IEC
GREAT CINEMATOGRAPHERS
ARTHUR EDESON
Born: 24 October 1891, New York City, N.Y., USA.
Died: 14 February 1970, Agoura Hills, Calif., USA.
Education: City College, New York City.
Career: Edeson was barely making a living as a portrait photographer in 1910 when he decided to try his hand at the movies. 'I went to the old Éclair Studio in Fort Lee, New Jersey, and applied for a job. While I was waiting in the outer office, a man came in and stabbed his finger around the crowded room, saying: "I'll take you - and you - and you. Come with me." I couldn't tell whether I was one of those selected, but I joined the group anyway. Once inside the mysterious recesses of the studio, I found I'd been hired - as an actor.' He never lost his interest in photography, however, and began to shoot portraits of his fellow actors. His photos caught the attention of doph John van den Broek [born in the Netherlands; died in 1918 (drowned while filming)], and when a cameraman fell ill, van den Broek suggested that Edeson fill in. 'In those times, flat lighting was the rule of the day,' Edeson wrote. 'However, I began to introduce some of the lighting ideas I had learned in my portrait work - a suggestion of modeling here, an artistically placed shadow there - and soon my efforts tended to show a softer, portrait-like quality on the motion-picture screen. This was so completely out of line with what was considered good cinematography in those days that I had to use my best salesmanship to convince everyone it was good camerawork.' When American Éclair was reorganized as the World Film Corporation, Edeson stayed on to become chief cinematographer for the star Clara Kimball Young, and when she left for California in 1917, Edeson followed. In 1920, Douglas Fairbanks saw 'For the Soul of Rafael', one of Edeson's films for Young, and signed the cinematographer for three of his biggest pictures: 'The Three Musketeers', 'Robin Hood' & 'The Thief of Bagdad'. At Fox, he shot the first all-outdoor 100% talkie, 'In Old Arizona' and the first Fox Grandeur 70mm film, 'The Big Trail'. He later worked at Universal and MGM and eventually settled in at Warner Bros., where he would remain until his retirement in 1949.
Was a charter member and president [1953-54] of the ASC.
Awards: 'Oscar' AA nom [1928/29] for 'In Old Arizona'; 'Oscar' AA nom [1929/30] for 'All Quiet on the Western Front'; 'Oscar' AA nom [1943; b&w] for 'Casablanca'.
GO TO FILMS
While Arthur Edeson's career after 'Casablanca' was really just making programmers, for his overall work through four decades he has few peers. Up to 1930, the keynote is spectacle, from the fantasy worlds of Fairbanks to the corpse-strewn battlegrounds of 'All Quiet on the Western Front'. Progressing into the 30s, however, it becomes more and more difficult to detect an Edeson style, beyond the common denominator of the Warner Brothers 'look', if such a thing really existed. But the number of essential works which came to life in front of his camera is still pretty amazing. We'll never know how much he contributed to such films as 'Frankenstein' and 'The Maltese Falcon', but it's certain that, had it not been for Edeson, we would be viewing vintage American cinema from some different, probably inferior, angle. [Markku Salmi in 'Film Dope', #14, March 1978.]
'Arthur Edeson's style is a perfect example of the approach and merger of two schools and aesthetics of world cinema. Like Hal Mohr, Arthur Miller, or Charles Rosher, Edeson was one of the master craftsmen of the old American school, whose principal work was on the side of realism, considered by most historians to represent the zenith of Hollywood photography. Edeson built on the influence of German Expressionism, brought to America by German cinematographers during the 1920s.
One of Edeson's great strengths was his ability to capture the spirit of large-scale scenarios: for 'Robin Hood' [1922], for instance, through the use of double exposures and glass shots, and, notably for the scenes in the castle's interior, through the use of natural light. In 'The Thief of Bagdad' [1923] his photography creates an atmosphere almost unreal, and bringing a fascination to Raoul Walsh's film.
