunity to wax rhapsodic on one of his favourite subjects: classic English architecture. Among the architectures which Betjeman visits here are William Burges's Tower House in Kensington, which makes Betjeman nearly swoon with pleasure. He is less favourably disposed to Sir Edwin Lutyen's Folly Farm at Sulhamstead Abbott, Berkshire, which Betjeman dismisses as too modern. Unlike the erstwhile Poet Laureate, I was very impressed with the Folly Farm sequences of this film. Betjeman reserves his most withering scorn for Peter Womersley's Farnley Hey in Huddersfield, which is indeed a nightmare of glass.


A House in Bayswater: Prokofiev  (Großbritannien 1960)

UA: 15.6.1968

28min. Documentary short. A personal and nostalgic film about an apartment building in Bayswater, where Russell once lived, and about the residents who inhabited it. The building is demolished to make way for an unattractive and bland office.


Journey Into a Lost World  (Großbritannien 1960)

22min. TV production. Documentary short. John Betjeman explores the history of London's great public exhibition venues, from the Crystal Palace to White City and the Festival of Britain.


London Moods  (Großbritannien 1961)

10min. TV production. Documentary short.


Antonio Gaudi  (Großbritannien 1961)

15min. TV production. Documentary short.


Lotte Lenya Sings Kurt Weill  (Großbritannien 1961)

45min. Documentary.


Old Battersea House  (Großbritannien 1961)

17min. TV production. Documentary short. Mrs Wilhelmina Sterling shows her vast collection of pre-Raphaelite paintings, pottery and other artefacts at her home in Battersea.


Prokofiev / aka: Portrait of a Soviet Composer (Großbritannien 1961)

28min. TV production. Russell's first full length television film about the composer Prokofief.  The producer Huw Wheldon initially did not want actors in the documentaries. Russell gradually worked around this, initially for the Prokofief film showing only the hands and back of the actor, and once the actor reflected in water. The film includes Prokofief?s music for Eisenstein's Alexander Nevsky, which Russell parodied in Billion Dollar Brain. Similarly the historical footage of the Russian revolution, is also Eisenstein's film Oktober.


The Preservation Man  (Großbritannien 1962)

16min. TV production.


Pop Goes the Easel  (Großbritannien 1962)

44min. TV production. Documentary short. Portrait of pop artists Peter Blake, Derek Boshier, Pauline Boty, and Peter Phillips. The four artists, who seem to live in a sort of commune, play with cowboy guns (edited with a cowboy firing back) or try and fail to look natural in front of the camera as they discuss their work.


Mr. Chesher's Traction Engines  (Großbritannien 1962)

16min. TV production. The films starts with A.W. Chesher lamenting the disappearance of English farmland, with some farms being turned in an aerodrome.  The films moves to Chesher who collects traction engines, and then we discover he does paintings of the engines.  He seems to know everything about the machines, and though he talks of technical details, his hypnotic voice makes it seem like poetry.  His painting style has some traces of Lowry and Stanley Spenser.


The Lonely Shore  (Großbritannien 1962)

UA: BBC, 14.1.1962.

16min. TV production. Described as a fantasy, about the archaeologist Jacquetta Hawkes. The script was based on writings by Jacquetta Hawkes, the film editor was Allan Tyrer, associate producers were Nancy Thomas and Humphrey Burton and the editor was Huw Wheldon who also introduced.


Elgar (Großbritannien 1962)

UA: 11.11.1962, BBC.

50/56min. For the 100th edition of Monitor something special was required.  Russell came up with the documentary about the composer Elgar which became the most loved television programme in the 1960s. Elgar is a made-for-TV semi-documentary about English classical composer Sir Edward Elgar. Shot in black-and-white, the film was made as part of a series of composer biographies by Ken Russell and originally broadcast on the BBC in 1962. Elgar worked as a music teacher in the Malvern Hills before reaching his stardom as a composer with the famous "Pomp and Circumstance." Includes footage of the opening of Abbey Road Studios to the strains of Elgar's "Land of Hope and Glory," which was used as a national anthem for the British Empire during WWI. Huw Wheldon narrates, George McGrath appears as Elgar, and Peter Brett and Rowena Gregory play his parents.


Watch the Birdie  (Großbritannien 1963)

28min. TV production. Documentary short. The work of professional photographer David Hurn, shown tackling a wide range of subjects from fashion to photojournalism to candid paparazzo shots.


The Debussy Film (Großbritannien 1965)

UA: BBC, 18.5.1965.

82min. TV production. One of a handful of films Ken Russell made about the lives of famous composers, The Debussy Film stars Vladek Sheybal as a director who wants to make a movie about the title artist, portrayed by Oliver Reed. By having actors speak in the character of real historical figures, this film allowed Russell to push the envelope of what the BBC would allow in a historical drama.


French Dressing (Großbritannien, 1963 [1964?])

DT: French Dressing.

86min. Comedy. Ken Russell's first feature film is a slight comedy about a stodgy British resort. Gormleigh-by-the-Sea is a holiday community besotted with dullness. But things liven up when Jim (James Booth), a young deck-chair attendant, convinces the local entertainment director and mayor into starting a film festival. The town convinces an ambitious French actress to be the star of the festival. What happens after that is a series of near disasters -- including the failure of a Nudist Beach and a riot at a film premiere. It is left to Jim's American journalist girlfriend (Alita Naughton) to save the situation and the reputation of the town. This first feature for film-director Ken Russell, French Dressing was neither indicative of his future controversial projects nor was it auspicious of his directorial ability.


The Diary of a Nobody (Großbritannien 1964)

UA: BBC, 12.12.1964.

40min. 1st episode from the TV-series „Six“. Diary of Nobody is a much-loved late-Victorian comic novel, the diary of fictitious City of London bank clerk, Charles Pooter. He accepts that he is a "nobody" but believes that he has as much right as a "somebody" to have his diary presented to the public. The humour lies in his struggle to maintain his dignity in the face of self-inflicted injury, annoying encounters with disrespectful tradesmen and junior clerks at work. And of course his rather ridiculous conceit in thinking that his rather dull life will be of interest. The affection for the book is in part due to his description of his contentment with simple domestic life with his loving - and forbearing - spouse Carrie. The world of Diary of a Nobody does not seem so distant. The Pooters are sufficiently wealthy to be able to buy the occasional indulgence such as a new cottage piano - and they have a problem son, Lupin who, compared to his utterly respectable - and respectful- father, mixes with a "fast" crowd, is an idle chancer. A source of worry to both his parents, Lupin is contemptuous of his fathers well-meaning advice yet somehow manages to turn situations to his advantage. The parent's innocence fortunately shields them from fully realising their son's true character. The book has been the archetype for many films and quite a few TV situation comedies.


Bartok / aka: Béla Bartók  (Großbritannien 1964)

UA: BBC, 24.5.1964.

50min. A film of the Hungarian composer who ended his days in America. A few years ago his body was exhumed and taken back to Hungary.  Russell was allowed to use an actor to show Bartok, but the actor was not allowed to speak. Shows a particular flair for matching nocturnal music with surprisingly vivid images. It works particularly well in describing the composer's fascination with insects linked to seminal works like the "Music for Strings, Percussion and Celeste."


The Dotty World of James Lloyd: Always on Sunday  (Großbritannien 1964)

UA: BBC, 29.6.1965.

Documentary short. TV production. James Lloyd the painter, subject of the film, would later reappear as an actor in Ken's film Always on a Sunday.  This was the last of the Monitor films under Huw Weldon.


Isadora Duncan, the Biggest Dancer in the World / aka: Isadora (Großbritannien 1965)

UA: BBC, 22.9.1965.

67min. Documentary. Not to be confused with the lavish 1968 biopic Isadora, the black-and-white Isadora Duncan was produced in 1966 for BBC television. Vivian Pickles stars as the free-spirited British ballet artiste of the post-World War I era, while an anonymous double handles the dance sequences. This 65-minute film was one of a series of irreverent biographies directed for television by enfant terrible Ken Russell. We know we're in Russell territory in the first scene, wherein the strangulation death of Isadora is recreated in loving detail, right down to the blood trickling from her lifeless lips. Russell's Isadora Duncan received its widest American exposure on public television.


Don't Shoot the Composer  (Großbritannien 1966)

TV production. A documentary on French film composer Georges Delerue who composed scores for 'Ken Russell' films _French Dressing (1963)_ and _Women In Love (1970)_ as well as films for Alain Resnais and other French directors. The film title is a play on Shoot the Pianist a film he scored in 1960.


Omnibus  (Großbritannien 1967ff)

Omnibus is a television series. Russell directed some episodes, including:

- Song of Summer: Frederick Delius (1968).

- Dance of the Seven Veils (1970).

- The Dotty World of James Lloyd: Always on Sunday (1968).

- Prokofiev (1968).

- Dante's Inferno (1967).


Billion Dollar Brain (Großbritannien 1967)

DT: Das Milliarden-Dollar-Gehirn.

111min. Harry Palmer (Michael Caine), the reluctant secret agent from The Ipcress File (1965) and Funeral in Berlin (1966) -- both (like the source for this movie) based on novels by Len Deighton -- is back again in Ken Russell's Billion Dollar Brain. Having left Britain's espionage service, Palmer is scraping out a living as a private investigator, but he's still willing to give his old boss Colonel Ross (Guy Doleman) the bum's rush out of his office when he comes calling, offering a raise and promotion if he'll return. But Palmer ends up working for Her Majesty's government anyway -- a letter arrives, with a key and money, and telephoned instructions by a mechanical voice connect him up with a carefully sealed parcel (filled with what an x-ray reveals as eggs) that he must transport to Helsinki. No sooner does he get there than he discovers that an old friend, Leo Newbigin (Karl Malden), and his young lover Anya (Françoise Dorléac) are behind the trip, and that the man who was supposed to receive the parcel is dead. The eggs contain dangerous viruses stolen from a secret British laboratory, and England wants them back and wants to know why they were stolen. That assignment immerses Palmer in a deadly game of deception, double-dealing, and triple-crosses on all sides, as he finds that Leo is working for a privately operated intelligence network, set up by a rabidly right-wing Texas oil man, General Midwinter (Ed Begley Sr.).

The billion-dollar super-computer of the title, built by Midwinter, runs a network of spies and assassins aimed at the destruction of the Soviet Union. That interests Palmer's old friend, Soviet security chief Colonel Stok (Oskar Homolka, in an almost movie-stealing performance), very much, and he, too, wants to know what Palmer knows. And then there's Leo, who has taken millions from Midwinter, supposedly to establish a secret underground in Latvia, waiting for the signal to rise up against the Soviets occupying their country that will spread across the Baltics and beyond and bring down the Soviet government. He's taken the money, but all Harry find when he goes into Latvia is motley bunch of broken-down black marketeers whose orders are to kill him and make it look like the work of the Soviets. And there's Anya, who is sleeping with Leo, trying to seduce Harry, and seems to have an agenda all her own, but in whose interest? If it's all a little confusing, so was the book on which it was based, but there's enough striking visual material, courtesy of cinematographer Billy Williams, and engrossing performances (and a wry sensibility), courtesy of director Ken Russell and screenwriter John McGrath, that the leaps in plot, logic, and setting don't matter that much, and it is great fun.


Dante's Inferno (Großbritannien 1967)

UA: BBC, 22.12.1967.

90min. One of director Ken Russell's earliest films, Dante's Inferno is a made-for-TV biopic about the British poet and painter Dante Gabriel Rossetti (Oliver Reed), who was a founder of the Pre-Raphaelite Brotherhood during the late 1800s. The style was influenced by romanticism and Renaissance painters. Other founding members of the movement were William Morris (Andrew Faulds), Edward Coley Burne-Jones (Norman Dewhurst), and John Everett Millais (Derek Boshier). Iza Teller plays Dante's sister, the poet Christina Rossetti. Judith Paris plays his wife, Elizabeth, who was driven to suicide.


Song of Summer (Großbritannien 1968)

DT: Lied vom Sommer.

UA: BBC, 15.9.1968.

73min. Part of the BBC arts program Omnibus, Song of Summer is a made-for-TV biopic about English composer Frederick Delius, based on the book Delius As I Knew Him by Eric Fenby. Shot in black-and-white, the film was made as part of a series of composer biographies by Ken Russell and originally broadcast on the BBC in 1968. Max Adrian plays Delius, who is both paralyzed and blind as a result of syphilis. In 1928, young musician Eric Fenby (Christopher Gable) worked as his assistant, taking dictations at his home in Grez-sur-Loing, France. Delius turns out to be a bitter, mean old man as well as an accomplished composer. Maureen Pryor plays his wife, Jelka, while David Collings plays fellow composer Percy Grainger.


Women in Love (Großbritannien, 1969)

DT: Liebende Frauen.

130min. Women in Love is set in 1920s England, where free-spirited artist Gudrun (Glenda Jackson) and her schoolteacher sister Ursula (Jennie Linden) make the acquaintance of lifelong friends Gerald (Oliver Reed) and Rupert (Alan Bates). The foursome attends a picnic in honor of a pair of newlyweds, who put a damper on the proceedings (literally!) by drowning in a nearby lake. Evidently unscathed by this tragedy, Gerald and Rupert participate in a nude wrestling match later that evening (this was the sequence that got the most press, thanks to fleeting glimpses of the male stars' privates). Gerald marries Gudrun, Rupert weds Ursula, and the foursome embarks upon a Swiss honeymoon. The holiday is marred by infidelity and sudden death, leaving Rupert to wonder aloud just what it is that makes men and women "tick." An Academy Award went to Glenda Jackson, while nominations were bestowed upon screenwriter Larry Kramer and cinematographer Billy Williams (who received an uncredited assist from director Ken Russell).


Dance of the Seven Vails (Großbritannien 1970)

UA: 15.2.1970

55min. TV production. The film depicts Richard Strauss having a picnic with Hitler (because of his supposed connections with the Nazi party) and letting Hitler ride upon his shoulders as they frolic through a feild, handing out Strauss' records which have a swastikas in the centers.


The Music Lovers (Großbritannien, 1970)

DT: Tschaikowsky - Genie und Wahnsinn.

123min. Pyotr Ilyich Tchaikovsky is given the Ken Russell treatment in The Music Lovers, which means that there is plenty of music, plenty of passion, plenty of debauchery, and plenty of excess. Tame by Russell's later standards (Lisztomania), The Music Lovers nevertheless thrives on creative and sexual anguish. Richard Chamberlain plays Tchaikovsky with a bug-eyed intensity as a composer consumed by his art -- so consumed that his romantic attachments become bisexual and irrational. He falls in love with Nina (Glenda Jackson), the hysterical trollop he marries with dire consequences. As he explodes emotionally, his public performance of Piano Concerto in B flat minor becomes a cue for flashbacks to a series of discomforting childhood events that suggest incestuous relations with his sister. Back in real time, Tchaikovsky has to deal with Nina's outbursts while juggling his homosexual urges and his almost hidden desire for Count Anton Chiluvsky (Christopher Gable). The film also details the curious relationship between Tchaikovsky and his rich patroness, the middle-aged widow Madame Nadedja von Meck (Isabella Telezynska), who loves Tchaikovsky deeply, but refuses to meet him -- their only communication being through letters, even though he lives on her estate. Andre Previn and the London Symphony Orchestra perform Tchaikovsky's music.


The Devils  (Großbritannien 1970)

DT: Die Teufel.

111min. The Devils was the Ken Russell film version of the controversial play by John Whiting. The story, based on Aldous Huxley's The Devils of Loudun, concerns controversial 17th century French priest Urbain Grandier, whose radical political and religious notions and profligate sex life earn him many enemies. When a group of nuns appears to have been "bewitched" by Grandier, his rivals feed on the resulting mass hysteria, using this incident as an excuse to have the priest arrested. Refusing to confess to being in league with Satan and to renounce his "heretical" views, Grandier undergoes appalling tortures, and is finally burned at the stake. Vanessa Redgrave co-stars as the head nun. Due to censorship issues in virtually every country in which The Devils has been released, running times vary greatly.


The Boy Friend (Großbritannien/USA 1971)

DT: Boyfriend / aka: Ihr Liebhaber.

137min. Director‘s cut: 140min. BRD: 109min. The Boy Friend began life as Sandy Wilson's small-scale pastiche of British musical comedies of the 1920s. When the play was brought to America in 1954, its star was the teenage Julie Andrews. Because The Boy Friend requires a minimum of sets, props, and costumes, it has become a favorite of amateur theater groups throughout the world. But director Ken Russell, notorious for his onscreen excesses, abandoned the film's simplicity. He fashioned a humongous parody of the Busby Berkeley film musicals of the 1930s, staged on a scale that made Berkeley seem stylistically modest. Fashion model Twiggy plays Polly Browne, an aspiring musical comedy star, working as stage manager of a production of The Boy Friend. She is transformed into a star when she replaces leading lady Rita Monroe (Glenda Jackson, unbilled), who twists her ankle seconds before the curtain goes up. Before the evening is over, Polly is scampering over outsized sets, and ducking around seemingly thousands of chorus girls and boys. Christopher Gable, who plays Polly's on-stage leading man, also choreographed the lavish musical numbers


Savage Messiah (Großbritannien 1972)

103min. Based on the book of the same name by H.S. Ede, eccentric director Ken Russell created this biographical drama of a great early 20th century artist who died tragically young. Henri Gaudier (Scott Anthony) is only 18 years old, a self-taught Parisian sculptor of enormous talent but prone to rash, exuberant behavior. Henri meets and begins a platonic but emotionally intense relationship with Sophie Brzeksa (Dorothy Tutin), a cultured Polish woman 20 years his senior. The relationship between Henri and Sophie remains inspired and impassioned, if not sexual, and her air of intelligent refinement positively impacts his life and work. Eventually, the couple moves to London, where Henri takes his partner's last name, and his star rises in the art world as the chief proponent of Vorticism, an offshoot of Cubism and Futurism. In real life, Henri Gaudier-Brzeska was a signer of the Vorticist Manifesto and a founder of The London School along with his patron, Ezra Pound, but his genius was not recognized until after his death. Gaudier-Brzeska was killed at the age of only 24 in WWI, a French Army hero who had been twice promoted for bravery.


Mahler (Großbritannien 1974)

DT: Mahler.

115min. Director Ken Russell made a number of biographical films of composers' lives including The Music Lovers, (about Tchaikovsky) and Lisztomania. Russell embellished the other films with certain characteristic flourishes, which include a focus on the composers' sexual obsessions, poetically telling anachronisms, and scenes which show Richard Wagner in a bad light. The story of Mahler is recounted in a much less complex and flamboyant manner and is a relatively reverent study of the life and work of Austrian composer Gustav Mahler, here played by Robert Powell. The film tackles the touchy dilemma of Mahler's Jewishness in the anti-Semitic atmosphere of 19th-century Vienna. He converts to Christianity, which has no effect on his brilliant musical output but which eats away at his physical and mental well-being. Gustav Mahler (1860-1911) was a conductor and composer of the late Romantic era and specialized in huge symphonic works. Though his works were performed widely during his lifetime, they were less and less-often played until Leonard Bernstein's active campaign on their behalf brought him renewed recognition as a composer of the first rank, every bit the peer of Brahms or Stravinsky.


Tommy (Großbritannien 1974)

DT: Tommy.

