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{{Infobox person
| name               = Freddie Francis
| honorific_suffix   = [[British Society of Cinematographers|BSC]]
| image              = Freddie Francis photo.jpg
| caption            = Historical photo of Francis
| birth_date         = {{birth date|1917|12|22|df=y}}
| birth_place        = [[Islington]], London, England
| death_date         = {{death date and age|2007|3|17|1917|12|22|df=y}}
| death_place        = [[Isleworth]], London, England
| spouse             = {{plainlist|
* {{marriage|Gladys Dorrell|1940|1961|reason=divorced}}
* {{marriage|Pamela Mann|1963}}
}}
| children           = 3, including [[Kevin Francis (film producer)|Kevin]]
| resting_place      = [[Mortlake Crematorium]], [[Kew]], London, England
| years_active       = 1937–1999
| occupation         = Cinematographer, film director
}}

'''Frederick William Francis''' {{small|[[British Society of Cinematographers|BSC]]}}<ref name=":0">{{cite web |title=BSC Members {{!}} British Society of Cinematographers |url=https://bscine.com/bsc-members/?id=250 |access-date=2 July 2024 |website=bscine.com}}</ref> (22 December 1917 – 17 March 2007) was an English [[cinematographer]] and film director whose filmmaking career spanned over 60 years, from the late 1930s until the late 2000s.<ref>{{cite ODNB|title=Francis, Frederick William [Freddie] (1917–2007), cinematographer and film director|url=https://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-98649|access-date=31 October 2020|year=2004|doi=10.1093/ref:odnb/98649}}</ref> One of the most celebrated British cinematographers of his time,<ref>{{cite web |title=Cinematic Glory: Freddie Francis, BSC |url=https://theasc.com/articles/cinematic-glory-freddie-francis-bsc |access-date=2 July 2024 |website=The American Society of Cinematographers}}</ref> he received numerous accolades for his photography, including two [[Academy Awards]] and five [[BAFTA Awards]].<ref>{{cite web |title=Freddie Francis {{!}} British cinematographer and director |url=https://www.britannica.com/biography/Freddie-Francis |access-date=31 October 2020 |website=Encyclopedia Britannica}}</ref> As a director he was best known for his [[horror film]]s, notably those made for production companies [[Amicus Productions|Amicus]] and [[Hammer Film Productions|Hammer]] in the 1960s and 1970s.<ref name=":1">{{cite web |date=22 December 2017 |title=Freddie Francis: 10 essential films |url=https://www.bfi.org.uk/lists/freddie-francis-10-essential-films |access-date=2 July 2024 |website=[[British Film Institute|BFI]]}}</ref>

Francis started his film career as a cameraman for [[John Huston]] and for the directing team of [[Powell and Pressburger]] before becoming a cinematographer for notable British films such as [[Jack Clayton]]'s drama ''[[Room at the Top (1959 film)|Room at the Top]]'' (1959), [[Jack Cardiff]]'s ''[[Sons and Lovers (film)|Sons and Lovers]]'' (1960) – which earned him his first Oscar – and the psychological horror film ''[[The Innocents (1961 film)|The Innocents]]'' (1961). He became well known for his rich [[Black-and-white film|black-and-white]] [[CinemaScope]] framing, and was regarded as one of the top cameraman in the British film industry.<ref name=":1" /> He made his directorial debut with the romantic comedy ''[[Two and Two Make Six]]'' (1962), but gained the most attention for his horror films and thrillers. During the 1960s he was a house director for Hammer Productions, where he made ''[[Paranoiac (1963 film)|Paranoiac]]'' (1963; an early starring vehicle for [[Oliver Reed]]), ''[[The Evil of Frankenstein]]'' (1964), and ''[[Dracula Has Risen from the Grave]]'' (1968). In the 1970s he worked mainly for Amicus Productions, for which he notably directed the horror anthology ''[[Tales from the Crypt (film)|Tales from the Crypt]]'' (1972).