In fact, in the late 1920s and early 1930s Walsh was the director to whose work Edeson was most linked. The realism of the photography of 'Me, Gangster' [1928] and 'In Old Arizona' [1929], the first sound film to be shot outside a studio, prepares for that of 'The Big Trail' [1930], the culminating collaboration of the two men. Filmed in the first wide-screen process [70mm], known as Fox Grandeur, this epic reveals Edeson's mastery of composition, using frame enlargement dramatically. 'The Big Trail' is both pictorial and documentary, with a spectacular use of space, sensitive to the archetypical sequences of the western, including a buffalo charge, an Indian attack, and a fantastic river crossing.
"The Big Trail" - 70mm [aspect ratio 2.10:1]
The visual drama of 'The Big Trail', based in part on epic realism, is counterpointed admirably in his work as cinematographer for James Whale. In 'Frankenstein' [1931], Edeson was seen to have assimilated and controlled the 'expressionist heritage', synthesizing it into an appropriate style - attaining a fantastic and mysterious realism without losing the mobility of the camera. 'Frankenstein' is a classic 'horror movie', above all owing to its visual conception which suggests the silent German film, due to its paradigmatic opening scene in which Frankenstein and his assistant watch a funeral, and to Edeson's camera angles and camera movement.
In the late 1930s and early 1940s Edeson worked for Warner Brothers within the parameters of the studio style, but utilizing his own below-eye-level shots and strong angular compositions, he was able to produce the sinister and threatening 'The Maltese Falcon' [1941] and the devastatingly romantic 'Casablanca' [1942]. This alone is enough for Edeson to merit a place of honor in American film. Without obsessively darkening the set, without a geometrical lighting leading to remote shadows, obscuring rather than suggesting, 'The Maltese Falcon' can be said to have invented a genre - the film noir - and to have highlighted a visage that Louise Brooks called 'the face of St. Bogart'.' [From article by M. S. Fonseca on the filmreference.com website.]
Wide Film Cinematography - Some Comments on 70mm Camerawork from a Practical Cinematographer
By ARTHUR EDESON, A.S.C.
If anyone had, a few months ago, told me that I would not only be photographing a big picture on wide film, but also rabidly enthusiastic over its artistic possibilities, I would have thought him crazy. For I had the typical, conservative cameraman's attitude toward wide film: it might be all right as a novelty, but as a practical medium for serious artistic work it was impossible. I could think of too many technical and artistic flaws in it to ever think that it could gain a cameraman's favor. Everything - especially the new proportion of its picture - seemed absolutely wrong.
Since then, I have spent more than six months photographing the 70 millimeter version of Raoul Walsh's 'The Big Trail'. In this time I have shot hundreds of thousands of feet of Grandeur film, and the results have convinced me that I, and not the process, was wrong. And now that the production is completed, I know that I shall find it difficult, indeed, to return to the cramped proportions of our present-day standard film.
For 70 millimeter photography has given me an entirely new perspective. Instead of regarding things in the light of the old, cramped, Movietone frame, I now see them, photographically, as my eye naturally perceives them - in much the same proportions as the low, wide Grandeur frame.
Technically, 70mm cinematography is much the same as ordinary 35mm cinematography. The cameras are standard Mitchell cameras. The film is standard Eastman Type Two Panchromatic. The lenses are, in most respects, similar to standard lenses. It is in the lenses, however, that the chief technical difference is found, for any given lens will embrace a considerably wider angle of view on the 70mm film than on the smaller standard. Therefore, when, as in this present picture, two versions are to be shot, the 70 millimeter camera must use a lens of approximately double the focal length of the lens used to make a corresponding 35 mm. shot. Or, reversing the example, when the cameraman uses a lens of a given focal length, the standard cameraman must use a lens of approximately half that size to make his corresponding shot. The shortest focal-length lens that I used during the making of 'The Big Trail' was 50 mm., although 40 mm. is claimed to be theoretically the absolute minimum useable. However, as this was actual production work, and not laboratory tests. I preferred to play safe, and never used anything below a fifty When I used a fifty on a shot, the standard cameraman would use a twenty-five to produce a corresponding shot on his smaller film; when his shot required a fifty, mine would demand a four inch, and so on. In this picture, though the majority of the scenes were duplicated shot for shot, in each size of film ,as nearly as was possible, the Grandeur version, being considered the most important, received the greater attention. So it was the requirements of the 70 millimeter cameras that dictated the lenses to be used, the set-ups, action, and all such matters.