111min. Tommy (Roger Daltrey) is a "deaf, dumb and blind kid" who retreats into himself after the death of his father. His mother, Nora (Ann-Margret), and stepfather Frank (Oliver Reed) take him to see a specialist (Jack Nicholson) but Tommy is apparently a hopeless case. That is, until Tommy discovers that "he sure plays a mean pinball." Tommy gains fame when he defeats the Pinball Wizard (Elton John) for the world championship. As a result, Tommy becomes such a celebrity that he even founds his own religious cult. But his fans begin to commercialize his fame, while Tommy wants to stick to the straight and narrow. When Tommy wants to end the commercialization of his message, his supporters accuse him of being hypocritical and turn on him. Ann-Margret, with a slinky red dress slit way up the side, was nominated for a Best Actress Oscar, losing out to Louise Fletcher in One Flew Over the Cuckoo's Nest.


Lisztomania (Großbritannien 1975)

DT: Lisztomania.

103min. This audacious, vulgar, freewheeling fantasia on the life of pianist Franz Liszt ranks among director Ken Russell's most outrageous efforts. Roger Daltrey, lead singer for The Who, is awkward yet likeable as the flamboyant piano performer with a bevy of fetching mistresses and groupies, while Paul Nicholas is completely outlandish as the scheming opera composer Richard Wagner. There's no nod to reality here: Liszt and Wagner were in fact friends, and Liszt, who became Wagner's father-in-law, actually assisted in the production of Wagner's opulent productions. Russell, on the other hand, presents Wagner as Liszt's jealous rival ready to wreak havoc on the world by unleashing a cryogenic Viking (Yes keyboardist Rick Wakeman) and a horde of machine-gun wielding robot Nazis. In a finale out of Flash Gordon serials, Liszt saves the day after surviving a guillotine designed for phallic dismemberment. The film is fast and loud and wildly undisciplined, much like one of Liszt's Hungarian Rhapsodies. Look fast and you'll see Ringo Starr as the pope.


Valentino (USA 1976)

DT: Valentino.

127min. Rudolph Valentino, born in Italy in 1895 as Alfonzo Raffaele Pierre Philibert Guglielmi, emigrated to the U.S. and became for a time the reigning male romantic lead of the silent-film era. He died in 1926, having led a short, troubled and tempestuous life which included several stints in prison. The crowds surrounding his coffin before and during his funeral were among the largest ever seen in the U.S. In this film, Ken Russell has used events from the famous actor's life as the basis for an extended meditation on the nature of stardom, and especially on what it means to be a sex idol. Beginning and ending with the funeral of Valentino (Rudolf Nureyev), the story chronicles his rise to Hollywood stardom from life as an Italian emigrant dishwasher and show-dancer. Often embroiled in controversies about his manliness (or perceived lack of ), in the film he dies as a result of internal injuries suffered in a boxing match he fought in to defend his honor.


Clouds of Glory: William and Dorothy  (Großbritannien 1978)

52min.TV production.


Clouds of Glory: The Rime of the Ancient Mariner  (Großbritannien 1978)

52min. TV production.


Altered States (USA 1980)

DT: Der Höllentrip.

102min. In this 1980 sci-fi horror film, William Hurt plays Eddie Jessup, a scientist obsessed with discovering mankind's true role in the universe. To this end, he submits himself to a series of mind-expanding experiments. By enclosing himself in a sensory-deprivation chamber and taking hallucinogenic drugs, Jessup hopes to explore different levels of human consciousness, but instead is devolved into an apelike monster. Director Ken Russell helmed Altered States from a script by Paddy Chayefsky, who adapted his own novel of the same name. Unhappy with the finished product, Chayefsky had his name replaced with his pseudonym Sydney Aaron.


Programmes for London Weekend Television  (Großbritannien 1983-2002)

- Ken Russell's View of The Planets (1983).

- Vaughan Williams (1984).

- Ken Russell's ABC of British Music (1988).

- Ken Russell - A British Picture (1990).

- The Strange Affliction of Anton Bruckner (1990).

- The Secret Life of Arnold Bax (1992).

- Classic Widows (1995).

- Fantasy of a Composer on a Bicycle (2002).


The Planets / aka: Ken Russell's View of The Planets (USA 1983)

50min. TV production. Compilation film based on Holst‘s orchestra suite. Eugene Ormandy conducts the Philadelphia Orchestra in Ken Russell's visual score.


Crimes of Passion (USA 1984)

DT: China Blue bei Tag und bei Nacht.

106min. Joanna Crane (Kathleen Turner) is a cold, workaholic sportswear designer, divorced and dedicated only to her job. Once strapped into that role, Joanna looks for an "out" and finds it by donning a wig and hitting the pavement as a $50/trick hooker named China Blue. Explicit scenes show her at work on her night job, including a long S and M segment with a policeman. While making money as China Blue, Joanna runs into a menacing, fanatic preacher (Anthony Perkins) who is out to save her from this life of sin, but in the meantime, he is also busy watching nude girly shows. As China Blue and the sexually ambivalent Reverend heat up their relationship, he becomes difficult to read: is this psycho reverend a killer? While China Blue is plying her trade, Bobby Grady (John Laughlin) has finally realized after 12 years of marriage that his wife Amy (Annie Potts) is frigid and just as he has this remarkably delayed insight, he is assigned by Joanna's boss to find out if she is stealing designs or not. By tracking Joanna, Bobby sees her transformation as China Blue and as might be expected, sex is not far behind.


Vaughan Williams  (Großbritannien 1984)

60min. TV production.


Gothic (Großbritannien 1986)

DT: Gothic.

87min. Director Ken Russell applies his trademark excess to this surreal, experimental examination of the creative dementia which shaped Mary Wollstonecraft Shelley's Frankenstein. The story is embellished from events which allegedly took place at the Swiss villa of Lord Byron (Gabriel Byrne) on the night of June 16, 1816. Byron's guests include poet Percy Shelley (Julian Sands) and his future wife Mary (Natasha Richardson); Mary's half-sister Claire (Myriam Cyr) and Byron's leech-happy personal physician Dr. John Polidori (Timothy Spall). Byron promises them a night of horror like only a mad poet can deliver -- after partaking of laudanum and other hallucinogens, the guests tell ghost stories while exploring the dark corridors of his home. From here, Russell dives headlong into madness, discarding plot structure in favor of fever-dream setpieces in which the guests confront living manifestations of their own fears and insecurities -- creative, mortal and sexual, among others. The raging Romantics are also given to lengthy discourse on the nature of fear and the fine line between creative genius and insanity; by the film's end, viewers may find themselves wondering the same thing about the director.


Aria (Großbritannien/USA 1986/87)

DT: Aria.

95min. An international collection of well-known directors contributed to this compilation film, each fashioning a short film inspired by an aria from a famous opera. The approaches vary broadly, from the playful abstraction of Jean-Luc Godard's segment, which illustrates Armide with exercising body-builders, to the more literal approach of Franc Roddam, who transports Tristan und Isolde's story to modern-day Las Vegas. A particular stand-out is Julian Temple's take on Rigoletto, which recasts Verdi as the accompaniment to a contemporary Southern California sex farce.

Russell‘s part: Nessun Dorma (Großbritannien 1987)

Personal interpretation of 'Nessun Dorma' from Puccini's opera 'Turandot'.


Salome’s Last Dance (Großbritannien 1987)

DT: Salomes letzter Tanz.

98min. Ken Russell's adaptation of Oscar Wilde's Salome, Salome's Last Dance takes the form of a play within a film. Wilde (Nickolas Grace) arrives at a brothel with his lover, Bosey (aka Lord Alfred Douglas played by Douglas Hodge), where the proprietor, Alfred (Stratford Johns), has gathered his staff and assorted other colorful characters to mount a simple production of Wilde's new play. And so, with Alfred playing Herod, and Bosey playing John the Baptist, and with Wilde himself looking on with varying degrees of interest, the play is performed. Salome (Imogen Millais-Scott) is the daughter of Herodias (Glenda Jackson), who has abandoned her husband, since murdered, for his brother, Herod. Herod has an eye for Salome, but she mocks his interest. One evening, she hears the ranting of John the Baptist, who is Herod's prisoner, and demands that he be brought before her. She is very taken with the prophet, and attempts to seduce him while the captain of the guards, who is smitten with her, looks on. The young captain kills himself, and the prophet spurns her and is beaten. Still, she insists that she will kiss him, as he is brought away. Salome manipulates the horny Herod, who promises her anything if she will dance for him. She agrees, against the wishes of Herodias. While she performs, Wilde slips off with a young male performer, arousing Bosey's jealousy. After Salome's erotic dance (at the end of which she momentarily changes sexes), she confounds Herod by demanding the prophet's head. Russell himself has a small role in the film, as a photographer of ill repute.


The Lair of the White Worm (Großbritannien/USA 1988)

DT: Der Biss der Schlangenfrau.

93min. Ken Russell's Lair of the White Worm uses Dracula author Bram Stoker's final novel as the basic sprinGroßbritannienoard into a surreal and dark-humored tale concerning a bizarre cult and a series of sacrificial murders in honor of an ancient pagan god. When archeologist Angus Flint (Peter Capaladi) discovers the mysterious scull of an undiscovered beast, further investigation reveals a bizarre myth concerning a medieval knight slaying a fearsome dragon. Soon making the acquaintance of Lord James D'Ampton (Hugh Grant), the conquering knight's descendant, Flint begins to learn of local lore surrounding the creature and soon discovers that, throughout the years, many unexplained disappearances have haunted the local populace. With all trails leading back to the elegant mansion of mysterious recluse Lady Sylvia Marsh (Amanda Donohoe), Lord D'Ampton makes Marsh's acquaintance amidst growing speculation that the strangely seductive siren may have something to do with a rash of recent disappearances. As Flint and D'Ampton's stories begin to strangely intersect, a surreal and horrific journey into the lair of an ancient god may hold they key to an age-old mystery.


Ken Russell's ABC of British Music  (Großbritannien 1988)

75min. TV production.


The Rainbow  (Großbritannien 1989)

DT: Der Regenbogen.

112min. Director Ken Russell returns to the D.H. Lawrence territory that had earlier served him well in Women in Love. Sammi Davis plays Lawrence's Welsh heroine Ursula Brangwen, daughter of a wealthy mine owner, who is first seen as a child given to literally chasing rainbows. Disappointed that she can never have the real thing, the older Davis seeks out figurative rainbows in the form of sexual fulfillment. Neither heterosexual nor homosexual affairs fully satisfy Davis, because no one lover can match the "ideal" the girl has created in her imagination. Davis' disappointment in the world is paralleled with the sorry lot of the wives of the local coal miners, who have adapted to their lives--something Davis can never do, will never do. Stately despite its raw subject matter, The Rainbow was filmed just before Russell's outrageous sword-and-sorcery fantasy Lair of the White Worm; since both films utilize many of the same cast members, the two pictures might make an astonishing double feature.


Il Mefistofele (1989)

137min. Russell‘s direction of an opera. Libretto: Arrigo Boito


A British Picture / aka: A British Picture: Portrait of an Enfant Terrible / aka: Ken Russell’s Crazy Picture Show – A British Picture (Großbritannien 1989 [1990])

DT: Ken Russell's Crazy Picture Show.

50min. Self portrait.


Women & Men: Stories of Seduction (USA 1990)

DT: Verführerische Geschichten; aka: Women and Men - Verführerische Geschichten; aka: Die Liebe, das Leben und alles Andere, Teil 1.



The Strange Affliction of Anton Bruckner (Großbritannien 1990)

DT: Die seltsamen Heimsuchungen des Anton Bruckner.



Whore (USA 1991)

DT: Die Hure.

85min (BRD, censored version: 77min). Russell's avowed purpose with Whore was to avoid the glamorous depiction of prostitution common to such slick Hollywood products as Pretty Woman. As played by Theresa Russell (no relation to Ken), the eponymous character lives a hellish existence. Relating her story directly to the camera, Russell introduces us to her no-good former husband (Jason Saucier), her brutish pimp (Benjamin Mouton), and the kinkiest of her "johns." Her one true friend, a bag man named Rasta (Antonio Fargas), also saves her life -- but not her soul. The film exists in three versions: an 82-minute R cut, an 82-minute NC-17 cut, and the 92-minute European version, which sometimes carries a rating, sometimes merely a disclaimer.


Prisoner of Honor (Großbritannien/USA 1991)

DT: Der Gefangene der Teufelsinsel.

84min. Made-for-TV-movie. Directed by Ken Russell, Prisoner of Honor is a made-for-cable retelling of the 1894 court-martial of French Army officer Alfred Dreyfus. The historical drama stars Richard Dreyfuss (no relation) as the head of counter-intelligence who uncovers several damning pieces of evidence. It turns out that the French government has sent an innocent man to prison for their own suspicious reasons, and Dreyfuss is the only man willing to fight for the prisoner's freedom. Prisoner of Honor also stars Oliver Reed and Peter Firth, as well as featuring Lindsay Anderson, Brian Blessed, Jeremy Kemp, and Peter Vaughan.


Secret Life of Sir Arnold Bax  (Großbritannien 1992)

DT: Das Doppelleben des Arnold Bax.



Lady Chatterley's Lover (Großbritannien 1992)

220min. Another of writer/director Ken Russell's D.H. Lawrence adaptations, Lady Chatterley (an amalgam of three Lawrence novels) was first shown as a British TV miniseries on BBC1 from June 6 to 27, 1993. In recounting the familiar details of young, bored Lady Chatterley (Joely Richardson), her elderly, infirm husband (James Wilby), and her hot-blooded stable-groom lover, Manners (Sean Bean), Russell took the opportunity to both celebrate and savage the British upper classes of the 1920s. One brief sequence of full frontal nudity caused a minor scandal in Britain, though by Ken Russell standards the scene was a model of taste and decorum. After its initial TV run, Lady Chatterley was edited down from 220 to 110 minutes and released theatrically in the United States.


The Mystery of Doctor Martinu  (Großbritannien 1993)

DT: Der Fall Martinu; aka: Das Geheimnis des Dr. Martinu.



Lady Chatterley  (Großbritannien 1993)

DT: Lady Chatterley.

109min. Made-for-TV-movie. Abbrev. Version of Lady Chatterley‘s Lover, 1992. Lady Constance Chatterley is married to the handicapped Sir Clifford Chatterley, who was wounded in the First World War. When they move to his family's estate, Constance (Connie) meets their tough-yet-quiet groundskeeper, Oliver Mellors. Soon, she discovers that the source of her unhappiness is from not being fulfilled in love, and in turning to the arms of Mellors, she has a sexual awakening that will change her thoughts forever.


Alice in Russialand (Großbritannien/Kanada/Rußland 1993)

DT: Alice in Rußland.



The Insatiable Mrs. Kirsch / aka: Erotic Tales: The Insatiable Mrs. Kirsch (BRD/USA 1993)

DT: Die schönste Sache der Welt: Die unersättliche Mrs. Kirsch / aka: Die unersättliche Mrs. Kirsch.

29min. TV production. Part of an anthology series produced by Regina Ziegler Productions, Berlin. A writer taking a rest in a country hotel is obsessed with a strange woman in the same hotel. The woman seems to observe him in provocative ways, but he does not dare to approach her. One day he follows her to her room and listen to strange "erotic" sounds from inside, and begins to have erotic thoughts.


The Mindbender / aka: Uri Geller (USA/Israel 1995)

DT: Die Uri-Geller-Story.

93min. Written and directed by outrageous British filmmaker Ken Russell, Mindbender is a 1995 straight-to-video biopic about the celebrity psychic Uri Geller, known for bending spoons and performing other tricks before an audience. Ishai Golan plays Gellar, who started out in the Middle East and was introduced to America by Joe Hartman, played by Terence Stamp. As a child, Uri changes the clocks in his school classroom. As an adult, he saves the world from nuclear war. Uri Geller himself also appears in a cameo role, claiming to offer the "first-ever psychic experience on video."


Classic Widows  (Großbritannien 1995)

53min. TV production. Portrait of the widows of four British composers.


Ken Russell's Treasure Island (Großbritannien 1995)

63min. Made-for-TV-Movie of Robert Louis Stevenson's children's novel. - Ken Russell wrote and directed this made-for-TV movie like it was a Carry On film. Not to mention that villain Long John Silver is transformed into Long Jane Silver, a Madonna-like blonde with a peg leg. She and her pirate crew break into song at any cue on their quest for the buried treasure marked on a map belonging to a young boy. Faithful it's not, entertaining, that's hard to say. It's certainly different. - The film stars Hetty Baynes as Long Jane Silver, Michael Elphick as Billy Bones and Gregory Hall as Jim Hawkins. Russell regular Georgina Hale plays Mum.  Ken wrote as well as direct, Maureen Murray produced, Xavier Russell was editor.  The director of photography was Hong Manley. It was a Channel 4 Christmas Eve special, but at the same time as the popular British comedy soap "Only Fools and Horses". It has since been repeated at least once.


Ken Russell‘s 'In Search of the English Folk Song' (Großbritannien 1997)

60min. TV-production.

Ken Russell's knowledge of English folk music is rooted in music written by some of his favorite composers. The melodies of Ralph Vaughn Williams, Percy Grainger and Frederick Delius all owe a debt to the folk tradition. And recently, after decades of suppressed existence in the form of re-imported Country and Western, the New Age has brought a renaissance to the folk culture of England. The nation's authentic music is once again making its mark in a more eco-conscious and irreverent generation. Russell's turns out to be a mystic journey: from a village in the New Forest, Hampshire, to Fairport Convention's festival at Cropredy and on to Glastonbury, taking in a colorful collection of musicians and enthusiasts in an attempt to extract the essence of England's music from its more popular fusion with the spirit of the Celtic and New Worlds.


Dogboys (Kanada/USA 1998)

DT: Gejagt und in Ketten gelegt.

88min. Made-for-TV-Movie. Ken Russell's Dogboys is set at a southern prison. The title of the film comes from the prisoners who are used to train the attack dogs employed to stop escapes. DA Jennifer Dern (Tia Carrere) is investigating the prison's warden (Bryan Brown). She puts one of her men inside the prison, but he ends up dead from one of the dogs. Inmate Julian Taylor (Dean Cain) finds a partial picture of a man in with the blood from the mole's death. While keeping himself free of attack and harm in the prison, Taylor and Dern team up to reveal the truth about the warden, and stop his sadistic practices.


Lion’s Mouth (Großbritannien 2000)

25min. Lion's Mouth is inspired by The rev. H. Davidson, the Rector of Stiffkey a.k.a. The Prostitutes Padre. A true story of a rector in the 1930's who helped prostitutes but was defrocked for also helping himself to prostitutes. He preached from a barrel and ended up preaching to lions (Daniel and the lion) and being savaged to death. When no actor seemed suitable for the role of the vicar, Russell realised the story-line was actually better without the role. So the film became a Citizen Kane like story of a journalist, played by Diana Laurie, visiting places and people, to reveal the truth behind the man. This results in a number of set pieces, some of them beautiful- Diana Laurie in the church lit by hundreds of candles, the erotic Chinese dance, and the funeral with the women (the vocal group The Mediaeval Babes) dancing round the giant statue of a giant penis to the music I Want to be Happy. And throughout there are lions- toys, paintings, lion-costumes, a tin of Lions Syrup.


