GREAT CINEMATOGRAPHERS


#1: 1991

#3: 1935

 

   


CHARLES LANG Jr.

 

Born: 27 March 1902, Bluff, San Juan County, Utah, USA, as Charles Bryant Lang Jr., son of Charles Bryant Lang, a negative developer at Realart Pictures Corporation.

Died: 3 April 1998, St. John's Medical Center, Santa Monica, Calif., USA [of pneumonia].

Education: Lincoln High School, Los Angeles; University of Southern California [USC], Los Angeles.

Career: Abandoned his law studies at USC and entered the film industry in 1918 in the film lab of Realart, a small Hollywood studio. Became c.asst to doph H. Kinley Martin & L. Guy Wilky. Was 2nd cam & contract doph for Paramount from 1929-51. Became freelance.

Was a member of the ASC.

Appeared in the doc 'Visions of Light: The Art of Cinematography' [1991].

Awards: 'Oscar' AA nom [1930/1] for 'The Right to Love'; 'Oscar' AA [1932/3] for 'A Farewell to Arms'; 'Oscar' AA nom [1940; b&w] for 'Arise, My Love'; 'Oscar' AA nom [1941; b&w] for 'Sundown'; 'Oscar' AA nom [1943; b&w] for 'So Proudly We Hail'; 'Oscar' AA nom [1944; b&w] for 'The Uninvited'; 'Oscar' AA nom [1947; b&w] for 'The Ghost and Mrs. Muir'; 'Oscar' AA nom [1948; b&w] for 'A Foreign Affair'; 'Oscar' AA nom [1952; b&w] for 'Sudden Fear'; 'Oscar' AA nom [1954; b&w] for 'Sabrina'; 'Oscar' AA nom [1955; b&w] for 'Queen Bee'; 'Oscar' AA nom [1958; b&w] for 'Separate Tables'; 'Oscar' AA nom [1959; b&w] for 'Some Like It Hot'; 'Oscar' AA nom [1960; b&w] for 'The Facts of Life'; 'Oscar' AA nom [1961; color] for 'One-Eyed Jacks'; 'Oscar' AA nom [1963; color; shared] for 'How the West Was Won'; 'Oscar' AA nom [1969] for 'Bob and Carol and Ted and Alice'; 'Oscar' AA nom [1972] for 'Butterflies Are Free'; Special Eastman Kodak Award [1990]; ASC Lifetime Achievement Award [1991].



 

'When the roster of great American cinematographers is finally analyzed, it seems inevitable that Charles Lang Jr. must be included in the first half-a-dozen. [...] High key romanticism was always Lang's forte and he returned to it in works like 'Strangers When We Meet' and 'Inside Daisy Clover', with their marvelous balancing of color and light and superbly executed tracking movements. Although he also worked on a fair number of average films, the name of Charles B. Lang on the credits always promised a degree of visual delight; on his greatest films, he created a world of light and shade whose riches can only fairly be described as poetic.' [John Gillett in 'Film Dope', #33, November 1985.]


Charles B. Lang, one of Hollywood's most famous cinematographers, labored long and hard in the Golden Age of Hollywood, receiving credit on more than 150 feature films. His style is most closely associated with his romantic black-and-white technique, awash with translucent light, which emerged in the 1930s with such films as 'A Farewell to Arms', 'Desire', and 'Angel'. Yet, like all the cinematographers of his era, he worked on films from all genres, in all visual styles.

Cinematographers, like all Hollywood employees during the 1930s and 1940s, were signed to long-term, binding contracts. Thus the bulk of their work was associated with one studio. Charles B. Lang toiled for Paramount Pictures from 1929 to 1951, almost the complete length of the Golden Age of the Hollywood studio system. As such he fulfilled his promise as a cinematographer early on, since Paramount, then under the influence of Ernst Lubitsch and Josef von Sternberg, was the home of great photographers of black-and-white cinema.

