Laurence Henson, a towering figure in Scottish cinema, whose visionary work bridged the gap between documentary and fiction filmmaking, has passed away, leaving behind a profound legacy that shaped a generation of artists and elevated the nation’s cinematic voice. His pioneering efforts, often in collaboration with long-time partner Eddie McConnell, were instrumental in establishing a distinct identity for Scottish storytelling on screen.
Born in Glasgow’s Mosspark, Henson’s early life saw him attend St Gerard’s Secondary School, where he first forged a connection with McConnell. Their burgeoning partnership found its initial creative outlet in the amateur film “Broken Images” (1957), a compelling piece that garnered significant attention, including from the influential “Father of the Documentary,” John Grierson. This early success not only spurred them to turn professional but also initiated a vital, enduring mentorship with Grierson.
The duo’s professional journey continued at Templar Films in Glasgow, a company fresh off an Oscar win for “Seawards the Great Ships” (1962). Here, Henson played a crucial role in creating films for Films of Scotland, an initiative aimed at securing commercial cinema releases for short documentaries. His work, like “Why Scotland, Why,” often accompanied major feature films, ensuring broad public viewership despite his personal reservations about some projects.
Henson’s directorial prowess was further showcased in “The Big Mill” (1963), with McConnell as cinematographer, a critically acclaimed Griersonian documentary celebrating the steelworks of Ravenscraig and Gartcosh. This film, which garnered international awards, was a personal favorite for Henson, demonstrating his ability to capture industrial landscapes with artistic integrity and emotional depth. His earlier directorial debut, “The Heart of Scotland” (1961), also benefited from Grierson’s guidance, underscoring the profound influence of his mentor.
Driven by an ambition to expand beyond documentaries, Henson, alongside McConnell, established International Film Associates (Scotland), an independent company blessed by Grierson’s patronage. This marked a pivotal shift, aligning with Forsyth Hardy’s vision for Films of Scotland to embrace fiction. Henson’s transition culminated in directing “Flash the Sheepdog” (1967), where he also penned the screenplay, signifying his versatility and commitment to evolving cinematic narratives.
Henson’s remarkable trajectory, from amateur to a prominent figure in documentary and feature filmmaking, was a testament to his character and determination. He not only capitalized on opportunities afforded by associations with Grierson and Hardy but also paid it forward, actively encouraging and nurturing the next generation of aspiring film-makers. This commitment to mentorship solidified his standing as a selfless contributor to the industry’s growth.
Later in life, Henson embarked on a new chapter, moving to Ireland with partner Ruth Jacob. This relocation fostered a profound connection with the Irish community and allowed him to explore his passion for language, becoming a poet involved with local literary circles. Despite this new pursuit, his love for cinema remained undiminished, a constant motivational force throughout his life. His films consistently reflected a deep sense of place, exploring how landscapes shape identity.
Even into his later years, Henson remained creatively active, with a decades-long project culminating in “Documenting Grierson” (2014), bringing his work full circle. His seminars on screenwriting in Dublin, titled “Writing Movies,” further exemplify his dedication to the craft and his desire to share knowledge. Henson’s poetry revealed his wit and warmth, but it was his pivotal role in developing the Scottish film industry—his foresight in moving towards features and his nurturing of talents like Charlie Gormley and Bill Forsyth—that truly cemented his indelible mark on cinematic history. His contributions, both artistic and foundational, deserve enduring recognition.