After nearly two decades as a director, Francis returned to cinematography with ''[[The Elephant Man (1980 film)|The Elephant Man]]'' (1980). This established a collaboration with director [[David Lynch]], for whom he also shot ''[[Dune (1984 film)|Dune]]'' (1984), and ''[[The Straight Story]]'' (1999). He won his second Oscar for the [[American Civil War]] film ''[[Glory (1989 film)|Glory]]'' (1989). He also earned acclaim for his work on [[Karel Reisz]]'s ''[[The French Lieutenant's Woman]]'' (1981), and [[Martin Scorsese]]'s ''[[Cape Fear (1991 film)|Cape Fear]]'' (1991).<ref>{{cite web |title=Freddie Francis: 10 essential films |url=https://www.bfi.org.uk/lists/freddie-francis-10-essential-films |access-date=29 December 2021 |website=BFI}}</ref>

In addition to his Oscar and BAFTA wins, Francis received an international achievement award from the [[American Society of Cinematographers]] in 1997, a lifetime achievement award from the [[British Society of Cinematographers]] the same year, and [[BAFTA]]'s special achievement award in 2004.

==Early life==
Born in [[Islington]] in London, England, Francis originally planned to become an engineer. At school, a piece he wrote about films of the future won him a scholarship to the [[North West London Polytechnic]] in [[Kentish Town]]. He left school at the age of 16, becoming an apprentice to photographer Louis Prothero. Francis stayed with Prothero for six months. In this time they photographed stills for a [[Stanley Lupino]] picture made at Associated Talking Pictures (later [[Ealing Studios]]). This led to his successively becoming a [[Clapperboard|clapper boy]], camera loader and focus puller. He began his career in films at [[Associated British Picture Corporation|British International Pictures]], then moved to [[British and Dominions]]. His first film as a clapper boy was ''[[The Prisoner of Corbal]]'' (1936).

=== War service ===
In 1939, Francis joined the [[British Army|Army]], where he would spend the next seven years. Eventually, he was assigned as cameraman and director to the [[Army Kinematograph Service]] at [[Wembley Studios]], where he worked on many training films. About this, Francis said: "Most of the time I was with various film units within the service, so I got quite a bit of experience in all sorts of jobs, including being a cameraman and editing and generally being a jack of all trades."

== Career ==
=== 1950–56: Early work ===
Following his return to civilian life, Francis spent the next ten years working as a camera operator. 
He quickly became the regular cameraman of [[Powell and Pressburger|The Archers]] and their cinematographer, [[Christopher Challis]]. Francis served as a cameraman on six of The Archers' productions: ''[[The Small Back Room]]'', ''[[The Elusive Pimpernel (1950 film)|The Elusive Pimpernel]]'' (1950), ''[[Gone to Earth (film)|Gone to Earth]]'', ''[[The Tales of Hoffmann (film)|The Tales of Hoffmann]]'' (1951), ''[[Twice Upon a Time (1953 film)|Twice Upon a Time]]'', and ''[[The Sorcerer's Apprentice (1955 film)|The Sorcerer's Apprentice]]''. He served as Challis' cameraman on two other films as well: ''[[Angels One Five]]'' and ''[[Affair in Monte Carlo]]''.

Francis was also the regular cameraman of [[Oswald Morris]]. His first feature with Morris was ''[[Golden Salamander (film)|Golden Salamander]]'' (1950). The two also worked together on ''[[Knave of Hearts (film)|Knave of Hearts]]'' and three films directed by [[John Huston]]: ''[[Moulin Rouge (1952 film)|Moulin Rouge]]'', ''[[Beat the Devil (film)|Beat the Devil]]'', and ''[[Moby Dick (1956 film)|Moby Dick]]''. Francis was given a chance to lead the second unit of ''Moby Dick'' and shortly after became a full director of photography on ''[[A Hill in Korea]]'' (1956), which was shot in Portugal.