The selection of lenses for 70 millimeter use is especially important. One of the chief photographic complaints against wide-film has been that there was only too often a marked falling off in definition at the extremities of the picture. The only cure for this is the use of lenses of the very highest quality - the very best of the best. Of course, any cameraman worthy of the name will take great pains in the selection of his lens equipment, but in selecting wide-film objectives, he must take even more extraordinary precautions. This naturally means an endless amount of testing before even one lens is chosen, but it is well worth it, for only the best lenses can give perfect Grandeur pictures, and only perfect pictures can reveal the full possibilities of 70 millimeter.
The chief requirements for lenses for wide-film cinematography are, first and foremost, extremely wide covering power; and secondly (and of quite as great importance), extremely great depth of focus. Due to the more natural shape of the Grandeur frame, there is a certain pseudo-stereoscopic effect produced: but this effect is lost unless there is a very considerable depth of focus in the image. The 70 millimeter picture is very nearly the same proportion as the natural field of our vision, which, I suppose, is responsible for this pseudostereoscopy. But, clearly, to take full advantage of this, we must use lenses which will give us a degree of depth at least somewhat approximating that of our eyes. Therefore, it is vital that Grandeur lenses be selected with a view toward getting this effect, so that the crispest, deepest pictures may be had
Another point which has been a source of trouble to the early users of wide film is its liability to abrasion. During the many months we were working on 'The Big Trail', we shot more than half a million feet of 70 mm. alone, with absolute freedom from scratches or abrasions of any kind. This was done merely by exercising extreme care in the always important matter of keeping the cameras and magazines clean. It became a hard and fast rule that the cameras must be cleaned thoroughly every night, not only with brushes, but with compressed air streams.
Another troublesome detail for which we found a sure cure is that of film curling and buckling. A buckle in a 70 millimeter camera is a terrible thing, for it not only ruins a large quantity of valuable film, and often damages the camera, but it invariably makes the motor a total loss. During our first week's work on the picture, we had several bad buckles-which meant new motors every time. Naturally this was serious; it couldn't be allowed to continue. So we bent all our energies toward finding the cause of these buckles. Eventually we found it to be caused by friction between the edges of the film and the walls of the magazines. After that, we took special pains in loading, making sure that every roll of film used was absolutely true to its spool, with no chance of touching the walls of the magazine-and we had no more buckles during the picture.
Aside from these details, Grandeur cinematography is, from the technical viewpoint, no different from standard-size camerawork. Any man who is technically able to do good work on 35 mm. film should therefore be able to do just as well on wide film. In this connection, it is interesting to note that while on 'The Big Trail', as we were constantly moving around the country during our extended location trip, neither Mr. Walsh nor myself was able to see any of the film which we shot until our return to Hollywood-nearly five months later That the film-more than 500,000 feet of Grandeur alone-was all technically perfect is not only a definite demonstration that wide-film cinematography is basically the same as 35 mm work, but a very high tribute to my associates who manned the other Grandeur cameras.
From the artistic viewpoint, the chief requirement of Grandeur cinematography is that both the cameraman and the director learn to accommodate themselves to the wider frame. The cameraman's problem is probably the easier, for he soon learns that composing a picture on the wide frame of the Grandeur camera is not, essentially, so different from composing for the old "silent standard" rectangle, and far easier than for the nearly square Movietone frame. The director, however, must in a Grandeur picture pay considerably more attention to his background action than is usually the case, for, even in close-ups, the depth of focus demanded by Grandeur makes the background an important part of the picture. Incidentally, Grandeur reduces the number of close-ups considerably, as the figures are so much larger that semi-close-ups are usually all that is needed.