But as required by changing studio personnel and dictates, Lang adapted to the harsher film noir style of the 1940s. 'The Big Heat', directed by Fritz Lang in 1953, remains one of the most important examples of the late film noir period. It creates a beauty in the American suburbs and contrasts the jagged edges of the changing American urbanscape. Finally there have been his color films. Here Lang moved outdoors to film such Westerns as 'Gunfight at the O.K. Corral' and 'One-Eyed Jacks'.

The quality of Lang's work was recognized by his peers. He was among the most honored of Hollywood's cameramen.

As part of the Hollywood system from 1922 to 1973, Lang worked on many a mediocre film. But his name on the credits of any film usually guaranteed an interesting visual effort. His greatest work created a complexity of visual delight that students of film will continue to appreciate far off into the future. [From article by Douglas Gomery on the www.filmreference.com website.]


 

 FILMS [1 reel = c. 10m]

1927

Ritzy [Richard Rosson] b&w; 6 reels; prod Famous Players-Lasky Corporation

1928

The Shopworn Angel [Richard Wallace] b&w; 8 reels; silent & sound (talking seq) versions; prod Paramount Famous Lasky Corporation

1929

Innocents of Paris [Richard Wallace] b&w

1929

Half-Way to Heaven [George Abbott] b&w; cph: Alfred Gilks

1929

Behind the Make-Up [Robert Milton; (uncred) Dorothy Arzner, Henry Hathaway & Rollo Lloyd] b&w

1929

Seven Days' Leave/Medals [Richard Wallace] b&w

1929

Street of Chance [John Cromwell] b&w

1930

Sarah and Son [Dorothy Arzner] b&w

1930

The Light of Western Stars/Winning the West [Otto Brower & Edwin H. Knopf] b&w

1930

Shadow of the Law [Louis J. Gasnier] b&w; 69m

1930

For the Defense [John Cromwell] b&w; 65m

1930

Anybody's Woman [Dorothy Arzner] b&w

1930

Tom Sawyer [John Cromwell] b&w

1930

The Right to Love [Richard Wallace] b&w

1931

Unfaithful [John Cromwell] b&w

1931

The Vice Squad [John Cromwell] b&w

1931

Forbidden Adventure/Newly Rich [Norman Taurog] b&w

1931

The Magnificent Lie [Berthold Viertel] b&w

1931

Caught [Edward Sloman] b&w; 68m

1931

Once a Lady [Guthrie McClintic] b&w

1932

No One Man [Lloyd Corrigan] b&w

1932

Tomorrow and Tomorrow [Richard Wallace] b&w

1932

Thunder Below [Richard Wallace] b&w; 67m

1932

Devil and the Deep [Marion Gering] b&w

1932

He Learned About Women [Lloyd Corrigan] b&w; 68m

1932

A Farewell to Arms [Frank Borzage] b&w; transparencies: Farciot Edouart

 

 

1932

She Done Him Wrong [Lowell Sherman] b&w; 66m

1933

A Bedtime Story [Norman Taurog] b&w

1933

Gambling Ship [Louis J. Gasnier & Max Marcin] b&w; spec pfx: Farciot Edouart, Loyal Griggs, Al Myers & Dewey Wrigley

1933

The Way to Love [Norman Taurog] b&w

1933

L'amour guide [Jean Boyer & Gilbert Pratt] b&w; French-language version of 'The Way to Love'

1933

Cradle Song [Mitchell Leisen] b&w

1933

Death Takes a Holiday [Mitchell Leisen] b&w

1934

We're Not Dressing [Norman Taurog] b&w

1934

She Loves Me Not [Elliott Nugent] b&w

1934

Mrs. Wiggs of the Cabbage Patch [Norman Taurog] b&w

1934

The Lives of a Bengal Lancer [Henry Hathaway] b&w; India background ph (+ dir): Ernest B. Schoedsack

1935

Mississippi [A. Edward Sutherland & (uncred fill-in) Wesley Ruggles] b&w; film was started by ph Karl Struss

1935

Peter Ibbetson [Henry Hathaway] b&w; spec pfx: Gordon Jennings

1935

Desire/The Pearl Necklace [Frank Borzage & (uncred fill-in) Ernst Lubitsch] b&w; uncred cph (?): Victor Milner; addph Europe: Harry Perry; spec pfx: Farciot Edouart

