IEC
GREAT CINEMATOGRAPHERS
#1: "Anna Lucasta" [1949]
#2: "The Adventures of Robin Hood" [1937-38]
SOL POLITO
Born: 12 November 1892, Palermo, Sicily, Italy, as Salvatore [or Salvador] Polito.
Died: 23 May 1960, Hollywood, Los Angeles, Calif., USA.
Career: Immigrated to the United States at an early age. His family settled in New York City, where he attended public school. Entered films around 1912 and worked as a still ph and lab asst before becoming a cameraman. He moved from Brooklyn, New York, to Los Angeles in 1919 to continue his cinematography career at Warner Bros. Studios.
Was a member of the ASC.
Retired in 1949.
His son Eugene 'Gene' Emmanuel Polito [1918-2010] was a cinematographer.
Awards: 'Oscar' AA nom [1939; color; shared] for 'The Private Lives of Elizabeth and Essex'; 'Oscar' AA nom [1941; b&w] for 'Sergeant York'; 'Oscar' AA nom [1942; color] for 'Captains of the Clouds'.
Dir Michael Curtiz - SP - actor Randolph Scott - "Virginia City" [1939]
Like most of the technicians who created collectively what is now known as the 'classic Hollywood style', Sol Polito received little formal training in his craft, but
instead learned the intricacies of cinematography on the job. If Polito was hardly an artist whose innovations
inspired others, even as he broke with established practices, he was something
much more valuable in the factory system of film production that emerged with
the vertical integration of the studios in the twenties and the incredible
expansion of the medium: a craftsman with a deep and abiding interest in a job
well-done who was eager to create the best possible product by following
industry guidelines even as he perfected their application.
The studio system in general suited Polito's temperament and work ethic; it is no accident that he thrived in the rather authoritarian setting of Warner Brothers, where studio head Jack Warner was notorious for demanding efficiency, competence, and fiscal responsibility. As a studio technician, Polito found it necessary to work on a wide variety of projects in the different genres Warners then specialized in, most particularly what may be best described as the crime melodrama. For these films, Polito and the other chief cinematographer at Warners, Tony Gaudio, devised an unglamorized look, not softened by flattering lighting effects, that made much use of the chiaroscuro contrasts between dark and light that were a heritage of German Expressionism. This style is the ancestor of the film noir cinematography that emerged to popularity in the late forties, an evolution based to some degree on technical advances and more interest in realism promoted by wartime filmmaking and postwar developments abroad. Polito's work for the classic Warners crime melodrama 'I Am a Fugitive from a Chain Gang' [1932], however, bears comparison with that later style in its outstanding, expressive effects - most memorably, an overall somberness to which director Mervyn LeRoy's effective staging certainly contributed. Interestingly, though film noir evolved during the last decade of Polito's work at Warners and the studio was itself in the forefront of this thematic and stylistic innovation, Polito was not centrally involved, as other cinematographers of his generation, such as John Alton, were. Nevertheless, he created for Anatole Litvak's classic noir melodrama 'Sorry, Wrong Number' [1948] a washed-out, hazy look that fails to define clearly much of what is in the frame, a perfect correlative for this story of moral ambivalence, failure of character, infantile preoccupations, and anomie. In this film, Polito's lighting and exposure values deprive the upscale home of the invalid main character of any sense of richness or security. How different an inflection he gives to the same tonality of grays by making the lighting scheme more glamorizing, emphasizing soft focus in close-ups of star Bette Davis, in 'Now, Voyager' [1942], the classic forties melodrama in which the world of the rich is offered as exquisitely textured, the realm for the setting of the purest romantic fantasy. Neither film makes use of the hard contrast between white and black for which Warners became famous in the thirties, and thus each exemplifies the flexibility within a dominant studio style.