Brighton Belles (Großbritannien 2001)

Documentary on professional female soccer players in Brighton. It was broadcast on BBC regional television as part of BBC2's Southern Eye series. - At the end of Brighton Belles, Ken mentions that Fulham FC are the only professional women's football team in this country. As a season ticket holder of that club and a resident of Brighton (as well as a lifelong enthusiast of Ken Russell) I may, therefore, be seen as having a particular interest in Ken Russell meets the Brighton Belles. For me, much of Ken's recent work has been spoilt by a tendency to wish to appear like one of his characters from Lisztomania when acting as narrator. I am delighted to say that here he appears rather like a paternalistic grandfather to two young American women football players currently 'over here' to gain experience of playing in another country (at the highest level.) It remains a mystery as to just why they should wish to come to Britain to gain this experience when only three clubs, Fulham, Arsenal and the 'Doncaster Belles' take the women's game at all seriously. The film charts the girls' early experiences of playing for Brighton Ladies  at Tranmere in front of a mere handful of spectators whereas at home they might expect crowds larger that the average third division match in this country (Ray Allen).


The Fall of the Louse of Usher (Großbritannien 2002)

83min. Murder, mayhem, insanity, mini-skirted nuns, and inflatable doll orgies are only part of the fun in Ken Russell's predictably debauched ode to Edgar Allen Poe. Very freely adapted from Poe's The Fall of the House of Usher, Russell's low-budget DV-shot extravaganza is set in the sunny climes of Orange County, CA, where Roderick Usher, a popular yet deeply weird rock star, has been convicted of his wife's brutal murder. After being packed off for treatment at the County Lunatic Asylum, Usher is placed under the dubious care of the equally deranged Dr. Calihari (played by the director himself). When he's not tending to his patient with some decidedly questionable treatments, Calihari amuses himself with the fun-loving Nurse Smith. Somehow, between the skirt chasing, naughty nuns, and occasional musical number, the truth behind the murder of Usher's wife is revealed, as is the method behind Calihari's madness. The Fall of the Louse of Usher was screened at the 2002 Philadelphia Festival of World Cinema.


Elgar: Fantasy of a Composer on a Bicycle (Großbritannien 2002)

The documentary has no dialogue, rather a voice-over by Ken.  But actually the music dominates the film, with the Enigma Variations used as a link with the variations being unravelled. James Johnston stars as Elgar and Lisi Tribble as his wife. Both starred in The Fall of the Louse of Usher. There are some references back to the original Elgar film: the war wounded and the kite on the hill. And the film ends in the present with Ken looking at a statue of Elgar.


Revenge of the Elephant Man (Großbritannien 2004)

27min. Part of the Hot Pants trilogy; it received its world premiere at the Oldenburg Festival, Germany in Sept. 2005.  Three short home-made films by Russell and friends.


The Mystery of Mata Hari (Großbritannien 2004)

A tearfull tale from the days of World War One, when millions of innocent lives were lost, including one of the most blameless of them all. Part of the Hot Pants trilogy; it received its world premiere at the Oldenburg Festival, Germany in Sept. 2005.


The Goodship Venus (Großbritannien 2005)

Short film. A musical trip around the Horn with as horny a crew of sex crazed sailors who ever sailed the seven seas. Part of the Hot Pants trilogy; it received its world premiere at the Oldenburg Festival, Germany in Sept. 2005.


Sarah Brightman: Diva (Großbritannien 2006)

UA: 3.8.2006

A collection of Sarah Brightman's music videos.


Trapped Ashes (USA/Japan/Kanada 2006)

DT: Trapped Ashes.

100min. The traditional horror anthology makes a triumphant comeback in this collection of four frightfully horrific tales from directors Monte Hellman, Ken Russell, Sean S. Cunningham, John Gaeta, and Joe Dante. When seven strangers accept a mysterious invitation to tour a Hollywood studio lot, they become trapped in a room and discover that their only hope for escape is to reveal the most terrifying tale they know.


Boudica Bites Back (Großbritannien 2009)

20min, HDV-Produktion. Director of Photography: Mark Veysey. Music: Chris Holtom. Production: Steve Sullivan. Cast: Elize Russell, Chris Morgan, The students of the Performing Arts department (Swansea Metropolitan University), Ermine Street Guard (Newport). Visual Effects: The animation department of FADE, Swansea Metropolitan University. Costume and Design: Costume & design students from Royal Welsh College of Music & Drama, Cardiff.

Synopsis: Legendary director Ken Russell makes a triumphant return with Boudica Bites Back, a cine-opera retelling of the legend of Boudica, warrior queen and her uprising against the Roman occupiers of Britain. Bearing the hallmarks of his inimitable visual style, Boudica Bites Back is Ken’s first foray into both High Definition video and CGI Special FX.



Verzeichnis der Videoclips







Gesamtübersicht: URL: http://www.iainfisher.com/russell/ken-russell-projects.html.


[Pre-Production:] Kings X

2005/06. After many tv productions Ken Russell finally works on a movie for the cinema again. He could win Robert Carlyle, Kevin Spacey and Ray Winstone for his thriller King X. Ex-Model Leslie Lawson - better known as "Twiggy", the Star of his musical Boy Friends (1971) - plays a featured part in the movie.  The screenplay, written by Chris Cleverlys, sets the plot in downtown London. The King of „Kings“, the tart-tongued Colin Manks, is a vain criminal, who is filming his own life with a mobile phone – for posterity. One day he falls in love with Hattie, a naive country bumpkin from Essex, that has just landed a job as an estate agent, not knowing, that her boss is involved in shady dealings. But after screwing Manks, Hattie decides to take revange without even shying away from drugs and murderer.


[Pre-Production:] The Pearl of the Orient

2006. Cast: (confirmed) Cary Elwes, Adriana Barraza, Ryo Ishibashi; (in negotiations) Andy Garcia, Felicity Huffman, Gael Garcia Bernal. -- Inspired by real people and events, The Pearl of the Orient is an epic tale of a missionary preacher's inability to remain neutral during the brutal Japanese occupation of the Philippine Islands during WWII. He becomes involved in the resistance against the Japanese campaign of terror and falls in love, in spite of his marriage, with a headstrong aristocratic Filipina whom he tries to save.


[Pre-Production:] Charged: The Life of Nikola Tesla

2002/03. Music: Michael Nyman. In May of 2002, director Ken Russell announced plans for Charged: The Life of Nikola Tesla, which then morphed into Tesla & Katharine, a feature film scheduled for release in 2005. In 2002, the family of Thomas Edison, the inventor of the light bulb, has attacked a new film by Ken Russell that portrays him as a ruthless sadist intent on destroying his closest rival. Mr Russell's new film biography of Nikola Tesla, who was one of Edison's greatest adversaries, will also undermine the scientist's claim to be the father of electricity and provide a very different picture of one of America's revered heroes. His relatives are, in particular, angry that the film will show Edison presiding over the first public electrocution of a prisoner, for commercial gain.


[Pre-Production:] Moll Flanders

2006. As of 2007, director Ken Russell is making a new film version, with Lucinda Rhodes-Flaherty as Moll, and Barry Humphries. Release date: 2010.

Ken Russell – Bibliographie
Komp. von Hans J. Wulff in Zusammenarbeit mit Tarek Krohn.



Texte von Russell


Russell, Ken: Raising Kane. In: Films and Filming 18,8, May 1972, p. 16.

¬            About The Citizen Kane Book by Pauline Kael.


Russel, Ken: N.t. In: Screen International, 593, 28.3.1987, p. 32.

¬            Russell comments on reaction to his work, particularly in Britain, and outlines possible future projects.


#Russell, Ken: A British Picture: An Autobiography. London: Heineman 1989.

¬            Rev. ed.: London: Southbank Pub. 2008, 310 pp.

¬            Rev. (Woffinden, Bob) in: Listener 123,3146, 4.1.1990, p. 27.

#Russell, Ken: Altered States. The autobiography of Ken Russell. New York: Bantam 1991, xiii, 337 pp.

¬            Rev. (Cohn, Lawrence L.) in: Variety 345, 28.10.1991, p. 64.


#Russell, Ken: Fire over England: The British Cinema Comes under Friendly Fire. London: Hutchinson 1993, 184, [46] S.

¬            Rev. (Bloom, Phillipa) in: Empire, 56, Febr. 1994, p. 105.

#Russell, Ken: The Lion Roars. Ken Russell on Film. London/Boston: Faber and Faber 1994, 184 pp.

¬            Rev. (Thomson, D.) in: New Republic 210,17, 1994, pp. 39-41.


Russell, Ken: Three cuts and you're out. In: Sight & Sound 7, Oct 1997. S. 69.


#Russell, Ken: Mike and Gabys Space Gospel. A novel. London: Firebird Distributing 2000, viii, 207 pp..


#Russell, Ken: Directing film. From pitch to première. London: BT Batsford 2000, 127 pp.


#Russell, Ken: Directing Film, The Directors Art from Script to Cutting Room. London:

Batsford 2001.

¬            Zugl.: Washington, D.C.: Brassey's 2001, 127 pp.


Russell, Ken: Violation. London: Author House 2005.


#Russell, Ken: Elgar The Erotic Variations & Delius A Moment with Delius. London: Peter Owen Ltd. 2007, 190 pp.

¬            Evans, Lloyd: Beethoven Confidential and Brahms Gets Laid and Elgar: The Erotic Variations; Delius: A Moment with Venus. In: The Spectator, 23.6.2007, pp. 55-56.

¬            Rev. in: The Bookseller, 5212, 2006, p. 14.


#Russell, Ken: Beethoven Confidential & Brahms Gets Laid. London: Peter Owen Ltd 2007, 190 pp.

¬            Two parts: Beethoven confidential / Ken Russell and Jo Anderson. // Brahms get laid / Ken Russell.


#The Best of Ken Russell: Original Maverick Director [= Russell’s entertaining and irreverent columns for The Times newspaper], URL: http://www.timesonline.co.uk/tol/system/topicRoot/Ken_Russell/.






Anon.: [Interview.] In: Skoop 6,10, Sept. 1970, pp. 26-31. - With a filmography including TV and features.


Anon.: Shock Treatment. In: Films and Filming 16,10, July 1970, pp. 8-12.


Anon.: [Interview.] In: Interview, 27,  1972, pp. 9-11. - About Russell‘s vision of America and some of the films he has made.


Anon.: [Interview.] In: Screen International, 63, 20.11.1976, p. 8. - Russell discusses his approach to film making, critics' reviews, violence in his films and the responsibilities of the director.


Anon.: N.t. In: Cinema e Cinema 9,33, Oct. 1982, pp. 60-66.


Anon.: Ich meine alles ernst, was ich mache. "Presse"-Gespräch mit Ken Russell, der an der Staatsoper "Faust" inszeniert. In: Presse 11 093, 6.3.1985, p. 5.


Anon.: N.t. In: Screen International, .519, 19.10.1985, p. 415. - Interview with Russell, on his new film, Crimes of Passion, and recent projects which have failed to get off the ground.


Anon.: N.t. In: Stills, 24, Febr. 1986, p. 16. - Interveiw with Russell, on his recent music video work.


Anon.: N.t. In: Broadcast, 28.2.1986, p. 16. - Interview with Russell about his TV career and his new projects in music video.


Anon.: Interview with Russell. In: Time Out, 862, 25.2.1987, pp. 16-17. - Interview with Russell about Gothic and his attitude to filmmaking.


Anon.: [Interview with Russell.] In: Listener 117, 3001, 5.3.1987, p. 16. - On Russell‘s on own work. From interviews in Desert Island Discs and on Saturday Review.


Anon.: N.T. In: Film Comment 24,6, Nov. 1988, pp. 52-54. - Interview with Russell about The Lair of the White Worm.


Anon.: N.T. In: City Limits, 420, 19.10.1989, pp. 14-15. - Interview with Ken Russell, on his films, his view of film critics and his plans to film his autobiography, A British Picture.


Bodtker, Henning: Intervju med Ken Russell. In: Z Filmtidsskrift 5,3 [=21], 1987, p. 33.


Borg, Lola: Morning, Mr. Grumpy! In: Empire, 5, Nov. 1989, pp. 58-61. - Ken Russell talks about his career and his opinions on the British film industry


Buckley, Tom: Ken Russell on "Altered States" controversy. In: The New York Times 130, 16.1.1981, p. C6.


Calum, Per: Ken Russell om "Eksperimentet". In: Kosmorama 28 [=157], Febr. 1982, p. 36.


Clare, Anthony: Conversation with Ken Russell. In: Listener 120,3075, 11.8.1988, pp. 12-13.


Fuller, Graham: Next of Ken. In: Film Comment 25,2, 1989, S. 2-4.


Gentry, Ric: Ken Russell: an interview. In: Post Script: Essays in Film and the Humanities 2,3, 1983, S. 2-23.


Hickenlooper, George: Reel conversations. Candid interviews with film’s foremost directors and critics. New York: Citadel Press 1991, 370 pp. - Includes an interview with Russell.


Jeffries, Neil: How much is a pint of milk? In: Empire, 101, Nov. 1997, p. 13. - Ken Russell answers a number of unorthodox questions.


Müller-Ullrich, Burkhard: "Mit Bildern kann man Nationen zerstören". Der Film- und Opernregisseur Ken Russell im Gespräch über Musik und Film, Manipulation und Politik. In: Frankfurter Rundschau 179, 16.8.1984, p. 1.


Phillips, Gene D.: An Interview with Ken Russell. In: Film Comment 6,3, Fall 1970, p. 10-17.


Phillips, Gene D.: Fact, Fantasy, and the Films of Ken Russell: An Interview. In: Journal of Popular Film 5,3-4, 1976, pp. 200-210.


Pitt, Ingrid: [Interview with Ken Russell.] In: Shivers, 52, April 1998, pp. 34-38.


Saynor, James: 'Tis pity she's a "Whore." In: Interview 21, May 1991, p. 28.


Tibbets, John: Elgar’s Ear: A Conversation with Ken Russell. In: Quarterly Review of Film and, Video 22, 2005, S. 37-50.

nach oben / back to top




Texte über Russell: Bücher


#Atkins, Thomas R.: Ken Russell. New York: Monarch Press 1976, xi, 132 pp. (Monarch Film Studies.).


Aurivel, Frédéric: Ken Russell - la représentation du processus de la création artistique. Thèse doctorale, Université de la Sorbonne nouvelle (Paris) 1990, 125 pp.


#Baxter, John: Ken Russell - An Appalling Talent. London: Michael Joseph 1973, 240 pp.


#Flanagan, Kevin M.: Ken Russell. Re-Viewing England’s Last Mannierist. London/Lanham, Mad.: Scarecrow Press 2009, xxv, 279 pp.

¬            Ken Russell at the BBC, 1959-1970 / Paul Sutton -- The body politic : Ken Russell in the 1980s / Barry Keith Grant -- In defense of the amateur / Brian Hoyle -- Television, contested culture, and social control : cultural studies and Pop goes the easel / Kevin M. Flanagan -- Smashing our guitars, deconstructing our idols : the pop art aesthetic in Tommy / Tom Wallis -- "Il parait que c'etait un musicien" : Ken Russell's The Debussy film / John C. Tibbetts -- Fact, fiction, fever, fantasy : Ken Russell's Mahler and the bio-film / William Verrone -- Defending Rudy : alternative masculinities in Ken Russell's Valentino / Brian Faucette -- As the (white) worm turns : Ken Russell as God and Devil of rubber-reality horror cinema / John Kenneth Muir -- Behind the last veil : forms of transgression in Ken Russell's Salome's last dance / Thomas Prasch -- Complicating the costume drama : Lady Chatterley, Ken Russell, and the conceits of heritage / Kevin M. Flanagan -- Ken Russell at work, 2006 / Paul Sutton -- "Le phoenix terrible" : a Ken Russell season at the BFI, July 2007 / John C. Tibbetts.


#Gomez, Joseph Anthony: Ken Russell – The Adaptor as Creator. New York: Pergamon Press 1977, 223 pp.

¬            Zuerst: London: Muller 1976, 223 S.

¬            Based on the author‘s MA-Thesis, University of Rochester 1975.

¬            Rev. in: Films and Filming 23, Febr. 1977, pp. 6-7.

¬            Rew. (Phillips, Gene D.) in: Literature/Film Quarterly 5,3, Summer 1977, pp. 273-274.

¬            Rev. in: Film Quarterly 31,2, Dec. 1977, pp. 19-24.


#Hanke, Ken: Ken Russell's Films. Metuchan, New Jersey/London: Scarecrow Press 1980, x, 460 pp.


#Lanza, Joseph: Phallic Frenzy: Ken Russell and his Films. London: Aurum Press 2007, 378 pp.

¬            Zugl.: Chicago, Ill. : Chicago Review Press 2007 (An A Cappella Book.).

¬            Rez. (Miller, Cynthia) in: Film and History 38,1, 2008, pp. 84-85.

¬            Rez. (Quirke, Antonia) in: Sunday Times: Culture, 15.6.2008, p. 52.


#Mele, Rino: Ken Russell. Firenze: La nuova Italia 1975, 109 pp. (Castoro Cinema. 18.).


#Modrzejewska, Ewa (Red.): Russell, Ken. [Katalog.] Warszawa: Filmoteka Narodowa 1990, 35 pp.


#Nolin, Michael Farrell: Ken Russell and other madnesses. Thesis (A.M.), University of Southern California 1985, vii, 560 pp.

¬            "Appendix A: Ten times Poe, an original screenplay by Ken Russell." - "Appendix B: Horrible beauty by Michael F. Nolin, adapted from Ten times Poe by Ken Russell (first draft screenplay with handwritten revisions by Ken Russell)." Includes the "Final draft screenplay (1980)--Horrible beauty by Michael Nolin and Ken Russell."


#Phillips, Gene D.: Ken Russell. Boston: Twayne 1979, 200 pp. (Twayne's Theatrical Arts Series.).

¬            Rev. (Slade, Joseph W.) in: Journal of Popular Film and Television 7,4, 1980, pp. 469-470.

¬            Rev. In: Month 3, 1980, p. 394.


#Rosenfeldt, Diane: Ken Russell. A guide to references and resources. Boston: K.G. Hall 1978, viii, 140 pp.


#Turner, Tanya Noi: Transcendental tendencies in films directed by Ken Russell. Thesis (M.A.), Indiana State University, 1994, v, 63 pp.

¬            Examines the idea of the soul's transcendence on earth as explained by Hegel's phenomenology of spirit as represented in films directed by Ken Russell. The films Tommy, Altered States, and The Rainbow were analyzed for instances of transcendence.

#Wilson, Colin: Ken Russell: A Director in Search of a Hero. London: Intergroup 1979, 71 pp.

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Texte über Russell: Artikel


#Adams, Michael: Ken Russell: Musical Mythmaker. In: Notes 66,1, Sept. 2009, pp. 143-163.


Anon.: N.t. In: Cinéma, 274, Oct. 1981, pp. 7-22, 24-26, 28-35. - An assessement of Russell's career, up to, and including a review of, Altered States.


#Anon.: N.t. In: Listener 107,2766, 24.6.1982, p. 32. - On Russell‘s image and reputation.


Anon.: Von Gretchen zu Moll Flanders, In: Presse 11 093, 6.3.1985, p. 5.


#Barker, Alan: Letters: Ken Russell - a man to cherish? In: Film: the British Federation of Film Societies Monthly Journal 4, April 1987, p. 10.


#Cousins, Mark [et al]: The wild bunch. In: Sight and Sound 19,9, Sept. 2009, pp. 22-36.

