David Korda, British Producer and Influential Film Financier, Dies at 87

by

Reflecting upon the life of David Forman, one cannot help but be deeply moved by the rich tapestry of experiences he wove throughout his illustrious career. Born into the cinematic dynasty of the Kordas, David’s life was an intricate blend of art and commerce, a delicate dance between the creative passion of his heritage and the pragmatic demands of the film industry.

David Korda, an influential figure in the Korda film dynasty, who worked as a producer and significant financial backer in Hollywood for over six decades, has passed away at the age of 87.

On September 18th, Chairman of the British firm Film Finances Ltd., Korda, passed away at Cromwell Hospital in London, as reported by film author, editor, and historian Charles Drazin to The Hollywood Reporter. He had been struggling with his health following a fight against cancer.

Zoltan Korda, who directed the epic film “The Four Feathers” (1939) with Ralph Richardson, was the father of Korda, while Joan Gardner, known for her roles in movies like “Dark Journey” and “The Scarlet Pimpernel”, served as his mother.

One of his uncles, Alexander Korda, was a renowned film producer who established London Films and British Lion Films. He produced timeless masterpieces like “The Private Life of Henry VIII” (1933) and “The Third Man” (1949), becoming the first filmmaker to be knighted. Another uncle, Vincent Korda, was an acclaimed painter and art director, even winning an Oscar for his work.

As a passionate admirer of the cinematic world, I can’t help but express my gratitude towards Alexander Korda for his unseen yet crucial role in the realm of independent filmmaking. He played a pivotal part as a completion guarantor, offering a lifeline to the brilliant Francis Ford Coppola during challenging times. After the financial burdens of “Apocalypse Now” (1979) and “One From the Heart” (1981), Korda’s support enabled Coppola to bring his 1983 masterpieces, “The Outsiders” and “Rumble Fish,” to life on the silver screen.

When Terry Gilliam’s grand fantasy film, The Adventures of Baron Munchausen (1988), faced the possibility of exceeding its budget by more than double and potentially causing damage to Film Finances, it was Korda who took about a year to bring some common sense and organization into the situation.

In the 1980s and ’90s, Korda served as the executive producer and head of production for RKO Pictures and Capella Films. During this time, he oversaw the production of several films, including “Hamburger Hill” (1987), “Shattered” (1991), which was Wolfgang Petersen’s first Hollywood film, and “Austin Powers: International Man of Mystery” (1997).

Having witnessed firsthand the extravagance of Hollywood, he became cautious about its lavishness as he grew older,” Drazin penned in a tribute during Korda’s memorial service held in London earlier this month.

Shy and unassuming, he tended to steer clear of the spotlight during his cinematic journey. Rather than seeing himself as a business-oriented filmmaker, he considered himself more of a problem solver, adept at ensuring smooth operations and creating a solid foundation for others to thrive on.

David Alexander Korda, born on May 26, 1937, hailed from Hampstead, London. At the onset of World War II, when he was just three years old, he, along with his parents, relocated to Beverly Hills and lived in a residence on Rexford Drive.

His first memory of Los Angeles was Uncle Alex turning up in a limousine to take him on a tour of the town, then sending him home with a bag of silver dollars. He got to play with props from The Thief of Bagdad (1940) and The Jungle Book (1942).

Sabu, the rising cinematic talent, often showed up with exotic pets as presents. Among these were three ravens housed in the garage, a monkey residing in the garden, and a baby jaguar that ultimately needed to be handed over to the Los Angeles Zoo due to its destructive tendencies towards the curtains and household furniture.

Following the conclusion of the conflict, I found myself back in England, diving headfirst into studies at the Lycée situated in South Kensington. After that, my educational journey led me to Switzerland, where I was enrolled in an international school in Geneva. Subsequently, I crossed the Atlantic Ocean to attend Pomona College in sunny California. Lastly, I graced the stage at Oxford University as part of their drama society.

During his vacation from Oxford, he assisted with the production of the iconic chariot race scene for the 1959 film Ben-Hur at Cinecittà studio in Rome.

In 1960, following his time at Oxford, David established a theater company alongside Wladek Sheybal, a renowned Polish actor-director recognized for his role as the antagonist Kronsteen in “From Russia With Love” (1963). This venture was financially backed by Zoltán Korda through the sale of his stamp collection. Based in Bromley, the 101 Company showcased talents such as Eileen Atkins, Prunella Scales, and Jeremy Brett.

Following his father’s passing in 1961, Korda found work assisting director Peter Brook on the film “Lord of the Flies” (1963). Additionally, he was employed by producer Charles H. Schneer for Ray Harryhausen, where he was responsible for hunting down and reusing old footage for movies like “Siege of the Saxons” (1963), “East of Sudan” (1964), and “Land Raiders” (1969).

He also incorporated scenes from “The Four Feathers,” remarking, “I believe my father would have rolled over in his resting place” (or possibly, “I feel certain my father would not rest peacefully”).

Korda initially served as a unit manager on the high-budget musical film “Half a Sixpence” (1967), produced by Paramount. Later, he moved up to producer positions on “The Ruling Class” (1972) and “Man Friday” (1975), both of which were under Peter O’Toole’s production company.

During the late ’70s, he took up the role of a production supervisor on films that were independently funded. Subsequently, he became an associate producer for the movies “Sunburn” (1979) and “Annie and Little Britches” (1981), both of which were filmed in Mexico by the British company Hemdale.

In 1980, Korda took up a job as the London-based production executive with Film Finances. Following his contributions to Coppola’s films, ‘The Outsiders’ and ‘Rumble Fish’, the company extended bonds for ‘The Terminator’, ‘Romancing the Stone’, and ‘Nightmare on Elm Street’ the following year.

In 1985, he was appointed as the head of production at RKO. During his tenure, he oversaw approximately 10 films before General Tire Inc., the studio’s parent company, sold it in 1987. Later, he went back to Film Finances and focused on resolving issues related to the movie “Baron Munchausen”.

Korda moved back to L.A. in 1990 to join Capella, but he returned to London in 2002 where he spent most of the rest of his days working at Film Finances.)

Survivors include his son, Nik, and his daughter, Lerryn.

Drazin pointed out that Korda’s office was adorned with only four film posters: those for “The Outsiders”, “Rumble Fish”, “Baron Munchausen”, and Peter Greenaway’s “Nightwatching” (2007). These films were guaranteed by Film Finances shortly after Korda returned from Hollywood.

In a less conspicuous movie, depicting the renowned painting by Rembrandt titled ‘The Night Watch’, it might not have been immediately clear to viewers why it hung on the wall,” Drazin penned. This subtle reference subtly hinted at the first film directed by his uncle Alex at Denham, a significant studio constructed for London Films in the 1930s – the movie ‘Rembrandt’, featuring Charles Laughton. This film served as a poignant allegory to the delicate balance between art and commerce that David had navigated so gracefully in his personal life.

Read More

2024-11-14 22:25