Bruce Beresford


Director
Bruce Beresford

About

Birth Place
Australia
Born
August 16, 1940

Biography

Perhaps the least lionized of the Australian New Wave filmmakers, Bruce Beresford has developed a reputation for drawing extraordinary performances from his actors, as well as enjoying great success making stage plays work on film. Much-acclaimed for historical dramas of social and moral conflict, he surprisingly first made his name with low comedy, delighting in juvenile scatology that ...

Family & Companions

Rhoisin Beresford
Wife
Graphic designer. Designed set for husband's "Don's Party" (1976); shared screenplay credit with husband on "The Fringe Dwellers" (1985).
Virginia Beresford
Wife
Filmmaker, screenwriter. Sister of director John Duigan; married in 1985.

Biography

Perhaps the least lionized of the Australian New Wave filmmakers, Bruce Beresford has developed a reputation for drawing extraordinary performances from his actors, as well as enjoying great success making stage plays work on film. Much-acclaimed for historical dramas of social and moral conflict, he surprisingly first made his name with low comedy, delighting in juvenile scatology that horrified critics while regaling the Australian public. Though he had always wanted to make films, he had to leave his native country to do so, and when England proved inimical, he applied for and got a job as a film editor (and sometime cameraman) in Nigeria, remaining there until the Nigerian civil war broke out in 1967. Returning to England, he secured a position as a films officer for the Production Board of the British Film Institute, but on a visit to Australia in 1971, he found its film community in a state of high excitement over the formation of the Australian Film Commission. Within a matter of weeks he was back in Sydney, ready for action.

Beresford convinced the Commission that economic success was far more important than cultural prestige during the incipient stage of their venture and secured backing for his first feature, "The Adventures of Barry McKenzie" (1972). Co-written with star Barry Humphries, who had created the character in a comic strip in the British satirical magazine PRIVATE EYE, the film presented a gross caricature of a beer-swilling, sex-crazed Aussie innocent on his first visit to England, accompanied by his very proper Aunt Edna (Humphries in drag). A shot in the arm to the fledgling industry, it pigeonholed Beresford as "that lout who makes those low comedies," and he turned to TV to rehabilitate his image, beginning his love affair with historical drama. He directed two feature-length films, "Poor Fella Me" (1973, which he also scripted), about the destruction of the Aboriginal culture at the hands of the white man, and "The Wreck of the Batavia" (1974), telling the story of a religious fanatic's murderous control over a shipload of castaways on the West Australian coast in 1629.

After the broad strokes of the sequel "Barry McKenzie Holds His Own" (1974) and the even more disreputable "Side by Side" (1975), Beresford got his first chance to adapt a successful stage play to the screen. Though five other directors had passed on "Don's Party" (1976), assessing the material as hopelessly stage bound, he recognized the virtue in not opening up David Williamson's play. The grim comedy-drama about a group of chums whose friendly veneer vanishes in the drunken wake that ensues after national election results run counter to expectations was a big box office success, "The Getting of Wisdom" (1977) brought more attention outside Australia, displaying his sure handling of actors and confident recreation of the stuffy world of Victorian Melbourne, but he faltered with "The Money Movers" (1978), a caper film which failed commercially, despite a cast peopled with many popular Australian TV actors.

Inspired by Kenneth Ross' play about the turn-of-the-century cause celebre once dubbed Britain's Dreyfus Case, Beresford brought his own meticulous research to "Breaker Morant" (1980), which became the greatest box-office success in the history of the Australian cinema (to that time) and earned the Australian Film Institute's Best Film award and an Oscar nomination for Best Screenplay (to which the director had contributed). The powerful account of a true incident of sanctioned murder during the Boer War evoked memories of My Lai, not to mention Stanley Kubrick's "Paths of Glory" (1957), and though the three individuals tried for their atrocities were clearly guilty, the film also made it abundantly clear that they were "Scapegoats of Empire," the title of an account written by George Witton, the only one of the three to escape the firing squad. 1980 also saw him team with Williamson again, adapting his play "The Club" about the power struggles within a major Australian soccer team. Reversing his "hands off" approach applied to "Don's Party," he attempted to expand "The Club," but most critics felt his tampering dissipated the dramatic power of the play.