¬            Introduction and brief critique of directors whose work displays a freedom of expression that verges on the uncategorisable and in many cases esoteric, provocative and extreme.


Clinch, M.: Films of passion. In: Photoplay Movies & Video 38, March 1987, pp. 40-43.


#Dagneau, Gilles: Ken Russell au coeur des problèmes de son temps. In: Cinema 81, 274, Oct. 1981, pp. 8-22.


#Dempsey, Michael: The World of Ken Russell’s Films. In: Film Quarterly 25,3, Spring 1972, pp. 13-25.


#Dempsey, Michael: Ken Russell, again. In: Film Quarterly 31,2, 1978, pp. 19-24.


Dickinson, Kay: It's not only trivial, it's bad, vulgar. Ken Russell's composer biopics and the uneasyrealignment of work and culture. In: Dickinson‘s Off key when film and music won't work together. New York: Oxford University Press 2008, pp. 81-118.


Dickinson, Kay: "The Very New Can Only Come From the Very Old": Ken Russell, National Culture and the Possibility of Experimental Television at the BBC in the 1960s'. In: Mulvey, Laura and Sexton, Jamie (eds): Experimental British Television. Manchester: Manchester University Press 2007, pp. 70-88.


#Ermanno, Comuzio: Ken Russell: l'altra faccia del cinema. In: Cineforum 23, July/Aug. [=226], 1983, pp. 61-68.


Farber, Stephen: Ken Russell. In: Film Comment 11,6, Nov./Dec. 1975, pp. 4, 40-47. - Discussing Russell‘s obsessions which recur in the films, his style and vision.


Flanagan, Kevin M.: Television, contested culture, and social control: cultural studies and Pop goes the easel. In: Flanagan, Kevin M. (ed.): Ken Russell: Reviewing Englands last mannerist, Lanham (Scarecrow Press) 2009.


Fyhr, Mattias: De mörka Labytinterna: gottiken. Literatur, film, musik och rollspiel. Lund: Ellerström 2003.


#Gomez, Joseph A.: Dante's Inferno: Seeing Ken Russell Through Dante Gabriel Rossetti. In: Literature/Film Quarterly 1, 1973, pp. 274-279.


#Gomez, Joseph: Mahler and the Methods of Ken Russell’s Films on Composers. In: Velvet Light Trap 14, Winter 1975, pp. 45-50.


#Grant, Barry Keith: 'The Body Politic: Ken Russell in the Eighties'. In: Lester Friedman (ed.): Fires were started: British Cinema and Thatcherism. Minneapolis. University of Minnesota Press 1993, pp. 182-194.

¬    Auch in: Flanagan, Kevin M. (ed.): Ken Russell: Reviewing Englands last mannerist. Lanham: Scarecrow Press 2009.


#Gray, Timothy: M. Russell takes Poe-tic license. In: Variety 383, 21.-27.5.2001, pp. 60.


#Helman, Alicja: Ekscentryczne biografie Kena Russella [Ken Russell's eccentric biographies]. In: Muzykolog wobec dziela muzycznego: Zbiór prac dedykowanych doktor Elzbiecie Dziebowskiej w siedemdziesiata rocznice urodzin. [Hrsg.v.] Wozna-Stankiewicz, Malgorzata / Dziebowska, Elzbieta. Kraków: Musica Iagellonica 1999, pp. 165-171.


Holthof, Mark: Crimes of passion : Of de verlokkingen van de moraal (Ken Russell). In: AS 69, 1985, pp. 54-55.


#Hunter, A.: Ken Russell. In: Films and Filming, 373, Oct. 1985, pp. 6-9.

Iversen, Gunnar: Den skandalosa konstclownen. In: Filmhaftet: Tidskrift om Film och TV, 69/70, May 1990. pp. 10-16.


Koch, Gerhard R.: Der Provokateur als Inszenator. Ken Russell, In: Frankfurter Allgemeine Zeitung 63, 15.3.1985, p. 12.


Koebner, Thomas: Ken Russell. In: Filmregisseure. Biographien, Werkbeschreibungen, Filmographien. Hrsg. v. Thomas Koebner. Stuttgart: Reclam 1999, pp. 598-601.


#Koebner, Thomas: Exzentrische Genies. Ken Russels Umgang mit Gipsbüsten. In: Genie und Leidenschaft. Künstlerleben im Film. Hrsg. v. Jürgen Felix. St. Augustin: Gardez! 2000, pp. 115-128 (Filmstudien. 6.).


#Kolos, Sylwia: Ken Russell - spojrzenie na biografie artysty. In: Kwartalnik filmowy, 53, 2006, pp. 52-59.


#Magny, Joel: Biofilmographie de Ken Russell. In: Cinéma 81, 274, Oct. 1981, pp. 28-35.


Matyas, Peter: Az ordog ifjukora. In: Filmvilag 40,11, 1997, pp. 34-40.           


Muir, John Kenneth: As the (white) worm turns: Ken Russell as God and Devil of rubber-reality horror cinema. In: Flanagan, Kevin M. (ed.): Ken Russell: Reviewing Englands last mannerist, Lanham (Scarecrow Press) 2009.


#Nieberle, Sigrid: Das Grauen der Autorschaft : Angstnarrationen im literarhistorischen Biopic. In: The Germanic review, Bd. 79,2, 2004, pp. 115-134.


#Olmi, Massimo: Il romanticismo religioso nell'opera di Ken Russell. In:Cinema Nuovo 27, Marzo/Aprile 1978, pp. 116-119.


Pannifer, Bill: The music lover. In: Stills 24, Febr. 1986, p. 16.


#Phillips, Gene D.: Fact, fantasy, and the films of Ken Russell. In: Journal of Popular Film and Television 5,3-4, 1976, pp. 200-210.


#Phillips, Gene D.: The personal view of Ken Russell. In: America 144, 16.5.1981, pp. 408-409.


#Philipps, Gene D.: Ken Russell. The Past as Present. In his: Major film directors of the American and British cinema. Rev. ed. Bethlelem, Pa.: Lehigh University Press [...] 1999, pp. 243-259.

¬          At first 1990.


#Phillips, Gene: Ken Russell's two Lawrence films: The Rainbow and Women in Love. In: Literature/Film Quarterly 25 1997, pp. 68-73.


#Riethmüller, Albrecht: „All in the Family“. Cosima und Richard Wagner auf der Leinwandbühne von William Dieterle und Ken Russell. In: wagner spectrum 4,2, 2008, pp. 105-121.


#Riley, John A.: Ken Russell. In: Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema (SoC) 51, 2009, URL: http://www.archive.sensesofcinema.com/contents/directors/09/ken-russell.html.


#Russell, Célinie: Longing for the Divine: Ken Russell’s Film reviews. In: Theoforum (Ottawa, Université Saint-Paul) 36,1, 2005, pp. 109-120.


#Spratt, Mark: Ken Russell. In: Filmviews 32 [=131], Fall 1987, pp. 11-13.


Suttor, Timonthy L.: Ken Russell. In: Religion in motion pictures. Ed. by John R. May and Michael S. Bird. Knoxville: University of Tennessee Press 1982.


#Szylko, Izabela: Zycie jest dzielem mowi Ken Russell. In: Kino (Warszawa), Jan. 1991, pp. 20-21.


#Thompson, David: The British invasion. In: The New Republic 210, April 1994,pp. 39-41.


#Thompson, David: Ken Russell: Sweet Swell of Excess – David Thompson remembers Russell’s invention of the BBC television arts documentary. In: Sight and Sound 17, 2007, pp. 28-33.


#Thompson, David: Prime time pick: Ken Russell at the BBC. In: Film Comment 44,5, Sept. 2008, p. 74.

¬    DVD review of the US DVD release Ken Russell at the BBC.


Tibbetts, John C.: "Just an innocent bystander" The composer films of Ken Russell. In his:

Composers in the movies: studies in musical biography. Foreword by Simon Callow. New Haven:

Yale University Press 2005, pp. 155-216.


Vlasopolos, Anca: Ken Russell's "Clouds of Glory": The Ruling Passion as Key to the Artist. In: Literature/Film Quarterly 8,1, 1980, pp. 2-14.


#Williams, Linda Ruth: Ken Russell: Sweet Swell of Excess. In: Sight and Sound 17,7, 2007, pp. 28-32.

¬    Critical appreciation of Ken Russell's film career from the 1970s-1980s, noting his reputation as a pioneer and purveyor of a particularly British 'extreme' cinema.


#Yacowar, Maurice: Ken Russell's "Rabelais". In: Literature/Film Quarterly 8,1, 1980. pp. 41-51.

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Artikel/ Kritiken/ Analysen zu einzelnen Filmen


In aller Regel sind längere Analysen von Filmen vor namentlich nachweisbare Rezensionen gestellt. Sollten nur die Angaben der Zeitungs- und Zeitschriftenhefte verifizierbar gewesen sein, bilden diese den Schluß der jeweiligen Listen. Sollten sich Texte auf mehrere Filme beziehen, sind sie mehrfach aufgelistet.



#Amelia and the Angel (Großbritannien 1957)


Screen Education, 23, March 1964, p. 43.

Amateur Movie-Maker 1,8, May 1958, p. 242.

Amateur Movie-Maker 1,.8, May 1958, p. 245. - Kurzer Artikel von Russell.




#Lourdes (Großbritannien 1958)


Movie Maker 5,10, Oct. 1971, pp. 650-651. - Comparison of Ken Russell's films The Devils and Lourdes.


Movie Maker1,9, Nov. 1967, p. 668.

Film News, 33, March 1959.

Amateur Movie-Maker 1,15, Dec. 1958, pp. 638-639.




#Monitor (Großbritannien 1958-65)


Thompson, David: Portraits of artists. In: Sight and Sound 17,7, July 2007, p. 31. - Discusses Ken Russell's television portraits of artists and classical musicians for the BBC arts programme Monitor and then later Omnibus in the 1960s.


Thompson, David: Prime time pick: Ken Russell at the BBC. In: Film Comment 44,5, Sept. 2008, p. 74.




#Elgar (Großbritannien 1962)


Gardiner, John: Variations on a Theme of Elgar: Ken Russell, the Great War, and the television 'life' of a composer. In: Historical Journal of Film, Radio and Television 23,3, 2003, pp. 195-210. - Discussion of the attempt to capture the 'spirit' of Elgar by Ken Russell in his two films made in 1962 and 2002. Begins with a brief overview of the two films then explores areas of controversy and insights offered by his approach.


Tibbetts, John C.: Elgar's ear: a conversation with Ken Russell. In: Quarterly Review of Film and Video 22,1, Jan. 2005, pp. 37-49. - The author talks to Ken Russell about his second film on Elgar and explores Russell's composer films which started in 1962 when he made his first film about Elgar.




#French Dressing (Großbritannien, 1963 [1964?])


Monthly Film Bulletin 31,365, June 1964, p. 88.

Variety, 27.5.1964.

Kine Weekly, 2955, 21.5.1964, p. 10.




The Debussy Film (Großbritannien 1965)


Tibbetts, John C.: Ken Russell's The Debussy Film (1965). In: Historical Journal of Film, Radio and Television 25,1, March 2005, pp. 81-99.

¬          An exploration of The Debussy Film, including Ken Russell and Melvyn Bragg discussing  how it was made, its importance as a landmark film in Russell's career and the critical reception it received when transmitted.




#Omnibus (Großbritannien 1967ff)


Thompson, David: Portraits of artists. In: Sight and Sound 17,7, July 2007, p. 31.

¬    Discusses Ken Russell's television portraits of artists and classical musicians for the BBC arts programme Monitor and t hen later Omnibus in the 1960s.




#Billion Dollar Brain (Großbritannien 1967)


Dellar, Mark: Brainpower: Billion Dollar Brain Reassessed. In: Bright Lights Film Journal, 39, Febr. 2003, URL: http://www.brightlightsfilm.com/39/brain.php.


Monthly Film Bulletin 35,408, Jan. 1968, p. 2.

Daily Cinema, .9450, 22.11.1967, p. 6.

Variety, 22.11.1967, p. 6.

Kine Weekly, 3136, 18.11.1967, p. 18.




#Women in Love (Großbritannien 1969)


Elmore, Darrel Richard: Homoeroticism in D.H. Lawrence's ‚Women in love‘ and the Rainbow and Ken Russell's film adaptations. M.A. Thesis, Florida Atlantic University 1999, iv, 54 pp.


Gomez, Joseph A.: Russell's Images of Lawrence's Vision. In: Klein, Michael / Parker, Gillian (eds.): The English Novel and the Movies. New York: Ungar 1981, pp. 248-256.


Phillips, Gene: Ken Russell's two Lawrence films: The Rainbow and Women in Love. In: Literature/Film Quarterly 25,1, 1997, pp. 68-73.


Young, Jane Jaffe: D.H. Lawrence on Screen: Re-Visioning Prose Style in the Films of The Rocking-Horse Winner, Sons and Lovers, and Women in Love. New York, NY: Peter Lang 1999, xxiv, 351 pp. (Literature and the Visual Arts. New Foundations. 12.).


Hanke, Kenneth: Farewell to Oliver Reed. In: Video Watchdog, 52, 1999, pp. 24-31.


Brode, Douglas: Turning novels into movies: Lawrence vs. Russell. In: The Thousand Eyes, 11, June 1976, pp. 10-11.


Dagneau, Gilles: Ken Russell au coeur des problèmes de son temps. In: Cinéma 81, 274, Oct. 1981, pp. 8-22.


Jutkewitsch, S.: Wege aus der "Klosterzelle". In: Film und Fernsehen 11,2, 1983, pp. 44-49.


Rev. (Elliott Sirkin) in: Film Quarterly 24,1, Autumn 1970, pp. 43-47.

Rev. (Gow, Gordon) in: Films and Filming, 421, Nov. 1989, p. 66.

Rev. (Schwartz, Wolf) in: Films and Filming, 421, Nov. 1989, p. 66.


British Film: The Classic Television top 100. In: Classic Television, 5, June 1998, pp. 10-25. - A brief history of British film and Classic Television readers' 100 British films.

Cinema Novo, 32, Nov. 1983, pp. 37-38.

Daily Cinema, 9567, 28.8.1968, p. 9.

Empire, 183, Sept. 2004, p. 161.

Film Heritage 6,4, July 1971, pp. 1-6.

Films and Filming 16,4, Jan. 1970, pp. 49-50. - Repr.: Films and Filming, 421, Nov. 1989, p. 66.

Gas Light, 1, Febr. 1972, pp. 10-12.

Hollywood Reporter 210,16, 17.3.1970, p. 3.

Kine Weekly, 3240, 15.11.1969, p. 10.

Literature/Film Quarterly 1,1, Jan. 1973, pp. 46-54.

Monthly Film Bulletin 36,431, Dec. 1969, pp. 263-264.

Sight and Sound 39,1, Dec. 1969, pp. 49-50.

Sight and Sound 3,7, July 1993, p. 62.

Thousand Eyes Magazine, 11, June 1976, pp. 10-11.

Today's Cinema, 9749, 14.11.1969, p. 6.

Today's Cinema, 9762, 15.12.1969, pp. 2-3. - Interview with L. Kramer, giving figures for the costs on the production.

Variety, 6.11.1968, p. 22.

Variety, 19.11.1969, p. 14.




#The Music Lovers (Großbritannien, 1970)


Elia, Maurice: The Devils et The Music Lovers de Ken Russell. In: Séquences: la Revue de Cinema, 184, Mai/Juin 1996, pp. 20.


Krukones, James H.: Exploding the Romantic myth: Ken Russell's The Music Lovers. In: Tchaikovsky and his contemporaries. A centennial symposium. Ed. by Alexandar Mihailovic. Westport, Conn. [...]: Greenwood Press 1999 (Contributions to the Study of Music and Dance. 49.).


Ermanno, Comuzio: Ken Russell: l'altra faccia del cinema. In: Cineforum 23,226, July/Aug. 1983, pp. 61-68.


Rev. (Alion, Yves) in: Revue du Cinéma/Image et Son, 468, Févr. 1991, p. 35.


Cineforum, 105/106, July 1971, pp. 109-117.

Cinéma, 154, Mars 1971, pp. 131-134.

Films and Filming 17,6, March 1971, pp. 47-48

Hollywood Reporter 214,35, 25.1.1971, pp. 3, 16.

Kine Weekly, 3305, 13.2.1971, p. 8.

Monthly Film Bulletin 38,446, March 1971, p. 53

Motion Picture Herald 241,2, 27.1.1971, p. 547,.

Movie Maker 5,5, May 1971, pp. 300-303.

Show 1,3, March 1970, pp. 56-59 ,76.

Sight and Sound 40,2, April 1971, p. 109.

Today's Cinema, 9720, 8.9.1969, p. 6.

Variety, 27.1.1971, p. 17.




#The Devils (Großbritannien 1970)


Brajovic-Andjelkovic, Snezana: In the Name of God, on the Devil's Behalf: Witch Hunt in Arthur Miller's 'The Crucible,' Ken Russell's 'The Devils,' Sebastiano Vassalli's 'La Chimera,' Leonardo Sciascia's 'La strega e il capitano,' Françoise Mallet-Joris's 'Anne ou le théâtre' and 'Jeanne ou la révolte,' and Maryse Condé's 'Moi, Tituba sorcière...noire de Salem'. Ph.D. Thesis, University of Toronto 2003.

¬    Abstr.: Dissertation Abstracts International, Section A: The Humanities and Social Sciences, 66,10, April 2006, p. 3635.


Cloarec, Nicole: Spectacles et mises en scène dans The Devils de Ken Russell (1971) et The Baby of Macon de Peter Greenway (1993). In: La Licorne 66, (Rennes, Presses Univ. de Rennes), pp. 213-224.


Elia, Maurice: The Devils et The Music Lovers de Ken Russell. In: Séquences: la Revue de Cinema, 184, Mai/Juin 1996, p. 20.


Gentry, Ric: Ken Russell: an interview. In: Post Script: Essays in Film and the Humanities 2,3, 1983, pp. 2-23.


Greenfield, Pierre: Dirty dogs, dirty devils and Dirty Harry. In: Velvet Light Trap: a Critical Journal of Film and Television, 16, Fall 1976, pp. 34-37.


Hanke, Kenneth: Farewell to Oliver Reed. In: Video Watchdog, 52, 1999, pp. 24-31.


Kermode, Mark: Raising hell. In: Sight & Sound 12,12, 2002, pp. 28-31.

¬    Shorn of a crucial scene for its 1971 release, Ken Russell's The Devils has never been seen as its director intended. That is, until Mark Kermode tracked down the missing footage: Several scenes were entirely cut, including the controversial 'rape of Christ' scene. The missing sequences are detailed although the film is unlikely to be restored.


MacLean, Paul Andrew: The Devils/The Boyfriend. In: Soundtrack! The Collector‘s Quarterly 10, Sept. 1991, p. 33.


Matyas, Peter: A gonosz principiuma. In: Filmkultura 25,4, 1989, pp. 20-27.


Ooh you are wicked, Mr Russell. In: Radio Times 299,3897, 17.10.1998, p. 63.


Russell, Ken: Private view: three cuts and you're out. In: Sight and Sound 7,10, Oct. 1997, pp. 69-71.

¬    Ken Russell recalls making The Devils, including problems with censorship, and his relationship with Derek Jarman who worked on the production design for the film.


Schubert, Linda: Plainchant in Motion Pictures: The 'Dies Irae' in Film Scores. In: Florilegium, 15, 1998, pp. 207-229.