1936

I Loved a Soldier [Henry Hathaway] prod abandoned after 28 days of filming

1936

Souls at Sea [Henry Hathaway] b&w; cph: Merritt Gerstad; spec pfx: Gordon Jennings

1937

Angel [Ernst Lubitsch] b&w; loc ph Europe: Harry Perry; spec pfx: Farciot Edouart

1937

Tovarich (Tonight's Our Night) [Anatole Litvak] b&w

1937

Doctor Rhythm/Dr. Rhythm [Frank Tuttle] b&w; cph: Floyd Crosby

1938

You and Me [Fritz Lang] b&w

1938

Spawn of the North [Henry Hathaway] b&w; spec pfx: Gordon Jennings; process ph: Farciot Edouart

1938

Zaza [George Cukor] b&w

1938

Midnight [Mitchell Leisen] b&w; spec pfx: Farciot Edouart

1939

The Gracie Allen Murder Case [Alfred E. Green] b&w

1939

The Cat and the Canary [Elliott Nugent] b&w; uncred fill-in ph: Ted Tetzlaff

1939

Adventure in Diamonds [George Fitzmaurice] b&w

1939

Women Without Names [Robert Florey] b&w; 62m; uncred cph: Stuart Thompson

1939

Buck Benny Rides Again [Mark Sandrich] b&w; uncred cph: Victor Milner

1940

The Ghost Breakers [George Marshall] b&w; process ph: Farciot Edouart

1940

Dancing on a Dime [Joseph Santley] b&w

1940

Victory [John Cromwell] b&w; uncred cph; ph: Leo Tover

1940

Arise, My Love [Mitchell Leisen] b&w

1940

The Shepherd of the Hills [Henry Hathaway] c; cph: W. Howard Greene

1941

Skylark [Mark Sandrich] b&w

1941

Nothing But the Truth [Elliott Nugent] b&w; process ph: Farciot Edouart

1941

Sundown [Henry Hathaway] b&w; spec pfx: Ray Binger

1941

The Lady Has Plans [Sidney Lanfield] b&w

1941

Are Husbands Necessary? [Norman Taurog] b&w

1942

The Forest Rangers [George Marshall] c; cph: William V. Skall; spec pfx: Gordon Jennings; process ph: Farciot Edouart

1942

No Time for Love [Mitchell Leisen] b&w; New York unit ph: Wallace Kelley; spec pfx: Gordon Jennings; process ph: Farciot Edouart

1942

True to Life [George Marshall] b&w

1942

So Proudly We Hail! [Mark Sandrich] b&w; spec pfx: Gordon Jennings; process ph: Farciot Edouart

 

 

1943

The Uninvited [Lewis Allen] b&w; process ph: Farciot Edouart

1943

Standing Room Only [Sidney Lanfield] b&w

1943

Frenchman's Creek [Mitchell Leisen] c; uncred cph; ph: George Barnes

1943

I Love a Soldier [Mark Sandrich] b&w; process ph: Farciot Edouart

1944

Practically Yours [Mitchell Leisen] b&w; process ph: Farciot Edouart

1944

Here Come the Waves [Mark Sandrich] b&w; sfx ph: Gordon Jennings & Paul K. Lerpae; process ph: Farciot Edouart

1944

Miss Susie Slagle's [John Berry] b&w; process ph: Farciot Edouart

1944

Cross My Heart [John Berry] b&w; cph: Stuart Thompson; spec pfx: Gordon Jennings

1945

The Stork Club [Hal Walker] b&w; spec pfx: Gordon Jennings; process ph: Farciot Edouart

1945

Blue Skies [Stuart Heisler (replaced Mark Sandrich, who had died)] c; cph: William E. Snyder; spec pfx: Gordon Jennings & Paul K. Lerpae; process ph: Farciot Edouart

1946

Where There's Life [Sidney Lanfield] b&w; spec pfx: Gordon Jennings; process ph: Farciot Edouart

1946

Desert Fury [Lewis Allen] c; cph: Edward Cronjager; spec pfx: Gordon Jennings; process ph: Farciot Edouart