=== 1959–68 : British films ===
He subsequently worked on such prestige British dramas such as ''[[Room at the Top (1959 film)|Room at the Top]]'' (1959), ''[[Saturday Night and Sunday Morning (film)|Saturday Night and Sunday Morning]]'' (1960), ''[[Sons and Lovers (film)|Sons and Lovers]]'' (1960), and ''[[The Innocents (1961 film)|The Innocents]]'' (1961), which he regarded as one of the best films he shot.

[[File:Deborah Kerr - The Innocents trailer screenshot.png|thumb|right|upright=1.1|Cinematographer Freddie Francis painted the edges of the lenses for interior night scenes to allow for a more closed-in, claustrophobic view]]

For his work on [[Jack Cardiff]]'s ''Sons and Lovers'' he received his first [[Academy Award for Best Cinematography]]. The film depicts societal repression in a small coal-mining town during the early 1900s. In the 1961 article of ''American Cinematographer'', the magazine praised his work by stating that the film has "unusual visual beauty and is marked by photographic ingenuity throughout that easily makes it one of the finest monochrome photographic achievements to come along in some time." Cinematographer [[John Bailey (cinematographer)|John Bailey]] also praised his work saying, "Then I saw ''Sons and Lovers'', and I was knocked out by the poetry and visual beauty of the film. The camerawork was unlike anything I had seen before in an English-language movie."<ref>{{cite web |url=https://ascmag.com/articles/cinematic-glory-freddie-francis-bsc |title=Cinematic Glory |website=American Cinematographer |access-date=30 December 2021}}</ref>

He next collaborated with director [[Jack Clayton]] for the psychological drama film ''The Innocents'' starring [[Deborah Kerr]]. Francis worked with the [[CinemaScope]] [[aspect ratio]]. He used colour filters and used the lighting rig to create darkness consuming everything at the edge of the frame. Francis used [[deep focus]] and narrowly aimed the lighting towards the centre of the screen.{{sfn|Landis|2011|p=110}} Francis and Clayton framed the film in an unusually bold style, with characters prominent at the edge of the frame and their faces at the centre in profile in some sequences, which, again, created both a sense of intimacy and unease, based on the lack of balance in the image. For many of the interior night scenes, Francis painted the sides of the lenses with black paint to allow for a more intense, "elegiac" focus,{{sfn|Hogan|2016|p=87}} and used candles custom-made with four to five wicks twined together to produce more light.

''[[The New Yorker]]'' film critic [[Pauline Kael]] praised Francis for his work, writing: "I don't know where this cinematographer Freddie Francis sprang from. You may recall that in the last year just about every time a British movie is something to look at, it turns out to be his".<ref>{{cite web|url=https://www.criterion.com/current/posts/3315-freddie-francis-on-the-innocents |title=Freddie Francis on The Innocents |website=[[Criterion Collection]] |access-date=30 December 2021}}</ref>

=== 1963–70: Work as a director ===
Following his [[Academy Award]] win for ''Sons and Lovers'', Francis began his career as director of feature films. His first feature as director was ''[[Two and Two Make Six]]'' (1962). For the next 20-plus years, Francis worked continuously as a director of low-budget films, most of them in the genres of horror or psycho-thriller. Beginning with ''[[Paranoiac (1963 film)|Paranoiac]]'' (1963), Francis made numerous films for Hammer throughout the 1960s and 1970s. These films included thrillers like ''[[Nightmare (1964 film)|Nightmare]]'' (1964) and ''[[Hysteria (1965 film)|Hysteria]]'' (1965), as well as monster films such as ''[[The Evil of Frankenstein]]'' (1964) and ''[[Dracula Has Risen from the Grave]]'' (1968). On his apparent typecasting as a director of these types of film, Francis said "Horror films have liked me more than I have liked horror films".