Polito, however, like any studio technician, did not enjoy the luxury of working simply in one genre and perfecting his handling of nuance within overall expressive requirements. His action photography for the studio's specialist in swashbuckling epics, Michael Curtiz, is excellent in another way. 'The Adventures of Robin Hood' [1937-38], in particular, shows how Polito could impart a highly effective glow to a Technicolor film, a medium then rather difficult to handle well. Polito's lighting and exposure values create a depth and crispness that are entirely appropriate to the story. Working with the studio's new tank and fog machines in the similar project 'The Sea Hawk' [1940], Polito is able to inflect this tale of maritime adventure with the appropriate atmospherics, a misty, often smoky look pervades the action sequences in a story that is darker and more brooding than the moral simplicity of the children's fable of the defeat of the evil King John by Robin Hood. [From article by R. Barton Palmer on the filmreference.com website.]
| FILMS [1 reel = c. 10m] | |
|---|---|
|
1914 |
Rip Van Winkle [prod: Edwin Middleton] b&w; 5 reels; prod B.A. Rolfe Photoplays, Inc. |
|
1914 |
Wildfire [Edwin Middleton] b&w; 5 reels; prod World Film Corporation (WFC) |
|
1915 |
M'Liss [O.A.C. Lund] b&w; 5 reels; cph: Lucien Andriot; prod WFC |
|
1915 |
The Butterfly [O.A.C. Lund] b&w; 5 reels; prod Shubert Film Corporation (SFC) |
|
1915 |
The Cotton King [Oscar Eagle] b&w; 5 reels; prod William A. Brady Picture Plays, Inc. (WBPP) |
|
1915 |
A Butterfly on the Wheel [Maurice Tourneur] b&w; 50m; cph: Lucien Andriot; prod SFC |
|
1915 |
The Sins of Society [Oscar Eagle] b&w; 5 reels; prod WBPP |
|
1916 |
Fruits of Desire/The Ambition of Mark Truitt [Oscar Eagle] b&w; 5 reels; prod WBPP |
|
1916 |
Fate's Boomerang/The Call of Love [Frank H. Crane] b&w; 5 reels; prod Paragon Films, Inc. (PFI) |
|
1916 |
Paying the Price/Reparation [Frank H. Crane] b&w; 50m; as Salvador Polito; prod PFI |
|
1916 |
The Man Who Stood Still [Frank Crane] b&w; 5 reels; prod PFI |
|
1916 |
The World Against Him [Frank Hall Crane] b&w; 6 reels; prod PFI |
|
1917 |
The Runaway [Dell Henderson] b&w; 6 reels; cph: Frank Bangs; prod Empire All Star Corporation (EASC) |
|
1917 |
Queen X [John B. O'Brien] b&w; 5 reels; prod Mutual Film Corporation (MFC) |
|
1917 |
Her Second Husband [Dell Henderson] b&w; 50m; prod MFC |
|
1917 |
The Impostor [Dell Henderson & (?) George Abbott] b&w; 50m; prod EASC |
|
1918 |
Who Loved Him Best?/His Inspiration [Dell Henderson] b&w; 50m; prod MFC |
|
1918 |
Ruling Passions [Abraham S. Schomer] b&w; 6 reels & 8 reels; prod Schomer Photoplay Producing Company |
|
1918 |
The Heart of a Girl [John G. Adolfi] b&w; 5 reels; or ph Max Schneider; prod WFC |
|
1918 |
Her Husband's Honor [Burton King] b&w; 5 reels; prod MFC |
|
1918 |
Treason [Burton King] b&w; 5 reels; prod MFC |
