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Stuart Freeborn obituary Stuart Freeborn obituary
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If there was a film made in Britain between the early 1940s and early 1980s that required innovations in makeup and prosthetics design, chances are that Stuart Freeborn, who has died aged 98, was involved in it in some capacity. The Life and Death of Colonel Blimp, David Lean's adaptation of Oliver Twist, 2001: A Space Odyssey, The Omen, Star Wars, The Empire Strikes Back: all these benefited from Freeborn's pioneering approach to makeup. When audiences gaze with wonder upon the apes in the "dawn of man" sequence at the beginning of 2001, or fall under the spell of the 2ft tall guru Yoda and his gnomic proclamations, their response is a testament to Freeborn's persuasive artistry.If there was a film made in Britain between the early 1940s and early 1980s that required innovations in makeup and prosthetics design, chances are that Stuart Freeborn, who has died aged 98, was involved in it in some capacity. The Life and Death of Colonel Blimp, David Lean's adaptation of Oliver Twist, 2001: A Space Odyssey, The Omen, Star Wars, The Empire Strikes Back: all these benefited from Freeborn's pioneering approach to makeup. When audiences gaze with wonder upon the apes in the "dawn of man" sequence at the beginning of 2001, or fall under the spell of the 2ft tall guru Yoda and his gnomic proclamations, their response is a testament to Freeborn's persuasive artistry.
He was born in Leytonstone, east London, where it was assumed that he would follow in the footsteps of his father, an insurance broker. But Freeborn showed artistic leanings from an early age: "At school, if I did paintings, they were the ones that would be put on the wall," he said. He became an enthusiastic cinemagoer, drawn especially to horror films starring Lon Chaney and Boris Karloff, whose monstrous faces he would recreate on himself as soon as he got home from the cinema.He was born in Leytonstone, east London, where it was assumed that he would follow in the footsteps of his father, an insurance broker. But Freeborn showed artistic leanings from an early age: "At school, if I did paintings, they were the ones that would be put on the wall," he said. He became an enthusiastic cinemagoer, drawn especially to horror films starring Lon Chaney and Boris Karloff, whose monstrous faces he would recreate on himself as soon as he got home from the cinema.
He took on various jobs to help pay for the expensive and increasingly sophisticated makeup experiments that he would conduct by night. He also photographed the results and dispatched pictures of his efforts to studios in Britain. When no replies were forthcoming, he would troop off to the studios in person, only to be ejected from the premises.He took on various jobs to help pay for the expensive and increasingly sophisticated makeup experiments that he would conduct by night. He also photographed the results and dispatched pictures of his efforts to studios in Britain. When no replies were forthcoming, he would troop off to the studios in person, only to be ejected from the premises.
However, Freeborn's go-getting method bore fruit when he sent evidence of his work in 1935 to Alexander Korda's newly founded Denham studios in Buckinghamshire, and he was hired and trained by the noted makeup artist Guy Pearce. "I never stopped from that moment," said Freeborn.However, Freeborn's go-getting method bore fruit when he sent evidence of his work in 1935 to Alexander Korda's newly founded Denham studios in Buckinghamshire, and he was hired and trained by the noted makeup artist Guy Pearce. "I never stopped from that moment," said Freeborn.
Stars of every stripe were in and out of his makeup chair, from Vivien Leigh and Anna Neagle to Marlene Dietrich and Charles Laughton. He worked on period dramas, perfected his use of ageing makeup and made modifications to the flawed formula used by Hollywood on its bald-caps. This career was interrupted by the second world war, during which Freeborn trained as a fighter pilot before being diagnosed with Asian flu and haemophilia.Stars of every stripe were in and out of his makeup chair, from Vivien Leigh and Anna Neagle to Marlene Dietrich and Charles Laughton. He worked on period dramas, perfected his use of ageing makeup and made modifications to the flawed formula used by Hollywood on its bald-caps. This career was interrupted by the second world war, during which Freeborn trained as a fighter pilot before being diagnosed with Asian flu and haemophilia.
He returned to prosthetics work in the early 1940s and built the pot belly worn by Roger Livesey in Michael Powell and Emeric Pressburger's The Life and Death of Colonel Blimp (1943). His first on-screen credit came in 1946 with the wartime thriller I See a Dark Stranger, starring Deborah Kerr as an Irish woman spying for the Nazis. But he became most widely known as a result of his highly controversial makeup for Alec Guinness as Fagin in Oliver Twist (1948).He returned to prosthetics work in the early 1940s and built the pot belly worn by Roger Livesey in Michael Powell and Emeric Pressburger's The Life and Death of Colonel Blimp (1943). His first on-screen credit came in 1946 with the wartime thriller I See a Dark Stranger, starring Deborah Kerr as an Irish woman spying for the Nazis. But he became most widely known as a result of his highly controversial makeup for Alec Guinness as Fagin in Oliver Twist (1948).