Sherlock, M.g.: Reader's right. In: Films Illustrated 5, Jan. 1976, p. 191.


Sikov, Ed: Habit Forming. In: Premiere 4,3, April 1996, pp. 64-68.

¬          A look at various films featuring nuns.Szemadam, Gyorgy: Test es szellem harca. In: Filmkultura 25,4, 1989, pp. 28-35.


Thiery, Natacha: La bosse spectaculaire du peche. In: Vertigo: Revue d‘Esthétique et d‘Histoire du Cinéma, 22, 2001, pp. 124-128.


Rev. (Norman, Barry) in: Radio Times 285,3723, 27.5.1995, p. 46.


Cinéma, 161, Dec. 1971, pp. 119-122. - Interview with Russell.

Cinema TV Today, 9982, 27.5.1972, p. 8. - Letter referring to the local censoring of the film in Scotland.

Films Illustrated 5,53, Jan. 1976, p. 191.

Films and Filming 17,12, Sept. 1971, p. 49.

Hollywood Reporter.217,1, 9.7.1971, p. 3.

Image et Son, 255, Dec. 1971, pp. 109-119.

Journal of Media Law and Practice 9,3, Sept. 1988, p. 121. - Brief details of the film's banning by Glasgow.

Kine Weekly, 3283, 12.9.1970, p. 12.

Kine Weekly, 3280, 22.8.1970, p. 12. - On production.

Kine Weekly, 3328, 24.7.1971, p. 11.

Monthly Film Bulletin 38,451, Aug. 1971, pp. 161-162.

Movie Maker 5,10, Oct. 1971, pp. 650-651. - Comparing the film to other religious subject films made by Ken Russell, particularly Lourdes.

Rivista del Cinematografo, 8-9, Aug. 1971, p. 390.

Shivers, 56, Aug. 1998, pp. 30-33.

Today's Cinema, 9925, 23.7.1971, p. 8.

Variety, 14.7.1971, p. 16.




#The Boy Friend (Großbritannien/USA 1971)


Rev. (Maxford, Howard) in: Film Review, April 1997, pp. 64-69. - About the making and success of The Boy Friend with several statements by cast and crew members.


Call Sheet: The Boy Friend - Ken Russell's tribute to Busby Berkeley movies. In: Film Review, April 1997, pp. 64-71.


Gow, Gordon: The boy friend - Ken Russell's film based on the musical comedy. In: The Dancing Times, March 1972, pp. 303-305.


CinemaTV Today, 9966, 5.2.1972, p. 24.

Filmfacts 14,19, Oct. 1971, p. 496.

Films and Filming 18,7, April 1972, pp. 49-50.

Films and Filming 18,1, Oct. 1971, pp. 34-35.

Hollywood Reporter.219,11, 16.12.1971, p. 3.

Kine Weekly, 3316, May 1971, p. 13. - Production details.

Listener 118,3018, 2.7.1987, p. 35.

Monthly Film Bulletin 39,458, March 1972, p. 48.

Photoplay 23,3, March 1972, pp. 32-33.

Positif, 139, Juin 1972, pp. 51-54.

Sight and Sound 41,2, April 1972, pp. 111-112.

Variety, 22.12.1971, p. 6.




#Savage Messiah (Großbritannien 1972)


Cinema 8,1, April 1973, pp. 40-41.

CinemaTV Today, 9968, 19.2.1972, p. 9. - Credits.

CinemaTV Today, 9999, 23.9.1972, p. 18.

CinemaTV Today, 9967, 12.2.1972, p. 5.

Film Heritage 9,2, January 1974, pp. 9-16.

Filmfacts 15,23, Dec. 1972, pp. 578-582.

Films and Filming 19,1, Oct. 1972, pp. 12-16, 45. - Interview with Ken Russell & review.

Films and Filming 19,2, Nov. 1972, pp. 28-29. - Extract from script.

Films Illustrated 1,12, June 1972, pp. 10-11. - Interview with Scott Anthony.

Hollywood Reporter 221,6, 28.4.1972, p. 12. - Credits.

Hollywood Reporter 223,22, 13.10.1972, p. 4.

Journal of Popular Film n.3/4 , July 1976, pp. 200-210. - Interview with Russell, on the DEVILS, the SAVAGE MESSIAH, the BOYFRIEND, TOMMY, LISZTOMANIA, MAHLER, VALENTINO and future projects.

Monthly Film Bulletin 39,465, Oct. 1972, p. 217.

Movie Maker 6,9, Sept. 1972, pp. 618-619. - On the set with Ken Russell.

Variety, 13.9.1972, p. 24.

Women and Film 1,3-4, Jan. 1973, pp. 31-33.



#Mahler (Großbritannien 1974)


Anon.: Zwischen Brillanz und Geschmacklosigkeit. Zu Ken Russells Mahler. In: Neue Züricher Zeitung 67, 21.3.1975, S.78.


Allen, T.: Programming Mahler. In: America 134, 8.5.1976, pp. 415-417.


Cocks, J.: Homeward bound; some sweet notes; hardly classical (Marine; Sparkle; Mahler). In: Time 107, 17.5.1976, pp. 72.


Ferber, Christian: Und Cosima, die hohe Wonnegans. Der eigenwillige Gustav Mahler Film von Ken Russell, In: Die Welt, 11.4.1974, p. 25.


Gilliatt, Penelope: The current cinema: genius, genia, genium, ho hum (Who Fell from Grace with the Sea; Mahler). In: The New Yorker 52, 26.4.1976, pp. 119-121.


Gomez, Joseph: ‘Mahler’ and the Methods of Ken Russell’s Films on Composers. In: Velvet Light Trap 14, Winter 1975, pp. 45-50.


Rußegger, Arno: Eine Frage des Stils: Zu Ken Russells Film Mahler (1974). In:             Mahler-Gespräche. Rezeptionsfragen, literarischer Horizont, musikalische Darstellung; [Referate der Tagung, die am 15. und 16. November 2001 in Klagenfurt stattfand]. Hrsg. v. Friedbert Aspetsberger [...]. Innsbruck [...]: StudienVlg. 2002, pp. 32-65.

¬    Der Aufsatz setzt sich in erster Linie mit der Filmfigur „Gustav Mahler“ als fiktionalem Gebilde auseinander. Es werden jene Bedeutungen und Eigenschaften erläutert, mit denen Mahler in einem bestimmten Kontext ausgestattet worden ist, um die Situation des Künstlers in der Gesellschaft zu beschreiben. Mahlers Widersprüchlichkeit wirkt als modernster Wesenszug an ihm. Vor allem wird versucht, auf Fragen zum „Image“ des Menschen Gustav Mahler Antworten zu finden. (Auchmann, Michaela)


Simon, J.: Styles in young love. In: New York Magazine 9, 10.5.1976, pp. 64-65.


Rev. (Cook, Page) in: Films in Review 27, June/July 1976, pp. 377-378.

Rev. (MacNab, Geoffrey) in: Sight and Sound 15,6, June 2005, p. 85.

Rev. (Meyer, A.) in: Medium 7, April 1977, pp. 30-31.


Cinema TV Today, 10078, 13.4.1974, p. 16.

Films and Filming 20,8, May 1974, pp. 41-43.

Hollywood Reporter 234,39, 16.1.1975, p. 14.

Monthly Film Bulletin 41,483, April 1974, pp. 76-77.

Photoplay 25,6, June 1974, pp. 46-48. - Report about the making of the film & interview with R. Powell.

Variety, 10.4.1974, p. 17.

Velvet Light Trap 14, Jan. 1975, pp. 45-50.




#Tommy (Großbritannien 1974)


Anon.: [Interview with Russell.] In: Take One 4,12, July 1974, pp. 16-21.

¬    About the films Russell sees, what he likes doing when not directing, his love of classical music, his attention to historical fact and the making of Tommy.


Anon.: British Film - The Classic Television top 100. In: Classic Television, 5, June 1998, pp. 10-25. - A brief history of British film and Classic Television readers' 100 British films. Films listed with short synopses.


Anon.: Tommy: The Amazing Journey. In: Liner Notes (USA) 2005, p. 1.


Barnes, Richard / Townshend, Pete: The story of Tommy. Twickenham: Eel Pie Publishers 1977, 128 S.

¬    Making of Russell‘s film. Includes a chapter on Russel, pp. 86-99.


Beckert, Michael: "Tommy." In: Medien + Erziehung 20,2 (1976), pp. 128-129.


Buchka, Peter: Alpträume bei der Reise in den Tod. Mahler - ein exzentrischer Film von Ken Russell, In: Süddeutsche Zeitung 59, 12.3.1977, p. 14.


Canby, Vincent: Tommy, The Who's Rock Saga. In: The New York Times, 20.3.1975.


Csejdy, Andras: Tommy. In: Filmvilag 39,9, 1996, p. 61.


Dupont, Gerard: Tommy. Cinematographe 14, Aug/Sep 1975, pp. 8-9.


Eichler, Rolf: 'See Me, Touch Me, Feel Me, Heal Me': Tommy the Autistic Superstar. In: Schlote, Christiane / Zenzinger, Peter (eds.): New Beginnings in Twentieth-Century Theatre and Drama: Essays in Honour of Armin Geraths. Trier: Wissenschaftlicher Verlag Trier (WVT) 2003, pp. 297-310.


Hanke, Kenneth: Farewell to Oliver Reed. In: Video Watchdog, 52, 1999, pp. 24-31.


Hudlin, Reginald: Personal Pick: Tommy. In: Premiere 6,9, May 1993, p. 104. - Reginald Hudlin explains why Tommy is an important movie for him.


Lucas, Tim: Tommy: the Movie.In: Video Watchdog 56, 2000, pp. 69-70.


Revilla, Federico: Iconografía y simbología religiosa en Tommy [Religious iconography and symbolism in Tommy]. In: Cuadernos de Arte e Iconografía 5,9, 1992, pp. 217-229.


Ricagno, Alejandro: ¡Droga en el cine! In: Amante Cine 2,14, April 1993, pp. 36-39. - Discussion of drugs in film, covers a variety of films from The Man with the Golden Arm to Drugstore Cowboy. Also includes films which cover the drug culture in music such as The Rose and Sid and Nancy.


Turroni, G. "Tommy." Filmcritica: Rivista mensile di Studi sul Cinema 27 Apr (1976): 117-18.


Tommy wins high honors in British film voting. In: Boxoffice 108 Jan 12 (1976): E1.


Wolcott, James: Tommy dearest. In: Vanity Fair, Febr. 2008, suppl. „New Movies, pp. 34-37. - Article looking back at Ken Russell's film of The Who's rock opera Tommy.


Rock film Tommy now okay in Singapore. In: Variety 285, 8.12.1976, p. 34.


Rev. (Beckert, Michael) in: Medien + Erziehung 20,2, 1976, pp. 128-129.

Rev. (Csejdy, Andras) in: Filmvilag 39,9, 1996, p. 61.

Rev. (Dupont, Gerard) in: Cinématographe, 14, Aug./Sept. 1975, pp. 8-9.

Rev. (García Landa, José Ángel) in his: Vanity Fea, 15.5.2007, URL: http://garciala.blogia.com/2007/051502-tommy.php.

Rev. (Grebe, Ellen) in: Welt 62, 15.3.1977, p. 15.

Rev. (Jungheinrich, Hans-Klaus) in: Frankfurter Rundschau 218, 20.09.1977, p. 8.

Rev. (Lucas, Tim) in: Video Watchdog, 56, 2000, pp. 69-70.

Rev. (Manola, Franz in: Presse 9214, 7.12.1978, p. 6.

Rev. (Morrison, Alan) in: Empire, 182, Aug. 2004, p. 156.

Rev. (Turroni, G.) in: Filmcritica: Rivista mensile di Studi sul Cinema 27, Aprile 1976, pp. 117-118.


Cinefantastique 4,3, Oct. 1975, p. 33.

CinemaTV Today, 10079, 20.4.1974, p. 20. - Plans for a production of Tommy.

CinemaTV Today, 10080, 27.4.1974, p. 11.

CinemaTV Today, 10129, 12.4.1975, p. 16.

Dirigido Por..., 23, May 1975, pp. 26-27.

Films and Filming 21,8, May 1975, pp. 34-36.

Films and Filming 21,6, March 1975, pp. 51-55. - Stills.

Films Illustrated 4,44, April 1975, p. 286.

Hollywood Reporter 235,27, 12.3.1975, p. 14.

Monthly Film Bulletin 42,495, April 1975, p. 88.

Photoplay 26,5, May 1975, pp. 16-19.

Radio Times 236,3068, 28.8.1982, p. 11.

Sight and Sound 44,3, July 1975, pp. 192-193.

Sight and Sound 3,12, Dec. 1993, p. 62. - Video note.

Technicien du Film, 226, 15.5.1975.

Technicien du Film, 227, 15.6.1975, p. 16.

Time Out, 265, 28.3.1975, pp. 10-11.

Variety, 12.3.1975, p. 18.




#Lisztomania (Großbritannien 1975)


Anon.: Rock-Liszt. Ken Russells Lisztomanie. In:Weltwoche, 18.2.1976, S.31


Care, Ross: Lisztomania. In: Film Quarterly 31,3, Spring 1978, pp. 55-61.

¬          An in-depth review of the film by Ken Russell that explores the historical/cultural facts woven into the controversial director's biographical fantasy. Lisztomania is very freely based on the life of composer/piano virtuoso Franz Liszt, who Russell sees as one of the first pop superstars. It also explores his relationship with Richard Wagner in whose epic music Russell sees a horrific premonition of Nazi Germany.


Deaville, James A.: The making of a myth: Liszt, the press, and virtuosity. In: New light on Liszt and his music: Essays in honor of Alan Walker's 65th birthday. Ed. by Michael Saffle and James Deaville. Stuyvesant, N.Y: Pendragon Press 1997, pp. 181-195 (Analecta Lisztiana. 2.)/(Franz Liszt studies series. 6.).

¬          In Feminine endings: Music, gender, and sexuality, Susan McClary relates Liszt's matinee-idol piano recitals to Elvis Presley's performances. In Ken Russell's film Lisztomania (1975), the rock star Roger Daltrey gives an outrageous portayal of Liszt. Presley differed from Liszt in that his creative activities were hindered by substance abuse, and he did not renounce the virtuoso life. The shallow myth of Liszt's transcendent virtuosity, created by his contemporaries, continues to detract from serious consideration of his music, although modern writers such as Alan Walker have attacked this myth. (Arnold, Donna)


Elley, D.: Lisztomania and The Loves of Liszt. In : Films and Filming 22, Jan. 1976, pp. 31-33.


Leirens, Jean: Russellmania a propos de Lisztomania. In: Amis du Film et de la Télévision, 238, Mars 1976, pp. 4-5.


Lindfors, Rolf and B. Wredlund. Film. Filmrutan: Tidskrift for Film och Filmstudios 19, 1, 1976, pp.  52-53.


Manns, Torsten: Komponister pa hjaernan. In: Chaplin 18,2 (=143), 1976, pp. 58-62.


Riethmüller, Albrecht: „All in the Family“. Cosima und Richard Wagner auf der Leinwandbühne von William Dieterle und Ken Russell. In: wagner spectrum 4,2, 2008, pp. 105-121.


Saffle, Michael: Liszt in the Movies: Liszt's Rhapsody as Composer Biopic. In: Journal of Popular Film & Television 35,2, July 2007, pp. 58-65.

¬    Part of a whole issue on artists and artistry on film.


Sereny, Eva: Liszt pop. In: Playmen 6, Juni 1976, pp. 110-117.


Wulff, Hans J.: Lisztomania. In: Filmklassiker. Beschreibungen und Kommentare. 3. Hrsg. v. Thomas Koebner unter Mitarb. v. Kerstin-Luise Neumann. Stuttgart: Reclam 1995. S. 374-376.


Rev. (Apers, M) in: Film en Televisie + Video, 226, March 1976, p. 29.

Rev. (Bajer, Leslaw: Pop-essay) in: Kino (Warszawa) 11, Febr. 1976, pp. 54-55.

Rev. (Bronchain, C.) in: Revue Belge du Cinéma (A.P.E.C.) 13,5, 1976, pp. 82-85.

Rev. (Brooke, Michael) in: Sight and Sound 19,6, June 2009, p. 86.

Rev. (Brown, Royal S.) in: High Fidelity and Musical America 26, April 1976, pp. 136-138.

Rev. (Care, Ross; Russell, Ken) in: Film Quarterly 31,3, Spring 1978, pp. 55-61.

Rev. (Caron-Lowins, E.) in: Positif, 180, Avril 1976, pp. 72-73.

Rev. (Comuzio, Ermanno) in: Cineforum, 165, May/June 1977, pp. 392-393.

Rev. (Dagneau, G.) in: Revue du Cinéma n309-310, Oct. 1976, pp. 217-218.

Rev. (Garel, A. / Behar, H.) in: Revue du Cinéma, 305, Avril 1976, pp. 90-95.

Rev. (Lindfors, Rolf / Wredlund, B.) in: Film. Filmrutan: Tidskrift for Film och Filmstudios 19,1, 1976, pp. 52-3.

Rev. (Mazzoleni, A.) in: Bianco e Nero 39, May/June 1978, pp. 134-136.

Rev. (Peck, Christoph) in: Kölner Stadt-Anzeiger, 28.4.1978, p. 25.

Rev. (Peruzzi, Giuseppe) in: Cinema Nuovo 26, Sept./Oct. 1977, pp. 374-376.

Rev. (Renaud, T.) in: Cinema 76 76,209, Mai 1976, p. 144.

Rev. (Schupp, P.) in: Sequences: la Revue de Cinéma, 83, Janv. 1976, pp. 39-40.

Rev. (Ulive, Ugo) in: Cine al dia, 22, Nov. 1977, pp. 27-29.


Films and Filming v.22 n.4 , January 1976, p.31-32, English

Films Illustrated 5,51, Nov. 1975, pp. 100-101.

Hollywood Reporter 238,26, 10.10.1975, pp. 3, 6.

Listener 94,2433, 20.11.1975, pp. 696-697.

Monthly Film Bulletin 42,502, Nov. 1975, pp. 240-241.

Photoplay 27,1, Jan. 1976, p. 13.

Screen International, 12, 22.11.1975, p. 14.

Variety, 15.10.1975, p. 26.




#Valentino (USA 1976)



Ansen, D.: Martyr to macho. In: Newsweek 90, 17.10.1977, p. 102.


Behrendt, Flemming: Manden der elskede sin rolle: kildekritiske antegninger til Ken Russells Valentino. In: Kosmorama 23,136, 1977, pp. 254-259.


Boost, Charles: Rudolph Valentino: de James Dean van de jaren '20: slachtoffer van Russells voyeurisme. In: Skoop 13, Nov. 1977, pp. 6-8.


Comuzio, Ermanno: Ken Russell: Valentino. In: Cineforum 169, Nov 1977. pp. 684-695.


Corliss, Richard: Men, women and Valentino. In: New Times 9, 25.11.1977, pp. 83.


Depiction of his dad in Russell's Valentino jars Jesse Lasky Jr. In: Variety 288, 12.10.1977, pp. 2.


Gholson, Craig: Michelle Phillips: the lover's lover or Valentino's valentine. In: Interview 7, July 1977, pp. 10-11.


Gruen, John: Nureyev as Valentino: "I may be a huge flop." In: The New York Times 127, 2.10.1977, sect. 2, pp. 1.