|
1918 |
The Reckoning Day [Roy Clements] b&w; 5 reels; uncred cph; ph: R.E. Irish; prod Triangle Film Corporation |
|
1918 |
What Love Forgives [Perry N. Vekroff] b&w; 50m; prod WFC |
|
1919 |
The Love Defender [Tefft Johnson] b&w; 50m; prod WFC |
|
1919 |
Bill Apperson's Boy [James Kirkwood] b&w; 5 reels; prod Jack Pickford Film Company (JPFC) |
|
1919 |
Burglar by Proxy [Jack (= John Francis) Dillon] b&w; 5 reels; prod Jack Pickford Productions |
|
1919 |
In Wrong [James Kirkwood] b&w; 50m; cph: Antonio (= Tony) Gaudio; prod JPFC |
|
1919 |
Are You Legally Married? [Robert T. Thornby] b&w; 5 reels; prod Success Pictures Company |
|
1919 |
Soldiers of Fortune [Allan Dwan] b&w; 70m; cph: H. Lyman Broening; prod Mayflower Photoplay Corporation |
|
1919 |
Should a Woman Tell? [John E. Ince] b&w; 60m; prod Screen Classics, Inc. (SCI) |
|
1920 |
The Right of Way [Jack (= John Francis) Dillon] b&w; 70m; cph: Robert B. Kurrle; 2 different endings were shot and shown; prod SCI |
|
1920 |
Alias Jimmy Valentine [Edmund Mortimer & (started the film) Arthur D. Ripley] b&w; 60m; prod Metro Pictures Corporation (MPC) |
|
1920 |
The Price of Redemption/The Temple of Dawn [Dallas M. Fitzgerald] b&w; 6 reels; prod MPC |
|
1920 |
The Misleading Lady [George Irving & (started the film) George W. Terwilliger] b&w; 6 reels; cph: Arthur Martinelli; prod MPC |
|
1921 |
Uncharted Seas [Wesley Ruggles] b&w; 6 reels; cph: John F. Seitz; prod MPC |
|
1921 |
The Roof Tree [John Francis Dillon] b&w; 5 reels; prod Fox Film Corporation (FFC) |
|
1922 |
Strength of the Pines [Edgar Lewis] b&w; 5 reels; cph: Don Short; prod FFC |
|
1922 |
Trimmed [Harry Pollard] b&w; 50m; prod Universal Film Manufacturing Company (UFMC) |
|
1922 |
The Loaded Door [Harry A. Pollard] b&w; 50m; prod UFMC |
|
1922 |
The Bishop of the Ozarks [Finis Fox] b&w; 6 reels; prod Cosmopolitan Film Company |
|
1923 |
Mighty Lak' a Rose [Edwin Carewe] b&w; 80m; prod Edwin Carewe Productions (ECP) |
|
1923 |
The Girl of the Golden West [Edwin Carewe] b&w; 70m; cph (?); ph: Thomas Storey; prod ECP |
|
1923 |
The Bad Man [Edwin Carewe] b&w; 7 reels; prod ECP |
|
1924 |
Why Men Leave Home [John M. Stahl] b&w; 8 reels; prod Louis B. Mayer Productions |
|
1924 |
The Lightning Rider [Lloyd Ingraham] b&w; 6 reels; prod Stellar Productions |
|
1924 |
The Siren of Seville/The Siren [Jerome Storm & Hunt Stromberg] b&w; 7 reels; prod Hunt Stromberg Productions (HSP) |
|
1924 |
Roaring Rails [Tom Forman] b&w; 60m; prod Stellar Productions |
|
1924 |
A Cafe in Cairo [Chet Withey] b&w; 60m; prod HSP |
|
1924 |
The Flaming Forties [Tom Forman] b&w; 6 reels; prod Stellar Productions |
|
1924 |
Soft Shoes [Lloyd Ingraham] b&w; 60m; prod Stellar Productions |
|
1925 |
The Crimson Runner [Tom Forman] b&w; 60m; prod HSP |
|
1925 |
Beyond the Border [Scott R. Dunlap] b&w; 58m; cph: Georges Benoît; prod Rogstrom Productions |