1946

The Ghost and Mrs. Muir [Joseph L. Mankiewicz] b&w; spec pfx: Fred Sersen

1947

My Own True Love [Compton Bennett] b&w; spec pfx: Gordon Jennings; process ph: Farciot Edouart

1947

A Foreign Affair [Billy Wilder] b&w; 2uc: Dewey Wrigley; process ph: Farciot Edouart & Dewey Wrigley; spec pfx: Gordon Jennings; filmed August-September in Germany & December 1947-February 1948 in Hollywood

1948

Miss Tatlock's Millions [Richard Haydn] b&w; spec pfx: Gordon Jennings; process ph: Farciot Edouart

1948

The Great Lover [Alexander Hall] b&w; spec pfx: Gordon Jennings; process ph: Farciot Edouart

1949

Rope of Sand [William Dieterle] b&w; fill-in ph: Leo Tover; spec pfx: Gordon Jennings; process ph: Farciot Edouart

1949

Copper Canyon [John Farrow] c

1949

Fancy Pants [George Marshall] c; uncred fill-in ph: Ray Rennahan; uncred 2uc: Wallace Kelley; spec pfx: Gordon Jennings; process ph: Farciot Edouart

 

 

1949

September Affair [William Dieterle] b&w; uncred fill-in ph (when C. Lang was ill): Daniel L. Fapp; European ph (in August): Victor Milner; European backgrounds: Dewey Wrigley; spec pfx: Gordon Jennings; process ph: Farciot Edouart

1950

Branded [Rudolph Maté] c; uncred cph: Wallace Kelley

1950

The Mating Season [Mitchell Leisen] b&w; process ph: Farciot Edouart

1950

Ace in the Hole/The Big Carnival [Billy Wilder] b&w; process ph: Farciot Edouart; transparency ph: Irmin Roberts

1950

Red Mountain [William Dieterle & (uncred fill-in) John Farrow] c; process ph: Farciot Edouart & Wallace Kelley

1951

Peking Express [William Dieterle] b&w; spec pfx: Gordon Jennings; process ph: Farciot Edouart

1951

Aaron Slick from Punkin Crick/Marshmallow Moon [Claude Binyon] c; uncred 2uc: Peverell Marley; spec pfx: Gordon Jennings; process ph: Farciot Edouart

1951

The Atomic City/Los Alamos [Jerry Hopper] b&w; spec pfx: Gordon Jennings; process ph: Farciot Edouart

1952

Sudden Fear [David Miller] b&w; uncred 2uc: Loyal Griggs

1952

Salome [: The Dance of the Seven Veils] [William Dieterle] c

1953

The Big Heat [Fritz Lang] b&w

1953

It Should Happen to You [George Cukor] b&w

1953

Sabrina/Sabrina Fair [Billy Wilder] b&w; spec pfx: John P. Fulton; process ph: Farciot Edouart

1954

The Long Gray Line [John Ford] cs/c; uncred cph; ph: Charles Lawton Jr.

1954

Phffft! [Mark Robson] b&w

1954

Joseph and His Brethren [William Dieterle] abandoned after 31 days of filming

1954

The Man from Laramie [Anthony Mann] cs/c

1954

Female on the Beach [Joseph Pevney] b&w

1955

Queen Bee [Ranald MacDougall] b&w

1955

Autumn Leaves [Robert Aldrich] b&w

1955

The Solid Gold Cadillac [Richard Quine] b&w-c

1956

Gunfight at the O.K. Corral [John Sturges] vv/c; spec pfx: John P. Fulton

1956

The Rainmaker [Joseph Anthony] vv/c; spec pfx: John P. Fulton

1957

Loving You/Running Wild [Hal Kanter] vv/c; spec pfx: John P. Fulton; process ph: Farciot Edouart

1957

Wild Is the Wind [George Cukor] vv/b&w; 2uc: Loyal Griggs; spec pfx: John P. Fulton; process ph: Farciot Edouart

1957

The Matchmaker [Joseph Anthony] vv/b&w; spec pfx: John P. Fulton

 

 