Haskell, M.: Anatomy of a womanizer. In: New York Magazine 10, 17.10.1977, pp. 96-?.


Hodenfield, Chris: Son of the son of the sheik: Rudolph Nureyev and the making of Valentino. In: Rolling Stone, 251, 3.11.1977, pp. 78-85.


Kael, Pauline: The current cinema: the lower trash/the higher trash. In: The New Yorker 53, 7.11.1977, pp. 119-122.


Koegler, Horst: Bilderflut des Valentino-Films mit Nurejew. In: Tanzarchiv 26,4, April 1978, pp. 136-137.


Lightman, Herb A.: With Ken Russell on the set of Valentino. In: American Cinematographer 58, 11, Nov. 1977. pp. 1138-1141. - Interview about photographic and production aspects of the film


Maslin, J.: Vital Nureyev upstages Valentino. In: The New York Times 127, 6.10.1977, p. C21.


Maslin, J.: Valentino and Bobby Deerfield - where did they go wrong? In: The New York Times 127, 10.11.1977, p. C17.


Nureyev Valentino. In: Playboy 24 Oct (1977): 171-173.


Roll Valentino pic 50 years after. In: Variety 284, 18.8.1976, p. 26.


Sarris, Andrew: Reining in the prancers and dancers. In: The Village Voice 22, 31.10.1977, pp. 45-46.


Schickel, Richard: Rudy II as Rudy I in a gaudy bust. In: Time 110, Oct. 1977, pp. 98-99.


Slater, Douglas: Unfair to Ken Russell. In: Films Illustrated 7, Febr. 1978, pp. 232-233.


Spencer, Peggy: Valentino: working with Ken Russell and Rudolf Nureyev. In: Ballroom Dancing Times 21,6, March 1977, pp. 217-220.


Terry, Walter: Nureyev leaps into film as Valentino. In: Saturday Review 4, 30.4.1977, pp. 29-32.


Turroni, Giuseppe: Il mito frantumato. In: Filmcritica: Rivista mensile di Studi sul Cinema 28, Ott. 1977, pp. 257-259.


UA invites bids on Valentino pic; sites not named. In: Variety 287, 20.7.1977, pp. 4+.


Rev. (Beaudoin-Pesci, S.) in: Téléciné, 222, Nov. 1977, pp. 54-55.

Rev. (Clouzot, C.) in: Ekran: Revija za Film in Televizijo, 61, 15.9.1977, p. 54.

Rev. (Coleman, J.) in: New Statesman 94, 7.10.1977, p. 486.

Rev. (Comuzio, Ermanno) in: Cineforum, 169, Nov. 1977, pp. 684-695.

Rev. (De Bongnie, J.) in: Amis du Film et de la Télévision, 257, Oct. 1977, p. 17.

Rev. (Dempsey, Michael): Ken Russell, again, in: Film Quarterly 31,2, 1977/78 (1978), pp. 19-24.

Rev. (Eyquem, O.) in: Positif, 199, Nov. 1977, pp. 73-74.

Rev. (Flatley, G.) in: The New York Times 126, 22.7.1977, p. C8.

Rev. (Frenais, J.) in: Cinéma 77, 226, Oct. 1977, pp. 70-71.

Rev. (Garel, A. et al.) in: Revue du Cinéma, 322, Nov. 1977, pp. 131-133.

Rev. (Gow, Gordon) in: Films and Filming 24, Nov. 1977, pp. 36-37.

Rev. (Hanck, Frauke): Ein Film weckt die Neugier: Ken Russells Film Valentino) in: Film & Ton-                        Magazin 24, Febr. 1978, pp. 70-71.Rev. (Klain, S.) in: Independent Film Journal 80,                         7.10.1977, pp. 7-8.

Rev. (Klain, S.): in: Independent Film Journal 80, Oct  1977. pp. 7-8.

Rev. (Knorr, W.) in: Weltwoche 3, 18.1.1978, p. 27.

Rev. (Magill, Marcia) in: Films in Review 28, Nov. 1977, pp. 569-570.

Rev. (Merigeau, P.) in: Revue du Cinéma, 332, Oct. 1978, pp. 323-324.

Rev. (Moskowitz, G.) in: Variety 288, 21.9.1977, p. 16.

Rev. (Munroe, D.) in: Filmbulletin (Zürich) 46, Sept./Okt. 1977, pp. 42-43.

Rev. (Nelissen, I.) in: Film en Televisie + Video, 246, Nov. 1977, pp. 8-9.

Rev. (Prono, Franco) in: Cinema Nuovo 27, Jann./Febr. 1978, pp. 60-62.

Rev. (Pulleine, T.) in: Monthly Film Bulletin 44, Nov. 1977, pp. 244-245.

Rev. (Schenker, Susan) in: Take One: Film & Television in Canada 5,12, 1977, pp. 6-7.

Rev. (Schupp, P.) in: Séquences: la Revue de Cinéma, 91, Janv. 1978, pp. 193-194.

Rev. (Sotiaux, Daniel) in: Revue Belge du Cinema (A.P.E.C.), 9/10, Déc. 1977-Mars 1978, pp. 61-62.

Rev. (Tornabuoni, L.) in: Bianco e Nero 39, Jan./Febr. 1978, pp. 130-131.

Rev. (Villien, B.) in: Cinématographe, 30, Sept. 1977, p. 40.


American Cinematographer 58,11, Nov. 1977, pp. 1134-1141. - Behind the camera on Valentino:

 Production report.

Continental Film Review 24,12, Oct. 1977, pp. 4-8.

Film Review 27,11, Nov. 1977, pp. 44-45.

Films and Filming 24,2, Nov. 1977, pp. 36-37.

Films and Filming 24,1, Oct. 1977, pp. 17-19. - Stills.

Hollywood Reporter 248,21, 26.9.1977, pp. 3, 14.

Hollywood Reporter 248,27, 4.10.1977, p. 4. - Russell criticises the American version of his film which has been cut.

Listener 119,3050, 18.2.1988, p. 27.

Lumière du Cinéma, 7, Sept. 1977, pp. 20-25.

Monthly Film Bulletin 44,526, Nov. 1977, pp. 244-245.

Photoplay 28,11, Nov.1977, pp. 29-31, 51.

Photoplay 28,12, Dec. 1977, pp. 24-25.

Screen International, 109, 15.10.1977, p. 11. - Comments by producers Chartoff and Winkler.

Screen International, 108, 8.10.1977, p. 30.

Screen International, 50, 21.8.1976, p. 9.

Variety, 21.9.1977, p. 16.




#Altered States (USA 1980)


Anon.: N.t. In: Post Script 2,3, April 1983, pp. 2-23. - Interview with, about Hollywood and the themes in his films, particularly about Altered States.


Ansen, D.: Dr. Faust and Mr. Hyde. In: Newsweek 96, 29.12.1980, p. 65.


Asahina, R.: On screen: mad doctors. In: New Leader 64, 9.2.1981, pp. 17-18.


Bartholomew, David [...]: The filming of Altered States. In: Cinéfantastique11,2, 1981, pp. 16-36.


Bell-Metereau, Rebecca: Altered States and the popular myth of self-discovery. In: Journal of Popular Film and Television 9,4, 1982, pp. 171-179.


Blake, R.A.: Determinisms. In: America 144, 31.1.1981, pp. 83-84.


Buckley, Tom: At the movies: how "10" has changed life for Dudley Moore. In: The New York Times 129, 11.1.1980, p. C12.


Buckley, Tom: At the movies: Ken Russell on Altered States controversy. In: The New York Times 130, 16.1.1981, p. C6.


Calum, Per: Ken Russell om Eksperimentet. In: Kosmorama 28,157, Febr. 1982, p. 36.


Carrie, Rickey: How would you like to tussle with Russell? In: The Village Voice 26 , 21.1.1981, p. 46.


Coleman, J.: Films: cherchez la femme. In: New Statesman 102, 10.7.1981, p. 22.


Columbia scared cautious on Altered States altered budget; WB takes over costly pic. In: Variety 294, 14.3.1979, p. 3.


Corliss, Richard: Invasion of the mind snatcher: Altered States. In: Time 116, 29.12.1980, p. 58.


Dagneau, Gilles: Ken Russell au coeur des problèmes de son temps. In: Cinéma 81, 274, Oct. 1981, pp. 8-22.


Finkel, Marc: Coming: Ken Russell to direct Altered States. In: Cinefantastique 8,2/3, 1979, p. 85.


Gagné, Paul R.: What's a nice, clasical composer like John Corigliano doing on a film like this? Very nicely, thank you.. In: Cinefantastique 11,2, 1981, p. 37.


Gentry, Ric, Ken Russell: an interview. In: Post Script: Essays in Film and the Humanities 2,3, 1983, pp. 2-23.

¬    Interview with, about Hollywood and the themes in his films, particularly about Altered States.


Harmetz, Aljean: Producer of Popeye to try Cotton Club. In: The New York Times 130, 12.12.1980, p. C14.


Haustrate, G.: Au-dela du réèl: l'etre et le néant. In: Cinéma 81, 274, Oct. 1981, pp. 24-7.


Kael, Pauline: The current cinema: sensory deprivation. In: The New Yorker 56, 19.1.1981, pp. 100+ [6p].


Leirens, J.: Mystique et science(-fiction). In: Amis du Film et de la Télévision, 308, Janv. 1982, p. 18.


Lightman, Herb A.: American Cinematographer 62,3, March 1981. Themenheft: Ken Russell's Altered States.

¬    Includes: Interview with Director of Photography, Jordan Cronenweth, pp. 230-235, 290-292. - Article by head of Special Visual Effects, Bran Ferren, pp. 236-239, 260-262, 265-267, 296-298. - Article on the medical background; effects of drug LSD, plus stills of how this was conveyed visually, pp. 240-241, 270-279.


Lozano, Miguel Angel: Amaneramiento entretenido. In: Cine (Bogotà), 6, Nov./Dec. 1981, pp. 45-47.


Markey, Constance: Birth and rebirth in current fantasy films. In: Film Criticism 7,1, 1982, pp. 14-25.


May, Daniel Joseph: Altered States: A discussion of John Corigliano's film score. Ph.D. Thesis, Cornell University 1990, 148 pp.

¬          In the score Three hallucinations for orchestra (1986), Corigliano uses motion sonorities (his invention) as motivic building blocks. Three hallucinations, the clarinet concerto, and the Altered states film score are compared.


Michera, Wojciech: Kamera jako retorta. In: Kwartalnik Filmowy, 31/32, Fall/Winter 2000, pp. 5-32.


Morgan, David: Sounds of apocalypse: John Corigliano on Altered States. In: Knowing the score: Film composers talk about the art, craft, blood, sweat, and tears of writing music for cinema. New York: HarperEntertainment 2000, pp. 131-140.

¬            An interview with the composer on his score for the 1980 Ken Russell movie.


Moss, Robert F.: Paddy Chayefsky: the agonies of a screen writer. In: Saturday Review 8, May 1981, pp. 20-24.


Oblak, Jerica: Part 1: Ash Matrix (for Orchestra and Voice). Part 2: 'Altered States': Analysis of the Collaboration between Ken Russell and John Corigliano. Ph.D. Thesis, University of Pittsburgh 1999.

¬    Abstr.: Dissertation Abstracts International, Section A: The Humanities and Social Sciences 61,1, July 2000, p. 23.


Pede, Ronnie: Filmmuziek. In: Film en Televisie + Video, 304, Sept. 1982, pp. 32-34.


Phillips, Gene D.: The personal view of Ken Russell. In: America 144, 16.5.1981, pp. 408-409.


Sarris, Aamdrew: Films in focus: the terrible paradox of talking pictures. In: The Village Voice 25, 10.12.1980, p. 65.


Schumacher, Kim: Ken Russell og kundskabens atomtrae. In: Levende Billeder 8, 15.2.1982, pp. 4-9.


Sellers, Robert: Russell & Flow. In: Film Review, 664, Dec. 2005, p. 112. - Ken Russell recalls the troubled making of Altered States.


Sobchack, Vivian: Child/alien/father: Patriarchal crisis and generic exchange. In: Camera Obscura, 15, 1987, pp. 6-35.


Slater, Douglas: Plus ca change... In: Films Illustrated 10, Sept. 1981, pp. 464-467.


Sragow, M.: Small triumphs over the formula. In: Rolling Stone, 336, 5.2.1981, pp. 36-37.


Yakir, Dan: Altering 'states'. In: Film Comment 17, Jan./Febr. 1981, pp. 52-55.


Rev. (Auty, M.) in: Monthly Film Bulletin 48, July 1981, p. 131.

Rev. (Barteneva, Evgeniia ) in: Filmbulletin (Zürich), Frühjahr 1981.

Rev. (Bartholomew, David ) in: Cinefantastique 11,1, 1981, pp. 14-24.

Rev. (Bellamore, L..) in: Segnocinema: Rivista Cinematografica Bimestrale, 3, Marzo 1982, p. 63.

Rev. (Bowyer, Justin) in: Empire, 198, Dec. 2005, p. 212.

Rev. (Bundschuh, Jörg) in: Süddeutsche Zeitung 19., 25.1.1982, p.15.

Rev. (Comuzio, E.) in: Cineforum, 210, Dez. 1981, pp. 61-66.

Rev. (Denby, D.) in: New York Magazine 13, 22.12.1980, pp. 60-62.

Rev. (Fox, J.R.) in: Cinefantastique 11,1, 1981, p. 46.

Rev. (Gagné, P.R.) in: Cinefantastique 10,4 ,1981, p. 48.

Rev. (Gilodi, R..) in: Rivista del Cinematografo 55 Jan/Feb (1982): 41-2.

Rev. (Gregory, Lee.) in: Revue du Cinema 38-9 Hors serie 1982 (1982).

Rev. (Grob, Norberg) in: Zeit 5, 29.1.1982, p. 40.

Rev. (Hatch, Robert ) in: The Nation 231, 27.12.1980, pp. 716-717.

Rev. (He.) in: Neue Züricher Zeitung 30, 7.2.1982, p. 24.

Rev. (Honnef, Klaus) in: Vorwärts 11, 11.3.1982, p. 31.

Rev. (Jordan, Sean) in: Cinefantastique 36,4. Aug. 2004, p. 6. - On possible re-makes of cult classics.

Rev. (Kock, I. De ) in: Andere Sinema, 34, Dec. 1981, pp. 36-37.

Rev. (Kreis, Gabriele) in: Deutscges Allg. Sonntagsblatt 6, 7.2.1982, p.15.

Rev. (Kriewitz, Günther) in: Stuttgarter Zeitung 25, 1.2.1982, p.11.

Rev. (Linck, D.) in: Boxoffice 117, Jan. 1981, p. 16.

Rev. (Linck, David ) in: Boxoffice 117, Jan. 1981, p. 11.

Rev. (Mahan, J.H.) in: Christian Century 98, 22.4.1981, p. 460.

Rev. (Mandell, Paul ) in: The Cinefex, 4, April 1981, pp. 32-72.

Rev. (Manola, Franz) in: Presse 10157, 30.1.1982, p.6.

Rev. (Napoli, T.) in: The Film Journal 84, 15.1.1981, pp. 31-32.

Rev. (Ovesen, J..) in: Filmrutan: Tidskrift for Film och Filmstudios 25,3, 1982, pp. 34-35.

Rev. (Quinlan, D.) in: Films Illustrated 10, Aug. 1981, p. 404.

Rev. (Rogers, T.) in: Films in Review 32, March 1981, pp. 181-182.

Rev. (Ross, P.) in: Revue du Cinéma, 365, Oct. 1981, pp. 31-32.

Rev. (Schupp, P.) in: Séquences: la Revue de Cinéma, 104, April 1981, pp. 48-49.

Rev. (Schepelern, P..) in: Kosmorama 28,157, Febr. 1982, pp. 35+ [2p].

Rev. (Schmidt, Eckhart) in: Rheinischer Merkur) 7, 12.2.1982, p. 22.

Rev. (Schumacher, K..) in: Levende Billeder 8, 15.3.1982, pp. 60-61.

Rev (Schwartzkopf, Margarete von) in: Welt 31, 6.2.1982, p. 15.

Rev. (Stieler, Wolfgang) in: Tagesspiegel 11045, 24.1.1982, p. 5.

Rev. (Strajn, D.) in: Ekran: Revija za Film in Televizijo 8 n5/6 (1983): 20.

Rev. (Turroni, Guido.) in: Filmcritica: Rivista mensile di Studi sul Cinema 33, 321, Jan. 1982, p. 57.

Rev. (Urs, Jenny) in: Spiegel 7, 15. 2.1982, p.197.

Rev. (Vanschoenwinkel, R..) in: Film en Televisie + Video, 296, Jan. 1982, p. 9.Rev. (Tesson., C.) in: Cahiers du Cinéma, 328, Oct. 1981, p. 63.

Rev. (Vertlieb, S.) in: Cinémacabre, 4, 1981, pp. 35-37.

Rev. (Villien B.) in: Cinématographe, 71, Oct. 1981, p. 50.


Cinefantastique 10,4, April 1981, p. 48.

Cinefantastique 11,1, July 1981, pp. 16-37. - Dossier on production.

Cinefantastique 11,1, July 1981, p. 46.

Cinefantastique 11,1, July 1981, pp. 4-25. - On Dick Smith's make-up designs.

Cinefex, 4, April 1981, pp. 32-71. - Article about the production history and special effects in the film.

CineMag, 56, 16.2.1981, p. 23.

Continental Film and Video Review 28,9, July 1981, pp. 10-13. - On the psychological effects of hallucinatory drugs and review of the film.

Écran Fantastique , 17, Jan. 1981, p .52.

Écran Fantastique, 21, Nov. 1981, pp. 13-23. - Discussion between make-up men and special effects technicians.

Écran Fantastique, 22, Jan. 1982, pp. 57-64. - Discussion on special effects and make-up.

Film Criticism 6,1, Oct. 1981, pp. 14-25. - Conpared with Somewhere in Time and Star Trek II.

Film Comment 17,1, Jan. 1981, pp. 52-55. - On special effects.

Film Directions 4,16, Jan. 1982, p. 20.

Films 1,8, July 1981, pp. 26-29.

Films Illustrated 10,120, Sept. 1981, pp. 464-467. - Russell's return to filmmaking after four years.

Films 1,8, July 1981, pp. 30-33. - Article on the research and thinking behind the film.

Journal of Popular Film & Television 9,4, Jan. 1982, pp. 171-179.

Monthly Film Bulletin 48,572, Sept. 1981, p. 190.

Monthly Film Bulletin 48,570, July 1981, p. 131.

Motion Picture Product Digest 8,15, 31.12.1980, pp. 58, 60.

Pro Musica Sana 9,4, July 1982, pp. 2-6. - Article on the music score written for the film.

Screen International, 301, 18.7.1981, p. 15.

StarBurst, 214, June 1996, p. 54.

StarBurst, 35, June 1981, pp. 22-25.

Variety, 10.12.1980, .p. 30, 32.




#Crimes of Passion, aka: China Blue (USA 1984)


Anon.: N.t. In: Screen International, .519, 19.10.1985, p. 415. - Interview with Russell, on his new film, Crimes of Passion, and recent projects which have failed to get off the ground.


Anon.: N.t. In: Films and Filming, 373, Oct. 1985, pp. 6-9. - Interview.