In working on such a picture as 'The Big Trail', 70 millimeter is a tremendously important aid for the epic sweep of the picture demands that it be painted against a great canvas. Grandeur gives us such a canvas to work with, and enables us to make the background play its part in the picture, just as it did in the historical events which we are dramatizing. And that is what we have tried to do throughout this picture: to make history live again upon the screen. The chief motif of the story is the indomitable perseverance of the pioneers, as shown in their pushing west across the great deserts, the vast plains, the towering mountains, and into the great forests of California and Oregon. The background thus plays a vitally important role in the picture-a role which can only be brought out completely by being shown as 70 millimeter film can show it. Lucien Andriot, who photographed the standard-film version of the picture, did a superb piece of work, but the medium with which he was working could not begin to capture the vast sweep of the story and its background as did the Grandeur. Working in 35 mm. film, he was simply unable to dramatize the backgrounds as did the larger film, for in 35 mm. he could not attempt to adequately show both the vast backgrounds and the intimate foreground action in a single shot as the Grandeur cameras can. The illustrations reproducing the identical scene as treated by both 35 mm. and Grandeur cameras shows this admirably.
From my experience with 70 millimeter cinematography on 'The Big Trail', I can confidently say that the wider film s not only the coming medium for such great pictures, but that it will undoubtedly become the favored one for all types of picture. It marks a definite advance in motion picture technique, and from it will undoubtedly be evolved the truly stereoscopic picture of the future, toward which so many people have long been striving. As I have worked, so far, only with the 70 mm. film, I hardly feel qualified to prophesy as to the width which the industry will ultimately adopt as the standard, although I naturally lean toward the Grandeur, with which I am most accustomed. However, wider film is so definitely a desirable improvement that I hope that a definite standard will soon be accepted. Once that standard has been determined, the public will, if given suitable pictures on the wider film, undoubtedly show a decided preference for it. None the less, 35 mm. versions must continue to be made for a long time: but this will not be overly difficult, as reductions can be made from Grandeur negatives with perfect satisfaction, by optical printing, and at a far less expense than by shooting two versions, as has been done on all the wide-film pictures thus far made. This will, of course, impose upon the cameraman and director a necessity for unusually great care in making his composition: but it will hardly be more difficult than his present problem of composing 35 mm pictures so that they will be suitable for all of the many projection apertures in use throughout the world. The greatest difficulty here will be in