The enormous success of "Breaker Morant" brought Beresford many offers to direct in the United States, and he finally settled on "Tender Mercies" (1982), a subtle, superbly realized drama scripted by Horton Foote, the first of several projects which would immerse him in the culture of the American South. Robert Duvall won the Best Actor Oscar as an alcoholic country singer who finds the inspiration to put his life back together when he meets an attractive young widow and her little boy, and Beresford garnered an Academy Award nomination for his directing. After returning to Australia to helm "The Fringe Dwellers," a study of the racism confronting aborigines, he found much less success with his second US offering, the vapid, large-scale rendering of the life of "King David" (both 1985), though critics noted his attempt to infuse life into the moribund genre of religious spectacle without praising the effort. He fared better with the much smaller-scaled "Crimes of the Heart" (1986), adapted from the play by Beth Henley and featuring fine performances from Diane Keaton, Jessica Lange and Sissy Spacek as three slightly off-center Southern sisters.

Following the uninspired action romance "Her Alibi," Beresford was back in top form with the Oscar-winning (Best Picture) adaptation of Alfred Uhry's Pulitzer Prize-winning play "Driving Miss Daisy" (both 1989), scripted by the playwright. A sensitive portrait of an aging Southern woman (Jessica Tandy in an Oscar-winning turn) and her gently wise black chauffeur (Morgan Freeman), it raked in a ton of money on its small investment and reinforced the director's reputation for eliciting superb performances in intense, small-scale drama. Amazingly, the Academy failed to recognize Beresford with an Oscar nod, perhaps under the mistaken assumption that the movie directed itself. Refusing to go Hollywood, he next helmed "Mr. Johnson" (1990), an adaptation of a Joyce Carey novel set in 1923 Africa, which drew on his own experience of Africa during the 60s, and followed with the haunting, graphically violent "Black Robe" (1991), a much more realistic depiction of Indian life than "Dances with Wolves" (1990). Set in mid-17th Century Canada and devoid of revisionist apologies, "Black Robe" told the bleak story of the first contact of the Huron Indians with the Jesuit missionaries who would ultimately betray them to their enemies.

Beresford attempted to recreate the depth and intimacy of his best work with the "Daisy" producing team of Richard and Lili Fini Zanuck in "Rich in Love" (1993) but didn't quite succeed in weaving another evocative Southern tale, though there were many fine moments and great performances by the likes of Albert Finney and Kathryn Erbe in the leading femme role. He continued his interest in the clash between "native" cultures and the forces of "civilization" that invade them in a more satirical vein with "A Good Man in Africa" (1994), combining sexual intrigue and political corruption, but to mixed reviews. He also helmed that year's well-made, but lackluster thriller "Silent Fall," featuring Richard Dreyfuss as a psychiatrist working with an autistic child who witnessed a murder. Though his next venture, "Last Dance" (1996), suffered by comparison with the similarly-themed "Dead Man Walking" from the year before, it boasted a strong central performance by Sharon Stone in the deglamorized role of convicted murderess and represented the director's best outing in awhile.

Hearing a tape recording of a musical choir recreating a concert that took place in a Japanese prison camp for women during World War II gave Beresford the idea for "Paradise Road" (1997), which he wrote as well as directed. This lushly-filmed, true account of a group of European women who formed a choir to cope with their confinement was certainly inspiring and its performances moving but lacked the bite and requisite story arc to make a completely satisfying movie. Beresford then returned to the land of the thriller for "Double Jeopardy" (1999), a movie as full of holes as Swiss cheese, which despite its deficiencies took in more than $65 million in its first three weeks. A patch-work pastiche packaged as a quasi-remake of "The Fugitive" (complete with arguably Tommy Lee Jones' best work since that pic), it was not one of the director's better efforts, but its well-acted hokum (particularly the fierce turn by star Ashley Judd) appeased the bottom line and left Beresford free to flex his artistic muscles helming productions of operas like "The Crucible" (1999, based on the Arthur Miller play) and "Rigoletto" (2000).