Anon.: N.t. In: City Limits, 205, 6.9.1985, p. 79. - Interview.


Anon.: N.t. In: Time Out, 785, 5.9.1985, p. 17. - Interview.


Aubenas, J.: Russellmania. In: Visions, 28, April 1985, p. 21.


Blake, R.A.: Frankly, my dear. In: America 151, 24.11.1984, p. 345.


Corliss, Richard: Dark nights for the libido. In: Time 124, 29.10.1984, p. 102.


Crimes of Passion revisited. In: Variety 316, 17.10.1984, pp. 7+ [2p].


Denby, D.: Movies: down in the dumps in Texas. In: New York Magazine 17, 19.11.1984, pp. 52-54.


Edelstein, D.: Film: that obscene object of desire. In: The Village Voice 29, 6.11.1984, pp. 64+ [2p].


Garel, A.: Les jours et les nuits de China Blue. In: Revue du Cinéma 406, Juin 1985. S. 38-40.


Grossini, Giancarlo. Film sul divano. In: Cinema Nuovo 34, 296-297, Aug./Oct. 1985, pp. 64-66.


Guilfoyle, Joe [...]: Our favorite psychos. In: Midnight Marquee, 55, Fall 1997, pp. 23-33.


Holthof, Mark: Crimes of passion : Of de verlokkingen van de moraal (Ken Russell). In: AS, 69, 1985, S. 54-55.


Hunter, A.: Ken Russell. In: Films and Filming, 373, Oct. 1985, pp. 6-9.


Hutchinson, T.: The last word. In: Photoplay Movies & Video 36, Aug. 1985, p. 61.


Klein, Richard: Rehme, Russell blast MPAA for denying an R rating toPassion. In: Variety 316, 26.9.1984, pp. 4+ [2p].


Kroll, J.: Flesh and fantasies. In: Newsweek 104, 29.10.1984, pp. 134-135.


Maslin, Janet: An actor with something extra. In: The New York Times 134, 8.11.1984, p. C23.


Maslin, J.: Tony Perkins in Crimes of Passion. In: The New York Times 134, 19.10.1984, p. C19.


Raczek, T.: Ten stary diabel seks. In: Kino (Warszawa) 20, Febr. 1986, pp. 44-45.


Zupancic, A.: Crimes of Passion: in uzitek zenske. In: Ekran: Revija za Film in Televizijo 12,1/2, 1987,  pp. 42-43.


Rev. (Alion, Y.) in: Revue du Cinéma, Hors série 31, 1985, p. 68.

Rev. (Benth, Reinhard) in: Welt 180, 6.8.1985, p. 19.

Rev. (blo.) in: Neue Züricher Zeitung 204, 5.9.1985, p. 28.

Rev. (Bruzzone, G.M.) in: Quaderni di Cinema 5,29, Dec. 1985, pp. 53-55.

Rev. (Carrère, E.) in: Positif, 295, Sept. 1985, p. 74.

Rev. (Combs, Richard) in: Monthly Film Bulletin 52, Sept. 1985, pp. 274-275.

Rev. (Dagneau, G.) in: Cinéma 85, 319/320, July/Aug. 1985, p. 25.

Rev. (Eldorado, J.) in: Fatal Visions, 7, Feb./March 1990, p. 23.

Rev. (Flakus, C.) in: Ekran: Revija za Film in Televizijo 11,9/10, 1986, p. 23.

Rev. (Franchi, I.) in: Cinema Nuovo 34,295, June 1985, pp. 51-52.

Rev. (Gagné, C.) in: The Film Journal 87, Dec. 1984, pp. 18-19.

Rev. (Garel, A.) in: Revue du Cinéma, 406, Juin 1985, pp. 38-40.

Rev. (Hibbin, S.) in: Films and Filming, 373, Oct. 1985, p. 35.

Rev. (Holthof, M.) in: Andere Sinema, 69, Sept./Oct. 1985, pp. 54-55.

Rev. (Hutchinson, T.) in: Photoplay Movies & Video 36, Oct. 1985, p. 45.

Rev. (Jenny, Urs) in: Spiegel 28, 8.7.1985, pp. 151-152.

Rev. (Jula, R.) in: Filmbulletin (Zürich) 27,4 (=143), 1985, p. 35.

Rev. (Karp, A.) in: Boxoffice 121, Jan. 1985, p. R18.

Rev. (Langer, Freddy): FAZ 162, 16.7.1985, p. 5.

Rev. (Lopez-Terres, H.) in: Cinématographe, 112, July 1985, pp. 49-50.

Rev. (Malcolm, D.) in: Film Directions 8, 1986, pp. 30-31.

Rev. (Manola, Franz) in: Presse 11 198, 12.7.1985, p. 5.

Rev. (Michelson, Herb H.) in: Variety 316 Sep 19 (1984): 23.

Rev, (Müller-Schöll, Ulrich) in: Zeit 31, 26.7.1985, p. 40.

Rev. (Ostria, V.) in: Cahiers du Cinéma, 374, July/Aug. 1985, p. 62.

Rev. (Pflaum, H.-G.) in: Süddeutsche Zeitung 161, 16.7.1985, p. 10.

Rev. (Piccardi, A.) in: Cineforum 25,244, May 1985, p. 74.

Rev. (Pugliese, R. / M. Maderna) in: Segnocinema, 18, May 1985, p. 75.

Rev. (Rhode, Carla) in: Tagesspiegel 12 100, 14.7.1985, p. 5.

Rev. (Slodowski, Jan) in: Filmowy Serwis Prasowy 37,1/2 (=707/708), 1991, pp. 15-16.

Rev. (Spratt, M.) in: Cinema Papers, 51, May 1985, p. 87.

Rev. (Swinnen, W.) in: Film en Televisie + Video, 336/337, May/Jun 1985, p. 13.

Rev. (White, A.) in: Films in Review 36, Jan. 1985, p. 50.


Cahiers du Cinéma.374, July 1985, p. 62.

City Limits, 206, 13.9.1985, p. 23.

City Limits, 205, 6.9.1985, p. 79. - Interview with Russell.

Écran Fantastique, 51, Déc. 1984, p. 41.

Filmfaust, 14, June 1979, p. 16.

Films and Filming, 373, Oct. 1985, pp. 6-8. - Interview with Ken Russell.

Films and Filming, 373, Oct. 1985, p. 35.

Hollywood Reporter.284,7, 17.10.1984, pp. 3, 10, 12.

Listener 114,2926, 12.9.1985, p. 33.

Monthly Film Bulletin 52,620, Sept. 1985, pp. 274-275.

Revue du Cinéma/Image et Son, 406, June 1985, pp. 38, 40.

Screen International, 439, 31.3.1984, p. 2.

Screen International, 514, 14.9.1985, p. 27.

StarBurst, 86, October 1985, pp. 17-18.

Television Today, 11.7.1985, p. 18. - Details of a suit against the cable company transmitting the film, to be brought to the Supreme Court.

Time Out, 785, 5.9.1985, p. 17. - Interview with Russell.

Time Out, 786, 12.9.1985, p. 45.

Variety, 19.9.1984, p. 23.




#Gothic (Großbritannien 1986)



Anon.: Interview with Russell. In: Time Out, 862, 25.2.1987, pp. 16-17. - Interview with Russell about Gothic and his attitude to filmmaking.


Ackerman, Diane: Why horror movies still gnaw at us. In: The New York Times 136, 5.4.1987, sect. 2, pp. 23-24.


Barèges, Luc : Le nouveau film de Ken Russell: Gothic. In : Ciné-Télé-Revue 4, Jan 1987, S. 12-13.


Bennetts, Leslie: New face: Natasha Richardson: continuing a dynasty. In: The New York Times 136, 15.5.1987, p. C8.


Berkes, Ildiko: Gotika - a szellem ejszakaja. In: Filmkultura, 1-3, Oct./Nov./Dec. 1993, p. 22.


Blake, R.A.: Film: monstrosity. In: America 156, 30.5.1987, p. 445.


Bodtker, Henning: Intervju med Ken Russell. In: Z Filmtidsskrift 5,3 (=21), 1987, p. 33.


Canby, Vincent: Film: Shelley, Byron and friends, in Gothic. In: The New York Times 136, 10.4.1987, p. C16.


Ciecko, Anne. The romantic ut pictura biographica: Ken Russell's Gothic. In: USC Spectator 12,2 1992. S. 26-33.


Clinch, M.: Films of passion. Photoplay Movies & Video 38, March 1987, pp. 40-43.


Darnton, N.: At the movies: Ken Russell conjures "Gothic" tales. In: The New York Times 136, 10.4.1987, p. C8.


De Santis, L.: Il pro-filmico assente/presente. In: Filmcritica: Rivista mensile di Studi sul Cinema 38, 373, Aprile 1987, pp. 218-219.


Fyhr, Mattias: De mörka labyrinterna. Gotiken i litteratur, film, musik och rollspel. Lund: Ellerström 2003, 363 S.

¬    Zugl.: Stockholm, Univ., Diss., 2003.


Grimm, M.: Dr. Frankenstein. In: Film Video Logbuch, 13, July 1987, pp. 42-43.


Grunenberg, Christoph: Gothic. Transmutations of horror in late twentieth century art. the Institute of  Contemporary Art, Boston 1997.


Iversen, Gunnar: Den skandalosa konstclownen. In: Filmhaftet: Tidskrift om Film och TV, 69/70, May 1990, pp. 10-16.


Knaack, Ines: Die jüngere englische Romantik im Prisma des englischen Gegenwartstheaters. Dargestellt an: Howard Brenton, "Bloody Poetry", Liz Lochhead, "Blood and Ice", Ken Russell, "Gothic". Frankfurt [...]: Lang 1999, 234 pp. (Europäische Hochschulschriften. 14, 354.).

¬    Zugl.: Berlin, Freie Univ., Diss., 1998.


Kroll, J.: The arts: movies: a highbrow "Nightmare on Elm Street". In: Newsweek 109, 27.4.1987, p. 79.


Lally, K.: Russell brings his wild style to Byron and Shelley legend. The Film Journal 90, May 1987, pp. 8-9.


Nieberle, Sigrid: Das Grauen der Autorschaft. Angstnarrationen im literarhistorischen Biopic. In: The Germanic Review 79,2, 2004, pp. 115-134.


Pulleine, T.: Russell's romantics. In: Sight & Sound 55,4, 1986, p. 222.


Rattue, James: Exuviae - a fragmentary grammar of Gothic. Bournemouth : Umbra Press 2004, 140p.


Robbins, J.: Russell found crew ready and willing for "Gothic" U.K. shoot. In: Variety 326, 22.4.1987, pp. 4-6.


Salminen, K.: Naimme: kahdeksantena paivana ihminen loi hirvion... In: Filmihullu, 1, 1988, pp. 38-39.


Volk, Stefan: Atmosphärisches Licht. In: Film-Dienst 60,22, Okt. 2007, p. 36.


Wahlstedt, T.: Intellektuell skrackis. In:Chaplin 29,6 (=213), 1987, p. 326.


Weemaes, G. / Sartor, F.: Gothic: het visuele delirium van Ken Russell. In: Film en Televisie + Video 360/361, May/June 1987. pp. 12-13.


Weemaes, G. / Sartor, F.: Gothic: het visuele delirium van Ken Russell. In: Film en Televisie + Video, 360/361, May/June 1987, pp. 12-13.


Williamson, J.: Cinema: man, myth and maggots. In: New Statesman 113, 27.2.1987, pp. 24-25.


Ken Russell's Gothic picked up by Vestron after Atlantic's nixing. Variety 325, 1986, pp. 3-4.


Rev. (Adam.) in: Variety 325, 10.12.1986, pp. 15+ [2p].

Rev. (Baxter, J.) in: Cinema Papers, 64, July 1987, pp. 53-54.

Rev. (Caron, A.) in: Séquences: la Revue de Cinéma, 129, April 1987, pp. 84-86.

Rev. (Carrère, E.) in: Positif, 314, April 1987, p. 74.

Rev. (Cazals, T. ) in: Cahiers du Cinéma, 392, Fév. 1987, pp. 56-57.

Rev. (Galante, D. / P. Cherchi Usai) in: Segnocinema: Rivista Cinematografica Bimestrale, 28, May 1987, pp. 78-79.

Rev. (Hutchinson, T.) in: Photoplay Movies & Video 38, March 1987, p. 26.

Rev. (Jones, Alan.) in: Cinefantastique 17,2, 1987, pp. 4-5+ [3p].

Rev. (Jones, Alan) in: StarBurst, 103, March 1987, pp. 12-14.

Rev. (Kelleher, E.) in: The Film Journal 90, May 1987, p. 18.

Rev. (Lebouc, G.) in: Ciné-Fiches de Grand Angle 14,96, July 1987, pp. [17-18].

Rev. (Matthews, T.) in: Boxoffice 123, July 1987, pp. R65-R66.

Rev. (McVay, D.) in: Film: the British Federation of Film Societies Monthly Journal 3, Febr. 1987, pp. 6-7.

Rev. (Morrison, Alan) in: Empire, 193, July 2005, p. 170.

Rev. (Poulle, F.) in: Jeune Cinéma, 180, Avril/Mai 1987, pp. 37-38.

Rev. (Rabius, M.) in: EPD Film 4, Juni 1987, p. 29.

Rev. (Strick, P.) in: Monthly Film Bulletin 54, Febr. 1987, pp. 47-48.

Rev. (Sutton, M.) in: Films and Filming, 389, Febr. 1987, pp. 37-38.

Rev. (Termine, L.) in: Cinema Nuovo 36,307, May/June 1987, pp. 42-43.

Rev. (Tessier, M.) in: Revue du Cinéma, 424, Fév. 1987, pp. 11-14.

Rev. (Zimmer, J.) in: Revue du Cinéma, Hors série 34, 1987, p. 71.


Broadcast , 09.5.1986, p.28,

Cinema Papers, 64, July 1987, pp. 53-54.

City Limits, 282, 26.2.1987, p. 27

City Limits, 282, 26.2.1987, p. 23. - Imagined interview with Mary Shelley.

Film (BFFS) 3,2, Febr. 1987, pp. 6, 8.

Films and Filming, 389, Febr. 1987, pp. 37-38.

Hollywood Reporter 296,47, 23.4.1987, pp. 3, 7.

Listener 117,3000, 26.2.1987, p. 30.

Monthly Film Bulletin 54,637, Febr. 1987, pp. 47-48.

Monthly Film Bulletin 54,638, March 1987, p. 95.

Screen International, 545, 26.4.1986, p. 6.

Screen International, 585, 31.1.1987, p. 26.

Screen International, 575, 22.11.1986, p. 53. - Production report.

Screen International, 575, 22.11.1986, p. 1. - Atlantic Releasing withdraws from its deal with Virgin to distribute the film in North America.

Screen International, 517, 5.10.1985, p. 71.

Sight and Sound 55,4, Oct. 1986, p. 222. - Location report.

Time Out, 862, 25.2.1987, pp. 16-17.

Variety, 10.12.1986, pp. 15-18.




#Aria (Großbritannien/USA 1986/87)


Chion, Michel: Opéra, sirènes et sorcières. In: Cahiers du Cinéma, 398, July/Aug. 1987, pp. 50-51.


Clinch, M.: A night at the opera. In: Photoplay Movies & Video 38, Nov. 1987, pp. 32-33.


Corliss, Richard: Opera for the inoperative. In: Time 131, 2.5.1988, p. 79.


Darnton, N.: At the movies: Ten directors will give film a classical air. In: The New York Times 136, 17.10.1986, p. C16.


De Bernardinis, Flavio: Troppo lavoro e troppo gioco fanno di Robert un "ragazzo" unico, ovvero terza (definitiva?) tentazione di posare la penna. In: Il Castoro Cinema, 39, April 1995, pp. 117-121.


Maslin, J.: Directors' daydreams become stuff of opera. In: The New York Times 137, 21.5.1988, p. 54.


Meyer, Mark-Paul: De aria en het verhaal. In: Skrien, 159, April/May 1988, pp. 22-23.


Phelps, Guy: Omnibus or "What's opera, Don?" In: Sight & Sound 56,3, 1987, pp. 188-192.


Poulle, Francois. A propos du film Aria: film et travail poetique. In: Jeune Cinéma, 187, April/May 1988, pp. 26-30.


Tambling, Jeremy: Could opera be liberated by TV? In: InterMedia 19,1, Jan. 1991, pp. 20-23. - Argues that opera films are better than opera on TV, looks at Aria as an example.


Taubin, A.: Same old song. In: The Village Voice 33, 31.5.1988, p. 69.


Terry, Ken /Ken Terry: RCA, Virgin fund opera project; film directors helm videoclips. In: Variety 324, 8.10.1986, pp. 6-7.


Rev. (Allombert, G.) in: Revue du Cinéma, Hors série 34, 1987, pp. 18-19.

Rev. (Astrup, C.B.) in: Film & Kino, 5, 1987, p. 23.

Rev. (Blau, Eleanor) in: The New York Times 137, 1.1.1988, p. 18.

Rev. (Brandlmeier, Thomas) in: EPD Film 4, Sept. 1987, p. 29.

Rev. (Brooke, Michael) in: Sight and Sound 19,8, Aug. 2009, p. 85.

Rev. (Carbonnier, A.) in: Cinema 87, 400, 22.5.1987, p. 5.

Rev. (Del Re, Gianmarco) in: Il Castoro Cinema, 183, May/June 1997, pp. 68-69.

Rev. (Gariazzo, G.) in: Segnocinema: Rivista Cinematografica Bimestrale, 33, May 1988, p. 67.

Rev. (Greenberg, J.) in: Variety 327, 27.5.1987, pp. 11-12.

Rev. (Hunter, A.) in: Films and Filming, 397, Oct. 1987, pp. 28-29.

Rev. (Jenkins, S.) in: Monthly Film Bulletin 54, Nov. 1987, pp. 328-329.

Rev. (Lafontaine, Y.) in: 24 Images, 41, Winter 1988, p. 82.

Rev. (Niogret, H.) in: Positif, 317/318, July/Aug. 1987, p. 106.

Rev. (Noel, Jacques / Monique Septon) in: Ciné-Fiches de Grand Angle 15,103, March 1988, pp. [1-2].

Rev. (Noh, D.) in: The Film Journal 91, April 1988, p. 27.

Rev. (Pede, R.) in: Film en Televisie + Video, 367, Dec. 1987, p. 33.

Rev. (Santé, L.) in: Premiere 1, Fév. 1988, p. 96.

Rev. (Schupp, P.) in: Séquences: la Revue de Cinéma, 137, Nov. 1988, pp. 85-86.

Rev. (Willemsen, P.) in: Andere Sinema, 83 Jan./Febr. 1988, pp. 56-57.

Rev. (Williamson, B.) in: Playboy 35, April 1988, pp. 22 + [2p].


American Film.13,5, March 1988, p. 69. - Production note.

City Limits, 317, 2910.1987, p. 25.

Film Comment 24,3, May 1988, pp. 76-77.

Films and Filming, .397, Oct. 1987, p. 28-29.

Hollywood Reporter.301,47, 12.4.1988, pp. 10, 14.

Monthly Film Bulletin 54,646, Nov. 1987, pp. 328-329.

Premiere, 123, June 1987, p. 94. - Interview with Valerie Allain and Marion Peterson about working with Godard on the film.

Revue du Cinéma/Image et Son, 427, May 1987, pp. 63-80.