composing his two-shots, which will have to be made so that they can be, in the reduction-print, made into two separate close-ups. But this difficulty is only a minor one when compared with the very great advantages which 70 millimeter cinematography offers in all other respects. And when these advantages, and those which the wide film soundtrack offers the sound-engineers, are combined with a perfected system of color cinematography, cinematographers and directors will indeed have a medium which is worthy of their best artistic and technical efforts. [Published in American Cinematographer - September, 1930]
| FILMS [1 reel = c. 10m] | |
|---|---|
|
1914 |
The Dollar Mark [Oscar A.C. Lund] b&w; 5 reels; prod William A. Brady Picture Plays, Inc. (WBPP) |
|
1914 |
A Gentleman From Mississippi [George Sargent] b&w; 5 reels; prod WBPP |
|
1914 |
The Deep Purple [James Young] b&w; 5 reels; prod World Film Corporation (WFC) |
|
1915 |
Hearts in Exile [James Young] b&w; 5 reels; re-issued in 1917 as 'Hearts Afire'; prod WFC |
|
1915 |
The Master Hand [Harley Knoles] b&w; 5 reels; + asst dir; prod Premo Feature Film Corporation (PFFC) |
|
1916 |
The Devil's Toy [Harley Knoles] b&w; 5 reels; prod PFFC |
|
1916 |
His Brother's Wife [Harley Knoles] b&w; 5 reels; prod PFFC |
|
1916 |
Miss Petticoats [Harley Knoles] b&w; 5 reels; prod WFC |
|
1916 |
The Gilded Cage/The Heart of a Princess [Harley Knoles] b&w; 5 reels; prod WFC |
|
1916 |
Bought and Paid For/The Faun [Harley Knoles] b&w; 5 reels; prod WBPP |
|
1916 |
A Woman Alone/Loneliness [Harry Davenport] b&w; 5 reels; prod WFC |
|
1916 |
A Square Deal [Harley Knoles] b&w; 5 reels; prod WFC |
|
1917 |
The Social Leper [Harley Knoles] b&w; 5 reels; prod WFC |
|
1917 |
The Page Mystery [Harley Knoles] b&w; 5 reels; prod WFC |
|
1917 |
In Again - Out Again [John Emerson] b&w; 5 reels; or ph Victor Fleming; prod Douglas Fairbanks Pictures Corporation (DFPC) |
|
1917 |
The Stolen Paradise [Harley Knoles] b&w; 5 reels; prod WFC |
|
1917 |
The Price of Pride [Harley Knoles] b&w; 5 reels; prod WFC |
|
1917 |
Wild and Woolly [John Emerson] b&w; 5 reels; or ph Victor Fleming (superv) & Harry Thorpe; prod DFPC |
|
1917 |
Souls Adrift/Chasms [Harley Knoles] b&w; 5 reels; prod WFC |
|
1917 |
Baby Mine [John S. Robertson & Hugo Ballin] b&w; 6 reels; prod Goldwyn Pictures Corporation (GPC) |
|
1917 |
Reaching for the Moon [prod: John Emerson] b&w; 5 reels; ?; ph: Victor Fleming & Sam Landers; prod Artcraft Pictures Corporation |
|
1917 |
Nearly Married [Chester Withey] b&w; 5 reels; prod GPC |
|
1918 |
Jack Spurlock, Prodigal [Carl Harbaugh] b&w; 6 reels; prod Fox Film Corporation |
|
1918 |
The Savage Woman [Edmund Mortimer & (uncred - started film) Robert G. Vignola] b&w; 5 reels; prod Clara Kimball Young Film Corporation (CKY) |
|
1918 |
The Road Through the Dark [Edmund Mortimer] b&w; 5 reels; prod CKY |
|
1918 |
The Hushed Hour [Edmund Mortimer] b&w; 5 reels; prod Harry Garson Prods (HGP) |
|
1918 |
Cheating Cheaters [Allan Dwan] b&w; 5 reels; prod CKY |
|
1919 |
The Better Wife [William Earle] b&w; 5 reels; prod CKY |
|
1919 |