The extravagantly hooked nose devised for the avaricious crook led to accusations of antisemitism, the vehement protests even preventing the film from being shown in Berlin. The outcry shocked Freeborn, who said he was half Jewish; he also claimed that he and Lean had experimented with a more modest nose during makeup tests, but the results had caused the character to resemble Christ.The extravagantly hooked nose devised for the avaricious crook led to accusations of antisemitism, the vehement protests even preventing the film from being shown in Berlin. The outcry shocked Freeborn, who said he was half Jewish; he also claimed that he and Lean had experimented with a more modest nose during makeup tests, but the results had caused the character to resemble Christ.
He worked with Lean again on The Bridge on the River Kwai (1957), and made the acquaintance a few years later of Stanley Kubrick, who hired him to design the various physically dissimilar characters played by Peter Sellers in the satire Dr Strangelove, Or: How I Learned to Stop Worrying and Love the Bomb (1964). Freeborn was to come up with the greatest innovations of his career several years later when Kubrick sent him the script for 2001: A Space Odyssey, promising "five to six months' work" which turned into several years.He worked with Lean again on The Bridge on the River Kwai (1957), and made the acquaintance a few years later of Stanley Kubrick, who hired him to design the various physically dissimilar characters played by Peter Sellers in the satire Dr Strangelove, Or: How I Learned to Stop Worrying and Love the Bomb (1964). Freeborn was to come up with the greatest innovations of his career several years later when Kubrick sent him the script for 2001: A Space Odyssey, promising "five to six months' work" which turned into several years.
The extended sequence of apes foraging and fighting provided Freeborn with his most daunting professional challenge, since it demanded bodysuits that were light enough to allow these predominantly non-verbal characters to communicate fluidly through gesture. Facial movement was also important, and Freeborn came up with an early animatronic technique for allowing the apes to snarl. Freeborn would later draw on this approach when designing the character Chewbacca for Star Wars (1977). He also had to rig a supply of milk to some actors' ape costumes to allow them to "feed" the real baby chimps in their arms. And he was responsible for the extreme ageing makeup used on the actor Keir Dullea in the devastating final sequence.The extended sequence of apes foraging and fighting provided Freeborn with his most daunting professional challenge, since it demanded bodysuits that were light enough to allow these predominantly non-verbal characters to communicate fluidly through gesture. Facial movement was also important, and Freeborn came up with an early animatronic technique for allowing the apes to snarl. Freeborn would later draw on this approach when designing the character Chewbacca for Star Wars (1977). He also had to rig a supply of milk to some actors' ape costumes to allow them to "feed" the real baby chimps in their arms. And he was responsible for the extreme ageing makeup used on the actor Keir Dullea in the devastating final sequence.
Like most people involved in Star Wars, Freeborn claimed to have no expectations about the film's commercial potential, but he accepted happily the commission from the young director George Lucas, who at that point had only two movies to his credit. "He was so genuine about it, I thought, well, young as he is, I believe in him," said Freeborn. "He's got something. I'll do what I can for him." His responsibilities included designing the ghoulish clientele of the Cantina, where a bulb-faced band played for the amusement of men with porcine snouts; loitering in the murk was the bounty hunter Greedo, who resembled a cross between a mouse and a lychee.Like most people involved in Star Wars, Freeborn claimed to have no expectations about the film's commercial potential, but he accepted happily the commission from the young director George Lucas, who at that point had only two movies to his credit. "He was so genuine about it, I thought, well, young as he is, I believe in him," said Freeborn. "He's got something. I'll do what I can for him." His responsibilities included designing the ghoulish clientele of the Cantina, where a bulb-faced band played for the amusement of men with porcine snouts; loitering in the murk was the bounty hunter Greedo, who resembled a cross between a mouse and a lychee.
Freeborn's services were retained for the sequels The Empire Strikes Back (1980) and Return of the Jedi (1983), in which his designs for Yoda and the bloated slug Jabba the Hutt were of particular note. He based Yoda on Albert Einstein, while others saw the image of Freeborn himself in the wizened sage. Other credits included the first four Superman films (beginning with Superman the Movie in 1978) and the wartime spoof Top Secret! (1984).Freeborn's services were retained for the sequels The Empire Strikes Back (1980) and Return of the Jedi (1983), in which his designs for Yoda and the bloated slug Jabba the Hutt were of particular note. He based Yoda on Albert Einstein, while others saw the image of Freeborn himself in the wizened sage. Other credits included the first four Superman films (beginning with Superman the Movie in 1978) and the wartime spoof Top Secret! (1984).
Freeborn was predeceased by his wife, Kay, as well as by their three sons, Roger, Ray and Graham (the last of whom was also a makeup artist and worked frequently with his father). He is survived by eight grandchildren.Freeborn was predeceased by his wife, Kay, as well as by their three sons, Roger, Ray and Graham (the last of whom was also a makeup artist and worked frequently with his father). He is survived by eight grandchildren.
• Stuart Freeborn, make-up artist, born 5 September 1914; died 5 February 2013 • Stuart Freeborn, makeup artist, born 5 September 1914; died 5 February 2013