|
1925 |
Silent Sanderson [Scott R. Dunlap] b&w; 50m; prod Stellar Productions |
|
1925 |
The Bad Lands [Dell Henderson] b&w; 60m; cph: Georges Benoît; prod Stellar Productions |
|
1925 |
Paint and Powder/Footlights and Shadows [Hunt Stromberg] b&w; 54m & 70m; prod HSP |
|
1925 |
The People vs. Nancy Preston [Tom Forman] b&w; 70m; prod HSP |
|
1926 |
Driftin' Thru [Scott R. Dunlap] b&w; 5 reels; prod Charles R. Rogers Productions (CRRP) |
|
1926 |
The Seventh Bandit [Scott R. Dunlap] b&w; 6 reels; prod CRRP |
|
1926 |
The Frontier Trail [Scott R. Dunlap] b&w; 6 reels; prod CRRP |
|
1926 |
Señor Daredevil [Albert Rogell] b&w; 70m; prod CRRP |
|
1926 |
Satan Town [Edmund Mortimer] b&w; 6 reels; prod CRRP |
|
1926 |
The Unknown Cavalier [Al Rogell] b&w; 7 reels; prod CRRP |
|
1926 |
The Overland Stage [Albert Rogell] b&w; 7 reels; prod CRRP |
|
1927 |
Somewhere in Sonora [Albert Rogell] b&w; 6 reels; prod CRRP |
|
1927 |
The Land Beyond the Law [Harry J. Brown] b&w; 70m; prod CRRP |
|
1927 |
Lonesome Ladies [Joseph Henabery] b&w; 60m; cph: Al M. Green; prod First National Pictures (FN) |
|
1927 |
Hard-Boiled Haggerty [Charles Brabin] b&w; 80m; prod FN |
|
1927 |
Gun Gospel [Harry J. Brown] b&w; 7 reels; prod CRRP |
|
1927 |
The Shepherd of the Hills [Albert Rogell] b&w; 90m; prod FN |
|
1928 |
Burning Daylight [Charles Brabin] b&w; 72m; prod FN |
|
1928 |
The Hawk's Nest [Benjamin Christensen] b&w; 80m; prod FN |
|
1928 |
Heart to Heart [William Beaudine] b&w; prod FN |
|
1928 |
Show Girl [Alfred Santell] b&w; 61m; silent & sound (mus score/sound efx) version; prod FN |
|
1928 |
Burning Bridges [James P. Hogan] b&w; 60m; prod CRRP |
|
1928 |
The Haunted House [Benjamin Christensen] b&w; silent & sound (mus score/sound efx) version; prod FN |
|
1928 |
The Border Patrol [James P. Hogan] b&w; 50m; prod CRRP |
|
1928 |
Scarlet Seas [John Francis Dillon] b&w; 70m |
|
1928 |
Seven Footprints to Satan/Satan's Stairwell/Seven Steps to Satan [Benjamin Christensen] b&w; 60m; silent & sound (talking seq/mus score/sound efx) version; prod FN |
|
1929 |
House of Horror/The House of Horrors [Benjamin Christensen] b&w; 65m; silent & sound (talking seq/mus score/sound efx) version; cph: Ernest Haller; prod FN |
|
1929 |
Broadway Babies [Mervyn LeRoy] b&w; silent & sound version; spph: Alvin Knechtel; prod FN |
|
1929 |
The Man and the Moment [George Fitzmaurice] b&w |
|
1929 |
Twin Beds [Alfred Santell] b&w |
|
1929 |
The Isle of Lost Ships [Irvin Willat] b&w |
|
1929 |
Paris [Clarence Badger] b&w-c |
|
1929 |
No, No, Nanette [Clarence Badger] b&w-c; silent & sound version; prod FN |
|
1929 |
Playing Around [Mervyn LeRoy] b&w; 66m |
|
1930 |
Show Girl in Hollywood [Mervyn LeRoy] b&w-c |
|
1930 |
Numbered Men [Mervyn LeRoy] b&w; 65m |
|
1930 |
The Girl of the Golden West [John Francis Dillon] b&w |
|
1930 |
The Widow from Chicago [Edward Cline] b&w; 64m |
