Robert R. Parrish (January 4, 1916 – December 4, 1995) was an American film director, editor, writer, and child actor. He received an Academy Award for Film Editing for his contribution to Body and Soul (1947).
Robert R. Parrish
January 4, 1916
Columbus, Georgia, United States
|Died||December 4, 1995 (aged 79)|
|Occupation||Film director, editor, writer, child actor|
|Home town||Los Angeles, California|
|Spouse(s)||Kathleen Norris Parrish|
|Family||Helen Parrish (sister)|
|Awards||Academy Award for Film Editing (1947)|
Life and careerEdit
Born in Columbus, Georgia, Parrish was the son of factory cashier Gordon R. Parrish and actress Laura R. Parrish. The Parrish siblings, including Beverly and Helen, entered into acting in the 1920s when the family moved to Los Angeles.
Parrish made his debut film appearance in the Our Gang short Olympic Games (1927). He then appeared in the classic Sunrise (1927); Yale vs. Harvard (1928), another Our Gang short; Mother Machree (1928) and Four Sons (1928) from John Ford; Speedy (1928) with Harold Lloyd; Riley the Cop (1928) for Ford; The Iron Mask (1929) with Douglas Fairbanks; The Divine Lady (1929); The Racketeer (1929); Anna Christie (1930) with Greta Garbo; the anti-war film All Quiet on the Western Front (1930); The Big Trail (1930) with John Wayne; Up the River (1930) for Ford; The Right to Love (1930) with Ruth Chatterton; Charles Chaplin's City Lights (1931);Scandal Sheet (1931); I Take This Woman (1931); Forbidden (1932) for Frank Capra; The Miracle Man (1932); and Scandal for Sale (1932).
Parrish was in This Day and Age (1932) for Cecil B. de Mille; Doctor Bull (1933), Judge Priest (1934), The Whole Town's Talking (1935), and The Informer (1935) for Ford; The Crusades (1935) for de Mille; Steamboat Round the Bend (1935) and The Prisoner of Shark Island (1936) for Ford; Shipmates Forever (1936); One in a Million (1936) and Thin Ice (1937) with Sonia Henie; History Is Made at Night (1937) for Frank Borzage; It Could Happen to You! (1937); Thrill of a Lifetime (1938); Having Wonderful Time (1938); Mr. Doodle Kicks Off (1938); and Dramatic School (1938).
Ford encouraged Parrish to work behind the scenes and put him on as an editing apprentice on The Informer. He later hired Parrish as assistant editor for Mary of Scotland (1936). He worked on Ford films behind the scenes in editing and sound capacities, including Stagecoach (1939), Young Mr Lincoln (1939), Drums Along the Mohawk (1939), The Grapes of Wrath (1940), The Long Voyage Home (1940) and Tobacco Road (1941).
Both Ford and Parrish served in the United States Navy during World War II, and together they also produced a number of documentary and training films, including The Battle of Midway (1942), How to Operate Behind Enemy Lines (1943), German Industrial Manpower, and December 7th: The Movie (1943). Parris also worked as editor on George Stevens' That Justice Be Done (1945), and The Nazi Plan (1945).
Parrish's second Academy Award nomination, shared with Al Clark, was for the political drama directed by Rossen, All the King's Men (1949). In the first versions done by Al Clark, the film was poorly received by preview audiences and studio executives. Parrish discovered that a "montage approach" was much more successful, with arbitrary cuts made a set time before and after each important action. In addition to the editing nomination for Clark and Parrish, the film won the Best Picture Award outright and was a popular success.
The Purple Plain (1954) was nominated for the Award for Best British Film at the 8th British Academy Film Awards. Parrish followed it with Lucy Gallant (1955), Fire Down Below (1957), Saddle the Wind (1958), and The Wonderful Country (1959).
Parrish returned to features with In the French Style (1963). He followed it with Up from the Beach (1965) and The Bobo (1967) with Peter Sellers. He directed some of Sellers' scenes in the James Bond parody Casino Royale (1967), he among its five directors.
He had an acting role in the film, Blue Bayou (1990).
Summing up Parrish's career, Allen Grant Richards commented that "Other than his excellent editing work and early directing, Parrish may be most remembered as storyteller from his two books of Hollywood memoirs." Filmmaker Kevin Brownlow wrote of Parrish's first memoir, Growing Up In Hollywood (1976), "His stories about these pictures were marvellous in themselves, and he often came at them sideways, so not only the punchline but the situation took you by surprise. We all entreated him to write them down and in 1976 he did so, producing one of the most enchanting - and hilarious - books about the picture business ever written [...] [Growing Up In Hollywood] ought to be reprinted in this centenary [birth] year." The sequel, Hollywood Doesn't Live Here Anymore (1988), followed.
- The Mob (1951)
- Cry Danger (1951)
- Remember That Face (1951)
- Assignment – Paris! (1952)
- My Pal Gus (1952)
- Rough Shoot (1953)
- The Purple Plain (1954)
- Lucy Gallant (1955)
- Fire Down Below (1957)
- Saddle the Wind (1958)
- The Wonderful Country (1959)
- In the French Style (1963)
- Up from the Beach (1965)
- Casino Royale (1967)
- The Bobo (1967)
- Duffy (1968)
- Doppelgänger (1969)
- A Town Called Bastard (1971)
- The Marseille Contract (1974)
- The Battle of Midway (1942)
- How to Operate Behind Enemy Lines (1943)
- German Industrial Manpower (1943)
- December 7th (film) (1943)
- That Justice Be Done (1945)
- The Nazi Plan (1945)
- A Double Life (1947)
- Body and Soul (1947; with Francis D. Lyon)
- No Minor Vices (1948)
- All the King's Men (1949; with Al Clark)
- Caught (1949)
- No Sad Songs for Me (1950; with W. Lyon)
- Of Men and Music (1951)
- Brownlow, K. (1995, Dec 11). Obituary: Robert parrish. The Independent Retrieved from https://search.proquest.com/docview/312446736
- Brown, D. (1988, Apr 24). ROBERT PARRISH: MAKING MOVIES FOR THE FUN OF IT. St.Louis Post - Dispatch (Pre-1997 Fulltext) Retrieved from https://search.proquest.com/docview/1491345486
- By, H. G. (1952, Feb 10). CUTTER TO DIRECTOR. New York Times (1923-Current File) Retrieved from https://search.proquest.com/docview/112267662
- Eagan, Daniel (2010). America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry. A&C Black. p. 429. ISBN 9780826429773.
- By LAWRENCE, V. G. (1985, May 26). A life spent in love with the movies. New York Times (1923-Current File) Retrieved from https://search.proquest.com/docview/111097310
- Champlin, C. (1967, Sep 17). Writer or director---who's in catbird seat? Los Angeles Times (1923-Current File) Retrieved from https://search.proquest.com/docview/155867250
- 5 directors for bond film. (1966, Feb 25). Los Angeles Times (1923-Current File) Retrieved from https://search.proquest.com/docview/155361498
- Thomas, K. (1985, Oct 18). MOVIE REVIEW TAVERNIER TUNES IN TO THE `MISSISSIPPI BLUES'. Los Angeles Times (Pre-1997 Fulltext) Retrieved from https://search.proquest.com/docview/292214433
- Richard, Allen Grant (2000). "Robert Parrish". In Pendergast, Tom; Pendergast, Sara (eds.). International Dictionary of Film and Filmmakers, Edition 4. St. James Press. ISBN 978-1-55862-449-8. Retrieved 2009-09-01.
- Brownlow, Kevin (December 11, 1995). "Obituary: Robert Parrish". The Independent.