Also in the mid-1960s, Francis began an association with [[Amicus Productions]], a company that, like Hammer, specialised in horror pictures. Most of the films he made for Amicus were anthologies, including ''[[Dr. Terror's House of Horrors]]'' (1965), ''[[Torture Garden (film)|Torture Garden]]'' (1967) and ''[[Tales from the Crypt (film)|Tales from the Crypt]]'' (1972). He also did two films for the short-lived company Tyburn Films; these were ''[[The Ghoul (1975 film)|The Ghoul]]'' and ''[[Legend of the Werewolf]]'' (both 1975). Francis was more than competent as a director, and his horror films possessed an undeniable visual flair. He regretted that he was seldom able to move beyond genre material as a director. He directed the little-seen ''[[Son of Dracula (1974 film)|Son of Dracula]]'' (1974), starring [[Harry Nilsson]] in the title role and [[Ringo Starr]] as Merlin the Magician. Of the films Francis directed, one of his favorites was ''[[Mumsy, Nanny, Sonny, and Girly]]'' (1970). ''Mumsy...'' is a black comedy about an isolated, upper-class family whose relationships and behaviours lead to deadly consequences. The film was not very well received by mainstream critics but has gone on to become a minor cult favorite among fans. In 1985, Francis directed ''[[The Doctor and the Devils]]'', based on the crimes of [[Burke and Hare]].

=== 1980–91: Return to cinematography ===
In 1980 he returned to work as a director of photography, this time for [[David Lynch]] in the British drama ''[[The Elephant Man (1980 film)|The Elephant Man]]'' (1980). This was principally shot at [[Wembley Studios]] in [[Panavision]], using Kodak's Plus X stock — the only monochrome emulsion that met Francis's standards and was available in sufficient quantities. He earned great acclaim for his [[Monochrome photography|black-and-white cinematography]] earning a [[British Academy Film Award]] nomination. Ben Kenigsberg of ''[[The New York Times]]'' dissected Francis's work on the film, writing: "Francis takes advantage of opportunities for high contrast, but note how more subtle elements of Francis’s shading affect the storytelling. Lynch defers a full look at the deformed title character, John Merrick (John Hurt), to milk it for maximum impact. So Francis shows Merrick in varying degrees of shadow for the first half-hour — until a nurse stumbles upon him, at last fully illuminated by a skylight, and screams."<ref>{{cite news |last=Kenigsberg |first=Ben |url=https://www.nytimes.com/2020/07/16/movies/cape-fear-elephant-man.html |title=Do Cinematographers Have a Signature? Let's Try a Test |website=[[The New York Times]] |date=16 July 2020 |access-date=30 December 2021}}</ref>

Francis gained a new-found industry and critical respect as a cinematographer. During the 1980s he twice more collaborated with Lynch, on the science fiction film ''[[Dune (1984 film)|Dune]]'' (1984) and the drama ''[[The Straight Story]]'' (1999), which was shot on location in Iowa in 23 days. One of his favorite camera operators was Gordon Hayman.

He worked on films such as ''[[The Executioner's Song]]'' (1982), ''[[Clara's Heart]]'' (1988). Francis's last film as director was 1987's ''[[Dark Tower (1987 film)|Dark Tower]]'' (no relation to the 2004 book of the same name by [[Stephen King]]). Francis thought it was a bad picture, owing to poor special effects, and had his name taken off it. His name was substituted by the name ''Ken Barnett''.

With his work on the [[American Civil War]] drama ''[[Glory (1989 film)|Glory]]'' (1989), directed by [[Edward Zwick]], he earned his second [[Academy Award]]. David E. Williams of ''American Cinematographer'' wrote: "..Francis and director Edward Zwick studied period stills by famed photographer [[Matthew Brady]] and others. The stark black-and-white images suggested a realistic approach devoid of filtration or sepia tones, relying instead on the credibility of the locations and production design to simulate the era. Photographically, Francis rendered ''Glory'' simply and honestly, with much of the intimate drama revealed in the light and shadow playing upon soldiers' faces".<ref name="auto">{{cite web |title=Cinematic Glory: Freddie Francis, BSC |url=https://ascmag.com/articles/cinematic-glory-freddie-francis-bsc |website=American Cinematographer |date=December 30, 2021 |access-date=November 29, 2024}}</ref> Francis said of the experience: "I'm a great believer in the futility of war and I believe we captured that idea quite well in several parts of ''Glory''. That was always in the back of my mind."