Eyes of Youth [Albert Parker] b&w; prod Garson Prods |
|
1920 |
The Forbidden Woman [Harry Garson] b&w; 6 reels; prod Garson Studios, Inc. (GSI) |
|
1920 |
For the Soul of Rafael [Harry Garson] b&w; prod GSI |
|
1920 |
Mid-Channel [Harry Garson] b&w; 6 reels; prod GSI |
|
1920 |
Hush [Harry Garson] b&w; 6 reels; prod Equity Pictures |
|
1921 |
Good Women [Louis J. Gasnier] b&w; prod Robertson-Cole Pictures |
|
1921 |
The Three Musketeers [Fred Niblo] b&w + color seq; prod Douglas Fairbanks Pictures Corporation (DFPC) |
|
1922 |
The Worldly Madonna [Harry Garson] b&w; 6 reels; prod HGP |
|
1922 |
Douglas Fairbanks in Robin Hood/Robin Hood [Allan Dwan] b&w; uncred cph: Charles Richardson; trick ph: Paul Eagler; prod DFPC |
|
1923 |
The Thief of Bagdad [Raoul Walsh] b&w; prod DFPC |
|
1924 |
Inez from Hollywood/The Good Bad Girl [Alfred E. Green] b&w; prod Sam E. Rork Prods |
|
1924 |
The Lost World [Harry O. Hoyt (dramatic dir)] b&w + hand-colored & tinted seq; various reconstructions with different runtimes (64m-106m); tech dir: Willis H. O'Brien (assoc: Marcel Delgado & Ralph Hammeras), chief tech: Fred W. Jackman; add tech staff: Homer Scott, J. Devereaux Jennings, Hans Koenekamp & Vernon L. Walker; prod First National Pictures (FN) |
|
1924 |
Waking Up the Town/The End of the World [James Cruze] b&w; 6 reels; cph: Paul Perry; prod Mary Pickford Company |
Next to dir John Francis Dillon [hat]
|
1925 |
One Way Street [John Francis Dillon] b&w; 6 reels; prod FN |
|
1925 |
The Talker [Alfred E. Green] b&w; prod FN |
|
1925 |
Her Sister from Paris [Sidney Franklin] b&w; prod Joseph M. Schenck Prods |
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1925 |
Stella Dallas [Henry King] b&w; prod Samuel Goldwyn, Inc. (SGI) |
|
1926 |
Partners Again [Henry King] b&w; 6 reels; prod SGI |
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1926 |
The Bat [Roland West] b&w; uncred cph: Gregg Toland; prod Feature Prods |
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1926 |
Sweet Daddies [Alfred Santell] b&w; prod FN |
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1926 |
Subway Sadie [Alfred Santell] b&w; prod Al Rockett Prods (ARP) |
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1926 |
The Blue Eagle [John Ford] b&w; 6 reels; uncred cph; ph: George Schneiderman; prod Fox Film Corporation (FFC) |
|
1926 |
Just Another Blonde/The Girl from Coney Island [Alfred Santell] b&w; 6 reels; prod ARP |
|
1927 |
McFadden's Flats [Richard Wallace] b&w; prod FN |
|
1927 |
The Patent Leather Kid [Alfred Santell] b&w; cph: Alvin Knechtel & Ralph Hammeras; prod FN |
|
1927 |
The Drop Kick/Glitter [Millard Webb] b&w; 7 reels; cph: Alvin Knechtel; prod FN |
|
1927 |
The Gorilla [Alfred Santell] b&w; prod FN |
|
1928 |
A Thief in the Dark [Albert Ray] b&w; 6 reels; prod FFC |
|
1928 |
Me, Gangster [Raoul Walsh] b&w; silent (with sound seq); prod FFC |
|
1929 |
In Old Arizona [Irving Cummings (replaced Raoul Walsh)] b&w; cph: Alfred Hansen; prod FFC; the first 'talkie' shot outdoors |
|
1929 |
Girls Gone Wild [Lewis Seiler] b&w; 6 reels; cph: Irving Rosenberg; silent (with sound seq) & sound versions; prod FFC |