|
1930 |
Madonna of the Streets [John S. Robertson] b&w |
|
1930 |
Going Wild [(uncred) William A. Seiter] b&w; 68m |
|
1931 |
The Hot Heiress [Clarence Badger] b&w |
|
1931 |
Woman Hungry/The Challenge [Clarence Badger] c; 65m; cph: Charles Schoenbaum |
|
1931 |
The Ruling Voice/Upper Underworld [Rowland V. Lee] b&w |
|
1931 |
Big Business Girl [William A. Seiter] b&w |
|
1931 |
The Bargain/You and I [Robert Milton] b&w; 68m |
|
1931 |
Five Star Final [Mervyn LeRoy] b&w |
|
1931 |
Suicide Fleet/Mystery Ship [Albert Rogell] b&w |
|
1931 |
Local Boy Makes Good [Mervyn LeRoy] b&w; 68m |
|
1931 |
Union Depot/Gentleman for a Day [Alfred E. Green] b&w; 67m |
|
1931 |
Fireman, Save My Child [Lloyd Bacon] b&w; 67m |
|
1932 |
It's Tough to Be Famous [Alfred E. Green] b&w; cph: Byron Haskin; tech efx: Fred Jackman |
|
1932 |
Two Seconds [Mervyn LeRoy] b&w; 67m |
|
1932 |
The Dark Horse [Alfred E. Green] b&w |
|
1932 |
Blessed Event [Roy Del Ruth] b&w |
|
1932 |
Three on a Match [Mervyn LeRoy] b&w; 63m |
|
1932 |
I Am a Fugitive from a Chain Gang [Mervyn LeRoy] b&w; According to interviews with M. LeRoy, the darkness at the end of the film was the result of a fortuitous accident. Just as Paul Muni finished his line, 'I steal', the electricity in the studio failed. When the rushes were viewed, the sudden darkness was thought to be so effective, that LeRoy decided not to reshoot the end |
|
1932 |
42nd Street [Lloyd Bacon (replaced scheduled dir Mervyn LeRoy)] b&w |
|
1932 |
Picture Snatcher [Lloyd Bacon] b&w; filmed 1932-33 |
|
1933 |
The Working Man [John G. Adolfi] b&w |
|
1933 |
The Mind Reader [Roy Del Ruth] b&w |
|
1933 |
Gold Diggers of 1933 [Mervyn LeRoy] b&w |
|
1933 |
Footlight Parade [Lloyd Bacon] b&w; uncred cph (?); ph: George Barnes |
|
1933 |
Hi, Nellie! [Mervyn LeRoy] b&w |
|
1933 |
Dark Hazard [Alfred E. Green (replaced scheduled dir Frank Borzage)] b&w |
|
1934 |
Wonder Bar [Lloyd Bacon (replaced scheduled dir Frank Borzage)] b&w |
|
1934 |
Dr. Monica [William Keighley & (uncred) William Dieterle] b&w; 61m |
|
1934 |
Dames [Ray Enright & (mus numbers) Busby Berkeley] b&w; cph: George Barnes & Sid Hickox |
|
1934 |
Madame Du Barry [William Dieterle] b&w |
|
1934 |
Flirtation Walk [Frank Borzage] b&w; cph: George Barnes |
|
1934 |
Sweet Adeline [Mervyn LeRoy] b&w |
|
1934 |
The Woman in Red [Robert Florey] b&w; 68m |
|
1934 |
In Caliente/Viva Senorita [Lloyd Bacon & (mus numbers) Busby Berkeley] b&w; cph: George Barnes; filmed 1934-35 |
|
1935 |
"G" Men/G-Men [William Keighley] b&w |
|
1935 |
Go Into Your Dance/Casino de Paree [Archie L. Mayo, (uncred add scenes/retakes) Robert Florey & (uncred) Michael Curtiz] b&w; uncred cph; ph: Tony Gaudio |
|
1935 |
Shipmates Forever [Frank Borzage] b&w |
|
1935 |
Frisco Kid [Lloyd Bacon] b&w |
|
1935 |
The Petrified Forest [Archie L. Mayo] b&w; spec pfx: Warren E. Lynch, Fred Jackman & Willard Van Enger |