Francis provided the cinematography for the critical favorite ''[[The Man in the Moon (1991 film)|The Man in the Moon]]'' as well as [[Martin Scorsese]]'s remake of ''[[Cape Fear (1991 film)|Cape Fear]]'' (both 1991). Francis' suggested that he earned the job working with Scorsese was a recommendation that came from director [[Michael Powell]]. Francis again sought to utilize [[deep focus]] in order to keep the audience anxiously searching the frame for the psychopathic Max Cady played by [[Robert De Niro]]. Francis spoke fondly of his working relationship with Scorsese saying,

{{blockquote|"Scorsese is another director who has shot the film in his head before you’ve exposed a single frame of film. You can sometimes talk him into something, though. There was one scene with Bob De Niro where he’s talking on the phone, hanging upside-down from a bar strung across a doorway. I suggested that we start the shot upside down, tight on his face, and then rotate the camera as we tracked backwards so the room would become upside-down. We did that shot with a Panatate remote head, and Marty just fell madly in love with the thing."<ref name="auto"/>}}

Francis' final feature film as a director of photography was a reunion with [[David Lynch]] the small intimate drama ''[[The Straight Story]]'' (1999).

=== 2004–12: Recognition and final years ===
Francis received many industry awards, including, in 1997, an international achievement award from the [[American Society of Cinematographers]], and in 2004, [[BAFTA]]'s special achievement award. Francis is featured in the book ''Conversations with Cinematographers'' (2012) by David A Ellis and published by American publisher Scarecrow Press.

Freddie's final film work was as cinematographer on the music video "[[Never Ever (All Saints song)|Never Ever]]" by [[All Saints (group)|All Saints]]. It was directed by filmmaker [[Sean Ellis]]. The video won best [[Brit Award for British Video of the Year|British Video of the Year]] at the [[1998 Brit Awards]].

== Style and influences ==
As a cinematographer, Francis cited his three mentors as [[Freddie Young]], [[John Huston]], and [[Michael Powell]].<ref name=":0" /> His main influences as director were [[Billy Wilder]], [[William Wyler]], and [[Tod Browning]].<ref>{{cite web |last=Lindbergs |first=Kimberly |date=21 March 2007 |title=R.I.P. Freddie Francis 1917–2007 |url=https://cinebeats.wordpress.com/2007/03/21/rip-freddie-francis-1917-2007/ |access-date=2 July 2024 |website=CINEBEATS}}</ref>

Francis' photography favoured black-and-white, though he did work in colour for much of his latter career, and emphasized lighting and framing over colour schemes. In an interview with ''[[The Guardian]]'', Francis said "I still photograph things in black and white, but the fact that it's colour stock means they come out in colour. I know that sounds rather facetious ... but I prefer to think in terms of light and shade than in colour."<ref name=":0" />

Director [[Martin Scorsese]], who worked with Francis on ''[[Cape Fear (1991 film)|Cape Fear]]'', cited Francis's use of a [[Gothic fiction|gothic]] atmosphere.<ref name=":0" /> "He understands the obligatory scene of a young maiden with a candle walking down a long hall towards a door. 'Don't go in that door!' you yell, and she goes in! Every time, she goes in! So I say to him, 'This has to look like The Hall,' and he understands that."<ref name=":0" />

==Personal life==
Francis married Gladys Dorrell in 1940, with whom he had a son [[Kevin Francis (film producer)|Kevin]]; in 1963 he married [[Pamela Mann-Francis]], with whom he had a daughter and a second son.

