Richard Fleischer (1916-2006)
Every once in a while, I would see a film that stood out from the others for its structure, the way it was acted, for the story and how it was told. Often, when I checked the director credits, the same name would re-appear: Richard Fleischer.
I was captivated by his films: Barabbas (1962) with its avant-garde electroacoustic music score by Mario Nascimbene; Fantastic Voyage (1966) with its largely 12-note score by Leonard Rosenmann; The Boston Strangler (1968) with its strange, split-screen sequences and 10, Rillington Place (1971) which the Daily Telegraph described in Fleischer’s obituary as ‘superbly creepy’.
