Robert Richardson: The White Devil review – DoP’s stormy relationship with A-list directors exposed | film

pHe probably looks like Gandalf now, in his seventies, with a kind of cheerful grandfatherly calm. But legendary cinematographer Robert Richardson — a three-time Academy Award winner for JFK, The Aviator, and Hugo — earned his “White Devil” moniker when his long, white hair was less unruly than it is now, and more a sensual accessory for a fiercely motivated, handsome, controlling man who has had tempestuous business relationships as much as love affairs with A-list male directors including Oliver Stone, Martin Scorsese and Quentin Tarantino.

This documentary takes us through his near-insane creative process on films like Platoon, Born on the 4th of July, and JFK for Stone; Scorsese’s Hugo and the Aviator; And Kill Bill and Tarantino’s Once Upon a Time in Hollywood. And all the while, his wives and children, who had been leaving home for several months while he was away, were probably wondering what their father was doing.

A bit frustrating at times in what it can’t show – but often astonishing in what it does – this film also tells the story of Czech film student Jana Hojdova, who just wanted to write her thesis on Richardson, wrote to him and was astonished when he responded personally, generously sharing his diaries, notes, research materials and conducting hours upon hours of interviews during Covid. She has now directed this intimate and entertaining documentary in which Scorsese, Tarantino, and Stone interview Richardson’s associates and children.

There is a true and painful story to tell. Richardson disagreed with his brother. This estrangement occurred after the death of that brother’s child and Richardson never attended the funeral, perhaps for fear of being drawn into his brother’s vortex of heartbreak, and in any case focused intensely on his career. Richardson also forcibly videotaped everything that happened in the house. There are amusing shots of his daughter ordering him not to be present at that moment. The most stunning home movie footage, in 4K resolution, shows Richardson’s just-deceased mother being lifted from her deathbed by medical staff; It’s a shocking and disturbing moment—and perhaps disproportionately shocking and disturbing given how little is said about his mother elsewhere in the film. (Although one of his Oscar acceptance speeches was dedicated to her.) It’s a great moment on its way.

Richardson disagreed with Stone when he decided to work with Scorsese, and disagreed with Tarantino over a particular shot in Kill Bill, but got back with him. What would these manly quarrels look like? It can’t be shown here, and perhaps like the sausages (or the laws), the ranks of director and cinematographer are something best left unseen. This revered, visionary documentary is a cinematic delight.