Filmography

 

Director (Feature Film)

Ladies in Black (2018)
Director
Flint (2017)
Director
Mr. Church (2016)
Director
Roots (2016)
Director
Bonnie & Clyde (2013)
Director
Whisperings and Lies (2012)
Director
Mao's Last Dancer (2010)
Director
The Contract (2007)
Director
And Starring Pancho Villa as Himself (2003)
Director
Evelyn (2002)
Director
Bride of the Wind (2001)
Director
Double Jeopardy (1999)
Director
Paradise Road (1997)
Director
Last Dance (1996)
Director
A Good Man in Africa (1994)
Director
Silent Fall (1994)
Director
Rich in Love (1992)
Director
Black Robe (1991)
Director
Mister Johnson (1990)
Director
Her Alibi (1989)
Director
Driving Miss Daisy (1989)
Director
Aria (1988)
Director
The Fringe Dwellers (1987)
Director
Crimes Of The Heart (1986)
Director
King David (1985)
Director
Tender Mercies (1983)
Director
Puberty Blues (1981)
Director
Fortress (1981)
Director
Breaker Morant (1980)
Director
The Club (1980)
Director
The Getting of Wisdom (1979)
Director
Money Movers (1978)
Director
Don's Party (1976)
Director
Side By Side (1975)
Director
Barry Mckenzie Holds His Own (1974)
Director
The Adventures of Barry Mckenzie (1972)
Director

Writer (Feature Film)

Ladies in Black (2018)
Screenplay
Paradise Road (1997)
Screenplay
Curse of the Starving Class (1995)
Screenwriter
Mister Johnson (1990)
Screenwriter
Aria (1988)
Screenplay
The Fringe Dwellers (1987)
Screenwriter
Breaker Morant (1980)
Screenplay
Money Movers (1978)
Screenplay
Side By Side (1975)
Screenwriter
Barry Mckenzie Holds His Own (1974)
Screenplay
The Adventures of Barry Mckenzie (1972)
Screenplay

Producer (Feature Film)

Canvas (2006)
Co-Executive Producer
Curse of the Starving Class (1995)
Executive Producer
A Good Man in Africa (1994)
Coproducer
The Fringe Dwellers (1987)
Producer
Barry Mckenzie Holds His Own (1974)
Producer

Misc. Crew (Feature Film)

Blue Fin (1978)
Other

Life Events

1959

Offered scholarship to attend USC but couldn't raise airfare

1962

Sailed for England (a six-week journey) on the day of his graduation from university; once there, roomed with future critic-poet Clive James

1964

Worked as a film editor in East Nigeria; left at outbreak of Nigerian Civil War

1971

Returned to Australia

1972

Feature co-writing (with Barry Humphries) and directing debut, "The Adventures of Barry McKenzie"

1973

Turned to Australian TV, directing two feature-length, historical films, "Poor Fella Me" (also teleplay writer) about the destruction of Australian aborigines under white rule, and "The Wreck of the Batavia," telling the tale of Jeronimus Corneliusz, a religious fanatic who became the murderous dictator of a shipload of castaways on the West Australian coast

1974

First feature as producer (also co-wrote with Humphries and directed), "Barry McKenzie Holds His Own"

1975

Wrote and directed "Side by Side," a "staggeringly crass" musical that starred Humphries

1976

First commercial and critical success, "Don's Party"; first collaboration with playwright David Williamson

1977

Fourth film with Humphries (again only acting), "The Getting of Wisdom", garnered some international attention

