Jim Dollarhide apparently died on Wednesday in a fire at his lakefront home in Madison, Mississippi. I say “apparently” because they found a body in the still-burning rubble of his 3800-foot house and Jim is missing, but it will require some dental examination to make sure. The firefighters said the “structure was fully involved” by the time they got there at 10:41 p.m. after an emergency call from a neighbor, and the upper levels had already collapsed. It’s almost certain Jim is gone. If I have to retract this piece, I will do so with great joy.
I’ve known Jim since my advertising days in the Seventies. He was the first filmmaker I got to spend quality time with. I like movies and all, and I took enough production courses in graduate school to get some idea what filmmaking feels like, but this was the first guy I ever met who had already decided to make a living at it. To Jim, a beautiful image might be all well and good, but it don’t mean a thing if it ain’t got that swing: it has to move.
You meet lots of gifted photographers in the ad game, but they produce a different kind of art. The still shooter shows you an instant in time. The filmmaker shows you the passage of time. Jim had the eye for nifty composition which any good fotog possesses, but it was that third dimension, the depiction of duration, that fascinated and obsessed him.
Jim was a blue-collar filmmaker. By that I mean he was no rarefied sissy on location; he could get down and dirty in physical labor with his crew, made up of people he liked and respected. But he demanded professionalism and courtesy. Once my ad agency hired Jim to do some films and tv spots for Yazoo Mowers, those big-wheeled monsters built like tanks. I was the agency producer, meaning all I had to do was stand around and nod, and guzzle the occasional soft drink. But even with my light load of responsibility, it was the most horrible shoot I’ve ever been on. For two weeks it was steaming even by Mississippi standards (the grips showed me how to dip a neck scarf in Sea Breeze astringent and ice water to cool down the circulation), we were in a severe drought so most grass was brown and we had to figure out how to color it (the mayor had even forbidden people from watering their lawns), and too many of the setups were on undulating spreads that required time-consuming engineering to lay dolly track for smooth camera motion. But we made it through somehow, and celebrated with a wrap party at Jim’s house. I decided to buy each of the crew members a really nice knife to say thanks for going above and beyond. I guess I’d gone there too: one of them said, “This is the first time a producer ever gave me anything.” Jim was walking by, and over his shoulder came, “He gave you a job.”
Jim’s page on IMDb notes that he “founded a production company called ‘Imageworks’ two decades before Sony Pictures used the term.” I know it does because I’m the one who put it there. We were both running teensy little outfits in the Eighties and we had a symbiotic relationship. He was doing fewer commercials, which are tightly scripted beforehand, and more industrial films and longer documentaries, where he could call in a writer at the pre-production stage. The difference in our two companies was that Imageworks was hugely capital-intensive: Jim had to keep up with emerging technologies, so he needed new equipment all the time. He originally had one of those honking Steenbeck flat-bed editing decks, where to make an edit you physically snipped the film and spliced it back with tape, which is how movies had been cut since time immemorial. In those days some bigger houses were using a process called “negative to tape” for their first baby steps into online editing, but Jim had to separate wants from needs in order to survive in the more frugal environment of central Mississippi. Now the Steenbeck is as quaint a relic as the X-Acto knife, but Jim had long since moved on. It’s a shame that he largely missed out on the digital revolution of the past few years — shooting on location is cheaper and nimbler than it’s ever been before.
Jim not only loved his craft, he also loved his native state of Mississippi, but not in a Confederate way. He was a huge music fan and cherished the rich tradition of Mississippi Delta blues. He shot thousands of feet of B. B. King and became a good friend; Jim’s documentary plays every day at the B. B. King Museum in Indianola. After all the years slogging and working together for industry and commerce, I guess my favorite film of Jim’s is the scriptless HARMONIES: A MISSISSIPPI OVERTURE (1994), a labor of love and a piece of pure cinema that tells you everything you need to know about him in just 25 minutes. He was a kind, upstanding, talented man whose generosity of spirit mentored so many young men and women; their praises and tears are pouring in equally today. Goodbye, Jim. You were one of a kind, and you are already missed.