|
1935 |
Colleen [Alfred E. Green] b&w; cph: Byron Haskin |
|
1936 |
Sons o' Guns [Lloyd Bacon] b&w |
|
1936 |
The Charge of the Light Brigade [Michael Curtiz] b&w; spec pfx: Fred Jackman; sfx: H.F. Koenekamp |
|
1936 |
Three Men on a Horse [Mervyn LeRoy] b&w |
|
1936 |
Ready, Willing and Able [Ray Enright] b&w |
[Left] with actors Fritz Leiber and Billy Mauch and dir William Keighley - "The Prince and the Pauper"
|
1937 |
The Prince and the Pauper [William Keighley & (fill-in while W. Keighley was ill) William Dieterle] b&w (also computer colorized version); uncred cph (replaced S. Polito while he was ill): George Barnes; sfx: Willard Van Enger & James Gibbons |
|
1937 |
Varsity Show [William Keighley] b&w; ph finale: George Barnes |
|
1937 |
Gold Is Where You Find It [Michael Curtiz] c; sfx: Byron Haskin |
|
1937 |
The Adventures of Robin Hood [Michael Curtiz & William Keighley (replaced by M. Curtiz halfway through filming)] c; cph: Tony Gaudio (replaced by S. Polito when he came with M. Curtiz); Technicolor ph: W. Howard Greene & (uncred assoc) Allen M. Davey; uncred 2uc: Charles P. Boyle; filmed 1937-38 |
|
1938 |
Gold Diggers in Paris/The Gay Impostors [Ray Enright] b&w; ph mus numbers: George Barnes |
|
1938 |
Boy Meets Girl [Lloyd Bacon] b&w |
|
1938 |
Valley of the Giants [William Keighley] c; Technicolor ph: Allen M. Davey |
|
1938 |
Angels with Dirty Faces [Michael Curtiz] b&w |
|
1938 |
You Can't Get Away with Murder [Lewis Seiler] b&w |
|
1938 |
Dodge City [Michael Curtiz] c; assoc ph: Ray Rennahan; sfx: Byron Haskin & Rex Wimpy |
|
1939 |
Confessions of a Nazi Spy [Anatole Litvak] b&w; cph: Ernest Haller (replaced S. Polito when he fell ill); re-released in 1940 with a new ending |
|
1939 |
Sons of Liberty [Michael Curtiz] c; short/20m; cph: Ray Rennahan |
|
1939 |
The Private Lives of Elizabeth and Essex [Michael Curtiz (replaced announced dir William Keighley)] c; assoc ph: W. Howard Greene; sfx: Byron Haskin & H.F. Koenekamp |
|
1939 |
On Your Toes [Ray Enright] b&w-c; ph color seq (8m) 'Slaughter on 10th Avenue'; ph: James Wong Howe; sfx ph: Byron Haskin & Robert Burks |
|
1939 |
Four Wives [Michael Curtiz] b&w; uncred cph: James Wong Howe |
|
1939 |
Virginia City [Michael Curtiz] b&w; sfx: H.F. Koenekamp & (uncred) Byron Haskin |
|
1940 |
The Sea Hawk [Michael Curtiz] b&w (+ some scenes in sepiatone); sfx: Byron Haskin & H.F. Koenekamp |
|
1940 |
City for Conquest [Anatole Litvak & (uncred fill-in when A. Litvak had an accident) Jean Negulesco] b&w; cph: James Wong Howe; sfx: Byron Haskin & Rex Wimpy |
|
1940 |
Santa Fe Trail [Michael Curtiz] b&w; sfx: Byron Haskin & H.F. Koenekamp |
|
1940 |
The Dog in the Orchard [Jean Negulesco] b&w; short/20m |
|
1940 |
The Sea Wolf [Michael Curtiz] b&w; sfx: Byron Haskin & H.F. Koenekamp; filmed 1940-41 |
|
1941 |