Francis died, aged 89, from the lingering effects of a stroke.

==Filmography==
===Cinematographer===
'''Film'''
{| class="wikitable"
! Year
! Title
! Director
! Notes
|-
| 1956
| ''[[A Hill in Korea]]''
| [[Julian Amyes]]
|
|-
|rowspan=2|1957
| ''[[Time Without Pity]]''
| [[Joseph Losey]]
|
|-
| ''[[The Scamp]]''
| [[Wolf Rilla]]
|
|-
|rowspan=2|1958
| ''[[Next to No Time]]''
| [[Henry Cornelius]]
|
|-
| ''[[Virgin Island (film)|Virgin Island]]''
| [[Pat Jackson]]
|
|-
|rowspan=2|1959
| ''[[Room at the Top (1959 film)|Room at the Top]]''
| [[Jack Clayton]]
|
|-
| ''[[The Battle of the Sexes (1959 film)|The Battle of the Sexes]]''
| [[Charles Crichton]]
|
|-
|rowspan=3|1960
| ''[[Never Take Sweets from a Stranger]]''
| [[Cyril Frankel]]
|
|-
| ''[[Sons and Lovers (film)|Sons and Lovers]]''
| [[Jack Cardiff]]
|
|-
| ''[[Saturday Night and Sunday Morning (film)|Saturday Night and Sunday Morning]]''
| [[Karel Reisz]]
|
|-
| 1961
| ''[[The Innocents (1961 film)|The Innocents]]''
| Jack Clayton
|
|-
| 1964
| ''[[Night Must Fall (1964 film)|Night Must Fall]]''
| Karel Reisz
|
|-
| 1980
| ''[[The Elephant Man (1980 film)|The Elephant Man]]''
| [[David Lynch]]
|
|-
| 1981
| ''[[The French Lieutenant's Woman (film)|The French Lieutenant's Woman]]''
| Karel Reisz
|
|-
| 1983
| ''[[The Jigsaw Man (film)|The Jigsaw Man]]''
| [[Terence Young (director)|Terence Young]]
|
|-
|rowspan=2|1984
| ''[[Memed, My Hawk (film)|Memed, My Hawk]]''
| [[Peter Ustinov]]
|
|-
| ''[[Dune (1984 film)|Dune]]''
| David Lynch
|
|-
|rowspan=2|1985
| ''[[Return to Oz]]''
| [[Walter Murch]]
| Uncredited
|-
| ''[[Code Name: Emerald]]''
| [[Jonathan Sanger]]
|
|-
| 1988
| ''[[Clara's Heart]]''
| [[Robert Mulligan]]
|
|-
|rowspan=3|1989
| ''[[Her Alibi]]''
| [[Bruce Beresford]]
|
|-
| ''[[Brenda Starr (1989 film)|Brenda Starr]]''
| [[Robert Ellis Miller]]
| With [[Peter Stein (cinematographer)|Peter Stein]]
|-
| ''[[Glory (1989 film)|Glory]]''
| [[Edward Zwick]]
|
|-
|rowspan=2|1991
| ''[[Cape Fear (1991 film)|Cape Fear]]''
| [[Martin Scorsese]]
|
|-
| ''[[The Man in the Moon (1991 film)|The Man in the Moon]]''
| Robert Mulligan
|
|-
| 1992
| ''[[School Ties]]''
| [[Robert Mandel]]
|
|-
| 1994
| ''[[Princess Caraboo (film)|Princess Caraboo]]''
| Michael Austin
|
|-
| 1996
| ''[[Rainbow (1996 film)|Rainbow]]''
| [[Bob Hoskins]]
|
|-
| 1999
| ''[[The Straight Story]]''
| David Lynch
| 
|}