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1929 |
The Cock-Eyed World [Raoul Walsh] b&w; sound & silent versions; prod FFC |
|
1929 |
Romance of the Rio Grande [Alfred Santell] b&w; sound & silent versions; prod FFC |
|
1929 |
All Quiet on the Western Front [Lewis Milestone & (dial dir) George Cukor] b&w; 14 reels (re-issue 1939: 10 reels); uncred ph final 'Butterfly' seq: Karl Freund; sfx ph: Frank H. Booth; sound & silent (with synchronized music) versions; prod Universal Pictures Corporation |
|
1930 |
The Big Trail [Raoul Walsh] Fox Grandeur (70mm) & 35mm/b&w; ph Grandeur version; ph 35mm version: Lucien Andriot; also German-language version 'Die große Fahrt/Der große Treck'; see above |
|
1930 |
The Man Who Came Back [Raoul Walsh] b&w |
|
1930 |
Doctors' Wives [Frank Borzage] b&w |
|
1931 |
Always Goodbye [Kenneth MacKenna & William Cameron Menzies] b&w; 60m |
|
1931 |
Waterloo Bridge [James Whale] b&w |
|
1931 |
Frankenstein [James Whale] b&w; uncred cph: Paul Ivano; originally scheduled with dir Robert Florey and ph Karl Freund |
|
1932 |
The Impatient Maiden [James Whale] b&w |
|
1932 |
Strangers of the Evening/The Hidden Corpse/Case of the Missing Corpse [H. Bruce Humberstone] b&w |
|
1932 |
Fast Companions [Kurt Neumann] b&w |
|
1932 |
The Old Dark House [James Whale] b&w |
|
1932 |
The Last Mile [Sam Bischoff] b&w |
|
1932 |
Those We Love [Robert Florey] b&w |
|
1932 |
Red Dust [Victor Fleming] b&w; uncred cph (?); ph: Harold Rosson |
|
1932 |
Flesh [John Ford] b&w |
|
1933 |
The Constant Woman/Auction in Souls/Hell in a Circus [Victor Schertzinger] b&w |
|
1933 |
A Study in Scarlet [Edwin L. Marin] b&w |
|
1933 |
The Life of Jimmy Dolan/The Kid's Last Fight [Archie Mayo] b&w |
|
1933 |
The Big Brain/Enemies of Society [George Archainbaud] b&w |
|
1933 |
The Invisible Man [James Whale] b&w; miniature & addph: John J. Mescall; sfx: John P. Fulton |
|
1933 |
His Double Life [Arthur Hopkins; (assoc dir) William C. de Mille & Joe Nadel] b&w; 63m |
|
1933 |
Palooka/The Great Schnozzle [Benjamin Stoloff] b&w |
|
1934 |
The Merry Frinks/Happy Family [Alfred E. Green] b&w |
|
1934 |
Here Comes the Navy [Lloyd Bacon] b&w |
|
1934 |
Maybe It's Love [William McGann] b&w; 63m |
|
1934 |
Devil Dogs of the Air [Lloyd Bacon] b&w |
|
1934 |
While the Patient Slept [Ray Enright] b&w |
|
1935 |
Dinky [D. Ross Lederman & Howard Bretherton] b&w; 65m |
|
1935 |
Going Highbrow [Robert Florey] b&w; 68m; cph: William Rees |
|
1935 |
Mutiny on the Bounty [Frank Lloyd] b&w; uncred cph: Charles G. Clarke (Tahiti loc) & Sidney Wagner |
|
1935 |
Ceiling Zero [Howard Hawks] b&w |
|
1935 |
Satan Met a Lady [William Dieterle] b&w |
|
1936 |
The Golden Arrow [Alfred E. Green] b&w |
|
1936 |
Hot Money [William McGann] b&w; 68m |
|
1936 |
China Clipper [Ray Enright] b&w; aph: Elmer Dyer & Hans F. Koenekamp; spec pfx: Fred Jackman |
|
1936 |
Gold Diggers of 1937 [Lloyd Bacon & (mus numbers) Busby Berkeley] b&w |
|
1936 |
The Kid Comes Back/Don't Pull Your Punches [B. Reeves Eason] b&w; 60m |
|
1936 |
The Go Getter [Busby Berkeley] b&w |
|
