Continuing a series about Art Directors in the British film industry up to 1948, when the book containing these articles was published.
This chapter deals with Alex Vetchinsky ( 1904- 1980 )
He is an artist of the cinema and does not pretend to be a painter of pictures. His work is never self-conscious and he has that carefree approach which allows him to sketch on any piece of paper that is handy and failing that on the back of a studio ‘flat’.
Pencil sketch for “October Man“. Two Cities Films.
(Please click these thumbnails to enlarge them)
Pencil sketch for “Hungry Hill“. Two Cities Films.
Pencil sketch for “Hungry Hill“. Two Cities Films.
ALEC VETCHINSKY is generally known as ‘Vetch’— he is one of those genial unpretentious beings with twinkling eyes, very much liked by all who come in contact with him.
He is an artist of the cinema and does not pretend to be a painter of pictures. His work is never self-conscious and he has that carefree approach which allows him to sketch on any piece of paper that is handy and failing that on the back of a studio ‘flat’.
He does not keep his sketches but the few one comes across here and there possess qualities that often far excel the more conscious ‘masterpieces ‘ that others put into frames.
Vetch studied to be an architect at the Architectural Association, where he was awarded the ‘A.A. Diploma’ in 1928. After 18 months in an architect’s office, he went to Gainsborough Pictures and worked as an assistant.
The picture on which his work as an Art Director first drew attention was ‘Tudor Rose’, made at Gaumont Studios by Robert Stevenson. This was followed by a number of other successes such as `Sunshine Susie’, ‘Love on Wheels’, ‘Owd Bob’, ‘Michael and Mary’ and in 1936 ‘Bank Holiday’, an ambitious film for studios with such limited stage space, in which. the backgrounds were most successfully carried out. Then in 1938 came Hitchcock’s ‘The Lady Vanishes’; 1939, ‘Night Train to Munich’ ; 1940, `Kipps’; 1941, `The Young Mr Pitt’.
After the war he worked on a number of more ambitious films like ‘Hungry Hill’ in which some very fine work by Vetch was made unconvincing by the action that went on in front of it, a common occurrence in films, which require the united effort of a number of artists to achieve the best results.
Sometimes the designer is the only person on the picture who can appreciate the fundamental principles that govern the making of any work of art. The result is then patchy, to say the least.
Vetchinsky has more recently designed the sets for ‘Escape’ and `October Man’.
He has always been keen on making the fullest use of all the tricks of the trade in order to help create dramatic effects, and on these last two pictures he has done so most successfully.
(Excerpted from: “Art & Design In The British Film” A Pictorial Directory of British Art Directors and their work. Compiled by Edward Carrick, 1947 )
During his long career in British studios, Vetchinsky worked alongside many other artists and technicians, and two of them are included in this series: See John Howell, and Maurice Carter. (You can also find them in the list below.)
Link to article at filmreference.com
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