1980

Reteamed with Williamson in "The Club"

1980

"Breaker Morant," the greatest box-office success to that time of the Australian cinema earned the Best Film award from the Australian Film Institute and an Oscar nomination for Best Screenplay

1982

U.S. directorial debut, "Tender Mercies"; garnered an Academy Award nomination as Best Director

1985

Directed first opera "La Fancicella del West" at Spoleto USA Festival

1986

Helmed "Crimes of the Heart," adapted from Beth Henley's play; reportedly took large pay cut (as did actresses Diane Keaton, Sissy Spacek, and Jessica Lange) to ensure film was made

1987

Directed the "Die Tote Stadt" segment of the opera anthology "Aria"

1989

Signed with HISK Productions in L.A. to direct TV commercials

1989

Helmed the Oscar-winning Best Picture "Driving Miss Daisy," adapted from Alfred Uhry's Pulitzer Prize-winning play; was ironically not nominated for Best Director

1991

Directed the award-winning historical "Black Robe" about Jesuit missionaries in Canada

1991

First screenplay for an American feature, "Mister Johnson"; adapted from the Joyce Carey novel and also directed

1993

Reteamed with "Daisy" producing team of Richard and Lili Fini Zanuck for "Rich in Love"

1994

Co-produced and directed "A Good Man in Africa"

1995

Executive produced and scripted Showtime adaptation of Sam Shepard's "Curse of the Starving Class" (did not direct), script changed considerably from the time it was finished until the time it premiered, prompting Beresford to say, "I know now why writers get so angry" (from <i>Written By</i>, June 1997)

1997

Wrote and directed "Paradise Road" about female prisoners held captive during WWII in Singapore

1998

Announced as director of the TV adaptation of Alfred Uhry's play "The Last Night of the Ballyhoo" (unproduced as of fall 1999)

1999

Helmed the stage opera based on Arthur Miller's "The Crucible"

1999

Directed "Double Jeopardy," a thriller starring Ashley Judd and Tommy Lee Jones that became a surprise box office hit

1999

Co-directed (with Geoff Burton) and produced "Sydney: A Story of a City," a 41-minute docudrama in the large screen IMAX format; backed by the Sydney City Council, this breathtaking and unapologetic piece of propaganda seductively sold Sydney, the home of the 2000 Olympic Games

2000

Staged Los Angles Opera production of "Rigoletto"

2000

Produced and directed the Bravo series "Aria & Pasta"

2003

Directed Antonio Banderas in the HBO biopic "And Starring Pancho Villa as Himself"

2006

Helmed crime thriller "The Contract"; re-teamed with "Driving Miss Daisy" star Morgan Freeman

2009

Directed the biographical drama "Mao's Last Dancer" based on the autobiography by Li Cunxin

2012

Directed Jane Fonda and Catherine Keener in the comedy-drama "Peace, Love, & Misunderstanding"

Videos

Movie Clip

Trailer

Family

Leslie Beresford
Father
Salesman.
Lona Beresford
Mother
John Duigan
Brother-In-Law
Director, screenwriter.
Benjamin Beresford
Son
Mother, Rhoisin Harrison; has worked in various capacities (e.g., production assistant, property assistant) on several of father's films.
Adam Beresford
Son
Mother, Rhoisin Harrison; was a camera production assistant on father's "Silent Fall" (1994).
Cordelia Beresford
Daughter
Mother, Rhoisin Harrison; acted in "The Getting of Wisdom" (1977) and "Black Robe" (1991).
Trilby Beresford
Child
Mother, Virginia Duigan.

Companions

Rhoisin Beresford
Wife
Graphic designer. Designed set for husband's "Don's Party" (1976); shared screenplay credit with husband on "The Fringe Dwellers" (1985).
Virginia Beresford
Wife
Filmmaker, screenwriter. Sister of director John Duigan; married in 1985.

Bibliography