1937 |
Mr. Dodd Takes the Air [Alfred E. Green] b&w |
|
1937 |
The Footloose Heiress [William Clemens] b&w; 59m |
|
1937 |
They Won't Forget [Mervyn LeRoy] b&w |
|
1937 |
Submarine D-1 [Lloyd Bacon] b&w |
|
1937 |
Swing Your Lady [Ray Enright & (mus numbers) Bobby Connolly] b&w |
|
1938 |
Cowboy from Brooklyn/Romance and Rhythm [Lloyd Bacon] b&w |
|
1938 |
Mr. Chump/Mister Chump [William Clemens] b&w; 60m |
|
1938 |
Racket Busters [Lloyd Bacon] b&w |
|
1938 |
Wings of the Navy [Lloyd Bacon] b&w; aph: Elmer Dyer & Paul Mantz; sfx ph: H.F. Koenekamp & Byron Haskin |
|
1938 |
Nancy Drew... Reporter [William Clemens] b&w; 65m |
|
1938 |
Secret Service of the Air [Noel Smith] b&w; 61m; uncred cph; ph: Ted McCord; film #1 in 4-part 'Secret Service'-series (Warner Bros., 1939-40) |
|
1938 |
Sweepstakes Winner [William McGann] b&w; 59m |
|
1939 |
Each Dawn I Die/Killer Meets Killer [William Keighley] b&w |
|
1939 |
No Place to Go [Terry O. Morse] b&w; 56m |
|
1939 |
Kid Nightingale [George Amy] b&w; 57m |
|
1939 |
Castle on the Hudson/Years Without Days [Anatole Litvak] b&w; sfx ph: Byron Haskin & Edwin DuPar |
|
1940 |
They Drive by Night/The Road to Frisco [Raoul Walsh] b&w |
|
1940 |
Tugboat Annie Sails Again [Lewis Seiler] b&w |
|
1940 |
Lady with Red Hair [Kurt (Curtis) Bernhardt] b&w |
|
1940 |
[May We Suggest] Kisses for Breakfast [Lewis Seiler] b&w |
|
1941 |
Sergeant York [Howard Hawks & (uncred some scenes) Vincent Sherman] b&w; ph battle seq (dir by B. Reeves Eason); ph: Sol Polito |
|
1941 |
The Maltese Falcon [John Huston] b&w |
|
1941 |
The Male Animal [Elliott Nugent] b&w |
|
1941 |
Glen Gray and the Casa Loma Orchestra [Jean Negulesco] b&w; mus short/9m; ep series 'Melody Masters' |
|
1942 |
Across the Pacific [John Huston, (final scenes) Vincent Sherman & (retakes) Jo Graham] b&w; sfx ph: Byron Haskin & Willard Van Enger; montages: Don Siegel |
|
1942 |
Casablanca [Michael Curtiz] b&w; sfx ph: Lawrence Butler (dir) & Willard Van Enger; montages: Don Siegel & James Leicester |
|
1942 |
Thank Your Lucky Stars [David Butler] b&w; sfx ph: H.F. Koenekamp |
|
1943 |
Old Acquaintance [Vincent Sherman] b&w; uncred cph (last 3 days of shooting); ph: Sol Polito |
|
1943 |
Shine on Harvest Moon [David Butler] b&w-c; sfx ph: Edwin DuPar |
|
1943 |
The Mask of Dimitrios [Jean Negulesco] b&w |
|
1944 |
The Conspirators [Jean Negulesco] b&w |
|
1944 |
Nobody Lives FOREVER [Jean Negulesco] b&w; sfx ph: William McGann & Willard Van Enger |
|
1945 |
Three Strangers [Jean Negulesco] b&w; sfx ph: Edwin DuPar |
|
1945 |
The Time, the Place and the Girl [David Butler] c; cph: William V. Skall |
|
1945 |
Never Say Goodbye [James V. Kern] b&w |
|
1945 |
Two Guys from Milwaukee/Royal Flush [David Butler] b&w; sfx ph: Harry Barndollar & Edwin DuPar |
|
1946 |
Stallion Road [James V. Kern & (uncred) Raoul Walsh] b&w |
|
1946 |
My Wild Irish Rose [David Butler] c; cph: William V. Skall; sfx ph: Robert Burks |
|
1947 |
Two Guys from Texas/Two Texas Knights [David Butler] c; cph: William V. Skall |
|
1948 |
The Fighting O'Flynn/The O'Flynn [Arthur Pierson] b&w; spph: David S. Horsley |