'''TV series'''
{| class="wikitable"
! Year
! Title
! Director
! Notes
|-
| 1961
| ''[[Disney anthology television series|The Magical World of Disney]]''
| [[William Fairchild]]
| Episode "The Horsemasters"
|}

'''TV movies'''
{| class="wikitable"
! Year
! Title
! Director
! Notes
|-
| 1982
| ''[[The Executioner's Song (film)|The Executioner's Song]]''
| [[Lawrence Schiller]]
|
|-
| 1989
| ''Peter Cushing: One Way Ticket to Hollywood''
| [[Alan J. W. Bell]]
| Documentary film
|-
| 1990
| ''[[The Plot to Kill Hitler]]''
| Lawrence Schiller
|
|-
| 1993
| ''[[A Life in the Theatre (1993 film)|A Life in the Theatre]]''
| [[Gregory Mosher]]
|
|}

===Director===
====Film====
{| class="wikitable"
! Year
! Title
! Notes
|-
|rowspan=2|1962
| ''[[Two and Two Make Six]]''
|
|-
| ''[[The Brain (1962 film)|The Brain]]''
|
|-
|rowspan=2|1963
| ''[[The Day of the Triffids (film)|The Day of the Triffids]]''
| Uncredited
|-
| ''[[Paranoiac (film)|Paranoiac]]''
|
|-
|rowspan=3|1964
| ''[[Nightmare (1964 film)|Nightmare]]''
|
|-
| ''[[The Evil of Frankenstein]]''
|
|-
| ''[[Traitor's Gate (film)|Traitor's Gate]]''
|
|-
|rowspan=3|1965
| ''[[Dr. Terror's House of Horrors]]''
|
|-
| ''[[Hysteria (1965 film)|Hysteria]]''
|
|-
| ''[[The Skull (film)|The Skull]]''
|
|-
| 1966
| ''[[The Psychopath (1966 film)|The Psychopath]]''
|
|-
|rowspan=3|1967
| ''[[The Deadly Bees]]''
|
|-
| ''[[They Came from Beyond Space]]''
|
|-
| ''[[Torture Garden (film)|Torture Garden]]''
|
|-
|rowspan=2|1968
| ''[[Dracula Has Risen from the Grave]]''
|
|-
| ''The Intrepid Mr. Twigg''
| Short film
|-
|rowspan=2|1970
| ''[[Mumsy, Nanny, Sonny and Girly]]''
|
|-
| ''[[Trog]]''
|
|-
| 1971
| ''[[The Vampire Happening]]''
|
|-
| 1972
| ''[[Tales from the Crypt (film)|Tales from the Crypt]]''
|
|-
|rowspan=2|1973
| ''[[The Creeping Flesh]]''
|
|-
| ''[[Tales That Witness Madness]]''
|
|-
|rowspan=2|1974
| ''[[Son of Dracula (1974 film)|Son of Dracula]]''
|
|-
| ''[[Craze (film)|Craze]]''
|
|-
|rowspan=2|1975
| ''[[The Ghoul (1975 film)|The Ghoul]]''
|
|-
| ''[[Legend of the Werewolf]]''
|
|-
| 1977
| ''[[Golden Rendezvous]]''
| Uncredited
|-
| 1985
| ''[[The Doctor and the Devils]]''
|
|-
| 1987
| ''[[Dark Tower (1987 film)|Dark Tower]]''
| Credited as "Ken Barnett"
|}

'''Writer (Credited as "Ken Barnett")'''
* ''[[Diary of a Bachelor]]'' (1964)
* ''[[What Waits Below]]'' (1984) (Story only)