Sergeant York [Howard Hawks & (uncred some scenes) Vincent Sherman] b&w; ph battle seq: Arthur Edeson |
|
1941 |
Navy Blues [Lloyd Bacon] b&w; cph dance seq; ph: Tony Gaudio |
|
1941 |
Captains of the Clouds [Michael Curtiz] c; cph: Wilfrid M. Cline; aph: Elmer Dyer, Charles Marshall & Winton C. Hoch; sfx: Byron Haskin & Rex Wimpy |
|
1941 |
Arsenic and Old Lace [Frank Capra] b&w; sfx: Byron Haskin & Robert Burks; filmed October-December 1941 - Warner Bros. had been contractually required to wait for the Broadway play to finish its run, which finally occurred on June 17, 1944 (during 1943 the film was shown to the Armed Forces overseas) - released in September 1944 |
|
1941 |
Yankee Doodle Dandy [Michael Curtiz] b&w (also computer colorized version); fill-in ph (while J.W. Howe was ill); ph: James Wong Howe; filmed 1941-42 |
|
1942 |
The Gay Sisters [Irving Rapper] b&w |
[Right] with Bette Davis - "Now, Voyager"
|
1942 |
Now, Voyager [Irving Rapper] b&w; sfx: Willard Van Enger; montages: Don Siegel |
|
1942 |
The Adventures of Mark Twain [Irving Rapper] b&w; sfx: Edward Linden, Paul Detlefsen & John Crouse; uncred vfx: Chesley Bonestell; montages: Don Siegel & James Leicester |
|
1942 |
Old Acquaintance [Vincent Sherman (replaced scheduled dir Edmund Goulding)] b&w; filmed 1942-43 |
|
1943 |
This Is the Army [Michael Curtiz] c; cph: Bert Glennon; spec pfx: Jack Cosgrove; montages: Don Siegel & James Leicester |
|
1943 |
Rhapsody in Blue [- The Story of George Gershwin] [Irving Rapper] b&w; ph add mus numbers: Merritt Gerstad & Ernest Haller; sfx: Roy Davidson (dir) & Willard Van Enger; montages: James Leicester |
|
1943 |
Cinderella Jones [Busby Berkeley] b&w; montages: James Leicester; filmed 1943-44; released in 1946 |
|
1944 |
The Corn Is Green [Irving Rapper] b&w; sfx: H.F. Koenekamp; montages: James Leicester |
|
1944 |
Pride of the Marines/This Love of Ours/Forever in Love [Delmer Daves] b&w; uncred fill-in ph while P. Marley was ill; ph: Peverell Marley; filmed 1944-45 |
|
1945 |
A Stolen Life [Curtis Bernhardt] b&w; cph: Ernest Haller (because of the difficulty of the trick photography Polito and Haller shared cinematography credit); sfx: William McGann (dir), E. Roy Davidson (dir), Willard Van Enger & Russell Collings |
|
1945 |
Escape Me Never [Peter Godfrey] b&w; sfx: Harry Barndollar (dir) & Willard Van Enger; spec optical efx: Russell Collings; filmed 1945-46 |
|
1946 |
Cloak and Dagger [Fritz Lang] b&w; sfx: Harry Barndollar (dir) & Edwin B. DuPar |
|
1946 |
The Long Night [Anatole Litvak] b&w; sfx: Russell A. Cully; remake of 'Le jour se lève' (1939, Marcel Carné; ph: André Bac) |
|
1947 |
The Voice of the Turtle/One for the Book [Irving Rapper] b&w; sfx: Harry Barndollar (dir) & Edwin DuPar; montages: James Leicester |
|
1948 |
Sorry, Wrong Number [Anatole Litvak] b&w; spec pfx: Gordon Jennings; process ph: Farciot Edouart |
|
1949 |
Anna Lucasta [Irving Rapper] b&w |