1957

Separate Tables [Delbert Mann] b&w

1958

Last Train from Gun Hill/One Angry Day [John Sturges] vv/c; spec pfx: John P. Fulton; process ph: Farciot Edouart

1958

Some Like It Hot [Billy Wilder] b&w

 

#1-2: With dir Marlon Brando [right] - "One-Eyed Jacks"

 

1958

One-Eyed Jacks [Marlon Brando] vv/c; 2uc: W. Wallace Kelley; spec pfx: John P. Fulton; process ph: Farciot Edouart

1959

Song Without End/Crescendo [Charles Vidor (died after completing 15% of the film) & (uncred) George Cukor] cs/c; uncred cph (replaced J. Wong Howe); ph: James Wong Howe

1959

Strangers When We Meet [Richard Quine] cs/c

1960

The Magnificent Seven [John Sturges] p/c

1960

The Facts of Life [Melvin Frank] b&w; process ph: Paul Eagler

1961

Blue Hawaii [Norman Taurog] p/c; 2uc: W. Wallace Kelley; spec pfx: John P. Fulton; process ph: Farciot Edouart

1961

Summer and Smoke [Peter Glenville] p/c

1961

How the West Was Won [seg #1 'The Rivers' dir by Henry Hathaway] cr (+ cs & up70)/c; 5 seg + transitional seq; other ph: William Daniels, Milton Krasner (seg 'The Outlaws' dir by H. Hathaway) & Joseph LaShelle; 2uc: Harold Wellman; pick-up ph: Dale Deverman & Robert Surtees; spec vfx: A. Arnold Gillespie & Robert R. Hoag

1962

Something's Got to Give [George Cukor] cs/c; unfinished; cph: William Daniels, Franz Planer & Leo Tover; 37m were released in 2001 as part of the tv-doc 'Marilyn Monroe: The Final Days'

1962

A Girl Named Tamiko [John Sturges] p/c; 2uc: W. Wallace Kelley

1962

Paris When It Sizzles/Together in Paris [Richard Quine] c; uncred cph: Claude Renoir

 

 

1962

Charade [Stanley Donen] c; 2uc: Henri Persin

1963

Critic's Choice [Don Weis] p/c

1963

The Wheeler Dealers/Separate Beds [Arthur Hiller] p/c

1964

Father Goose [Ralph Nelson] c

1964

Sex and the Single Girl [Richard Quine] c

1965

Inside Daisy Clover [Robert Mulligan] p/c

1965

How to Steal a Million [William Wyler] p/c

1966

Not with My Wife, You Don't! [Norman Panama] c; Europe ph: Paul Beeson

1966

Hotel [Richard Quine] c

1966

The Flim-Flam Man/One Born Every Minute [Irvin Kershner] p/c; cph: Vincent Saizis; spec pfx: L.B. Abbott, Art Cruickshank & Emil Kosa Jr.

1967

Wait Until Dark [Terence Young] c

1968

A Flea in Her Ear [Jacques Charon] p/c; 2uc: Walter Wottitz

1968

The Stalking Moon [Robert Mulligan] p/c

1968

Bob & Carol & Ted & Alice [Paul Mazursky] c; Wescam tech: Jack N. Green

1969

How to Commit Marriage [Norman Panama] c

1969

Cactus Flower [Gene Saks] c

1969

A Walk in the Spring Rain [Guy Green] p/c

1970

Doctors' Wives [George Schaefer] c

1971

The Love Machine [Jack Haley Jr.] c

 

[Right] with dir Milton Katselas - "Butterflies Are Free"

 

1972

Butterflies Are Free [Milton Katselas] c

1973

40 Carats/Forty Carats [Milton Katselas (replaced William Wyler, who was advised by his physician not to dir the film)] c

 

 MISCELLANEOUS

1923

Are You a Failure? [Tom Forman] c.asst; ph: Harry Perry

1923

The Virginian [Tom Forman] c.asst; ph: Harry Perry

1925

The Golden Princess [Clarence G. Badger] c.asst; ph: H. Kinley Martin

1926

The Night Patrol [Noel Mason Smith] 2nd cam; ph: Jack Stevens