====Television====
{| class="wikitable"
! Year
! Title
! Notes
|-
| 1967-1868
| ''[[Man in a Suitcase]]''
| 4 episodes
|-
| 1967-1969
| ''[[The Saint (TV series)|The Saint]]''
| 2 episodes
|-
| 1969
| ''[[The Champions]]''
| Episode "Shadow of the Panther"
|-
| 1973-1974
| ''[[The Adventures of Black Beauty]]''
| 5 episodes
|-
| 1974
| ''[[CBS Children's Film Festival]]''
| Episode "A Member of the Family"
|-
| 1976
| ''[[Star Maidens]]''
| 5 episodes
|-
| 1979
| ''[[Sherlock Holmes and Doctor Watson]]''
| 4 episodes
|-
| 1996
| ''[[Tales from the Crypt (TV series)|Tales from the Crypt]]''
| Episode "Last Respects"
|}

== Awards and nominations ==
'''[[Academy Awards]]'''
{| class="wikitable plainrowheaders"
|-
! Year
! Category
! Title
! Result
|-
| [[33rd Academy Awards|1960]]
|rowspan=2|[[Academy Award for Best Cinematography|Best Cinematography]]
| ''Sons and Lovers''
| {{won}} 
|-
| [[62nd Academy Awards|1989]]
| ''Glory''
| {{won}} 
|}

'''[[British Academy Film Awards|BAFTA Awards]]'''
{| class="wikitable plainrowheaders"
|-
! Year
! Category
! Title
! Result
|-
| [[34th British Academy Film Awards|1980]]
|rowspan=4|[[BAFTA Award for Best Cinematography|Best Cinematography]]
| ''The Elephant Man''
| {{nom}}
|-
| [[35th British Academy Film Awards|1981]]
| ''The French Lieutenant's Woman''
| {{nom}} 
|-
| [[44th British Academy Film Awards|1989]]
| ''Glory''
| {{nom}} 
|-
| [[45th British Academy Film Awards|1990]]
| ''Cape Fear''
| {{nom}} 
|-
|}

==See also==
* [[List of Academy Award winners and nominees from Great Britain]]
==References==
{{Reflist}}

==Sources==
* ''Freddie Francis: The Straight Story from Moby Dick to Glory, a Memoir'' - Freddie Francis (with Tony Dalton), Scarecrow Press, 2013.
* ''The Films of Freddie Francis'' – [[Wheeler Winston Dixon]], Scarecrow Press, 1991. {{ISBN|0-8108-2358-6}} (hardcover)
* ''The Men Who Made The Monsters'' – Paul M. Jensen, published 1996 – {{ISBN|0-8057-9338-0}} (paperback)
* {{cite book |last=Hogan |first=David J. |year=2016 |title=Dark Romance: Sexuality in the Horror Film |publisher=McFarland Classics |isbn=978-0-786-46248-3}}
* {{cite book |last=Landis |first=John |year=2011 |author-link=John Landis |title=Monsters in the Movies |publisher=Penguin |location=New York |isbn=978-0-756-68846-2}}

==External links==
{{Commons category}}
*[https://historyproject.org.uk/interview/freddie-francis Freddie Francis] [[The British Entertainment History Project]]
* {{IMDb name|0005711}}
* [http://www.searchmytrash.com/articles/freddiefrancis(5-10).shtml Freddie Francis biography] on (re)Search my Trash

{{Freddie Francis}}

{{Navboxes
|title = Awards for Freddie Francis
|list =
{{Academy Award Best Cinematography}}
{{British Society of Cinematographers Award for Best Cinematography in a Theatrical Feature Film}}
{{New York Film Critics Circle Award for Best Cinematographer}}
}}


{{DEFAULTSORT:Francis, Freddie}}
[[Category:1917 births]]
[[Category:2007 deaths]]
[[Category:British Army soldiers]]
[[Category:Military personnel from the London Borough of Islington]]
[[Category:Best Cinematographer Academy Award winners]]
[[Category:British Army personnel of World War II]]
[[Category:English cinematographers]]
[[Category:German-language film directors]]
[[Category:British horror film directors]]
[[Category:People from Islington (district)]]
[[Category:Film directors from London]]

{{Wikipedia attribution|original_title=Freddie Francis|access_date=2026-03-03}}