Screen International, 615, 29.8.1987, p. 31.

Screen International,587, 14.2.1987, p. 42. - Production report.

Screen International, 592, 21.3.1987, p. 21. - See: 591, 14.3.1987, p. 16.

Sight and Sound 56,3, July 1987, pp. 188-192. - Report on the production of the film.

Stills, 29, Febr.1987, pp. 42, 52. - Notes on the financing and production of the project.

Time Out, 861, 18.2.1987, p. 24. - Production report.

Time Out, 897, 28.10.1987, p. 38

Time Out, 893, 30.9.1987, pp. 15-17. - Background to the project.

Variety, 27.5.1987, pp. 11, 12.

Variety 330, 20.4.1988, pp. 20.



#Salome’s Last Dance (Großbritannien 1987)


Anon.: [Interview.] In: Films and Filming, 406, July 1988, pp. 6-8. - Interview with Russell on his films, particularly Salome's Last Dance and the The Lair of the White Worm.


Anon.: [Ken Russell.] In: City Limits, 352, 30.6.1988, p. 20. - Career article in which Russell talks particularly about his latest film Salome's Last Dance.


Canby, Vincent: Salome and decadence. In: The New York Times 137, 6.5.1988, p. C8.


Dierkes-Thrun, Petra: Salomé, C'est Moi? Salomé and Wilde as Icons of Sexual Transgression. In: Smith, Philip E., II (ed.): Approaches to Teaching the Works of Oscar Wilde. New York, NY: Modern Language Association of America 2008, pp. 171-179.


Feingold, M.: Wilde thing. In: The Village Voice 33, 17.5.1988, p. 73.


Gross, J.: New York: two new movies suggest that shock tactics are best muted in a work of art. In: The New York Times 137, 22.5.1988, sect. 2, p. 39.


Iversen, Gunnar: Den skandalosa konstclownen. In: Filmhaftet: Tidskrift om Film och TV, 69/70, May 1990, pp. 10-16.


Walters, Margaret: Something Wilde. In: Listener 120,3070, 7.7.1988, p. 33.


Rev. (Bilbow, M.) in: Photoplay Movies & Video 39, July 1988, pp. 30-31.

Rev. (Billson, A.) in: Monthly Film Bulletin 55, July 1988, pp. 209-210.

Rev. (Cohn, L.L.) in: Variety 331 Apr 27 (1988): 12.

Rev. (Hanke, Kenneth) in: Video Watchdog, 56, 2000, pp. 66-68.

Rev. (Kelleher, E.) in: The Film Journal 91, June 1988, p. 22.

Rev. (Larue, J.) in: Séquences: la Revue de Cinéma, 135/136, Sept. 1988, p. 98.

Rev. (Loiselle, M.-C.) in: 24 Images, 39/40, Fall 1988, p. 112.

Rev. (Matthews, T.) in: Boxoffice 124, Aug. 1988, p. R72.

Rev. (Strauss, Tony) in: Scarlet Street, 41, 2001, pp. 22-23.


City Limits, 352, 30.6.1988, p. 24

City Limits, 352, 30.6.1988, p. 20. - Russell talks about the film.

Films and Filming, 400, Jan. 1988, pp. 19-21. - Article on set designs.

Films and Filming, 406, July 1988, pp. 36-37.

Hollywood Reporter 302,15, 6.5.1988, pp. 5, 44.

Monthly Film Bulletin 55,654, July 1988, pp. 209-210.

Screen International, 659, 2.7.1988, p. 18.

Time Out, 93 , 29.6.1988, p. 29.

Variety, 27.4.1988, p. 12.




#The Lair of the White Worm (Großbritannien/USA 1988)


Anon.: N.T. In: Film Comment 24,6, Nov. 1988, pp. 52-54. - Interview with Russell about The Lair of the White Worm.


Anon.: [Interview.] In: Films and Filming, 406, July 1988, pp. 6-8. - Interview with Russell on his films, particularly Salome's Last Dance and the The Lair of the White Worm.


Corliss, Richard: The lady vamps. In: Time 132, 31.10.1988, p. 93.


Harner, Gary W.: "The Lair of the White Worm": sex and Christianity Ken Russell style. In: Midnight Marquee, 46, Winter 1994, pp. 18-22.


Pike, Karen: Bitextual Pleasures: Camp, Parody, and the Fantastic Film. In: Literature Film Quarterly 29,1, 2001, pp. 10-22.


Hoberman, J.: Blood and guts. In: The Village Voice 33, 1.11.1988, p. 65.


Hohmann, Arnold: Nach dem Tod beginnt das Leben. In: Süddeutsche Zeitung, 12.12.2009, p. 47.


Jones, Alan: Ken Russell's "Lair of the White Worm". In: Cinefantastique 19,1/2 1989, S. 38-39 [3pp.].


Landy, Marcia. The sexuality of history in contemporary British cinema. Film Criticism 20 n1/2 (1995): 78-87.


Lane, Anthony: Turning the worm. In: The New Yorker 68, 8.2.1993, p. 27.


Maslin, J.: The forked tongue of Ken Russell. In: The New York Times 138, 21.10.1988, p. C14.


Moore, Suzanne: Vamping it up. In: New Statesman & Society 217.3.1989, p. 42.


Rev. (Alion, Yves) in: Revue du Cinéma, Hors série 37, 1990, p. 88.

Rev. (Brauerhoch, Annette) in: EPD Film 6, Okt. 1989, pp. 34-35.

Rev. (Dursin, Andy) in: Film Score Monthly 8,7, Aug. 2003, p. 47.

Rev. (Everson, William K.) in: Films in Review 40, Febr. 1989, pp. 102-103.

Rev. (Gingold, Michael / Kiernan, Matthew) in: Fangoria, 190, March 2000, p. 75.

Rev. (Girard, Martin) in: Séquences: la Revue de Cinéma, 138, Janv. 1989, pp. 86-87.

Rev. (Gold, R.) in: Variety 332, 31.8.1988, p. 15.

Rev. (Hanke, Ken) in: Films in Review 40, Nov. 1989, pp. 557-559.

Rev. (Hanke, Kenneth) in: Video Watchdog, 56 2000, pp. 59-61.

Rev. (Harris, Judith P.) in: Cinefantastique 19,3, March 1989, p. 55.

Rev. (Hegyi, Gyula) in: Filmvilag 33,3, 1990, pp. 61-62.

Rev. (Jones, Alan) in: Cinefantastique 19,1/2, 1989, pp. 38-39, 122.

Rev. (Kelleher, E.) in: The Film Journal 91, Dec. 1988, pp. 16-17.

Rev. (Klawans, S.) in: The Nation 247, 5.12.1988, pp. 626-628.

Rev. (Newman, Kim) in: Monthly Film Bulletin 56, April 1989, pp. 115-116.

Rev. (Sawahata, L.) in: Boxoffice 124, Dec. 1988, pp. R107-R108.

Rev. (Strauss, Tony) in: Scarlet Street, 38, 2000, pp. 23-24.

Rev. (Sutton, Martin) in: Films and Filming, 414, April 1989), p. 37.

Rev. (Svehla, Gary J.) in: Midnight Marquee, 38, Spring 1989, p. 43.

Rev. (Tessier, Max) in: Revue du Cinéma, 452, Sept. 1989, p. 40.

Rev. (Van Gelder, L.) in: The New York Times 138, 21.10.1988, p. C10.


City Limits  339 , 31 March 1988, p.27.

Film Comment 6, November 1988, p.52-54. - Ken Russell talks about the film.

Films and Filming, 414, April 1989, p. 37.

Screen International, 695, 11.3.1989, p. 18.

Sight and Sound 1,1, May 1991, p. 71

StarBurst, 128, April 1989, pp. 21-22.

Variety, 31.8.1988, p. 15.




#The Rainbow (Großbritannien 1989)


Crump, G.B.: Lawrence's Rainbow and Russell's Rainbow. In: The D.H. Lawrence Review 21,2, Summer 1989, pp. 187-201.


Phillips, Gene: Ken Russell's two Lawrence films: The Rainbow and Women in Love. In: Literature/Film Quarterly 25,1, 1997, pp. 68-73.


Gold, Richard: After handling three quirky Ken Russell pix, Vestron awaits the Rainbow payoff. In: Variety 335, 10.-16.5.1989, p. 36.


James, Caryn: Review/film: Ken Russell goes back to Lawrence for love. In: The New York Times 138, May 1989, p. C9.


Rev. (Quinn, Anthony) in: Empire, 5, Nov. 1989, p. 79.


American Film 14,7, May 1989, pp. 11-12.

City Limits, 422, 2.11.1989, p. 35.

Film Comment 25,3, May 1989, pp. 2, 4.

Films and Filming, .420, Oct. 1989, pp. 46-47.

Hollywood Reporter [Cannes-Ausg.], 5.5.1989, p. 326.

Interview 19,7, July 1989, p. 86.

Listener 122,3139, 9.11.1989, p. 42.

Literature/Film Quarterly 18,2, April 1990, pp. 134-136.

Monthly Film Bulletin 57,672, Jan. 1990, pp. 22-23.

Screen Internationa, 729, 4.11.1989, p. 7.

Screen International, 660, 9.7.1988, p. 6.

Sight and Sound 1,11, March 1992, p. 62. - Video note.

Time Out, 1002, Nov. 1989, p. 43.

Time Out, 703, 92.1984, p .27.

Variety (0042-2738) , 03 May 1989, p.12, English, illus




#Il Mefistofele (1989)


Ricci, Vittorio: Una devota infedelta: Ken Russell e "Il Mefistofele". In: Cinema & Cinema 48, Marzo 1987, S. 14-15.




#Women & Men: Stories of Seduction (USA 1990)


Film Comment 26, 4, July 1990, pp. 4-6.

In Camera, April 1990, p. 5.




#The Strange Affliction of Anton Bruckner (Großbritannien 1990)


Fischer, Jens Malte: Filmische Annäherung an Bruckner. In: Bruckner-Probleme. Internationales Kolloquium 7.-9. Oktober 1996 in Berlin. Hrsg. v. Albrecht Riethmüller. Stuttgart: Steiner 1999, pp. 233-245 (Archiv für Musikwissenschaft. Beihefte. 45.).




#Whore (USA 1991)



Canby, Vincent: Review/film: Ken Russell on a day in "the life". In: The New York Times 141, Oct. 1991, p. C15.


Horowitz, Joy. Theresa Russell, cool in the heat. In: The New York Times 141, 6.10.1991, sect. 2, p. 18.


Jachem, Samir: Unpretty woman. In: The Village Voice 35, 30.10.1990, p. 66.


Saynor, James: 'Tis pity she's a Whore. [Interview mit Ken and Theresa Russell.] In: Interview 21, May 1991, p. 28.


Toumarkine, Doris: Whore rating remains the same. In: Hollywood Reporter 319,6, 9.9.1991, pp. 1, 16. - On the MPAA's decision to give Whore an NC-17 rating.



Rev. (Asboth, Emil) in: Filmvilag 35,6, 1992, p. 58.

Rev. (Borg, Lola) in: Empire, 25, July 1991, p. 28.

Rev. ( Byrge, Duane) in: Hollywood Reporter 319,27, 7.10.1991, pp. 11, 15.

Rev. (Castiel, Elie) in: Séquences: la Revue de Cinéma, 156, Janv. 1992, p. 65.

Rev. (Chevallier, Jacques) in: Jeune Cinéma, 216, Juillezt 1992, p. 46.

Rev. (Comuzio, Ermanno) in: Cineforum 31,305, June 1991, pp. 92-93.

Rev. (Dargis, Manohla) in: The Village Voice 36, 15.10.1991, p. 74.

Rev. (Edwards, Russell) in: Filmnews 21, 11, 1991, pp. 16+ [2p].

Rev. (Feld, Bruce) in: The Film Journal 94, Oct./Nov. 1991, pp. 65-66.

Rev. (Florence, Mari) in: Boxoffice 127, Dec. 1991, [between pp. 48 and 58 =pp. R94-R95].

Rev. (Floyd) in: Sight & Sound 1, Sept 1991, p. 54.

Rev. (Fuller, Graham) in: Interview 21,9, Sept. 1991, p. 24.

Rev. (Günther, Winfried) in: EPD Film, 8, Aug. 1991, p. 40.

Rev. (Hollander, Xaviera) in: Premiere 5, Fév. 1992, p. 97.

Rev. (Lenne, Gerard) in: Revue du Cinéma, 483, Juin 1992, p. 47.

Rev. (Mazzantini, Cristina) in: Film: tutti i film della stagione 5,5-6, 1991, pp. 231-232.

Rev. (McCarthy, Todd) in: Variety 342, 4.2.1991, p. 91.

Rev. (Pezzotta, Alberto) in: Segnocinema: Rivista Cinematografica Bimestrale, 51, Sett./Ott. 1991, pp. 91-92.

Rev. (Privet, Georges) in: 24 Images, 59, Winter 1992, p. 80.

Rev. (Prolongeau, Hubert) in: Positif, 379, Sept. 1992, p. 60.


Hollywood Reporter 313,40, 13.8.1990, pp. 3, 27.

Hollywood Reporter 304,1, 28.8.1990, p. 21.

Hollywood Reporter 316,2, 28.1.1991, pp. 9, 44.

Screen International, 776, 29.9.1990, p. 42.

Screen International, 793, 8.2.1991, p. 29.

Sight and Sound 1,5, Sept. 1991, p. 54.

Sight and Sound 1,6, Oct. 1991, p. 66. - Video note.

Variety, 4.2.1991, p. 91.

Whore going four ways on video. In: Hollywood Reporter 320,1, 7.11.1991, p. 7. - Vidmark Entertainment will be releasing four different configurations of Ken Russell's Whore.




#Prisoner of Honor (Großbritannien/USA 1991)


Leonard, John: Not-so-happy coincidence. In: New York Magazine 24, 4.11.1991, pp. 124-125.


O'Connor, John J.: TV weekend: the Dreyfus Affair as a prototype. In: The New York Times 141, 1.11.1991, p. C28.


Screen International, 799, 22.3.1991, pp. 13-14.

Screen International, 796, March 1991, p. 18.




#The Mindbender / aka: Uri Geller (USA/Israel 1995)


Rev. (Newman, Kim) in: Shivers, .84, Nov. 2000, p. 47.


Screen International, 968, 29.7.1994, p. 10.

Screen International, 1019, 4.8.1995, p. 16.

In Camera, April 1994, p. 9. - Produktionsbericht.




#Dogboys (Kanada/USA 1998)


Rev. (Helms, Michael) in: Cinema Papers, 126, Aug. 1998, p. 44.




#The Fall of the Louse of Usher (Großbritannien 2002)


Rev. (MacNab, Geoffrey) in: Sight and Sound 13,12, Dec. 2003, p. 64.




#Elgar: Fantasy of a Composer on a Bicycle (Großbritannien 2002)


Gardiner, John: Variations on a Theme of Elgar: Ken Russell, the Great War, and the television 'life' of a composer. In: Historical Journal of Film, Radio and Television 23,3, 2003, S. 195-210. - Discussion of the attempt to capture the 'spirit' of Elgar by Ken Russell in his two films made in 1962 and 2002. Begins with a brief overview of the two films then explores areas of controversy and insights offered by his approach.


Anon.: Ken Russell's Elgar; Jessye Norman's Ariadne. In: Gramophone 80,960, 2002, pp. 124-125.




#Trapped Ashes (USA/Japan/Kanada 2006)


Decker, Sean: Trapped ashes: Five for frighting. In: Fangoria, 266, Sept. 2007, pp. 78-83. - Cast and crew talk about making Trapped Ashes.


Rev. (Harvey, Dennis) in: Variety, 4.12.2006, p. 64.

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Anon.: N.t. In: Films 2,12, Nov. 1982, p. 4. - Background to Russell‘s decision to leave as director of the film version of Evita.


Anon.: N.t. In: Hollywood Reporter.282,24, 20.6.1984, p. 19. - Note on Ken Russell's marriage to Vivian Jolly, which was performed by actor, Anthony Perkins, on board the Queen Mary in Long Beach, California.


Anon.: N.t. In: Interview 14,10, Oct. 1984, p. 134. - Item on Russell's recent marriage to Vivian Jolly.


Anon.: N.t. In: Time Out, 901, 25.11.1987, pp. 20-23. - Article on the recent court case involving Russell and Bob Guccione, publisher of Penthouse, over a never made film version of 'Moll Flanders'.


Anon.: Where are they now? In: Empire, 152, Febr. 2002, p. 21. - On whatever happened to director Ken Russell.


Anon.: Promotional feature: The big noise in short films. In: Screen International, 1572, 1711.2006, p. 18. - Preview of the 12th Encounters Short Film Festival. Includes a note on director Ken Russell, who will present a masterclass on the short form.


Anon.: Final Cut: Ken's brotherly love. In: Screen International, 1579, 121.2007, p. 36. - Brief news of the arrival and sudden departure of Ken Russel l as a contestant on Celebrity Big Brother in 2007.


Film Quarterly, 3, April 1972, pp. 13-25. - An analysis of the style of Ken Russell through a discussion of his films.


Film Journal, 1, Dec. 1972, pp. 32-43. - Discusses eroticism in Ken Russell films, suggesting comparisons with the novels of D.H. Lawrence, and finds the connections between Russell's compositions and the work of certain painters.


Film Comment, 6, Nov. 1975, pp. 40-47. - An analysis of Russell's films, discussing the obsessions which recur in them, his style and vision.


Freer, Ian / Hamilson, Jake: Padded celluloid. In: Empire, 102, Dec. 1997, pp. 102-108. - A list of twenty 'maverick' directors with examples of their behaviour on set, including Ken Russell.


National Film Theatre Programmes, Febr. 1987, pp. 12-16. - Season of Russell's films at the National Film Theatre.

¬    Dazu: Time Out, 858, 28.1.1987, p. 29.


Porton, Richard: The Istanbul Film Festival. In: Cinéaste 30,1, Dec. 2004, pp. 73-74. - Includes a note on a retrospective of Ken Russell's films.


Russell, Ken: Interview with André Previn. In: Listener 92,2373, 19.9.1974, p. 367.

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Davies, Peter Maxwell: Suiten zu Filmen von Ken Russell (The Devils, The Boyfriends), (Cleoburg Aquarius). PPN: 07620782X


[Townshend, Pete / The Who; Sonny Boy Williamson] Robert Stigwood's production of the Ken Russell film Tommy. London: Fabulous Music /New York: Exclusive selling agent for the United States & Canada, Warner Bros. Publications 1975, 124 pp.

¬    Rocky-opera film music; arr. for voice and piano with chord symbols. Chiefly by Pete Townshend; includes songs by John Entwistle, Keith Moon, and Willie "Sonny Boy" Williamson (Townshend, Entwhistle and Moon members of rock group The Who). Cover title: Tommy, the movie.


May, Daniel Joseph: Altered States: A discussion of John Corigliano's film score. Ph.D. Thesis, Cornell University 1990, 148 pp.

¬          In the score Three hallucinations for orchestra (1986), Corigliano uses motion sonorities (his invention) as motivic building blocks. Three hallucinations, the clarinet concerto, and the Altered states film score are compared.

Thaxton, F.: Danny Elfman Revisits the Planet of the Apes. In: Soundtrack 20,79, Fall 2001, pp. 4-6.

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  Impressum   Letzte Änderung: 21.10.2010